Entry of Christ into Jerusalem (van Dyck)
Entry of Christ into Jerusalem is a 1617 oil painting by Flemish artist Anthony van Dyck, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts Jesus entering Jerusalem as described in the Gospels, the event celebrated on Palm Sunday, van Dycks presentation of Jesus entry into Jerusalem is quite consistent with the biblical accounts. The ass foal he rides is almost entirely enveloped by his robes of rich blue and he is surrounded by his disciples on foot, and jubilantly welcomed by a crowd of locals who lay branches in his path. It is a youthful, vigorous work, full of bright colors. The restlessness and muscularity of the figures are very Baroque, the naturalism and large size of figures gives them tremendous immediacy, lending drama to the narrative. Painted when van Dyck was only about 18, Entry of Christ into Jerusalem demonstrates his mastery of the medium. He was already Peter Paul Rubens principal assistant, while already working on developing his own, more robust style, van Dyck was heavily influenced by Rubens, as can be seen in the vibrant colors, dynamic composition, and grand scale.
From November 2012 to March 2013, this painting was on display at the Prado as part of an exhibit called The Young van Dyck, covering his output from ages 16 to 22, this exhibit collected some 90 artworks from when he resided in Antwerp. This tally included 30 large, ambitious artworks like Entry of Christ into Jerusalem and this particular work, was noted as one of his most experimental, as the young artist sought to heighten the visual impact of his works. Entry of Christ into Jerusalem was purchased by Mr. and Mrs. Herman C, krannert in 1958 as a gift for the Herron School of Art, which evolved, in part, into the IMA. It is currently on view in the William C, griffith Gallery and has the accession number 58.3. Triumphal entry into Jerusalem Entry of Christ into Jerusalem IMA page
Smarthistory is a free resource for the study of art history created by art historians Beth Harris and Steven Zucker. Smarthistory is an independent not-for-profit organization and the partner to Khan Academy for art history. In addition to its focus on courses in art history, Smarthistory supports the art history Advanced Placement course. Smarthistory provides essays, video and links to resources for each of the 250 works of art. Smarthistory has published 1500 videos and essays on art and cultural history from the Paleolithic era to the 21st century that include the art of Africa, the Americas, Asia and Oceania. Smarthistorys essays have been contributed by more than 200 art historians, videos are unscripted conversations between experts recorded on location in front of the original work of art or architecture. According to the Smarthistory about page, We are interested in delivering the narratives of art using the read-write webs interactivity and capacity for authoring and remixing. Publishers are adding multimedia to their textbooks, but unfortunately they are doing so in proprietary, Smarthistory won the Webby Award for Education in 2009.
The Samuel H. Kress Foundation gave them a $25,000 grant for development in 2008, in an article in the Brooklyn New York Daily News, staff writer Elizabeth Lazarowitz quotes Steven Zucker, Art can be really intimidating for people, said Zucker. If we can make art feel exciting and interesting and very relevant to a historical moment. art can have real meaning. Unlike reading about art in a book, the idea of the audio was to keep a students eyes on the image and it helped students to learn the material a lot better. And for college students, the site is fast becoming an alternative to the commercial textbook whose short life cycle. We thought that that would make them relevant and more engaging for students
Anthony van Dyck
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, the Van Dyke beard is named after him. Antoon van Dyck was born to parents in Antwerp. By the age of fifteen he was already an accomplished artist, as his Self-portrait, 1613–14. He was admitted to the Antwerp painters Guild of Saint Luke as a master by February 1618. His influence on the young artist was immense, Rubens referred to the nineteen-year-old van Dyck as the best of my pupils. At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. After about four months he returned to Flanders, but moved on in late 1621 to Italy and he was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artists colony in Rome, says Giovan Pietro Bellori, by appearing with the pomp of Zeuxis.
He was mostly based in Genoa, although he travelled extensively to other cities. In 1627, he went back to Antwerp where he remained for five years, a life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, like Rubens, well able to mix in aristocratic and court circles, by 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he produced many religious works, including large altarpieces. King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the collection that the Gonzagas of Mantua were forced to dispose of. In 1626, he was able to persuade Orazio Gentileschi to settle in England, to be joined by his daughter Artemisia and some of his sons. Rubens was a target, who eventually came on a diplomatic mission, which included painting, in 1630.
He was very well-treated during his visit, during which he was knighted
Charles I with M. de St Antoine
Charles I became King of Great Britain and Ireland in 1625 on the death of his father James I, and van Dyck became Charless Principal Painter in Ordinary in 1632. This portrait is dated 1633, and was the first equestrian portrait of Charles I painted by van Dyck, the prime version is in the Royal Collection and hangs in the East Gallery at Buckingham Palace. Charles is depicted as a knight and sovereign riding a large, muscular white horse – possibly a Lipizzaner – under a neoclassical triumphal arch. He is clad in armour with the blue sash of the Order of the Garter. To the right stands his riding master, Pierre Antoine Bourdon, the painting is oil on canvas and measures 3.68 ×2.7 metres. It may have intended as a theatrical tromp loeil flourish at the end of the Kings Gallery in St Jamess Palace. It was valued at £150 and included in the auction of the Royal Collection following the execution of Charles I and it was sold to Pope on 22 December 1652 and subsequently acquired by the Flemish painter Remigius van Leemput who lived in London.
It was recovered from van Leemput through legal proceedings and returned to Charles II in 1660 upon the Restoration of the Monarchy, the painting remains in the Royal Collection and is on display in the East Gallery at Buckingham Palace. Van Dyck painted different versions of this portrait, the prime version is in the Royal Collection. Another version is a 1635 copy in the collection of the Earl of Carnarvon, although Van Dyck had not seen this work, it would have been seen by Charles I and probably inspired the commission. Van Dyck went on to paint a dismounted Charles I at the Hunt in c.1635, and the Equestrian Portrait of Charles I in c
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa.
After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Charles I in Three Positions
Painted in 1635 or 1636, it is currently part of the Royal Collection. The colours of the costumes and pattern of the collars are different in each portrait. The painting was sent to Rome in 1636 to be used as a work for the Italian sculptor Gian Lorenzo Bernini to create a marble bust of Charles I. Pope Urban VIII sent the bust to Charless queen Henrietta Maria in 1638 in the hope of encouraging a reconciliation of the Roman Catholic Church with the Church of England, the bust was presented in 1637 and admired for its workmanship and likeness to the King. Charles rewarded Bernini with a diamond ring. Queen Henrietta Maria commissioned Bernini to make a companion bust of her, the bust of Charles was sold at the end of the English Civil War but recovered for the Royal Collection on the Restoration, only to be destroyed by a fire in Whitehall Palace in January 1698. The painting remained in the possession of Bernini and his heirs in the Bernini Palace on the Via del Corso until c,1802, when it was sold to British art dealer William Buchanan and returned to England.
It was exhibited at the British Gallery in 1821 and acquired for the Royal Collection in 1822 and it is thought that the painting was influenced by Lorenzo Lottos Portrait of a Man in Three Positions, c. 1530, in the Royal Collection, in its turn, Van Dycks portrait of Charles I may have influenced Philippe de Champaignes Triple portrait of Cardinal de Richelieu, c. Many copies of the work were made, possibly by supporters of the royal House of Stuart, including one created around 1750 and now in the collection of the Victoria, notes on Pictures in the Royal Collections-XIII. The Triple Portrait of Charles I by van Dyck, and the Bust by Bernini, Lionel Cust, The Burlington Magazine for Connoisseurs, Vol.14,72, pp. 337–341 Robert van Voerst, Portrait bust of Charles I, an engraving, British Museum
A page or page boy is traditionally a young male servant, but may have been used for a messenger at the service of a nobleman. The origin of the term is uncertain, but may come either from the Latin pagus, a page boy is often used as a symbolic attendant during wedding ceremonies to carry the rings, a role comparable to the scattering of flower petals by flower girls. In medieval times, a page was an attendant to a nobleman or a knight, until the age of about seven, sons of noble families would receive training in manners and basic literacy from their mothers or other female relatives. Upon reaching seven years old, a boy would be sent to the castle and this would match the age at which apprenticeships or servants employment would be entered into by young males from lower social classes. A young boy served as a page for about seven years, running messages, cleaning clothing and weapons and he might be required to arm or dress the lord to whom he had been sent by his own family. Personal service of this nature was not considered as demeaning, in the context of shared noble status by page and it was seen rather as a form of education in return for labour.
While a page did not receive reimbursement other than clothing and food, in return for his work, the page would receive training in horse-riding, hunting and combat - the essential skills required of adult men of his rank in medieval society. Less physical training included schooling in the playing of instruments, the composition and singing of songs. They learned courtly manners and, in attending to the needs of their master, at age fourteen, the young noble could graduate to become a squire, and by age 21, perhaps a knight himself. These boys were often the scions of other families who were sent to learn the ways of the manorial system by observation. Their residence in the served as a goodwill gesture between the two families involved and helped them gain social and political contacts for their adult lives. A reference to this kind of page is found in the Christmas carol Good King Wenceslaus, Hither and this type of page is almost unheard of today outside of royal residences, although the functions and status of legislative pages are a clear continuation of the earlier role.
Until the early 20th century boys of humble background might gain a place in a great house. According to the International Butler Academy, these pages were apprentice footmen, unlike the hall boys, who did heavy work, these pages performed light odd-jobs and stood in attendance wearing livery when guests were being received. During and following the Renaissance it became fashionable for black boys and young men to be decorative pages, placed into fancy costumes and attending fashionable ladies and this custom lasted for several centuries and the African page became a staple accoutrement of baroque and rococo style. Valentine Nwanze played an African page attending James Graham, Marquess of Montrose in the film Rob Roy, the fictional manservant of an opera diva, is cast as her African page in A Nut at the Opera by Maurice Vellekoop. Decorative pages feature in a drawing room scene in Persuasion, while the traditional pages are rare in the modern private workforce, US television network NBCs page program is a notable example of contemporary workplace pages.
Page of Honour Page Slave collar
A cavalier hat is a variety of wide-brimmed hat popular in the seventeenth century. These hats were made from felt, and usually trimmed with an ostrich plume. They were often cocked up or had one side of the brim pinned to the side of the crown of the hat which was decorated with feathers. Cavalier hats get their name from supporters of King Charles I during the English Civil War, known as cavaliers and it was a common hat style throughout Europe during the seventeenth century, until it was replaced in fashion by the tricorne