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| The Concert, by Gerrit van Honthorst, 1624. |
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| Réunion de musiciens, by André Bouys, circa 1710. The seated figures are thought to be Antoine Forqueray, Michel de la Barre, and Jacques-Martin Hotteterre. |
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| Portrait d'Irma Sèthe, by Théo van Rysselberghe, circa 1894. |
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| Musical Company, by Jan van Bijlert, circa second quarter of the seventeenth century. |
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| Two Musicians, by Robert Lee MacCameron, circa 1910. |
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| Two Musicians, unknown Dutch painter (an "Utrecht Caravaggist"), circa second quarter of the seventeenth century.. |
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| Wall painting from the Etruscan "Tomb of the Lionesses" at Tarquinia, circa 530-520 BCE. |
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| Three Young Musicians, by Antoine Le Nain, circa 1630. |
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| Napolitaanse muzikant, by Johannes Baeck, circa 1635-40. |
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| Un homme tenant une lyre et une femme tenant une partition dans un interieur, by Marguerite Gérard, circa 1820s. |
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| Un concerto, by Lorenzo Costa, circa 1485-1495. |
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| Three Musicians, by the Master of the Female Half-Lengths, circa 1530. |
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| Marie Sethe at the Harmonium, by Théo van Rysselberghe, 1891. |
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| Portrait of a Musician Playing a Bagpipe, Netherlandish School, 1632. |
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| Musicians, by Wouter Pietersz. Crabeth II, circa 1626-44. |
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| A group of seven female musicians seated under a canopy, by Shiva Lal, 1865. |
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| Two paintings by Peter Kraemer II, circa 1880-1920. |
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| Gentleman with a Clarinet. |
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| Gentleman with a Flugelhorn. |
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| The Musician, by Bartholomeus van der Helst, 1662. |
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| Group portrait with the singer Farinelli, by Jacopo Amigoni, circa 1750-52. |
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| Poet and librettist Pietro Metastasio and the soprano Teresa Castellini. |
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| The famous castrato Farinelli (the stage name of Carlo Maria Michelangelo Nicola Broschi) and a self-portrait of the artist, Jacopo Amigoni. The score of the canzonet is a setting of "La Partenza" by Metastasio, the music apparently rewritten by Farinelli; the singer's initials are at the top of the page. |
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| Farinelli's dog - the dog's collar bears his initials - and his page boy dressed in a hussar's uniform. |
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| A young shepherd wearing a crown of laurel leaves and holding a recorder, attributed to Valentin de Boulogne, circa 1620-25. |
I don't particularly like Marie Sethe at the Harmonium and Portrait d'Irma Sèthe; those two suggest that the women musicians are weak. But most of the other paintings are great - the musicians are enjoying themselves, playing strongly, dressed beautifully and handling quality instruments.
ReplyDeleteI would like to buy the André Bouys, c1710 - do you know where the painting is?
Such an interesting comment, Hels, that you think the two paintings make the women appear weak. Is it something about the poses? Or is it maybe van Rysselberghe's pointillist technique that you feel over-softens the image?
DeleteThe Bouys group is in the collection of the National Gallery in London.