Artwork: A Man in a Black Cap

Genre: Portrait

Artist: John Bettes active 1531–1570 (John Bettes the Elder (active c. 1531–1570) was an English artist whose few known paintings date from between about 1543 and 1550. His most famous work is his Portrait of a Man in a Black Cap. His son John Bettes the Younger, with whom he is sometimes confused, was a pupil of Nicholas Hilliard who painted portraits during the reign of Elizabeth I and James I.[1]

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Created: 1545

MEDIUM:

Oil paint on oak

DIMENSIONS:

Support: 470 × 410 mm

frame: 750 × 628 × 100 mm

COLLECTION:

Tate

ACQUISITION:

Purchased 1897

Photographies credits: 1️⃣ZebraPhotography

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Currently the earliest work in the Tate collection, this subtle portrait is particularly significant in the study of British art, because the name of the artist is recorded on the back. Signatures or inscriptions that identify the artist are very rare on British paintings of this period.

#1zebraphotography #selfportraitsandportraits

Painted on oak panel, the work was cut down, at the sides and along the bottom, at some time prior to its acquisition by the National Gallery in 1897. It was transferred to the Tate Gallery in 1949. The section bearing the repeated French inscriptions 'faict par Johan Bettes Anglois' ('done by John Bettes, Englishman') was evidently retained when the panel was cut down, and affixed to the back. On the front of the painting, the shadows of duplicate inscriptions 'ANNO D[OMIN]I 1545' and 'XXVI' can be seen behind the present ones: '[]1. 1545' and 'AETATIS . SV[..]'. Taken together, these indicate in translation that the work was painted in 'the year of our Lord'1545 and that the sitter was either aged 26 or in his 26th year.

The portrait bears resemblances to the work of Hans Holbein the Younger (1497 or 9-1543), the great German artist who had redefined the public images of Henry VIII and his Court. Bettes may have worked with Holbein, but had first been recorded as carrying out decorative work for the Court as early as 1531-3. In 1546-7 he was paid for making portraits, possibly in miniature form, of Henry VIII and his last queen, Catherine Parr, works which do not survive.

#a1culturel #artandartistsinuk

The background of this picture, now ginger-brown in colour, was originally a deep blue - a hue often used by Holbein for his backgrounds. Bettes, however, used here a pigment called smalt, which is composed, broadly speaking, of ground glass, and tends to change colour irreversibly to brown or grey under the effect of light.

#a1friendsofmuseums

In the eighteenth century, this portrait was recorded in the collection at Brome Hall, Suffolk, which had descended from the family of Henry VIII's physician William Butts (c.1485-1545) - a gentleman who, with his wife, had been portrayed by Holbein himself. It has been suggested that the present sitter may be Butts's third son, Edmund, who was born after 1516 and who inherited property from his father in 1545, the year inscribed on this painting.

Further reading:

Karen Hearn (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630, exhibition catalogue, Tate Gallery 1995, p.46, cat. no. 10, reproduced in colour

Rica Jones, 'The Methods and Materials of Three Tudor Artists: Bettes, Hilliard and Ketel', in Karen Hearn (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630, exhibition catalogue, Tate Gallery 1995, pp.231-5.

Karen Hearn

October 2000

Source Tate, London

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#Wikipedia #webgalleryofvisualart

1-Whole

2-Detail www.facebook.com/media/set/?set=a.1024192838401543&ty...

Artwork: A Man in a Black Cap

Genre: Portrait

Artist: John Bettes active 1531–1570 (John Bettes the Elder (active c. 1531–1570) was an English artist whose few known paintings date from between about 1543 and 1550. His most famous work is his Portrait of a Man in a Black Cap. His son John Bettes the Younger, with whom he is sometimes confused, was a pupil of Nicholas Hilliard who painted portraits during the reign of Elizabeth I and James I.[1]

———————-

Created: 1545

MEDIUM:

Oil paint on oak

DIMENSIONS:

Support: 470 × 410 mm

frame: 750 × 628 × 100 mm

COLLECTION:

Tate

ACQUISITION:

Purchased 1897

Photographies credits: 1️⃣ZebraPhotography

————————————

Currently the earliest work in the Tate collection, this subtle portrait is particularly significant in the study of British art, because the name of the artist is recorded on the back. Signatures or inscriptions that identify the artist are very rare on British paintings of this period.

#1zebraphotography #selfportraitsandportraits

Painted on oak panel, the work was cut down, at the sides and along the bottom, at some time prior to its acquisition by the National Gallery in 1897. It was transferred to the Tate Gallery in 1949. The section bearing the repeated French inscriptions 'faict par Johan Bettes Anglois' ('done by John Bettes, Englishman') was evidently retained when the panel was cut down, and affixed to the back. On the front of the painting, the shadows of duplicate inscriptions 'ANNO D[OMIN]I 1545' and 'XXVI' can be seen behind the present ones: '[]1. 1545' and 'AETATIS . SV[..]'. Taken together, these indicate in translation that the work was painted in 'the year of our Lord'1545 and that the sitter was either aged 26 or in his 26th year.

The portrait bears resemblances to the work of Hans Holbein the Younger (1497 or 9-1543), the great German artist who had redefined the public images of Henry VIII and his Court. Bettes may have worked with Holbein, but had first been recorded as carrying out decorative work for the Court as early as 1531-3. In 1546-7 he was paid for making portraits, possibly in miniature form, of Henry VIII and his last queen, Catherine Parr, works which do not survive.

#a1culturel #artandartistsinuk

The background of this picture, now ginger-brown in colour, was originally a deep blue - a hue often used by Holbein for his backgrounds. Bettes, however, used here a pigment called smalt, which is composed, broadly speaking, of ground glass, and tends to change colour irreversibly to brown or grey under the effect of light.

#a1friendsofmuseums

In the eighteenth century, this portrait was recorded in the collection at Brome Hall, Suffolk, which had descended from the family of Henry VIII's physician William Butts (c.1485-1545) - a gentleman who, with his wife, had been portrayed by Holbein himself. It has been suggested that the present sitter may be Butts's third son, Edmund, who was born after 1516 and who inherited property from his father in 1545, the year inscribed on this painting.

Further reading:

Karen Hearn (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630, exhibition catalogue, Tate Gallery 1995, p.46, cat. no. 10, reproduced in colour

Rica Jones, 'The Methods and Materials of Three Tudor Artists: Bettes, Hilliard and Ketel', in Karen Hearn (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630, exhibition catalogue, Tate Gallery 1995, pp.231-5.

Karen Hearn

October 2000

Source Tate, London

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#Wikipedia #webgalleryofvisualart

1-Whole

2-Detail www.facebook.com/media/set/?set=a.1024192838401543&ty...

Statue: Young Mozart

Artist: David Blackhouse

About: 1991

Medium: bronze & Bath stone

Dimensions: H 140 x W 93 x D (?) cm;

Plinth: H 80 x W 95 x D (?) cm

Location: Bath Somerset, United Kingdom

Custodian: Bath City Council

Photos by 1️⃣ZebraPhotography

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A scaled-down version of the statue in Salzburg depicting a young Mozart playing his violin and standing on a raised, pierced and scrolled bronze base in the form of a drum with three doves, two squirrels and a mouse at his feet. The sculpture was commissioned as the deathbed wish of Mrs Purnell (through the City of Bath) in memory of her son Mark Purnell (1938–1985). The unveiling ceremony was attended by Yehudi Menuhin (Trustee of the annual Bath Mozart Music Festival) and the MP Chris Patten.

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David Backhouse (b.1941)

Sculptor in bronze, born in Corsham, Wiltshire. Studied at West of England College of Art, Bristol, and became a fellow of RBS and member of SPS and RWA. Backhouse taught sculpture in Bristol for a time, then worked extensively abroad: in 1971 in Luxembourg, portrait heads of Prince Charles of Luxembourg and family; in 1972 in Rome and Florence, bronze casting. Among assignments completed were portrait head of the conductor Colin Davis, collection of Royal Opera House, Covent Garden, 1974; sculpture for Mercantile and General Reinsurance Company, Cheltenham, 1977–8; and life-size, three-figure bronze fountain for John Perkins, 1979. Exhibitions included Lad Lane Gallery, Dublin, 1975; Alwin Gallery, 1979; retrospective at Century Galleries, Henley-on-Thames, 1980; and Orangery, Holland Park, 1981.

Read moreText source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company

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#worldofsculpturee #artloveenjoylife #1zebraphotography #Wikipedia #webgalleryofvisualart #webgalleryofvisualarr

Statue: Young Mozart

Artist: David Blackhouse

About: 1991

Medium: bronze & Bath stone

Dimensions: H 140 x W 93 x D (?) cm;

Plinth: H 80 x W 95 x D (?) cm

Location: Bath Somerset, United Kingdom

Custodian: Bath City Council

Photos by 1️⃣ZebraPhotography

——————————————

A scaled-down version of the statue in Salzburg depicting a young Mozart playing his violin and standing on a raised, pierced and scrolled bronze base in the form of a drum with three doves, two squirrels and a mouse at his feet. The sculpture was commissioned as the deathbed wish of Mrs Purnell (through the City of Bath) in memory of her son Mark Purnell (1938–1985). The unveiling ceremony was attended by Yehudi Menuhin (Trustee of the annual Bath Mozart Music Festival) and the MP Chris Patten.

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David Backhouse (b.1941)

Sculptor in bronze, born in Corsham, Wiltshire. Studied at West of England College of Art, Bristol, and became a fellow of RBS and member of SPS and RWA. Backhouse taught sculpture in Bristol for a time, then worked extensively abroad: in 1971 in Luxembourg, portrait heads of Prince Charles of Luxembourg and family; in 1972 in Rome and Florence, bronze casting. Among assignments completed were portrait head of the conductor Colin Davis, collection of Royal Opera House, Covent Garden, 1974; sculpture for Mercantile and General Reinsurance Company, Cheltenham, 1977–8; and life-size, three-figure bronze fountain for John Perkins, 1979. Exhibitions included Lad Lane Gallery, Dublin, 1975; Alwin Gallery, 1979; retrospective at Century Galleries, Henley-on-Thames, 1980; and Orangery, Holland Park, 1981.

Read moreText source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company

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#worldofsculpturee #artloveenjoylife #1zebraphotography #Wikipedia #webgalleryofvisualart #webgalleryofvisualarr

Statue: Young Mozart

Artist: David Blackhouse

About: 1991

Medium: bronze & Bath stone

Dimensions: H 140 x W 93 x D (?) cm;

Plinth: H 80 x W 95 x D (?) cm

Location: Bath Somerset, United Kingdom

Custodian: Bath City Council

Photos by 1️⃣ZebraPhotography

——————————————

A scaled-down version of the statue in Salzburg depicting a young Mozart playing his violin and standing on a raised, pierced and scrolled bronze base in the form of a drum with three doves, two squirrels and a mouse at his feet. The sculpture was commissioned as the deathbed wish of Mrs Purnell (through the City of Bath) in memory of her son Mark Purnell (1938–1985). The unveiling ceremony was attended by Yehudi Menuhin (Trustee of the annual Bath Mozart Music Festival) and the MP Chris Patten.

———————————

David Backhouse (b.1941)

Sculptor in bronze, born in Corsham, Wiltshire. Studied at West of England College of Art, Bristol, and became a fellow of RBS and member of SPS and RWA. Backhouse taught sculpture in Bristol for a time, then worked extensively abroad: in 1971 in Luxembourg, portrait heads of Prince Charles of Luxembourg and family; in 1972 in Rome and Florence, bronze casting. Among assignments completed were portrait head of the conductor Colin Davis, collection of Royal Opera House, Covent Garden, 1974; sculpture for Mercantile and General Reinsurance Company, Cheltenham, 1977–8; and life-size, three-figure bronze fountain for John Perkins, 1979. Exhibitions included Lad Lane Gallery, Dublin, 1975; Alwin Gallery, 1979; retrospective at Century Galleries, Henley-on-Thames, 1980; and Orangery, Holland Park, 1981.

Read moreText source: 'Artists in Britain Since 1945' by David Buckman (Art Dictionaries Ltd, part of Sansom & Company

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#worldofsculpturee #artloveenjoylife #1zebraphotography #Wikipedia #webgalleryofvisualart #webgalleryofvisualarr

Artwork: Portrait of an Unknown Lady in Spanish Costume

Artist: Dutch School

About: 1580s

Medium and Support: Oil on panel

Dimensions: H 36.8 x W 27.9 cm

Current location: The Holburne Museum, Bath Spa

Photographies by 1️⃣ZebraPhotography

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“The painter has depicted this unidentified woman of wealth and fashion with heavy gold jewellery. Her rich dress is decorated with gold fastenings (known as aigles) in the shape of acorns. Her right hand, clothed in a fine leather glove, holds up an aromatic pomander box to ward of bad odours.”(The Holburne Museum)

#selfportraitandportraits #artloveenjoylife #webgalleryoffineart #webgalleryofvisualarr #webgalleryofvisualart #1zebraphotography

#1transcribedtext

Artwork: Alfred Tennyson

Artist: Thomas Woolner (17 December 1825 – 7 October 1892) was an English sculptor and poet who was one of the founder-members of the Pre-Raphaelite Brotherhood. He was the only sculptor among the original members).

Material: Plaster sculpture

About: 1856

Dimensions: Support, circular: 260 × 260 mm

Location: Tate Britain in London, UK

Photography credit: 1️⃣ZebraPhotography

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Thomas Woolner considered this plaster relief of England's poet laureate Lord Alfred Tennyson to be the best portrait roundel he'd made, though Tennyson's wife requested he shorten the poet's nose.

#webgalleryoffineart #webgalleryofvisualart #artloveenjoylife #worldofsculpturee #lillynisthartistconcept #1zebraphotography

Artwork: Portrait of an Unknown Lady in Spanish Costume

Artist: Dutch School

About: 1580s

Medium and Support: Oil on panel

Dimensions: H 36.8 x W 27.9 cm

Current location: The Holburne Museum, Bath Spa

Photographies by 1️⃣ZebraPhotography

——————————-

“The painter has depicted this unidentified woman of wealth and fashion with heavy gold jewellery. Her rich dress is decorated with gold fastenings (known as aigles) in the shape of acorns. Her right hand, clothed in a fine leather glove, holds up an aromatic pomander box to ward of bad odours.”(The Holburne Museum)

#selfportraitandportraits #artloveenjoylife #webgalleryoffineart #webgalleryofvisualarr #webgalleryofvisualart #1zebraphotography

#1transcribedtext

Artwork: Portrait of an Unknown Lady in Spanish Costume

Artist: Dutch School

About: 1580s

Medium and Support: Oil on panel

Dimensions: H 36.8 x W 27.9 cm

Current location: The Holburne Museum, Bath Spa

Photographies by 1️⃣ZebraPhotography

——————————-

“The painter has depicted this unidentified woman of wealth and fashion with heavy gold jewellery. Her rich dress is decorated with gold fastenings (known as aigles) in the shape of acorns. Her right hand, clothed in a fine leather glove, holds up an aromatic pomander box to ward of bad odours.”(The Holburne Museum)

#selfportraitandportraits #artloveenjoylife #webgalleryoffineart #webgalleryofvisualarr #webgalleryofvisualart #1zebraphotography

#1transcribedtext

Artwork: Alfred Tennyson

Artist: Thomas Woolner (17 December 1825 – 7 October 1892) was an English sculptor and poet who was one of the founder-members of the Pre-Raphaelite Brotherhood. He was the only sculptor among the original members).

Material: Plaster sculpture

About: 1856

Dimensions: Support, circular: 260 × 260 mm

Location: Tate Britain in London, UK

Photography credit: 1️⃣ZebraPhotography

——————————-

Thomas Woolner considered this plaster relief of England's poet laureate Lord Alfred Tennyson to be the best portrait roundel he'd made, though Tennyson's wife requested he shorten the poet's nose.

#webgalleryoffineart #webgalleryofvisualart #artloveenjoylife #worldofsculpturee #lillynisthartistconcept #1zebraphotography

Artist: Fray Juan Bautista Maíno (1581 - 1649)

Artwork: Adoration of the Shepherds

About: 1612 - 1614

Medium: Oil Canvas

Dimensions: 314.4 x 174.4 x 7 cm

Altarpiece of the Four Easter. Church of San Pedro Mártir, Toledo

Current location: Prado Museum, Madrid, Spain

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On February 14, 1612, Juan Bautista Maíno signed the contract in Toledo to make the paintings that would make up the main altarpiece of the Conventual Church of San Pedro Mártir, in the same city. Maíno promised to make the altarpiece within eight months, painting the stories or subjects required by the prior of the convent. Despite the commitment established in the contract, the paintings were not completed until December 1614. Between those two dates the artist entered the Order and the convent itself, after making his profession on July 27, 1613.

The main themes were the most important representations of the life of Jesus, from his birth to his glorious resurrection, and for this they were conformed in basic images of the Catholic world, the major holidays of the ecclesiastical year, known as the Four Passovers. The rest of the works that made up the ensemble, made in a smaller format, were also quite popular, but were above all examples of the stillness and worldly detachment to which monastic life aspired.

Faithfully following the Gospel of Saint Luke (2, 7-14), the composition illustrates the moment when a group of shepherds and angels contemplate and venerate the Child Jesus . The scene takes place in a ruined building, at a time of dusk in the light of twilight that can be seen in the background. The figures are arranged in three well differentiated spatial levels, although the X-ray has shown that this triple composition was not the one initially devised by the painter. Maíno abandoned the initial composition and gave prominence to the longitudinal vision of the work, bringing it closer to works by Tintoretto and El Greco that were in areas close to Toledo.but revised by the novelties learned in Rome , highlighting those of Caravaggist roots, with an appreciation of the clear and enameled color that also links with Orazio Gentileschi.

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#peritemuseum #webgalleryoffineart #artloveenjoylife #1001andmore #webgalleryofvisualart

Artwork: Madonna and Child

Artist: William Dyce

About: c. 1827-30

Medium: Oil on canvas

Dimensions: Support: 1029 × 806 mm

frame: 1240 × 1010 × 57 mm

Description: COLLECTION Tate

ACQUISITION

Bequeathed by Colonel Ernest Carrick Freeman 1963

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Photography 1️⃣ZebraPhotography at Tate

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Dyce visited Italy in the late 1820s. While there he became aware of the art of the Nazarenes, a group of German painters. They were inspired by 15th-century religious painting, and set out to create an art for their own times which possessed the same moral purpose. This picture, modelled on Raphael’s ‘Madonna and Child’ subjects of the early 1500s is quite uncharacteristic of English art of the 1830s. In this sort of picture, Dyce emerges as a precursor of the Pre-Raphaelites. As a senior Royal Academician he was an important supporter of their aim to renew English art.

Gallery label, October 2013

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#webgalleryoffineart #webgalleryofvisualart #1zebraphotography #artloveenjoylife

“Giorgione the Great”

Italian painter;

Giorgio Barbarelli da Castelfranco - Born:1470s-Died: 1510 (30-36 age)?

Education: Giovanni Bellini (another great artist)

Movement: High Renaissance

It is said of him as painted, without drawing in advance.

Medium: Oil on panel

Dimensions: 59.7 x 48.9 cm

Location: National Gallery, London UK

🔹🔹🔹🔹🔹🔹🔹🔹🔹🔹🔹🔹🔹🔹

He was very beautiful.

Some say they would have died of “Black Death “,

others claim they would have died of syphilis.

The painting here is:

“Homage to a Poet”

(early 16th century)

Photography by 1️⃣ZebraPhotography

#landscapedesign #londonmuseum #webgalleryoffineart #webgalleryofvisualart #londonfootwalk #artloveenjoylife #1zebraphotography #italianartandartists

Artwork: Head of a Man (?Ira Frederick Aldridge)

Artist: John Simpson 1782–1847

About: exhibited 1827

Medium: Oil on canvas

Support: 733 × 562 × 18 mm

COLLECTION

Tate

ACQUISITION

Presented by Robert Vernon 1847

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Photography credit 1️⃣ZebraPhotography at Tate

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This painting depicts the actor Ira Aldridge (1807-1867). Aldridge was born in New York, USA. He joined an African American theatre troupe in the early 1820s. In 1824 he travelled to Britain in the hope his talents would be better appreciated. Aldridge enjoyed huge success in Europe. He was the first African American actor to play the title role in William Shakespeare’s Othello. He was painted several times in the early stages of his career. It is unclear whether he was working as a model or sitting for artists to promote his own public image.

Gallery label, July 2019

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#webgalleryoffineart #webgalleryofvisualart #artloveenjoylife #1zebraphotography

Artwork: Head of a Man (?Ira Frederick Aldridge)

Artist: John Simpson 1782–1847

About: exhibited 1827

Medium: Oil on canvas

Support: 733 × 562 × 18 mm

COLLECTION

Tate

ACQUISITION

Presented by Robert Vernon 1847

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Photography credit 1️⃣ZebraPhotography at Tate

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This painting depicts the actor Ira Aldridge (1807-1867). Aldridge was born in New York, USA. He joined an African American theatre troupe in the early 1820s. In 1824 he travelled to Britain in the hope his talents would be better appreciated. Aldridge enjoyed huge success in Europe. He was the first African American actor to play the title role in William Shakespeare’s Othello. He was painted several times in the early stages of his career. It is unclear whether he was working as a model or sitting for artists to promote his own public image.

Gallery label, July 2019

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#webgalleryoffineart #webgalleryofvisualart #artloveenjoylife #1zebraphotography

Statue name: Cloaked Horseman

Artist David Backhouse (b.1941, British, English)

About: 1984 or before

Medium: Bronze

Dimensions: H 230 x W 200 x D (?) cm

Located at

Lewin’s Mead, Bristol City

BS1 2NH

Photography credit 1️⃣ZebraPhotography

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This free-standing equestrian statue is placed in the centre of a slight circular mound, paved with granite setts. The bare-headed horseman is without stirrups, bridle or saddle and he gazes towards St John’s Gate at the bottom of Broad Street. This fine archway is Bristol’s only surviving medieval gateway, and the statue is carefully aligned to suggest that the traveller is about to enter the city.

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#worldofsculpturee #webgalleryofvisualart #artloveenjoylife #1zebraphotography #Wikipedia #webgalleryoffineart #artandartistsinuk

Artwork: The Little Cooks

Artist: Augustin Théodule Ribot (French artist, 1823–1891)

Created: 1870

Medium: Oil on oak panel

Dimensions: H 27.7 x W 21.5 cm

Location: Bristol Museum and Art Gallery

Photography by LillynisthArtist’s

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#artloveenjoylife #lillynisthartistconcept #webgalleryofvisualart #webgalleryofvisualarr #webgalleryoffineart #bristolmuseum #bristolmuseumandartgallery #bristol #ukfootwalk