The Academy with candles


Joseph Wright of Derby ( 1734-1797 ) :

English painter, whose nickname of Derby”, is motivated by his birthplace. Chronologically his activity as an artist is part of the Neo, but a painter who was the recurring themes of this movement was not limited, as in addition to paint pictures of history and medieval themes, was a skilled portraitist, a good landscaper, and a skilled watercolorist.

But his most famous and celebrated pictures are reflecting interiors with figures, which showed the first experiments in physics and chemistry that developed in England at the time, coinciding with the Industrial Revolution. These scenes are original and unique in Europe at the time, so they have a great interest as documents of modernization that would change society in Europe.


Good painter, endowed with excellent technique and imagination, his painting, which until then had been more academic, after a two-year trip to Italy between 1773-1775, suffered the influence of Caravaggio, and to derive a chiaroscuro painting, very rich in contrasts.

The Table :


In it a group of young, a statue that looks very classic cut, two of them are drawing on their notebooks, and the largest of them, with several folders in hands seems to be explaining to the group shown the characteristics of the statue.


We can reasonably assume that this is a group of students of an Academy of Arts. The aspect neoclassical statues present in both the brightly lit, as in the torso of the man who is in darkness right woman. Also the subject of study of classical art refers to the period. But there is a principle of romantic feeling in the air of melancholy that pervades the actors.


The strong light falling on the scene from the upper left, the box full of contrasts of light and dark, giving an aspect of unreality to the scene. There are touches of warm, red, yellow and brown, that although dull in the dim light animate the surface. The drawing is firm and precise, and the composition is articulated in two parallel diagonal from left to right, crossed by a counterclockwise just in the head of the statue.

 I hope you like it.
A greeting

Mausoleum of Louis XII and Anne of Brittany, in Saint Denis




Emile Pierre Joseph Cauwer  ( Gante 1828- Berlin 1873 ) :


Painter born in Belgium, learning took him out with his father Joseph of Cauwer, and majored in painting architectures, especially for churches, both interiors and exteriors. It was a great continuation of the tradition of painting architectures Dutch Golden Age, with large Emmanuel de Witt, Pieter Saenredam or Gerrit Berckheide.-

De Cauwer painting was highly appreciated in his time, and was characterized mainly by a previous study of the issues with surveying scale that served him so that his painting was very rich in detail, yet very careful with all architectural elements correspond to reality. Will I call real painting” in relation to buildings pintaba.-

Working in several countries, mainly in his native Belgium, Holland and Germany, where his painting was highly valued, and where he died. For the chronology of his time, his painting has both neoclassical influence, in its final part, as full romance


The table :


It shows a beautiful interior view of the Basilica of Saint Denis Cathedral, near Paris, built in the middle of the twelfth century, by Abbot Suger, and it was the first church to be raised entirely in the Gothic style, thus serving model for all buildings that followed in that style throughout Europe, although its logical temporal evolution and characteristics nacionales.-

The view shown is of enormous topographical precision and technique of the painter is evident from the representation of architectural elements stone and white marble mausoleum of King Louis XII and his wife Anne of Brittany. The scene is bathed in golden light from the sun that enters from the right, and highlighting the gothic tracery, arches and stained glass.

The picture is an amazing detail, the statues surrounding the mausoleum, the confessional wooden carved gothic full details and stained glass, to give some examples. The touches of red in the flag and coat prelate encouraged the set and put the note of warmth. The perspective taken in this ship Cathedral seems to be a little forced, perhaps to accentuate the view and take the viewer into this view, which is a bit oblicua.-


I hope you like it.

A greeting.

Way of Golghota

Arent de Gelder.-Camino al Golgota



Arent de Gelder (1645-1727):


Dutch painter born in Dordrech where he began his training with the local painter Samuel Van Hoogstraten. In 1661 he was sent to Amsterdam to join the workshop of Rembrandt, one of his later disciples. His early works are clearly based on paintings of the master, and also witnesses of the time commented that even adopt the same habits that had nothing to do with his art, like collecting all kinds curios then used to paint in his paintings.

De Gelder is considered the most faithful follower of Rembrandt maturity of his time, as he was the only painter in the eighteenth century and was still painting in that style, rather than the more polished and elegant painters season, so it was considered as out of his time, and promptly forgotten until the nineteenth century, it was considered that the mature Rembrandt was the best, and De Gelder appreciated.

The truth is that your fleeting fame was extended only within their geographic boundaries, and his painting did not influence any or known disciples, to continue using colored stains, when the fashion of the time was that of the polished surfaces and themes elegant and sophisticated.


The table :


Represents the ascent to Golgotha ​​of Jesus Christ with the Cross, with his companions, soldiers, disciples, and curious. In the background is the city of Jerusalem, totally illusory as it is represented on a steep cliff, and a sky that following the tradition of Dutch painting of the Golden Age, occupies a large part of the picture surface. This painting was part of a series of “scenes of passion”, which was his best work, consisted of 22 frames that retain only 12.

The composition is also very Dutch. Apart from what has been said of heaven, the box is divided into two opposite diagonal, marked by the exit way from the city to the foreground, you have to look at the wood of the cross is parallel to the diagonal of the road out of the city, and that this is balanced by the “almost” horizontal of the walls and roofs of Jerusalem.

The picture is almost monochrome, muted colors predominate, reddish brown and brown, but the pair on the left gives a touch of color with a red more alive and warm costume and one red hat also another, and green cold latter layer. The color is applied to detail none stains without long broad strokes that give great strength and drama to the scene. It is the way of painting of Rembrandt mature elder De Gelder assimilated and continued growing until the en


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A greeting.

The Dutch people Sayings




Peter Brueghel the Elder (¿1525 - 1569?):



For many historians is the greatest Flemish painter of his time, and one of the most important of all time .- His apprenticeship took place in Antwerp in 1550 to enter the workshop of Pieter Van Aelst Coeck, taking one year in entering as Master of the Guild of Saint Luke in that city. By following year he traveled to Italy, where it seems that working in Rome with Giulio Clovio muniaturista.

Since his return to Flanders to 1562 lives in Antwerp, and in that year he moved to Brussels, where he married the daughter of his former teacher, Mayken Coeck. He was the initiator of a series of artists, his two sons Pieter Brueghel the Younger, also called “The Infernaland little Jan, nicknamed “velor” (velvet), for me it was the best, working in the workshop of Rubens .One of his granddaughters, Anna, married David Teniers the Younger, another great painter.

Pieter the Elder, it is said that he painted Peasants, demons and mad.- It was a great chronicler of the society of his time, but unlike others who focused their production on the powerful, Brueghel painted the everyday life of ordinary people until their biblical themes are located in recognizable people, and the characters are peasants and contemporary citizens .- his vision is always ironic and critical, whipping the vices and bad habits of the inhabitants of Flandes.- Lived in Full repression of the Duke of Alba Protestants, but not known to take sides clearly, though I paint some horrors of war.



The table:


Features over 100 sayings and idioms, many obsolete nowadays, and most immoral or blundering acts described. A great diagonal axis serves from the foreground to the left, to the high background to derecha.- The picture is variegated, full of people and color.-

I will try to describe some of these sayings and location: The roof of the Casagrande is covered with cakes (live in jauja) .- The Woman in White bottom left carries a torch in one hand and water in the other (not legit) .- the man leaning out a window urinating in that red flag with a moon (its purpose is failure) .- in the center a woman puts down a blue cloak to her husband (he deceives) .- a his right a man is throwing pearls before swine (needs no explanation) .- to the left of the adulteress two women seem to mumble (which one spins, the other twists. Spend gossip) .- on the right a little there are over half a man stuck in a river and in the center of a beam of light, which seems to blame the sun that reflection (sick of envidia.-

As I said they are more than a hundred, this is just a small sample, but if anyone is interested in it Taschen has a monograph on Pieter Brueghel the Elder historians Rose Marie and Rainer Hagen, where there is a scheme of table indicating all refranes.-


I hope you like it.-

A greeting.-



Turner,_J._M._W._The_Grand_Canal Venice




J. M. W. Turner, the artist

Joseph Mallard William Turner (1775-1851), is FOR most critics and historians, the best English PAINTER of all time. His painting is fully romantic, and along with Constable, best Británicas.Viajo Islands landscape of Europe painting and taking notes, in addition to studying the classics. HAVE a series of watercolors of Venice are among the best that has been painted of this wonderful city.

His painting

Turner is part of the trend called the Romantic sublime and often represents the power of nature and the fragility of man before the PAINTER ella.Es fires, shipwrecks and disasters, in addition to magnificent scenery, often placing them within their trend. In his early days he was very influenced by Claude Lorrain, and some of his paintings are in the National Gallery in London alongside of THIS PAINTER. In his maturity his brushwork becomes loose, and with transparent and wonderfully light, blurring the outlines being considered a precursor of Impressionism .



The Table :

Turner was three times in Venice, a city that fascinated him, and THIS painting performed in 1835, during his second visit. The painting is in The Metropolitan Museum of New York. The artist exhibited this painting at the Royal Academy in London on his return, and some critics reproached its low topographic fidelity, as the Grand Canal is expanded in size, and the view from the left bank to the campanile in the background, no corresponds to the right bank. These critics were accustomed to exact views of Canaletto and Bellotto. 

Turner masterfully captures the unique light of Venecia, the picture is extraordinarily light, with bright colors including blue and green cold sky and water, the latter with wonderful reflections that have been elongated and distorted in the case of reflections of boats and buildings. All this contributes to the view of the city this highly idealized, and looks like a fantasy but a real city.

The perspective is perfect, very balanced composition, accurate drawing without being too redial, and details are achieved with few strokes. It is of note that the boat that crosses the box is decorated with a wealth of fabrics, played wonderfully by Turner, with a wide range of colors and textures.

Ihope you like.
A  greeting.



-Correggio_Adoracion de los pastores



Correggio , ( Antonio Allegri , 1489-1534 ) :



After the four “bigartists of the Renaissance, Michelangelo, Leonardo, Raphael, and Titian, most art historians and scholars, fair Correggio placed below them, and almost alone in that position, and a few, even so placed at a height maestros.- Born in Correggio, near Modena, where it got the nickname, and the following generations was regarded as an innovator in his arte.-

Working mostly in Parma, where his possibly best known work, the frescoes in the cathedral, and especially the dome, where the innovation consisted in the faithful produce the illusion that the ceiling was opened so they could see the heavens and their inhabitants. This way of painting had many imitators, especially in barroco.-

His painting style is a synthesis of the teachers listed above. The light and color are customized by Titian, studying the chiaroscuro of Leonardo, he developed new very personal, and the sweetness of the Madonnas of Raphael, I influenced the treatment of virgin and Holy Families, whose faces spread sweetness and affection. His pupils include Francesco Mazzola, called Parmigianino, who was one of the great manieristas.-


The table :


The box in question, one of the most famous author, is in the Old Masters Gallery in Dresden, and between fans and scholars is better known as “The Night“. In it the artist shows the arrival of a pastor at Bethlehem portal where just born the Christ Child, and the attitude of surprise at the sight of this that does not quite understand. In the sky hovering angels singing the glory of God, and in the dark ruins crib miracle occurs.

In this picture the birth of Christ is shown, for the first time in the history of art, as a miracle of light. The whole scene is illuminated by the strong glow radiating from the Child Jesus. The face of the Virgin, which is the closest to Jesus, such illumination is almost erased his features, while in the background San Jose, labored with animals, this near darkness, dominating brown shades.

Although the distribution of the characters seem unbalanced composition, nearly all on the left side, our vision is to be the source of light, color Correggio used together to balance it. In the painting of this artist, is a widely used resource on one side placing a large figure, in this case the sturdy shepherd, which frames the figures, and makes us introducer at the scene.


I hope you like it.

A greeting .

Titania pats Bottom

J.H.Fuseli- Titiana acaricia a Bottom



Johann Henrich Fussli ( Zúrich 1741 – Putney Hill 1825 ) :


Swiss painter, best known perhaps for his name adopted in England by Henry Fuseli. Son of the painter Johan Caspar, in his youth training was oriented more towards literature and theology painting, ordained pastor of the church of Zwingli, although his ideas illustrated exile and soon made him abandon this theology.

Germany happened to England, where most of his life happened except a time of 1770-1778 he was in Italy studying fine arts. His early training was neoclassical, and chronologically is between the neoclassicism and early romantic visions of art, but also has been considered as a precursor of symbolism.

He continued in that writing career until Sir Joshua Reynolds encourage you to go to painting. His art is characterized by a great fantasy lover drama, sources were often theatrical dramas, especially Shakespeare and his most fantastic works such as “A Midsummer Night’s Dream,” “The Tempest”, the terrible as “Macbeth”, or eroticism the Merry Wives of Windsor”.


The table :


In it, Fuseli shows the Queen of the Fairies, Titania, caressing the weaver Bottom, which has ass’s head as the husband of Titania, Oberon, his wife punishment achieved through a spell, this fall in love with bottom, and putting this that Head. All this is based on sequences of Shakespeare’s a Midsummer Night’s Dream”.

The picture is of great theatricality, enhanced by the presence of very different imaginary beings such as elves, fairies, and others. As in most of his work, in this eroticism content as Queen Titania is a voluptuous woman, and embrace as monstrous as Bottom can symbolize blind love is observed.

The chromatic range is very small, with a very dark background that enhances the whiteness of bodies, also contrasted by the warm light brown donkey‘s head and the hair of the Queen. The execution is very careful, but somewhat affected by the use of a sfumato” which blurs the contours, and brake energy of the scene, giving it a more romantic tone.


I hope you like it.

A greeting.






Albrecht Dürer (Albrecht Dürer, 1471-1528):

It is the largest of the Central European painters of his time, and the great introducer and interpreter of the Renaissance in Northern Europe. His father was a goldsmith, and began his artistic aprendizace with him; in 1486 he entered the studio of painter Michael Wolgemut where also learned the trade, trends better then German painter Martin Schongauer, and Flemish masters.


Made two trips to Italy, in 1494 and 1506, where he met the best Italian artists of the time such as Bellini and Mantegna in the first, and some authors consider it likely that on the second trip, Dürer knew Leonardo da Vinci, and is certain is that his work met. In his painting clearly shows the Italian influence in its development, so it is considered as the most important link between the art of southern and northern Europe.It was very famous and recognized as a painter of the big bourgeoisie, the clergy, and the courts, as Frederick of Saxony, Maximilian of Hapsburg, and others, to the point that he was invited to the Coronation as Emperor Charles V at Aachen, being presented to the Emperor, I would affirm its economic privileges and tax relief that had been granted by his predecessor.Besides a great painter, Durer was one of the finest engravers in the history of art, and examples you can see The Melancholy” or San Jeronimo in his study.” He also wrote treatises on various aspects of his art, so we can consider it as a real Renaissance man. Since the time I play it live was very turbulent, with bloody riots (farmers, weavers, Anabaptists and others) and its repressions, taking an intellectual position advocating moderation and balance.

The table :
This box is located in the Thyssen-Bornemisza Museum in Madrid. It was painted in Venice during his second voyage, and is a unique painting in the production of Dürer by its composition and human types showing. The artist himself was well aware of this diversity, for in a letter to his friend Willibald Pirckheimer DATED on September 23, 1506, says, “I know that over the table, and also another picture unlike anything I’ve painted so far.” The first refers seems to be “The Feast of the Rosary”, and the second most historians identify him with that show.In an episode of the New Testament, in which Jesus, lost twelve years shown, and his parents found him in the temple, surrounded by the Doctors of the Law, and arguing with them about Religion. In CANVAS shown Jesus, very young, in the center of a circle formed by the heads of several elders, all almost completely filled the picture surface. In the center are the expressive hands of Jesus and an old man, and those that are counting on fingers, resource used in the time to count the arguments used in theological disputes.All figures are averages with a colorful, cleverly mixing the cold and warm. Noted a strong influence on the types of studies of the elderly by Bosch, and Leonardo’s drawings of heads of old, realize that this large NUMBER. Also the contrast between beauty “Italianof Jesus, and the cartoonish ugliness of others states and refers to more naturalistic painting in Northern Europe ..

I hope you like.
A greeting.

The Chocolate Girl



Jean-Etienne Liotard ( 1702- 1789 ) :


Swiss painter, born and died in Geneva, is one of the leading representatives of the pastel, which dominated with great mastery. By timing your style should register between the late Rococo and Neoclassicism, but had its own personality. It was a great traveler, claimed as a portraitist in many countries. I paint in Rome for Pope Clement XII. Other countries I visit and work in France, Germany, Holland and England, finally settling in Geneva where he died .-

For four years I lived in Turkey, Constantinople, and fascinated by the environment adopted Turkish dress and leave a long beard, being called the Turkish painter.” In Constantinople I paint mostly members of the British colony, though not exclusively. This time I‘ll take the taste for oriental, as was seen later in some portraits in which his models wore the Turkish” as a portrait of Maria Adelaide of France dressed in Turkish.

He was very famous in his time, and his pastel technique with extraordinary finesse application was its hallmark. In his old age in Geneva, wrote a Treatise on the Art of Painting, which left embodied his idea that painting should be a mirror of nature.



The table :


It is a pastel on parchment, made in 1744, and can be admired in the Art Gallery of Dresden, where a great collection assembled over time by the Dukes of Saxony. - In the works is a maid carrying a tray a cup of Japanese lacquer Meissen porcelain chocolate, also carrying a glass Bohemian glass with water.

Liotard‘s mastery in depicting the tactile qualities of all items bearing the maid dresses also are wonderful, especially considering that the technique does not allow the cake Glitters oil .- The cold glitter Satin gray skirt seems that we can touch and feel the softness, the transparency of the glass of water, shadows on the lacquered tray, all this represented naturalistically and exacta.-

The box is made with such technical finesse, it would say is a work on porcelain enamel appearance. Liotard has used many shades of gray, ocher and pink to contrast with white apron and cup. The tones predominate clear and generally cold, and color range as well as the environment Jean Simeon Chardin remember whose works could know when Liotard study in Paris with thirteen.


I hope you like it.

A greeting.


Deshacer cambios

The kitchen

David_Teniers_El Joven (II)_-La cocina       David Teniers the Younger, (1610-1690): Flemish painter, son of the painter David Teniers the Elder, was a disciple of one of the greats of the genre painting, Adriaen Brouwer. He followed his master and is dedicated to portray the simple life of the peasants and the common people in their daily work and their leisure time.

His style and way of painting evolved and representations of human types became less rude, and showed with more dignity, and also was abandoned and adopting a monochrome palette richer. Probably had a lot to do with this change in their clientele, and it was elevated to important public offices and ceremony.

It was famous and make a lot of money. He moved to Antwerp and I work at the court of Archduke Leopold of Austria, Governor of the Netherlands. In his later years he came to represent quiet pastoral scenes.

The table :

There are several versions to explain cooking takes place in the action depicted in the painting; Some consider this to be the kitchen of the Archduke Leopold Palace, while others assume that it is the kitchen Teniers himself in his castle Dreitoren. But the representative implementation dates Table (1646), and his move to Brussels in 1651, we favor the first option.

Teniers represents a great stay, not very bright, which makes especially the dim background and this whole picture has a nearly uniform yellowish-brown tone, enlivened by touches of color, red, blue and gilt robes and utensils. The outlook is very good and gives great depth to the scene. The way to address the issue belongs to the second stage, where runaway burlesque and satirical aspect.

The box has been interpreted as an allegory of the four elements. Falconer Bajla window symbolize air, the brazier on the table, fire, fish and fishermen, water, and dogs, birds and plant the land.

Hope you like it.

A greeting.

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