L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i

Sunday, November 10, 2019

For public consumption - portraits by Jakob Seisenegger

Archduchess Maria, Duchess of Jülich-Cleves-Berg, daughter of Emperor Ferdinand I, with her eldest daughter Maria Eleonore, circa 1555.
Archduke Ferdinand II, son of Ferdinand I, as the Governor of the Lands of the Bohemian Crown, 1548.
Archduchess Anna, daughter of Ferdinand I, later Duchess of Bavaria, circa 1545.
Archduke Ferdinand II as a boy, circa 1540.
Holy Roman Emperor Charles V, elder brother of Ferdinand I, 1532.
The first three children of Ferdinand I: Archduchess Elisabeth, later Queen Consort of Poland and Grand Duchess of Lithuania, at the age of four, 1530.
Archduke Maximilian, later Holy Roman Emperor, at the age of three, 1530.
Archduchess Anna at the age of two, 1530.
Vratislav Pernštejn, close friend of Holy Roman Emperor Maximilian II, 1558.
Portrait of a girl, circa 1545-50.
The first three sons of Ferdinand I: Maximilian II, Ferdinand II, and Johann, 1539. (The last died that same year, a month short of his first birthday.)
Portrait of a Military Man, circa 1540.
Archduke Maximilian, future Holy Roman Emperor, and his sister Archduchess Elizabeth, 1537.
Archduke Maximilian, future Maximilian II, Holy Roman Emperor, circa 1545.
Bohemian chancellor to Ferdinand I, Adam I von Neuhaus, 1529.
Adam I von Neuhaus and his wife Anna von Rosental, 1529.
Anna von Rosental, 1529.
Archduchess Eleonora, daughter of Ferdinand I, later Duchess of Mantua, at the age of two, 1536.
Portrait of a Man, 1540.


Jakob Seisenegger (circa 1504-5 - 1567, Linz), Austrian portrait painter. In 1531 he was appointed court painter to Ferdinard I, King of Bohemia, Hungary, and Croatia, at Augsburg; he would receive commissions from other members of the Habsburg family as well. He also traveled widely, working in Italy, the Netherlands, and Spain, as well as in various cities in central Europe, including Innsbruck, Prague, and Vienna. A painter of modest talent, his importance derives from his influential development of the full-length portrait. His best-known work in that format is the portrait of Charles V, completed in 1532, which served as the model for Titian's much more famous version which today resides in the Prado.

Titian's 1533 portrait of Charles V, taken from Seisenegger's painting of the year before.

Friday, November 8, 2019

Random JC... because, why not...?


Photographs by Hurrell, Eugene Robert Richee, Ruth Harriet Louise, Dan Ryan, and others.

Sunday, November 3, 2019

When the bright clouds descend - selected paintings of Lars Hertervig


Lars Hertervig (16 February 1830, Borgøy – 6 January 1902, Stavanger), Norwegian painter, his later, semi-fantastical work, based on views of the coastal landscape of Southwest Norway, is regarded as among the most significant in the history of Norwegian painting.

Detail of the above. (Two images.)

The son of a poor Quaker farmer, he was born on the island of Borgøy in Tysvær on the southwest coast of Norway, though his family soon moved to Stavanger. He demonstrated artistic talent at an early age and, thanks to the generosity of wealthy citizens who recognized his ability, he was given the opportunity to study both in the capital and abroad. From 1850 he studied at the Royal Drawing School in Christiania (now Oslo). And two years later, at the age of twenty-two, he traveled to Düsseldorf, where he studied at the Arts Academy, receiving private lessons from the Norwegian romanticist painter Hans Gude; he developed quickly as a landscape painter, his work typical of the Düsseldorf school. 


After little more than a year in Düsseldorf, though, he experienced a mental breakdown. He became abnormally suspicious of colleagues and began to experience hallucinations. By the following year his health had deteriorated so much that he was forced to return to Norway where, two years later, he was voluntarily committed to Gaustad psychiatric asylum on the outskirts of Christiania. He was very unhappy there, though, and it seems the institution didn't have an appropriate treatment plan, and so he was sent home in the spring of 1858.


In the meantime, the financial support of his wealthy patrons ceased and he was now forced to depend on the welfare of others. He eventually moved back to his birthplace, the island of Borgøy, where he lived with his uncle up until 1865. For the next two years, though, he somehow had the means to acquire oil paints and relatively large canvases; most of his best known work was produced during this brief period.


There is very little information about his life from the end of the 1860s until his death. However, it's known that he spent his last years in Stavanger and that his financial situation became increasingly more difficult. Even though it appears there were many who offered assistance, he was determined to manage on his own and refused their help. Aside from painting, he worked odd jobs, decorated furniture, and exchanged images for everyday goods. As he no longer could afford oil paints and canvas, from 1867 until his death he only produced work in watercolor and gouache, using paper never meant for painting: tobacco paper, wrapping paper, sometimes using scraps - wallpaper, newspaper, packing material - glued together with homemade rye flour paste; for some of these, he incorporated the obvious seams between the various materials as part of the composition.


He died a few weeks short of his seventy-second birthday. His artistic breakthrough was posthumous, coming at the 1914 Jubilee Exhibition in Christiania, twelve years after his death. More recently, there have been a documentary film, a novel and its sequel, and two operas written about his life.

1867. (Detail of above.)


Self-portrait. ND.