William Hogarth - The enraged musician 1741

William Hogarth 1697-1764

William Hogarth - The enraged musician 1741

The engraving (according to Paulson, this is the third state) is related to a monochrome oil sketch in the Ashmolean Museum, Oxford, from which however it differs in several details. The print was published as a companion to the ‘Distressed Poet’, the original of which is in the City Museum and Art Gallery, Birmingham. When advertising its publication in the press in November 1740, Hogarth promised that the set would be completed with a third engraving on the theme of Painting, but this never materialised.

William Hogarth - The Strode family c.1738

William Hogarth 1697-1764

William Hogarth - The Strode family c.1738
huile sur toile-87 x 91 cm
Tate,London

Hogarth's early success as a painter was based on his exceptionally lively small-scale 'conversation pieces', or informal group portraits, which became fashionable in the 1730s. They reflected the move away from the solemn formality of the previous generation and attempted to show the sitters in easy, natural poses, in a domestic setting, engaged in everyday activities like conversation or drinking tea. The main subject here is the wealthy city magnate William Strode, seated at table with his new wife Lady Anne Cecil, his relative Col. Strode, and his tutor Dr Arthur Smyth, later Archbishop of Dublin. The paintings on the wall are reminders of their recent tour of Italy. On the floor is the tea caddy.

CONVERSATION PIECE

A conversation piece is an informal group portrait popular in the eighteenth century, small in scale and showing people – often families, sometimes groups of friends – in domestic interior or garden settings

Sebastien Stoskopff

Sebastien Stoskopff ( Strasbourg 1597 - Idstein Hesse 1657)

Sébastien Stoskopff (1597-1657), Baquet avec carpe, brasero avec artichaut et piverts,

huile sur toile - 54,5 x 72,8 cm

Bâle, Kunstmuseum

• Glutherd mit Artischocke, Grünspechte und Wasserzuber mit Karpfen

Brazier with Artichoke, Woodpeckers and Watertub with Carp
Braséro à l'artichaut, avec piverts et carpe dans un baquet

Van Dyck - Double portrait

Van Dyck 1599-1641 (42 ans)

Van Dyck - Thomas Killigrew and William,Lord Crofts,1638.

huile sur toile - 132,9 x 144 cm

Buckingham Palace

Van Dyck - Lord John Stuart et son frère Lord Bernard Stuart vers 1638.

huile sur toile

National Gallery,London

 Lord John and Lord Bernard Stuart, sons of the third Duke of Lennox, were killed fighting in the civil war in 1644 and 1645 respectively. They had participated in the European culture promoted by Charles I, posing for this painting just before a proposed Grand Tour. They were in their 20s when they died - and in their teens in this painting.

Inspirations and influences: Gainsborough made a copy of this painting, and Sir Joshua Reynolds was also influenced by Van Dyck's hyperbole. In reaction against this kind of glamour portrait, Oliver Cromwell insisted, when he posed for an official image, that it be plain and accurate, warts and all.

Jan Jansz. Treck - Vanité

Jan Jansz. Treck 1606-1652

peintre de natures mortes du siècle d'or hollandais ( Gouden Eeuw )

Jan Jansz. Treck - vanitas still life,1648.

huile sur bois -90 x 78 cm

The national Gallery,London

Museum of Fine Arts,Budapest

museo Thyssen Bornemisza

Picasso - Nu sur fond rouge

Picasso 1881-1973

Picasso - Nu sur fond rouge,1906.

huile sur toile - 81x 54 cm

Musée de l'Orangerie,Paris

Van Gogh -Les Cypres,1889.

Van Gogh 1853-1890

Van Gogh -Cypres,1889.

huile sur toile - 93 x 74 cm

The Met,New York

Cypresses was painted in late June 1889, shortly after Van Gogh began his yearlong stay at the asylum in Saint-Rémy. The subject, which he found "beautiful as regards lines and proportions, like an Egyptian obelisk," both captivated and challenged the artist: "It’s the dark patch in a sun-drenched landscape, but it’s one of the most interesting dark notes, the most difficult to hit off exactly that I can imagine." One of two close-up views of the "very tall and massive" trees in a vertical format (the other is in the Kröller-Müller Museum, Otterlo), Cypresses was shown in the 1890 Salon des Indépendants.

Van Gogh -Champ de blé avec cypres,1889.

huile sur toile - 73 x 93 cm

The Met,New York

Cypresses gained ground in Van Gogh’s work by late June 1889 when he resolved to devote one of his first series in Saint-Rémy to the towering trees. Distinctive for their rich impasto, his exuberant on-the-spot studies include the Met’s close-up vertical view of cypresses (49.30) and this majestic horizontal composition, which he illustrated in reed-pen drawings sent to his brother on July 2. Van Gogh regarded the present work as one of his “best” summer landscapes and was prompted that September to make two studio renditions: one on the same scale (National Gallery, London) and the other a smaller replica, intended as a gift for his mother and sister (private collection).