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Frans Hals (Antwerpen, 1580 - Haarlem, August 26, 1666) Boy singing with flute (1627 approx.) - oil on canvas 68,8 x 55,2 cm - Gemäldegalerie, Berlin
Pittore olandese quasi contemporaneo di Rembrandt operò nei Paesi Bassi durante il cosiddetto periodo d'oro della loro pittura. Da molti considerato secondo solo a Rembrandt stesso in fatto di innovazioni stilistiche, formali e compositive, Frans Hals fu uno dei pittori più prolifici del periodo olandese ed è autore di alcuni tra i più noti ritratti del barocco, divenendo un punto chiave nella storia della fisiognomica.
Il ritratto mostra un ragazzo che tiene un flauto nella mano destra, con la testa leggermente inclinata da un lato, sembra ascoltare il suono della sua musica. La pennellata spontanea e bidimensionale è caratteristica di Hals, nella cui opera si trova spesso la rappresentazione di bambini felici, spesso che fanno musica. Il tipo di immagine, l'illuminazione e i costumi teatrali del ragazzo mostrano chiaramente l'influenza dei Caravaggisti di Utrecht. La rappresentazione era probabilmente basata su un significato allegorico: uno dei temi più popolari nella pittura olandese è la rappresentazione allegorica dei cinque sensi - quindi il suonatore di flauto potrebbe anche essere interpretato come una personificazione dell'udito.
Dutch painter, almost a contemporary of Rembrandt, worked in the Netherlands during the so-called golden age of their painting. Considered by many to be second only to Rembrandt himself in terms of stylistic, formal, and compositional innovations, Frans Hals was one of the most prolific painters of the Dutch period and is the author of some of the best-known portraits of the Baroque, becoming a key point in the history of physiognomy.
The portrait shows a boy holding a flute in his right hand, his head slightly tilted to one side, appearing to listen to the sound of his music. Spontaneous, two-dimensional brushwork is characteristic of Hals, in whose work one often finds depictions of happy children, often making music. The type of image, the lighting, and the boy's theatrical costumes clearly show the influence of the Utrecht Caravaggists. The representation was probably based on an allegorical meaning: one of the most popular themes in Dutch painting is the allegorical representation of the five senses - so the flute player could also be interpreted as a personification of hearing.
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'The Flying Dustman' has brought in the 6C92 08.22 empty steel slab wagons from Margam, and waits on the far right for them to be re-loaded before leaving just after 5pm with the 6B92 return trip to Margam.
The Grande Anversa is an Italian vessel launched in 2004, it is capable of holding 2,000 cars.
Many thanks to Rob and Eddie who told me how to get this shot from the bank of the river at the top of the image. What a splendid walk it was to get there.
Jan (or Jean) Soens ('s-Hertogenbosch, 1547 or 1548 - Parma, 1611) - The Expulsion from Paradise (1575-1591) - Oil on canvas - Galleria Nazionale, Parma
Dopo aver appreso le basi dell'arte pittorica ad Anversa, Soens giunse a Roma verso il 1573 ove acquisì una certa fama come paesaggista lavorando sotto la direzione di Giorgio Vasari. Dall'aprile del 1575 si trasferì a Parma stipendiato dai Farnese a servizio dei quali, salvo un breve periodo, restò fino al 1606. Molti dei suoi lavori di decorazione nei palazzi ducali sono andati perduti a seguito di lavori di ristrutturazione.
I suoi paesaggi con soggetti religiosi ricordano da vicino Paul Bril.
After learning the basics of painting in Antwerp, Soens arrived in Rome around 1573 where he acquired a certain fame as a landscape painter working under the direction of Giorgio Vasari. From April 1575 he moved to Parma paid by the Farneses in the service of which, except for a short period, remained until 1606. Many of his works of decoration in the ducal palaces have been lost as a result of renovations.
His landscapes with religious subjects closely resemble Paul Bril
Jacob Jordaens (Antwerp, May 19, 1593 - Antwerp, October 18, 1678) - The Return of the Family from Egypt (1616 approx.) oil on canvas 63 x 50 cm - Gemäldegalerie, Berlin
Jacob Jordaens (1593-1678) fu senza dubbio il terzo pittore di storia più importante di Anversa dopo Peter Paul Rubens (1577-1640) e Anthonis van Dyck (1599-1641).
Jacob Jordaens (1593-1678) was undoubtedly the third most important Antwerp history painter after Peter Paul Rubens (1577-1640) and Anthonis van Dyck (1599-1641).
Adriaen Brouwer (Oudenaarde, Aug. 20, 1605 - Antwerp, Oct. 13, 1638) - Dorfbaderstube (1632-1633) - Alte Pinakothek, Munich
Brouwer coglie particolarmente bene l'espressione del dolore di fronte al contadino a cui viene operato il piede. La tensione sui lineamenti del chirurgo, vista di profilo, non fa ben sperare: molto probabilmente si tratta di un ciarlatano che si limita a fingere di avere una certa conoscenza della medicina
Brouwer captures particularly well the expression of pain in front of the peasant whose foot is operated on. The strain on the surgeon's features, seen in profile, does not bode well: he is most likely a quack merely pretending to have some knowledge of medicine
Jan (or Jean) Soens ('s-Hertogenbosch, 1547 or 1548 - Parma, 1611) - Creation of the world and Adam (1575-1591) - Oil on canvas - Galleria Nazionale, Parma
Dopo aver appreso le basi dell'arte pittorica ad Anversa, Soens giunse a Roma verso il 1573 ove acquisì una certa fama come paesaggista lavorando sotto la direzione di Giorgio Vasari. Dall'aprile del 1575 si trasferì a Parma stipendiato dai Farnese a servizio dei quali, salvo un breve periodo, restò fino al 1606. Molti dei suoi lavori di decorazione nei palazzi ducali sono andati perduti a seguito di lavori di ristrutturazione.
I suoi paesaggi con soggetti religiosi ricordano da vicino Paul Bril.
After learning the basics of painting in Antwerp, Soens arrived in Rome around 1573 where he acquired a certain fame as a landscape painter working under the direction of Giorgio Vasari. From April 1575 he moved to Parma paid by the Farneses in the service of which, except for a short period, remained until 1606. Many of his works of decoration in the ducal palaces have been lost as a result of renovations.
His landscapes with religious subjects closely resemble Paul Bril
David Teniers Young (Antwerp, 15 December 1610 - Brussels, 25 April 1690) - Flemish Kermesse - Doria Pamphilj Gallery Rome
Frans Hals (Antwerp, 1580 - Haarlem, 26 August 1666) - Willem van Heythuysen posing with a sword (1625 or 1635) - Oil on canvas
dimensions 204.5 cm × 134.5 cm - Alte Pinakothek, Munich
Willem van Heythuysen si era arricchito ad Haarlem come commerciante di filati. Secondo il suo stile di vita calvinista, usò la sua fortuna con saggezza: Utilizzò il ricavato del suo patrimonio per fondare due ospizi, uno dei quali esiste ancora oggi. Hals lo fa apparire qui sicuro di sé, con un atteggiamento un po' altezzoso, eppure le rose rapidamente appassite che giacciono a terra indicano i limiti di tutto ciò che è terreno.
Willem van Heythuysen had become wealthy as a yarn merchant in Haarlem. In accordance with his Calvinist way of life, he used his fortune wisely: He used the proceeds of his estate to found two almshouses, one of which still exists today. Hals makes him appear here with self-confidence and a slightly condescending air. Yet the quickly wilting roses lying on the ground point to the limitations of everything earthly.
In un caldo pomeriggio di settembre, qualche mese prima della trasformazione della società B Logistics nella nuova Lineas, questa 186 nei classici colori Alpha Trains corre verso il confine tedesco con un merci misto proveniente da Anversa e diretto a Gremberg.
Questa locomotiva è rimasta coinvolta lo scorso giugno 2017 in un incidente presso Leese-Stolzenau (D) assieme alla 241.007 Hector Rail --> www.railcolor.net/images/basic/bomb_34459_73.jpg
On a warm September afternoon, a few months before the transformation of the company B Logistics into the new Lineas, this 186 in the classic Alpha Trains colors runs towards the German border with a mixed freight train coming from Antwerp and bound for Gremberg.
This locomotive was involved into an accident at Leese-Stolzenau (D) in June 2017 together with the Hector Rail 241.007 --> www.railcolor.net/images/basic/bomb_34459_73.jpg
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De gevel van de St.-Carolus Borromeuskerk aan het Hendrik Conscienceplein in Antwerpen het pand is een voormalige jezuïetenkerk in barokke stijl.
*Op 18 juli 1718 brak er brand uit in de kerk na een blikseminslag. Het interieur werd zwaar beschadigd en er gingen onder andere 39 plafondschilderingen van Rubens verloren. Na de brand kreeg de kerk een nieuw, soberder interieur, ontworpen door Jan Pieter van Baurscheit de Oude.
*Op 30 augustus 2009 werd de kerk wederom beschadigd door een brand. Rond 6.30u ging het rookalarm af, de brandweer was snel ter plaatse. Er werden twee brandhaarden gevonden, beide in de buurt van het altaar, één op de linkergalerij, één op de rechtergalerij. Het vuur was snel onder controle en de meeste kunstwerken werden niet rechtstreeks beschadigd door vlammen of bluswater
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The facade of the St. Carolus Borromeus church on the Hendrik Conscienceplein in Antwerp the building is a former Jesuit church in Baroque style.
* On July 18, 1718, a fire broke out in the church after a lightning strike. The interior was badly damaged and 39 ceiling paintings by Rubens, among others, were lost. After the fire, the church was given a new, more sober interior, designed by Jan Pieter van Baurscheit the Elder.
* On August 30, 2009, the church was again damaged by a fire. The smoke alarm went off around 6:30 am, the fire brigade was quickly on site. Two hot spots were found, both near the altar, one on the left gallery, one on the right gallery. The fire was quickly under control and most of the artworks were not directly damaged by flames or extinguishing water
Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - The triumph of Jülich (1622) - preparatory sketchs for the cycle of Maria de 'Medici Dimensions 64.8 x 50 cm - Alte Pinakothek Munich
Maria de' Medici, che era stata la regina della Francia come consorte di Enrico IV, era al momento dell'esecuzione dei dipinti la regina madre e reggente, dato che il re Luigi XIII era salito al trono all'età di nove anni (nel 1610). L'ordinativo del quadro era stato fatto da Maria stessa, allo scopo di rafforzare la sua sovranità e legittimità. Il programma di tutta la serie era stato ideato dall'abate di Saint-Ambroise, ma ugualmente la Regina, il Cardinale Richelieu e il pittore stesso hanno contribuito al soggetto con le loro proposte.
Rubens disegnò gli schizzi a Parigi, ma l'esecuzione fu eseguita con l'aiuto di collaboratori ad Anversa. Mentre le immagini della serie sono conservate nel Louvre, i cartoni si trovano nella Alte Pinakothek di Monaco di Baviera.
Maria de 'Medici, who had been the queen of France as Henry IV's consort, was the queen mother and regent at the time of the paintings, given that King Louis XIII had ascended the throne at the age of nine (in 1610). The order for the painting had been made by Maria herself, in order to strengthen her sovereignty and legitimacy. The program of the whole series had been conceived by the abbot of Saint-Ambroise, but equally the Queen, Cardinal Richelieu and the painter himself contributed to the subject with their proposals.
Rubens drew the sketches in Paris, but the execution was carried out with the help of collaborators in Antwerp. While the images of the series are kept in the Louvre, the cartoons are found in the Alte Pinakothek in Munich.
Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - The escape of Blois (1622) - preparatory sketchs for the cycle of Maria de 'Medici - Dimensions 63.9 x 50.2 cm - Alte Pinakothek Munich
Maria de' Medici, che era stata la regina della Francia come consorte di Enrico IV, era al momento dell'esecuzione dei dipinti la regina madre e reggente, dato che il re Luigi XIII era salito al trono all'età di nove anni (nel 1610). L'ordinativo del quadro era stato fatto da Maria stessa, allo scopo di rafforzare la sua sovranità e legittimità. Il programma di tutta la serie era stato ideato dall'abate di Saint-Ambroise, ma ugualmente la Regina, il Cardinale Richelieu e il pittore stesso hanno contribuito al soggetto con le loro proposte.
Rubens disegnò gli schizzi a Parigi, ma l'esecuzione fu eseguita con l'aiuto di collaboratori ad Anversa. Mentre le immagini della serie sono conservate nel Louvre, i cartoni si trovano nella Alte Pinakothek di Monaco di Baviera.
Maria de 'Medici, who had been the queen of France as Henry IV's consort, was the queen mother and regent at the time of the paintings, given that King Louis XIII had ascended the throne at the age of nine (in 1610). The order for the painting had been made by Mary herself, in order to strengthen her sovereignty and legitimacy. The program of the whole series had been conceived by the abbot of Saint-Ambroise, but equally the Queen, Cardinal Richelieu and the painter himself contributed to the subject with their proposals.
Rubens drew the sketches in Paris, but the execution was carried out with the help of collaborators in Antwerp. While the images of the series are kept in the Louvre, the cartoons are found in the Alte Pinakothek in Munich.
la meta è in vista... inizia l'avventura...
Gole del Sagittario, Anversa degli Abruzzi (Aq).
the destination is in sight ... the adventure begins ...
Gorges of Sagittario, Anversa degli Abruzzi (Aq).
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Frans Hals (Antwerpen, 1580 - Haarlem, August 26, 1666) "Malle Babbe" (1633-35 ca.) - oil on canvas 78,5 x 66,2 cm - Gemäldegalerie, Berlin
Pittore olandese quasi contemporaneo di Rembrandt operò nei Paesi Bassi durante il cosiddetto periodo d'oro della loro pittura. Da molti considerato secondo solo a Rembrandt stesso in fatto di innovazioni stilistiche, formali e compositive, Frans Hals fu uno dei pittori più prolifici del periodo olandese ed è autore di alcuni tra i più noti ritratti del barocco, divenendo un punto chiave nella storia della fisiognomica.
it.wikipedia.org/wiki/Malle_Babbe
Dutch painter, almost contemporary of Rembrandt, worked in the Netherlands during the so-called golden age of their painting. Considered by many to be second only to Rembrandt himself in terms of stylistic, formal and compositional innovations, Frans Hals was one of the most prolific painters of the Dutch period and is the author of some of the most famous portraits of the Baroque, becoming a key point in the history of physiognomy.
Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - Delivery of the kingdom to the Dauphiné (1622) - preparatory sketchs for the cycle of Maria de 'Medici - Dimensions 64.7 x 50 cm - Alte Pinakothek Munich
Maria de' Medici, che era stata la regina della Francia come consorte di Enrico IV, era al momento dell'esecuzione dei dipinti la regina madre e reggente, dato che il re Luigi XIII era salito al trono all'età di nove anni (nel 1610). L'ordinativo del quadro era stato fatto da Maria stessa, allo scopo di rafforzare la sua sovranità e legittimità. Il programma di tutta la serie era stato ideato dall'abate di Saint-Ambroise, ma ugualmente la Regina, il Cardinale Richelieu e il pittore stesso hanno contribuito al soggetto con le loro proposte.
Rubens disegnò gli schizzi a Parigi, ma l'esecuzione fu eseguita con l'aiuto di collaboratori ad Anversa. Mentre le immagini della serie sono conservate nel Louvre, i cartoni si trovano nella Alte Pinakothek di Monaco di Baviera.
Maria de 'Medici, who had been the queen of France as Henry IV's consort, was the queen mother and regent at the time of the paintings, given that King Louis XIII had ascended the throne at the age of nine (in 1610). The order for the painting had been made by Mary herself, in order to strengthen her sovereignty and legitimacy. The program of the whole series had been conceived by the abbot of Saint-Ambroise, but equally the Queen, Cardinal Richelieu and the painter himself contributed to the subject with their proposals.
Rubens drew the sketches in Paris, but the execution was carried out with the help of collaborators in Antwerp. While the images of the series are kept in the Louvre, the cartoons are found in the Alte Pinakothek in Munich.
Belgio, Fiandre, Anversa, Primavera 2015
Anversa è una città in Belgio, ed è la capitale della provincia di Anversa nelle Fiandre. È la città più popolosa del Belgio e ha ospitato le Olimpiadi estive del 1920. Il porto di Anversa è uno dei più grandi al mondo, al secondo posto in Europa e tra i primi 20 a livello mondiale. La Cattedrale di Nostra Signora è una cattedrale cattolica romana. La costruzione iniziò nel 1352 e, sebbene la prima fase di fosse terminata nel 1521, non è mai stata "completata". In stile gotico, contiene una serie di opere significative del pittore barocco Peter Paul Rubens.
Antwerp is a city in Belgium, and is the capital of Antwerp province in Flanders. It is the most populous city proper in Belgium and it hosted the 1920 Summer Olympics. The Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. The Cathedral of Our Lady is a Roman Catholic cathedral. The costructionstarted in 1352 and, although the first stage was ended in 1521, has never been 'completed'. In Gothic style, it contains a number of significant works by the Baroque painter Peter Paul Rubens.
Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - Apotheosis of Henry IV and the proclamation of the regency (1622) - preparatory sketchs for the cycle of Maria de 'Medici - Alte Pinakothek Munich
Maria de' Medici, che era stata la regina della Francia come consorte di Enrico IV, era al momento dell'esecuzione dei dipinti la regina madre e reggente, dato che il re Luigi XIII era salito al trono all'età di nove anni (nel 1610). L'ordinativo del quadro era stato fatto da Maria stessa, allo scopo di rafforzare la sua sovranità e legittimità. Il programma di tutta la serie era stato ideato dall'abate di Saint-Ambroise, ma ugualmente la Regina, il Cardinale Richelieu e il pittore stesso hanno contribuito al soggetto con le loro proposte.
Rubens disegnò gli schizzi a Parigi, ma l'esecuzione fu eseguita con l'aiuto di collaboratori ad Anversa. Mentre le immagini della serie sono conservate nel Louvre, i cartoni si trovano nella Alte Pinakothek di Monaco di Baviera.
Maria de 'Medici, who had been the queen of France as Henry IV's consort, was the queen mother and regent at the time of the paintings, given that King Louis XIII had ascended the throne at the age of nine (in 1610). The order for the painting had been made by Mary herself, in order to strengthen her sovereignty and legitimacy. The program of the whole series had been conceived by the abbot of Saint-Ambroise, but equally the Queen, Cardinal Richelieu and the painter himself contributed to the subject with their proposals.
Rubens drew the sketches in Paris, but the execution was carried out with the help of collaborators in Antwerp. While the images of the series are kept in the Louvre, the cartoons are found in the Alte Pinakothek in Munich.
Mountain landscape along the road of Gole del Sagittario, famous canyon in Abruzzo, Italy, L Aquila province
The chapel of our Lady of Refuge, Schoenmarkt, Antwerp, Belgium
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Joos van Cleve (Joos van der Becke - Anversa 1485-1540) - Crucifixion 1512-15) - National Museum of Capodimonte, Napoli
Il trittico ad ante mobili, con l'Annunciazione dipinta in grisaille sul retro, viene considerato un'opera significativa della prima produzione del pittore fiammingo. Al centro una Crocifissione con uno sfondo suggestivo e, nei pannelli laterali, i donatori con i figli e i santi Marco sulla sinistra e Margherita sulla destra, che potrebbero essere un rimando ai nomi dei due personaggi inginocchiati. Il dipinto venne acquistato dai Borbone nel 1802.
The Triptych with movable doors, with the Annunciation painted in grisaille on the back, is considered a significant work of the Flemish painter's first production. In the center a Crucifixion with a suggestive background and, in the side panels, the donors with their children and saints Mark on the left and Margaret on the right, which could be a reference to the names of the two kneeling characters. The painting was bought by the Bourbons in 1802.
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Lange Wapper 1962 (Albert Poets)
Lange Wapper is een reus uit de Antwerpse folklore.
In Antwerpen kent men volgende sage:
In Hoboken zou hij ooit de mast van een schip hebben vastgegrepen en het ding in de lucht gegooid hebben.
In de buurt van de Groenplaats woonde eens een juffer die vier vrijers had. Op een avond liet ze ze na elkaar op bezoek komen. Maar ze kwamen bij Lange Wapper, die haar gedaante had aangenomen. De eerste moest bewijzen dat hij van haar hield door twee uur op het grote kruis op het kerkhof te gaan zitten. De tweede moest twee uur in een kist onder het kruis gaan liggen. De derde moest op de doodskist kloppen en wachten tot ze hem kwam halen. De vierde moest met een lange ketting rond het kruis lopen. Toen hij dat deed vond hij drie doden. De eerste vrijer viel van schrik dood van het kruis, toen de tweede in de kist kroop. De tweede stierf van angst toen de derde op de kist klopte en de derde stierf toen hij het geluid van de ketting hoorde en dacht dat de duivel hem kwam halen. De vierde vrijer werd gek, sprong in de Schelde en verdronk.
Een andere sage die met Lange Wapper is verbonden, verklaart waarom er zo veel Mariabeelden op de gevels van de huizen in de binnenstad staan: De Antwerpenaars, die Lange Wapper omwille van zijn pesterijen dus liever kwijt dan rijk waren, ontdekten dat Lange Wapper de beeltenis van Maria niet kon verdragen. Ze plaatsten daarom op de gevels van de huizen Mariabeeldjes. De beeldjes deden Lange Wapper steeds verder uit de binnenstad vluchten, waardoor hij uiteindelijk in de Schelde viel en verdronk.
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Long Wapper 1962 (Albert Poets)
Long Wapper is a giant in the Antwerp folklore.
In Antwerp one knows saga following:
Hoboken he would ever have of a ship's mast gripped and threw the thing in the air.
Near the Groenplaats there lived a lady who had four suitors. One night she let them come to visit after another. But they came to Long Wapper who had taken her form. The first had to prove he loved her by two hours on the big cross to sit in the cemetery. The second had to lie down for two hours in a coffin beneath the cross. The third was to knock on the coffin and wait for them to come get him. The fourth had to walk with a long chain around the cross. When he did he found three dead. The first suitor was startled death of the cross, then crawled the second in the chest. The second died of fear when the third knocked on the coffin and the third died when he heard of the chain noise and thought the devil came to collect him. The fourth suitor was crazy, jumped into the river Scheldt and drowned.
Another legend connected to Long Wapper explains why there are so many statues of the Virgin on the facades of the houses in the city: The people of Antwerp, which Lange Wapper because of his bullying so rather were lost than rich, discovered that Long Wapper the effigy Mary could not stand. They therefore placed on the facades of the houses Mary Statues. The figurines were doing Lange Wapper continues to flee from the town, which he eventually fell into the river Scheldt and drowned.
La cattedrale di Santa Maria Assunta è il principale edificio religioso della città di Como ed è situata presso il lago.
La costruzione ebbe inizio nel 1396, dieci anni dopo l'avvio del duomo di Milano. La facciata venne realizzata tra il 1447 e il 1489 a continuazione dell’edificio del Broletto comunale. Le campane furono "provvisoriamente" sistemate sulla torre civica che divenne da quel momento definitivamente il campanile della nuova chiesa.
I lavori per la costruzione terminarono nel 1770 con l'elevazione della cupola, opera di Filippo Juvara.
La cattedrale presenta un impianto a croce latina con tre navate e transetto sormontato dall'imponente cupola. All'interno sono custoditi arazzi del XVI e XVII secolo eseguiti a Ferrara, Firenze e Anversa e notevoli dipinti cinquecenteschi di Bernardino Luini e di Gaudenzio Ferrari.
The Cathedral of Como
The Cathedral of Santa Maria Assunta is the main religious building in the city of Como and it is located near the lake.
The construction began in 1396, ten years after the launch of the Milan cathedral. The façade was built between 1447 and 1489 as a continuation of the municipal Broletto. The bells were "temporarily" placed on the civic tower that became permanently from that moment the bell tower of the new church.
The work was completed in 1770 with the elevation of the dome by Filippo Juvarra.
The cathedral has a latin cross with three naves and a transept topped by the imposing dome. Inside are tapestries of the sixteenth and seventeenth century made in Ferrara, Florence and Antwerp and remarkable sixteenth-century paintings by Bernardino Luini and Gaudenzio Ferrari.
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