Rembrandt and his Leiden school painted with the “patience of saints, and the industry of ants” in order to “take the illusionistic depiction of objects to their furthest extremes.” This self-portrait is an example, done in 1629. (Wetering, P 160)
(via rudysnotes)
![doloresdepalabra:
Marinus van Reymerswaele - Two Tax Gatherers [c.1540]
The man on the left is writing out a list of taxes on items such as wine, beer and fish, which have been farmed out to private individuals to collect, as was common in this period. It is one of the numerous versions of this composition, probably painted as a satire on covetousness, which evidently found a ready market in second quarter of the 16th century.
Marinus van Reymerswaele (active 1535–1545) is known mainly for his satirical paintings. The son of a painter, who was recorded in Antwerp in 1475, Marinus is thought to have been trained by a glass painter there in 1509. There are signed paintings by him from 1538 to 1547, but little is known of his life. His banishment from Middleburgh in 1567 is apparently the last known record of him.
[Oil on oak, 92.1 x 74.3 cm]](http://25.media.tumblr.com/tumblr_lz8mca9KjE1r05oujo1_1280.jpg)
Marinus van Reymerswaele - Two Tax Gatherers [c.1540]
The man on the left is writing out a list of taxes on items such as wine, beer and fish, which have been farmed out to private individuals to collect, as was common in this period. It is one of the numerous versions of this composition, probably painted as a satire on covetousness, which evidently found a ready market in second quarter of the 16th century.
Marinus van Reymerswaele (active 1535–1545) is known mainly for his satirical paintings. The son of a painter, who was recorded in Antwerp in 1475, Marinus is thought to have been trained by a glass painter there in 1509. There are signed paintings by him from 1538 to 1547, but little is known of his life. His banishment from Middleburgh in 1567 is apparently the last known record of him.
[Oil on oak, 92.1 x 74.3 cm]
(via thomerama)
GIJSBRECHTS, Cornelius
(b. ca. 1630, Antwerpen, d. after 1675, K?benhavn)
Quodlibet
1675
Oil on canvas
Wallraf-Richartz Museum, Cologne
GHEYN, Jacob de II
(b. 1565, Antwerp, d. 1629, The Hague)
Four Studies of a Woman
1602-03
Chalk on paper, 261 x 322 mm
Musées Royaux des Beaux-Arts, Brussels
“Lovers” “ Herodias’ Revenge (1496) ” by Juan de Flandes
Herodias was Salome’s Mother
This painting is a wonderful representation of the wonderful Expression: “Revenge is a Dish Best Served Cold.”
Courtesy of Art-And-Dream
![Pieter de Hooch - A Musical Party in a Courtyard [1677]
he woman on the left is playing a viola da gamba. The houses seen across the canal are similar to those on the Keizersgracht, Amsterdam. The left-hand one bears a tablet with the date 1620 and is in the style of Hendrick de Keyser (1565 – 1621). The painting is characteristic of de Hooch’s Amsterdam period. In contrast to the middle-class interiors of his Delft paintings, he now focuses on more sophisticated domestic settings and elegant figures.
The son of a stonemason, de Hooch (1629 – 1684) was born in Rotterdam. According to Houbraken, he was trained by Nicolaes Bercham, one of the leading Dutch painters of Italianate landscapes, who was mainly active at Haarlem. By 1653 de Hooch was in Delft in employment as a servant and a painter. His works of the 1650s may be indebted to the perspectival studies of Carel Fabritius, who was in Delft by 1651. By 1663 de Hooch had moved to Amsterdam; his later paintings record fashionable life in the city, and utilise a darker and richer range of colours derived from Nicolas Maes.](http://24.media.tumblr.com/tumblr_lxdt4qXiLh1qacehho1_1280.jpg)
he woman on the left is playing a viola da gamba. The houses seen across the canal are similar to those on the Keizersgracht, Amsterdam. The left-hand one bears a tablet with the date 1620 and is in the style of Hendrick de Keyser (1565 – 1621). The painting is characteristic of de Hooch’s Amsterdam period. In contrast to the middle-class interiors of his Delft paintings, he now focuses on more sophisticated domestic settings and elegant figures.
The son of a stonemason, de Hooch (1629 – 1684) was born in Rotterdam. According to Houbraken, he was trained by Nicolaes Bercham, one of the leading Dutch painters of Italianate landscapes, who was mainly active at Haarlem. By 1653 de Hooch was in Delft in employment as a servant and a painter. His works of the 1650s may be indebted to the perspectival studies of Carel Fabritius, who was in Delft by 1651. By 1663 de Hooch had moved to Amsterdam; his later paintings record fashionable life in the city, and utilise a darker and richer range of colours derived from Nicolas Maes.
EVERDINGEN, Caesar van
(b. 1617, Alkmaar, d. 1678, Haarlem)
Four Muses and Pegasus on Parnassus
c. 1650
Oil on canvas, 340 x 230 cm
Huis ten Bosch, The Hague
EECKHOUT, Gerbrand van den
(b. 1621, Amsterdam, d. 1674, Amsterdam)
St Francis of Assisi
1655
Oil on canvas, 55 x 46 cm
Private collection
Unexpected by Wim Heldens, 2009
In the Woods at Giverny, Blanche Hoschedé at Her Easel with Suzanne Hoschedé Reading, 1887, Claude Monet.
Félix Edouard Vallotton, Femme assise dans un fauteuil
GPOY I’M GLAD MONDAY IS ALMOST OVER
Julia Gukova. Illustration from The Legendary Unicorn, 2004
Wingate Paine
6in:
Ushio Amagatsu
Eleanor Fortescue Brickdale, The Uninvited Guest
