Ideal City Vista

Frnacesco di Giorgio Martini.



Francesco di Giorgio Martini ( 1439-1502 ) :



Painter, sculptor, and architect Temples , began his career as an artist in the first two disciplines , but his greatest fame came to him as an architect and theorist of architecture . As a painter, was not and is much appreciated, and is situated in the Sienese school, in contrast to the first Florentine Renaissance. Painting of Siena, was more archaic , and continued for a long time derivatives Byzantine models .

His paintings , especially the religious are monochrome , with brownish , earthy colors, and elegant and refined lines of the school of his native city, is said to Siena painting is feminine without being effeminate . From troubled young feature geometry and perspective, so in his early paintings sought architectures represent his invention . Soon almost completely abandoned painting , except to illustrate his architectural studies .

As theoretical published a treatise called ” Treaty of Civil and Military Architecture ” , much appreciated and known since then until today . Among his best known architectural works , this project for the dome of the Cathedral of Milan . The well-known painter and author of ” The most exelentes painters , sculptors and architects of the Renaissance” Giorgio Vasari, Francesco di Giorgio said : ” Distinguished Architect specializing in construction of forts and war machines


The table :


It is an imaginary view of a portion of what the artist considered an ideal city . What most stands out in the picture is his magnificent study of perspective , the converging lines of the pavement lead us to a central vanishing point , located in the far port and foreshortening in the side buildings are shown, they are decreasing in size and height with distance. All regulated with the rules of geometric perspective. 

In this case, the paint colors are ocher , brown and brown , in different gradations are justified by the materials that are represented , though the sky background is very faint blue , surely the artist did not want to distract a patch of blue stronger contemplation architectures .

I think justice highlight the Lodge magnificent lintel of the first term , through which we have the vision colonnade background . The columns of Doric shaft, but not entasis , surmounted by composite capitals , are beautiful, and the roofs of classic coffered relief refer to the classic architecture Greek and Roman , very studied in the Renaissance , especially treaties architect of the Empire, Vitruvius .

I hope you like.
A greeting.

The Herring Net




Winslow Homer ( 1836.1910 ) :



American naturalist painter , Thomas Eakins are with the best representation of this artistic trend of the New World . He began his career as a watercolorist and printmaker , publishing many of his drawings in magazines. During the Civil War he visited the battlefields drawing scenes of the soldiers at the front. All within the own naturalistic style that contrasted Courbet realism advocated in Europe. 

In 1886 he traveled to Paris, where he came into contact with the Impressionists trends , studying the works of Monet and Manet , but this style influenced only to a certain extent in their work , as it continued to experience a more personal and native painting form , all provided within the characteristic features of his style , simplistic technique suppresses the anecdotal, and keen observation of reality without falling into the emotional .

He moved to live on the coast of Maine, and produce wonderful works reflect daily life and lasts for fishermen , with scenes of a dramatic and heroic vision . His technique also changes , the bill of his brushwork takes on added ease and fluidity , looking , although the oil painting , the works are watercolors. It was well known in life , and today is considered one of the greatest American painters of all time .

The table :


It is one of the clearest examples of Winslow Homer painting on the maturity of the last third of his life, both in the subject he chooses , and the technique used. His daily contact with men of the sea, led him to translate this time an episode in the life of these men, without drama but with great naturalness . No epic echoes in this table , it appears that the two men are in serious danger , beyond the everyday to face the sea. 

Orange gray sky, this patch of clouds through which the sun filters , this effect being reflections one of the most accomplished members of the canvas. Shine silvery scales of herring coming out of the water, the sun also starts flashing waves and wet caps fishermen . The colors are divided into warm brown and orange sky and fishermen ‘s boat , and the cold blue sea , with huge painted realism in its movement , it seems that if we were staring at us marearemos . Give a touch of color in the foreground with the serving keg buoy network

The drawing of the outlines of the main actors , is firm, but not too marked . It balances the composition with silhouettes blurred by the distance of ships to the right and left of center. The brushstrokes show some stay in Paris and his knowledge of the Impressionists, color stains are applied with the brush without overloading the matter.

Hope you like it.
A greeting.

The Emperor Francis I of Austria




Friedrich Von Amerling (1803-1887 ) :


Austrian painter , studied at the Academies of Vienna and Prague , and then traveled to England , where he could watch the great English portraitists , which influenced the genre in Europe , being very influenced by them , particularly by Sir Thomas Lawrence . It was a traveling painter , as it toured several countries including Italy, Spain , Netherlands , Greece , Munich, came to the Scandinavian countries, including Egypt and Palestine. 

Was devoted almost exclusively to portraiture , being preferred by the aristocracy and high Viennese bourgeoisie , becoming court painter . His painting can be considered somewhat superficial, and in a routine elegance , but his technique is impeccable, and his mastery of the composition and colors is unquestionable. His mastery of the line can be compared to the genius of the design of the time, the great Augustus Dominique Ingres


Although his time coincides withthe eclosion of Romanticism , his specialty , the portrait was the genre of pictorial art less influenced by this movement that took precedence over all feelings. Was closest to llamdo movement ” Biedermeier ,” a gentrified but familiar, at once simple and friendly art can be said that musical connotation . Within this movement fueronpopulares the “conversation pieces ” in which family groups within their comfortable bourgeois homes were painted .

The table :


The Emperor Francis I of Austria , was the last of the Holy Roman Empire , and the first in Austria as such. The artist is represented enthroned with all the attributes of its range , crown, scepter , relevant awards, and surrounded by rich fabrics and furs. Everything is painted with great detail, you can count the gems in the crown and scepter magnificent , also looks like you can feel the touch of fabrics and leathers , which demonstrates the author’s exquisite technique .While this type of portraits remind us of the English, the purity of the line in the drawing and the rich colors in the warm reds , oranges and browns predominate , besides the light bank, we refer to Ingres. In the cold colors , it can only be seen with a certain surface , dimly lit green on the steps of the throne sits . The big red curtains framing the Emperor, are very typical of the courtly portraits .

The composition is of great classical , pyramidal , with the head of the sitter in the upper vertex , so that the viewer is focused on him, full of majesty . The painter has succeeded on this occasion a certain psychological penetration of the Emperor, is a stern and serious man of a certain age . This ruling was a reactionary liberalism they choke in their states based on repression.

I hope you like.
A greeting.

The Last Supper


Tintoretto- La ultima Cena



Jacobo Robusti, ( Tintoretto, 1518-1594 ) :



It has been recently discovered his real name , Comin because Robusti was given to his father for his courage in the defense of the Venetian city nickname.

Tintoretto is one of the great painting Veneta , forming a triumvirate with the genius of Titian , Paolo Caliari Veronese – . All have their very specific of Venetian painting characteristics , the predominant color on the line, this concept of conceive paint color and not as a ” colored drawing ” was revolutionary in its time, and development especially in Venice.

Among the painters of that region , Tintoretto was special for its vertiginous perspectives , by using a muted but strong colors for his use of color spots without much precision drawing, and passionate way to address the issues . He was nicknamed ” Il Furioso ” , for that way of painting . It was very fast and I wanted you grab all orders Venice , reaching offered free to ask some of them to the point of hanging on the door of his workshop a canvas with the words ” The color of Titian and the drawing of Michelangelo ” or at least this legend . Venice is a must see his wonderful series of large paintings in the ” Scuola di San Rocco .”


The table :


The theme of ” The Last Supper ” with the “Nativity ” and the ” Crucifixion ” are surely the great trilogy in the artistic representation of the most important themes and symbolic of the Christian religions. Tintoretto has two well-known , one of them already published in this blog, ” The Sink ” Prado Museum , this issue is marginal , as shown on one side of the fabric, and in support of the principal.
In this we publish, and which corresponds to the last time of Tintoretto , the outlook is much enhanced by the long diagonal of the table away cross , placed in a very biased way , as well as the screed floor slabs below the same direction . The scene gives the impression of being a somewhat unreal fantasy , all pictorial resources creates an oppressive atmosphere , which contributes to the large number of figures placed close together.
There is a great play of light and shadows , only two light bulbs, the lamp , and the halo over the head of Christ , placed in the center of the composition are observed , but these two sources are enough to illuminate the scene , although not can dispel the shadows that are based mainly in the funds , but the light from the lamp is yellowish , and Christ is of great whiteness. Dark colors predominate , with occasional touches of warmth in strong reds and browns. There is a wonderful show of technique in the angels that float in the air , are as translucent beings who radiate their own light and seem a whirlwind of spectra.
The fabric , large (3.65 m . X 5.68 m.) , Is still in the place where it was painted , in a side wall of the altar of the Church of San Giogio Maggiore in Venice , which also his perspective , and it does not look totally opposite , but in a lateral foreshortening makes the table and throughout the premises appear shorter , so to display in this reproduction , as if we saw the place where he is, we appreciate it from a side diagonal.
Hope you like it .

 A greeting


Port of La Rochelle


Claude Joseph Vernet-LaRochelleHarbour1762




Claude Joseph Vernet ( Aviñon 1714- Paris 1789 ) :


French painter specialized in landscapes , especially marine, which was a great performer – . De family of artists , began his training as a painter with his father Antoine , but then had other teachers. His early days as an apprentice painter Avignon, Philippe Sauvan , was limited to the repair and maintenance of religious works and wealthy art collectors and their city .

The Marquis de Caumont I appreciate his work, costing him a trip to Rome to study the classics , and drawing and copying his works , which are considered essential in Neoclasica era when he lived . It was full in the French community in Rome, and developed his taste for Italianate landscapes filled with a golden light. Soon customers began to appreciate their work , with some major constituents, as the Duke of Saint Aignant , Ambassador of France, or the wife of Philip V of Spain , Elizabeth Farnese . -

After his return to Paris in 1753 , I continued to enjoy the favor of the public , especially the landscapes of sea , to the point that the King of France, Louis XV, he commissioned a series of fifteen large paintings with topographical views of the most important ports of France . This project had occupied him for ten years, and forced him to travel around the country , but in 1765 abandoned him , leaving the series unfinished . Until the end of his days continued painting his favorite subjects , ports, and both terrestrial and marine landscapes .


The table   :



This work belongs to a series of ports in France which made ​​references found , and it provides a very important perspective gimmicky Atlantic port of La Rochelle. Logically today this view corresponds to the old port of the city. Vernet articulates the composition from the farthest part of the entrance piers, and comparing it with the old harbor of today , we can see that the view is topographic , ie , that the artist painted what he saw , without inventing anything .

The hallmarks of the harbor, which are the two towers guarding the entrance , are well represented in the distance . The left is Saint Nicolas , and the right is that of the Chaine (string) , as it was where the chain placed between the two towers, the entrance to the harbor prevented the enemy fleet was kept. The perspective is perfectly achieved , with the houses of the opposite shore , Firth , and docks in the foreground , causing a leak to the left until the towers of the fund.

Although this is a port of the Atlantic coast , which usually has a more light gray, Vernet can not forget his training in Italy, and the whole picture is bathed in an almost monochrome golden dusk , encouraged by the yellowish orange sky warm brown and the springs. Figures of strollers and dock workers give life to the composition . The big tree on the left, and the houses of the first term on the right close the box on both sides, so the sky seems more open and bright . It should be noted the effect atsmosferico got, it seems we can feel the humid air port.


I hope you like it.

A greeting.



Ferry Carondelet and his Secretaries


-Sebastiano_del_Piombo_ Ferry Carondelet y secretarios




Sebastiano del Piombo  ( Venecia 1485- Roma 1547 ) :


His real name was Sebastiano Luciani, and that his first vocation was music , being a virtuoso lute . His training as a painter began in his hometown Venice, being accredited was apprenticed to Giovanni Bellini. The same was signed in the early days as ” Ioannes Belinus disciples .” These paintings accompanied him all his life, at least in part , influenced by his teacher and Giorgione , especially in the treatment of color.

At 26 he moved to Rome, where his works were known to collaborate on works that were painted on the banker Agostino Chigi palace , the palace now known as ” La Farnesina . Sebastiano was very young and just some fresh paint on some windows , being most of the work carried out by more established artists such as Raphael, Giulio Romano or Sodom. But soon a name in Rome, where they were appreciated especially his portraits made ​​.

The appellation ” del Piombo ” comes , that years after taking priestly orders, when he was appointed chancellor of the Roman Curia , was also responsible for the custody of the papal seals, which were lead ( piombo ) . In his early years in Rome was attached to the circle of Raphael, but it seems that was difficult character , and not as appreciated as it happened that the followers of Michelangelo, and Rafael denigrated and their works.


The table :



The box is around 1511. The portrait , Ferry Carondelet was flamenco, born in Mechelen in 1473 , of good family, and had a brilliant career as a religious and diplomatic . On the date exercised its misionn portrait in Rome as ambassador of Emperor Maximilian I to the Holy See . The portray such an influential personality in Rome, gives us an idea of ​​the status as a portrait painter of Roman high society.
On the canvas can aprteciar influences both pictorial schools where the artist was formed . Venetians have color treatment applied on large surfaces and the characteristic luminosity of the venetos painters , as well as the framing of the main character , medium body , and three-quarter position relative to the viewer, very Titian also that luminous landscape that opens to the right. Of its Roman influence, especially Raphael and Michelangelo, have a certain firmness in the drawing, and the monumental classical architecture , composite capitals , and triangular pediment .
It has drawn attention on the Norse origin of the sitter , I influence the composition , as Sebastiano to show Carondelet at work on the table , and with several documentosy inkwell on this , not the established canons adjusted in Italy, for portraits of famous people . It is interpreted as a concession to naturalism of the Nordic painters.


I hope you like it.

A greeting.

Altarpiece of Sto. Tomas and San Matias



Barent Van Orley ( 1487-1541 ) :


Flemish artist , somewhere between the fifteenth and sixteenth centuries , was a painter, illustrator and designer of tapestry and stained glass. His father and older brother were also painters, it seems logical to assume that their first lessons were within family , although the small Bernard , exceeded their relatives in quality and fame of their patrons alturasocial .In some documents cited made ​​two trips to Rome, and there was nothing less than a disciple of Raphael, but most historians describe these trips and learning legend, since there has any traces of his stay in Italy , or workshop of the master of Urbino. What if it is proven that twice was ” Pintor de Camara ” court of Flanders Gobernadiores first of Archduchess Margaret of Austria, and years after his successor Maria of Hungary .

Van Orley was one of the leading representatives of what ” Nordic mannerism ” that feeds the Italian , through paintings and engravings that were known artists as the last Michelangelo, Pontormo , Rosso Fiorentino, etc. It was called characterized by the profusion of classical architecture adorning cutting tables , and the agitation and drama of the attitudes of the protagonists, although tempered by the naturalism that always accompanied the Northern European painting .

The table :


This is a painting for altarpiece with stories of Sto Tomas and San Matias , painted in the decade of 1510-1520 , and currently is in the Museum of Art History ( Kunsthistorisches Museum) in Vienna . The iglesiia for which it was painted, something quite common in art history is unknown , as many altars have been depiezados and sold by parties throughout the centuries .It is a very typical example of that mannerism every Good is developing its story within a small temples or chapels highly original architecture , as the style of the classic Roman but even before this , with gothic reminiscences coming from the primitive flamingos, such as Van Eyck, Van der Weiden, or the closest in time Quentyn Messys . Each chapel tien its own decoration , the left with triangular pediment and frieze of metopes , and the right with a small curved pediment and balustrade , the table is divided by a mullion with grotesques .

There is a beautiful blue sky with patches of floating clouds and a background landscape and very nice and detailed cities . The figures are painted with great realism , without the embellishment of the Italian Renaissance , with great strength and variety of colors , and the emphatic attitudes that show the feelings of the characters , which is more typical of Mannerism.

I hope you like.
A greeting.

Self Portrait with embroidered blouse





Rembrandt Harmenszoon van Rijn ( 1606-1669 ).



The painter was born in Leyden , where his father was a wealthy miller , so he could send his son to college, but soon expressed Rembrandt vocation as a painter , so his father sent him to study with the painter in his hometown Pieter Lastman , mannerist painter influenced only the top in the style of Rembrandt. 

We are facing one of the geniuses of world painting , for my personal taste to ” Genius ” in capital letters . His personal style with an almost magical mastery of light and chiaroscuro , which touched virtually every genre , though it was the sublime history painting , as a chronicler of the society of his time, and as exceptional portrait . In this section the faces of the portraits by Rembrandt, have few psychological penetration times equaled in the history of painting , when we see one of their faces painted , seem to see it go through the whole life of the person.


Like most large , began painting more conventionally , in great detail , but with maturity his painting became more intimate in that painting more with feelings than with the art, get to use your fingers, handle brushes and spatulas to spread the paint across the canvas , getting wonderful effects with reflections and tables laden material.

The table :



This wonderful self-portrait was made by the teacher when I was 34, and was at the beginning of the most successful period of his career , had been married five years Saskia , and had a happy marriage, money began to fall upon him, the high commissions Dutch bourgeoisie , which qualified him from these dates as the best portrait rained his waist. Beginners learn the honor of painters in his studio disputed . The next year would begin to paint his masterpiece ” The Night Watch ” . 

About 80 Rembrandt self-portraits , which include all ages and stages of life are known. This is shown even with luxurious robes , richly embroidered shirt and a thick coat of fur-lined velvet , expensive outfits and a high standard of living . But though his face has lost that insolent amusement of youth , now is a serious man with critical and scrutinizing gaze , is a winner in a predominantly Calvinist and strict society. The composition is classic, and refers to the portraits of Titian, body in three quarters , looking at viewer , and one arm in a kind of window sill . Dominate the horizontal giving firmness to the frame, the sill , up the arm and beret .



The gray areas are less prominent, the background is almost monochrome , but more bright, and his brushwork remains the golden magic that distinguishes genius. Some authors note the influence in this self-portrait ” Baldassare Castiglione ” by Raphael, Rembrandt try to buy at auction in Amsterdam in 1639 , but was acquired by Alfónso Lopez agent in Holland the French royal family . Rembrandt made ​​a note of the pen which then served to the main lines of the original . As good painter in Northern Europe , the artist does not hide or embellish any of its physical features , showing them with complete objectivity .

Hope you like it.
A greeting.

Saint Domingo de Silos




Bartolome Bermejo ( Cordoba ,1430 ?- Barcelona 1495 ) :



His real name was Bartolomé de Cardenas and his birth in Córdoba is supposed to sign the ” Pieta ” of the Cathedral as ” Bartolomeus Vermeio Cordubensis ” . Most of his career development in the Kingdom of Aragon , as is documented in Daroca who lived in Zaragoza and Barcelona , amen points of that Kingdom. The ” Bermejo ” nickname was because it was red-haired , and so the same signature in a table in the National Gallery in London ” Bartolomeus rubeus ” .

It is the main representative of the Spanish- Flemish school of the fifteenth century , is suspected of traveling to Flanders, and there study the works of Van Eyck, Van der Weyden , Campin and others. Learned and brought the magnificent use of the then new technique of oil, of which he was a master , and the naturalism of the North , emphasizing the drama of his figures and landscape , something unusual in the very expressive Spanish art of his time.

Although they had not known in Spain , advances the perspective of the early Renaissance , so Bermejo uses empirical Flamingos , geometrically speaking not very accurate , but I try to give the impression of depth. In some of his works , the flexibility of its design , produces almost Mannerist sensations


The table :



It shows to Santo Domingo, enthroned as abbot of the monastery of Silos. It was originally the central panel of the altarpiece dela Church of Santo Domingo, in the city of Daroca ( Zaragoza) . With the confiscation of Mendizabal , the work was broken , and now this table can be admired in the Museo del Prado in Madrid.

Santo Domingo, is presented in a rigid frontal , wearing rich golden robes embroidered with gold , using the technique of oil, to present the Gothic tracery throne and with great attention to detail, as well as drawings of the cope Dressing Santo. These tracery , and niches are displayed as polychrome sculptures at seven virtues. In symmetry dominates the composition , as an imaginary line divides into two equal halves the table , through the middle of the Holy Face .

There is an attempt to give depth to a very rudimentary perspective , the soil seems inclined , but if as shown in the figure painter would be unstable , also the arms of the throne recoil but slightly believable angle. To understand the profusion of gold , think that in the fifteenth century , there was more light in the churches that the candlelight , I danced on the gold surfaces increased the sense of movement and rich ornamentation .



Hope you like it.

A greeting.

The mountain Sainte Victoire from Bellevue





Paul Cezanne  ( Aix en Provence- 1839, 1906 ) :



This French painter , who belongs to the post- impressionist movement , is considered by many historians as the father of modern painting , including the Cubists , for his use of geometric figures . During their study of high school, he was a pupil of the great Emile Zola ecritor . His father wanted him to study law and enrolled at the University, but his passion for drawing his father makes him permission to travel to Paris , where he studied at the Academy Suisse .


In Paris he meets Monet , Renoir , Pissarro and Sisley , being mainly influenced by Pissarro in his first season . Never exhibited with the Impressionists . Nor was a popular painter , he was saying it was a ” painter of painters ” because the artists who were more appreciated his paintings. Had economic independence , so he could devote all his time and effort to paint as he understood it . He said on one occasion that he wanted ” to redo Poussin natural ” , that is supported by the old masters , but with the new concepts of color, light, and modeling.


For the Impressionists Cezanne were bright and spectacular, but confusing. He wanted to get the harmony of strong colors and full drawing , giving an appearance of solidity forms , supported on four basic geometric shapes in nature , cylinder, cone , sphere, and cube. Worked fiercely and obsessively . The poet Rafael Alberti wrote him. ” Tough, painful , slow / apprentice painter , learning / wide extension of suffering.” He can not stop learning artist throughout his life.



The table :


The mountain Sainte Victoire is located in  Provence, near the city of Aix en Provence . It is only a modest mountain 1,011 meters. altitude, but for years constituted an obsession for Cezanne , who painted 44 oils and 43 watercolors , since I rent a house in the country where the saw perfectly . For locals this mountain had magical powers .


This view is very representative of the style of painting of the artist. Volumes are firm, although the view is bathed in light, is an outline drawing very accurate but it offers a perspective that leaves deep distacias clearly appreciate . A great balance between the lines is seen , note the vertical of the houses of the first term , and strong horizontal and road viaduct located in the center of the composition , and which divide the box into two equal parts .


Cezanne modulates color tones , so that in parallel planes passing cold greens , browns and oranges , alternating warm up the distant mountains , producing well defined volumes. The houses, rocks and trees, down to the stylings of geometric forms , since as we said want these forms based on which we noted in the last paragraph of the previous section . The forms, as can be seen , are captured with a very simple lines , and the colors are applied as spots , more or less loaded brushstrokes subject .


I hope you like it.

A greeting.