BGuthrie Photos: MD -- Baltimore -- Walters Art Museum -- European Paintings

MD -- Baltimore -- Walters Art Museum -- European Paintings:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WALTEP_110109_030.JPG: Panorama with the Wonders of the Ancient World and the Abduction of Helen, 1535 Maerten van Heemskerck Netherlandish (Haarlem and Rome), 1498-1574 The famous Wonders of the Ancient World -- great technical achievements in art and architecture in the pre-Roman world -- reflect the value placed on ingenuity by the Roman writers who debated the selection. Sixteenth- or 17th-century Europeans could call on this ancient celebration of ingenuity to validate their own. In 1535, when Heemskerck painted this panorama in Rome, scholars were still disputing which of these monuments were the most marvelous. Heemskerck's interpretation of the narrative -- the abduction of Helen, queen of the Greek city-state Sparta, by Paris, a prince of Troy in Asia Minor, an epic that stretches across the ancient world to Rome itself -- was influenced by versions of the story that set events among the marvels or heroic achievements of the ancient world. This luminous panorama is one of the most famous northern landscapes of the 1500s; its array of ancient marvels and evidence of antiquity's greatness were meant to provide a delightful picture-puzzle for the viewer.
2. WALTEP_110109_046.JPG: (left to right) * Paris * Helen * Temple treasures carried off by the Trojans * Gilded bronze statue of Venus (imaginary)
3. WALTEP_110109_068.JPG: Temple of Venus on the island of Cythera Roman statues of river gods
4. WALTEP_110109_075.JPG: Paris and Helen
5. WALTEP_110109_079.JPG: Gilded bronze statue of Venus (imaginary)
6. WALTEP_110109_083.JPG: Hellenistic marble male torso
7. WALTEP_110109_088.JPG: Trojan landing boat with shields
8. WALTEP_110109_090.JPG: Painting of the Judgment of Paris on the mainsail of Paris's flagship
9. WALTEP_110109_094.JPG: "Egyptian" (or Roman) pyramid
10. WALTEP_110109_098.JPG: The Colossus of Rhodes
11. WALTEP_110109_103.JPG: Statue of Lion Attacking a Horse
12. WALTEP_110109_115.JPG: Fragments of the Arch of Titus
13. WALTEP_110109_116.JPG: The Temple of Diana at Ephesus
14. WALTEP_110109_119.JPG: Ruins of the Arch of the Money Changers "Egyptian" (or Roman) pyramid
15. WALTEP_110109_125.JPG: The Colossus of Rhodes
16. WALTEP_110109_131.JPG: Note the pigs humping in the background
17. WALTEP_110109_195.JPG: A Residence in the Dutch Republic in the Late 1600s: The decor of these two intimate, "cabinet" galleries suggests a residence of the 1690s in the Dutch Republic, at the end of the Golden Age. Over 100 years earlier, in 1581, the seven northern provinces of the Netherlands had declared independence from Spain. Under the leadership of the princes of Orange, the new country experienced tremendous economic growth, based largely on trade, which was accompanied by a flowering of culture. Oriental luxuries arrived in Amsterdam on the ships of the Dutch East India Company, founded in 1602. The tasted evoked here are those of a wealthy family allied to Willem III (ruled 1672-1702), prince of Orange and stadholder (elected governor) of the republic, who married Princess Mary, heir to the English throne. In 1689, they were crowned as William and Mary, king and queen of England. Their personal interests, including collecting Chinese porcelain and Dutch "Delft" earthenware, were influential in both countries. Not only the wealthy, but also the middle and working classes owned art, principally paintings. Popular subjects suggest pride in the realities of life: household surroundings -- as in the paintings of Johannes Vermeer -- the Dutch countryside, family portraits, and the pleasures of the table. Altarpieces for public worship were forbidden by the official Calvinist (Protestant) Church, but they kept their role in private places of Catholic worship, while biblical subjects, such as those by Rembrandt, and his followers, were appreciated as moral instruction. Dutch painters were not immune to wider trends in European art and often adopted qualities of baroque art from Italian and Flemish painting, as in the use of diagonals to suggest movement on contrasting areas of strong light and dark shadow for focus and drama.
18. WALTEP_110109_346.JPG: Eighteenth-Century France: The Walters has one of the finest collections of French 18th-century art in the United States, including representative examples by many of the major painters and sculptors of the period. During the 18th century, French citizens witnessed both the heights of monarchical pomp and splendor and the upheaval of revolution. The glory of the Sun King, Louis XIV (1643-1714), was reflected in the glittering luxury of the Chateau of Versailles. This opulence would eventually give way to a less ornate style, appropriate to the needs and tastes of a diverse landed gentry. The fantastical decoration of the rococo, in which every surface within a room had intertwining colors and patterns, would be replaced by a more severe style inspired by the classical worlds of ancient Greece and Rome. With the overthrow of the monarchy, themes drawn from antiquity would predominate as fitting allegories for the ideals of civic virtue promoted by the new Republic. The craftsmanship of French 18th-century artisans in unrivalled. The royal manufactories at Gobelins, Beauvais, and Sevres produced a wide angle of tapestries and porcelains based on the designs of the foremost painters and sculptors of the day, including Francois Boucher and Etienne-Maurice Falconet, both of whom are represented in this gallery.
19. WALTEP_110109_372.JPG: The Vestal Virgins, late 18th-early 19th century: This trompe-l'oeil imitation of a sculptural relief depicts the Roman goddess of the hearth, Vesta (left), who was worshiped in a temple containing a sacred fire tended by the Vestal Virgins (as shown here). The left side of this unusual composition was inspired by a well-known relief, which was restored some time before 1763, from the Villa Albani in Rome. The right side of the painting was not derived from the restored relief, and it is possible that the unknown artist may have been attempting to propose a more authentic restoration than the one carried out during the 18th century.
20. WALTEP_110109_476.JPG: Judith Decapitating Holofernes, ca. 1640 Trophime Bigot (The Candlelight Master) According to the Book of Judith in the Catholic Old Testament, the virtuous widow Judith saved her people when the military commanders failed to lift a siege by the Assyrians. She beguiled the enemy general Holofernes into getting drunk and cut off his head. The artist heightened the drama by contrasting Judith's serene determination with the amazement and horror exploding from the general's face. Portraying his head upside down emphasizes his defeat and evokes the reversal of societal norms in a woman's victory over a strong man. By the 1620s, Trophime Bigot was in Rome, where he studied the paintings of Caravaggio (1571-1610). The Italian master has introduced often-brutal, naturalistic, close-up scenes lit by a single light source. In this powerful baroque composition, the candle's light concentrates the drama around the clear diagonal movement back from Holofernes's straining arm.
21. WALTEP_110109_537.JPG: Portrait of Countess Livia da Porto Thiene and Her Daughter Porzia, ca. 1551 Paolo Caliari, called Veronese Veronese painted a portrait of the countess and her shy little daughter as well as one of her husband Count Iseppo (Guisepe) da Porto and their son Adriano. These paintings were most likely installed in their palace in Vicenza, which had recently been built by Andrea Palladio (1508-80). The portraits would have been placed so that it would appear as if the family were standing in niches inside the palace. Veronese was famous for his use of color and mastered the depiction of luxurious textures and fabrics. The countess carries a marten's fur with a head of gold and enamel, nearly identical to that displayed in the case below. The floor strip below is a later addition.
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Same Subject: Click on this link to see coverage of items having the same subject: [Walters Art Museum] [Display ALL Walters Art Museum photos] [Museums (Art)]
2011 photos: Trips this year: Civil War Trust conferences (Savannah, GA, Chattanooga, TN), New Jersey over Memorial Day for my birthday (people never seem to visit New Jersey -- it's always just a pit stop on the way to New York. I thought I might as well spend a few days there. Despite some nice places, it still ended up a pit stop for me -- New York City was infinitely more interesting), my 6th consecutive San Diego Comic-Con trip (including Las Vegas, Los Angeles, and San Francisco). Ego strokes: Author photos that I took were used on two book jackets this year: Jason Emerson's book "The Dark Days of Abraham Lincoln's Widow As Revealed by Her Own Letters" and Dennis L. Noble's "The U.S. Coast Guard's War on Human Smuggling." I also had a photo of Jason Stelter published in the Washington Examiner and a picture of Miss DC, Ashley Boalch, published in the Washington Post. Equipment this year: I mostly used the Fuji S100fs camera as well as two Nikon models -- the D90 and the new D7000. Mostly a toy, I also purchased a Fuji Real 3-D W3 camera, to try out 3-D photographs. I found it interesting although I don't see any real use for 3-D stills now. Given that many of the photos from the 1860s were in 3-D (including some of the more famous Civil War shots), it's odd to see it coming back. Number of photos taken this year: just over 390,000.
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