Remastered: Old Masters from the Collection of J.E. Safra
Adriaen van de Velde was a Dutch painter, draughtsman and print artist. His favorite subjects were landscapes with animals and genre scenes. He also painted beaches, dunes, forests, winter scenes, portraits in landscapes, as well as mythological and biblical scenes. He belongs to a group of painters referred to as the Dutch Italianate painters, who combined Dutch agricultural landscapes with mythological or Arcadian scenes in Italian settings. His paintings are characterised by their delicate, careful composition and his mastery of lighting effects as well as the human figure.
Bartholomeus Breenbergh was a Dutch Golden Age painter of Italian and Italianate landscapes, in Rome (1619-1630) and Amsterdam (1630-1657).
Pieter de Hooch was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. He was a contemporary of Jan Vermeer in the Delft Guild of St. Luke, with whom his work shares themes and style.
Karel Dujardin was a Dutch painter and printmaker of the Golden Age of Dutch painting.
He studied with Klaas Berchem and Paulus Potter, traveled to Italy, and lived in Lyon. In 1656 he participated in the founding of the Pictura Society in The Hague.
Dujardin painted mostly Italian landscapes, genre scenes, including scenes from rural life, portraits of elegant people and historical paintings.
Many of Dujardin's works are in the Louvre, the Hermitage (St. Petersburg), as well as in Amsterdam, The Hague, Kassel, and Berlin.
Philips Wouwerman was a distinguished Dutch painter. Renowned for his equestrian scenes, landscapes, and battle depictions, Wouwerman's work embodies the richness of the Dutch Golden Age of painting. He initially trained under his father, Paulus Wouwerman, and possibly with the celebrated artist Frans Hals, showcasing a deep engagement with the artistic milieu of Haarlem.
Wouwerman's career is marked by a prolific output, with about 570 of his works confidently attributed to him today. His oeuvre was once thought to include up to 1200 pieces, a testament to his influence and the extensive body of followers and imitators he inspired across Europe. His brothers, Jan and Pieter Wouwerman, were also painters who are sometimes confused with Philips due to their stylistic similarities.
Philips Wouwerman's paintings are celebrated for their dynamic composition and intricate detail, particularly his treatment of horses which has been a subject of admiration across centuries. His landscapes often feature Italianate settings, despite no concrete evidence suggesting he ever visited Italy. His style was notably influenced by Pieter van Laer, another Haarlem artist with a significant Italian experience, from whom Wouwerman might have acquired sketches and studies.
For art collectors and experts, Wouwerman's work provides a fascinating glimpse into 17th-century Dutch culture, offering scenes filled with vibrancy and life that capture the viewer's imagination. His paintings can be found in prestigious museums worldwide, including the Rijksmuseum in Amsterdam, The National Gallery in London, and the Kunsthistorisches Museum in Vienna, showcasing his widespread acclaim and the enduring legacy of his art.
For those interested in exploring the captivating world of Philips Wouwerman and staying informed about new discoveries, sales, and auction events related to his work, signing up for updates is highly recommended. This ensures access to the latest information and opportunities related to one of the Dutch Golden Age's most versatile and prolific artists.
Philips Koninck was a Dutch landscape painter and younger brother of Jacob Koninck.
He painted chiefly broad, sunny landscapes, full of space, light and atmosphere; they are seen from a high perspective, allowing a prominent view of the sky. Portraits by him, somewhat in the manner of Rembrandt, also exist; there are examples of these in the galleries at Copenhagen and Oslo.
Aert de Gelder was a Dutch painter. He was the only Dutch artist to paint in the tradition of Rembrandt's late style into the 18th century.
As author of biblical scenes and portraits his style was inspired by Rembrandt's, using his artistic ideas, well into the 18th century, without being influenced by contemporary new fashions. From the artistic point of view his work can not be considered as passive imitation of the master; indeed, it stands for inventiveness in the narrative, taste for the theatrical and a strong emotional charge of the characters. All these traits made him one of the most important interpreters of Dutch painting of the late seventeenth century.
Georg Flegel was a German painter, best known for his still-life works.
According to the RKD he was pupil of Lucas van Valckenborch in Linz during 1582-1592. In a period of about 30 years (c. 1600–1630), he produced 110 watercolor and oil pictures, mostly still-life images which often depicted tables set for meals and covered with food, flowers and the occasional animal.
Joos van Cleve, also known by his real name Joos van der Beke, was a prominent Netherlandish painter, active mainly in Antwerp from about 1511 until his death in 1540 or 1541. His work predominantly centered around religious subjects and portraits, including notable commissions for the French King Francis I during his time at the French court. His artistic oeuvre reflects a blend of traditional Netherlandish painting techniques with contemporary Renaissance styles, showcasing his direct knowledge of local art combined with an awareness of Italian developments.
Van Cleve's work was characterized by its elaborate detail, particularly in his altarpieces which often incorporated portraits and landscapes, demonstrating his refined painting style. His success in Antwerp was significant, and he was also recognized at the French court, indicating his high regard as a portrait artist. Notably, Van Cleve had the opportunity to paint members of the royal court, including King Francis I and Queen Eleanor of Austria, underscoring his skills in portraiture.
His paintings are recognized for their sensitivity to color and a unique solidity of figures, with some works showcasing the popular style of Antwerp Mannerism. Van Cleve was an innovator in introducing broad world landscapes in the backgrounds of his paintings, a technique that became popular in sixteenth-century northern Renaissance paintings. Despite his contributions to the Renaissance art movement, Van Cleve also produced works that were highly eclectic, drawing on the styles of earlier Netherlandish masters as well as Italian influences, particularly in his use of sfumato, evident in his Virgin and Child compositions.
For art collectors and experts, Joos van Cleve's legacy offers a rich exploration into the transition from medieval to Renaissance art in Northern Europe. His body of work, found in prestigious collections such as the National Gallery in Prague, the Louvre, and the Royal Museums of Fine Arts of Belgium, remains a testament to his versatility and skill as a painter of both religious narratives and royal portraits.
To delve deeper into the fascinating world of Joos van Cleve and to stay informed about exhibitions or sales featuring his work, consider signing up for updates from art institutions and auction houses. This subscription will ensure you remain at the forefront of developments and opportunities related to this influential artist's oeuvre, enhancing your collection and understanding of Renaissance art.
Paul Bril was a prominent Flemish painter, best known for his significant contributions to landscape painting. Born around 1554 in Antwerp, he later moved to Rome, where he became a central figure in the art scene, influencing the Italian and Northern European landscape painting traditions.
Paul Bril's early works were steeped in the Flemish manner, exhibiting a picturesque arrangement of landscape elements with dramatic contrasts of light and dark. His style evolved during his stay in Rome, influenced by the work of Annibale Carracci and Adam Elsheimer. By around 1605, Bril's compositions became more serene and classical, showcasing calmer transitions from foreground to background and embracing pastoral and mythological themes.
Paul Bril's contributions extended beyond his paintings. He was a respected figure in Rome's art community, becoming the first foreign director of the Accademia di San Luca in 1621. His patrons included some of the most influential families in Rome, and his work was sought after by collectors and fellow artists. Bril's influence was profound, impacting future generations of artists, including the Dutch Italianates and genre painters active in Rome.
His works can be found in prestigious galleries worldwide, illustrating his enduring legacy in the art world. For collectors and art and antiques experts, Paul Bril's work represents a significant period in the evolution of landscape painting, blending Flemish traditions with Italian classicism.
For those interested in exploring the captivating landscapes and historical significance of Paul Bril's art, staying informed about new product sales and auction events is essential. Signing up for updates can provide valuable insights and opportunities to acquire pieces associated with this influential artist.
David Teniers the Younger was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history painting, genre painting, landscape painting, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians.
He was court painter and the curator of the collection of Archduke Leopold Wilhelm, the art-loving Governor General of the Habsburg Netherlands. He created a printed catalogue of the collections of the Archduke. He was the founder of the Antwerp Academy, where young artists were trained to draw and sculpt in the hope of reviving Flemish art after its decline following the death of the leading Flemish artists Rubens and Anthony van Dyck in the early 1640s. He influenced the next generation of Northern genre painters as well as French Rococo painters such as Antoine Watteau.
Jan van Hemessen was a leading Flemish Renaissance painter, belonging to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting. Van Hemessen had visited Italy during the 1520s, and also Fontainebleau near Paris in the mid 1530s, where he was able to view the work of the colony of Italian artists known as the First School of Fontainebleau, who were working on the decorations for the Palace of Fontainebleau. Van Hemessen's works show his ability to interpret the Italian models into a new Flemish visual vocabulary.
Otto van Veen was a painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late 16th and early 17th centuries. He is known for running a large studio in Antwerp, producing several emblem books, and for being, from 1594 or 1595 until 1598, Peter Paul Rubens' teacher. His role as a classically educated humanist artist (a pictor doctus), reflected in the Latin name by which he is often known, Octavius Vaenius, was influential on the young Rubens, who would take on that role himself.
Jan Jansz Wijnants was a Dutch Golden Age painter.
Wijnants is primarily known for his Italianate landscapes and paintings featuring topography. The painters Nicolaes de Vree and Adriaen van de Velde trained in his studio and his style later had influence on the English artist, Thomas Gainsborough, the German artist Wilhelm von Kobell, and the Dutch artists Anthonie van Borssom and Willem Buytewech.
Gerard de Lairesse was a Dutch painter, printmaker, and art theorist. Known for his classical approach, de Lairesse's work marked a departure from the Baroque style prevalent in the Dutch Golden Age, leaning instead towards the neoclassicism that would dominate European art in the 18th century. His art and theories were deeply influenced by the ideals of beauty, grace, and moral edification, advocating for the selection of the most perfect manifestations of natural phenomena rather than their random imitation.
De Lairesse was not only a prolific painter but also an influential art theorist. His treatises, "Grondlegginge ter teekenkonst" (1701) and "Het groot schilderboeck" (1707), were seminal works that laid down principles of art and aesthetics that influenced not just his contemporaries but also generations of artists to come. He emphasized the importance of adhering to theoretical knowledge and the study of nature, albeit through a lens that filtered out its imperfections, to achieve ideal beauty in art.
Despite facing personal challenges, including a congenital condition that led to the loss of his sight in his later years, de Lairesse remained a central figure in the artistic and intellectual circles of Amsterdam. His lectures, delivered from his home, attracted a wide array of students and enthusiasts, eager to learn from his extensive knowledge and experience.
Today, works by Gerard de Lairesse can be found in prestigious institutions worldwide, including the Rijksmuseum and the Amsterdam Museum in the Netherlands, the Louvre in Paris, the Metropolitan Museum of Art in New York, and the National Gallery in London, among others. His legacy as the 'Dutch Poussin' speaks to his enduring influence on the evolution of European art, bridging the gap between the Baroque and the Neoclassical.
For collectors and experts in art and antiques, Gerard de Lairesse represents an intriguing study in the transition of art styles from the Baroque to Neoclassicism. His dedication to the theory and practice of art makes his work a valuable addition to any collection.
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Hendrick Jansz ter Brugghen was a Dutch painter of genre scenes and religious subjects. He was one of the Dutch followers of Caravaggio – the so-called Utrecht Caravaggisti. Along with Gerrit van Hondhorst and Dirck van Baburen, Ter Brugghen was one of the most important Dutch painters to have been influenced by Caravaggio.
Ter Brugghen's favourite subjects were half-length figures of drinkers or musicians, but he also produced larger-scale religious images and group portraits. He carried with him Caravaggio's influence, and his paintings have a strong dramatic use of light and shadow, as well as emotionally charged subjects. His treatment of religious subjects can be seen reflected in the work of Rembrandt, and elements of his style can also be found in the paintings of Frans Hals and Johannes Vermeer. Peter Paul Rubens described ter Brugghen's work as "...above that of all the other Utrecht artists".
Angelo Caroselli was an Italian painter, born and active during the Baroque period, primarily in Rome. Known for his eclectic style, Caroselli's work was significantly influenced by Caravaggio, evident in the naturalism and chiaroscuro that marked his compositions. His subject matter often included colorful characters from contemporary Rome, scenes of witchcraft, musicians, and genre scenes reflective of the Caravaggisti, a group of artists who followed Caravaggio's stylistic approach. Caroselli's ability to blend allegories, religious works, and portraits with genre scenes showcased his search for originality and a unique narrative voice within the Baroque movement.
Angelo Caroselli's career was marked by his versatility as not only a painter but also an art restorer, copyist, and possibly a forger. This breadth of skills contributed to the diverse body of work he left behind, which ranged from scenes of everyday life to complex allegorical compositions. His works often depicted the lower echelons of society, including musicians, card players, and prostitutes, infused with a potent naturalism that brought these figures to life against the backdrop of 17th-century Rome.
Despite his adherence to Caravaggesque forms and themes, Angelo Caroselli's work also displayed 'archaicising' elements, which some art historians view as a conscious departure from the dominant Baroque style of his time. This aspect of his work, along with his skill in copying the works of ancient masters, highlights a deliberate exploration of and departure from the prevailing artistic norms, contributing to the unique place he occupies in Baroque art history.
Notably, Caroselli's influence extended beyond Italy, affecting the work of other Caravaggisti, including the Lucchese painter Pietro Paolini and the Dutch painter Dirck van Baburen. This cross-cultural impact underscores the broader significance of Caroselli's work within the Baroque period and its enduring influence on subsequent generations of artists.
His legacy includes several known works that are housed in prestigious institutions and collections worldwide, exemplifying the enduring appeal and historical importance of his artistic contributions. Among these, "The Plague at Ashdod (after Poussin)" stands out as a significant piece, reflecting his capability to engage with and reinterpret the works of his contemporaries and predecessors.
For collectors and experts in art and antiques, Caroselli's oeuvre offers a fascinating glimpse into the Baroque period's complexity, characterized by a blend of innovation, tradition, and a deep engagement with the human condition. His work remains a testament to the vibrancy and dynamism of 17th-century Italian art, inviting ongoing exploration and appreciation.
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Pietro Paolini, called il Lucchese was an Italian painter of the Baroque period. Working in Rome, Venice and finally his native Lucca, he was a follower of Caravaggio to whose work he responded in a very personal manner. He founded an Academy in his hometown, which formed the next generation of painters of Lucca. Paolini painted religious and mythological compositions during his early days. These religious compositions form only a small part of his oeuvre. Paolini created a number of portraits, often with an allegorical meaning and depicting persons engaged in a certain profession or activity.
Artemisia Gentileschi was a pioneering Italian painter of the Baroque era, celebrated for her vivid portrayals of dramatic scenes and strong female figures drawn from mythology, allegory, and the Bible. Born in Rome in 1593, Gentileschi broke through the gender barriers of her time to become one of the first women to achieve fame as an artist. Her early exposure to painting came through her father, Orazio Gentileschi, a follower of Caravaggio, whose influence is evident in Artemisia's use of chiaroscuro and realistic, emotional expression.
Gentileschi's artistry is particularly noted for its naturalism and the dynamic use of color, which she employed to convey depth and drama. Among her most renowned works are "Susanna and the Elders" (1610), showcasing her skill in portraying the vulnerability and dignity of its subject, and "Judith Slaying Holofernes" (c. 1614–1620), a vivid depiction of strength and determination, housed in the Uffizi Gallery. These works, along with others like "Judith and Her Maidservant" (1625) in the Detroit Institute of Arts, highlight her unique ability to present female subjects not just as objects of beauty, but as agents of power and action.
The complexity of Gentileschi's life, including her survival of rape by Agostino Tassi and the subsequent trial, has often overshadowed her artistic achievements. However, modern scholarship and exhibitions, such as those at the National Gallery in London, have reevaluated her contributions, positioning her as a significant figure in art history for both her mastery of Baroque painting techniques and her role in challenging the era's gender norms.
For art collectors and experts, Gentileschi's works are emblematic of the Baroque spirit and a testament to the resilience and talent of women artists in a male-dominated field. Her paintings are not only valuable for their aesthetic and historical significance but also for their inspirational narrative of overcoming personal and societal challenges.
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Pietro Negri was an Italian painter who belonged to the Baroque "tenebrosi" movement.
Many of Negri's paintings have a somber character and convey a general mood of drama, which is emphasized by contrasting effects of light and shadow. This style is characteristic of Caravaggio and his followers. Negri painted allegories in the style of vanitas, scenes on mythological and religious themes, as well as domestic genre scenes.
Giovanni Benedetto Castiglione or Il Grechetto was an Italian Baroque painter, draftsman and printmaker.
He is one of the prominent representatives of the Genoese school, working at various times in Genoa, Venice and Rome. Castiglione is believed to be the author of monotype, a type of graphic art and a technique of printmaking that is not engraving.
Castiglione was a versatile and prolific painter, while working in a wide variety of styles that he studied carefully. His paintings pay tribute to Rubens, Van Dyck and Bernardo Strozzi, who worked in Genoa, and his etchings pay tribute to Rembrandt. Castiglione painted expressive portraits, historical and religious works and landscapes, and excelled in rural scenes with animals.
Antonio Balestra, an Italian painter, is celebrated for his contributions to the Baroque art movement. Initially training in his hometown, Balestra's artistic journey took him to Venice and Rome, where he honed his skills and absorbed diverse artistic influences. By 1694, his talents were recognized with a prestigious award from the Accademia di San Luca in Rome, underscoring his growing reputation.
Antonio Balestra's works, characterized by their adherence to classical artistic standards, are found in various Italian cities, including Venice, Bologna, and Verona. He was known for his religious paintings, such as "The Miracle of Saint Nicholas" and "The Annunciation," as well as his contributions to church decorations and altarpieces.
Despite his traditional approach, Antonio Balestra's legacy is cemented in the art world, with works displayed in notable museums and his influence extending to pupils and subsequent generations of artists. His devotion to the established norms of academic painting reflected a broader dialogue within the art community about innovation versus tradition during his time.
For art collectors and enthusiasts, Antonio Balestra's works offer a glimpse into the Baroque era's rich artistic heritage, showcasing a blend of devout religiosity and meticulous craftsmanship. To stay informed about Antonio Balestra's art and related auction events, consider subscribing to updates, ensuring you remain connected to the enduring appeal of his artistic legacy.
Paolo de Matteis was a distinguished Baroque painter known for his dynamic and expressive artworks. Matteis' training began with Francesco di Maria in Naples, followed by further guidance under the prominent painter Luca Giordano. His works are known for their vibrant compositions and dramatic flair, typical of the Baroque style prevalent during his time.
Paolo de Matteis' career was marked by significant contributions to the art world, including decorative schemes for Neapolitan churches like the vault of the chapel of San Ignatius in the church of Gesù Nuovo in Naples. His Assumption of the Virgin for the Abbey at Monte Cassino is another testament to his skill. Between 1723 and 1725, he spent time in Rome, receiving commissions from Pope Innocent XIII, further solidifying his reputation as a master painter.
Paolo de Matteis' influence extended beyond Italy. From 1702 to 1705, he worked in Paris, Calabria, and Genoa, showcasing his artistry to a broader European audience. In Genoa, one of his notable works was an Immaculate Conception with St. Jerome Appearing to St. Sevrio. His time in Paris was particularly significant, as it allowed him to infuse his Italian Baroque style with broader European influences.
Paolo de Matteis was not only a masterful painter but also a teacher. He nurtured the talents of several pupils, including Filippo Falciatore, Francesco Peresi, and members of the Sarnelli family. His legacy is carried forward through these artists, who were deeply influenced by his style and techniques.
For collectors and experts in art and antiques, Paolo de Matteis' works offer a captivating glimpse into the Baroque era, characterized by expressive brushwork, vivid color palettes, and dynamic compositions. His paintings remain a valuable part of the rich tapestry of Italian Baroque art.
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