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Jan van Goyen’s deceptively simple paintings record remarkably realistic impressions of weather, space, and the shifting interactions of land, water, light, and air. He worked with swift, intuitive brushstrokes and a limited range of colors: gray, brown, cool blues, and earthy greens. The artist often went on sketching trips along the Rhine River, visiting cities such as Arnhem, or the German city of Emmerich, depicted here. In the foreground, a shallow boat ferries passengers and horse-drawn wagons across the river.
Netherlands
oil on wood
Framed: 105.5 x 136 x 9.5 cm (41 9/16 x 53 9/16 x 3 3/4 in.); Unframed: 65.4 x 96.7 cm (25 3/4 x 38 1/16 in.)
John L. Severance Fund
[url=http://airforceshooting.org/bouchee.html]SMSgt Dan Bouchee[/url] receiving his General Twining Award
This Russian lace panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine lace making including ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.
Russia, Kostroma province, 18th-19th century
cotton or linen (est.); straight (continuous) bobbin lace (Vologda tape lace). The tape forms figural or plant motifs outlined with colored gimp (heavy cord) with a polychrome plaited ground linking the tape; applied silk (est.) ribbon
Overall: 33 x 38.1 cm (13 x 15 in.)
Did you know...
Embellishing the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who made this lace.
Purchase from the J. H. Wade Fund
This Biblical scene depicts the Holy Family resting near a river along their route on the Flight into Egypt. The branches of a palm tree visible at the left edge are the only indication of the lands through which the family passed. Indeed the fantasy architecture and even the river and waterfall to the rear indicate that the artist had no real idea about the reality of the dry landscape of Gaza and Egypt, but then neither did the contemporary viewers.
The quick, painterly brushstrokes are characteristic of the artist Giuseppe Zais (1709-1784). The colors are very fresh, although the paint surface is slightly damaged. Previously the painting was attributed to Maro Ricci (1676-1730). For more information on this painting, please see Federico Zeri's 1976 catalogue "Italian Paintings in the Walters Art Gallery," no. 454, p. 566.
Painted surface H: 17 15/16 x W: 22 5/8 in. (45.5 x 57.4 cm)
Stretcher H: 18 1/2 x W: 23 1/16 in. (47 x 58.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
This image accompanies this story written by GrrlScientist and published by the Guardian. For this reason, its use appears to satisfy FAIR USE LAWS.
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