How is the painting 'The Militia Company Of Captain Frans Banning Cocq' better known?
"Frans Banninck Cocq Frans Banninck Cocq (sometimes incorrectly spelled as Banning) (1605–1655) was a burgemeester (mayor) of Amsterdam in the mid-17th century. He is best known as the central figure in Rembrandt's masterpiece ""The Night Watch"". Frans was the son of Jan Jansz Cock, a local pharmacist in the Warmoesstraat and Lysbeth Frans (Banninck). He was baptized on 27 February 1605 in the nearby Old Church. As his parents were not married, it caused a scandal, but on 17 September of the same year they went to the townhall to notice the marriage. Both were related to Cornelis Hooft. Frans,"
"paintings but if indeed it had a name, the more correct one would be ""The Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch"". The painting is notable, among other things, for its huge size: approximately 3.35 m x 4.26 m (11 ft by 14 ft). Banninck Cocq is also depicted in the Bartholomeus van der Helst portrait of The Governors of the Longbow Civic Guards, 1653, now in the Amsterdam Museum. Frans Banninck Cocq was buried on 6 January 1655; his tomb chapel is located in the Oude Kerk. Frans Banninck Cocq Frans Banninck Cocq (sometimes incorrectly"
"Meagre Company The Meagre Company, or The company of Captain Reinier Reael and Lieutenant Cornelis Michielsz Blaeuw, refers to the only militia group portrait, or ""schutterstuk"", painted by Frans Hals outside of Haarlem, and today is in the collection of the Amsterdam Museum, on loan to the Rijksmuseum, where it is considered one of its main attractions of the ""Honor Gallery"". Hals was unhappy about commuting to Amsterdam to work on the painting and, unlike his previous group portraits, was unable to deliver it on time. The sitters contracted Pieter Codde to finish the work. Hals was originally contracted in"
"and shadow (tenebrism) and the perception of motion in what would have traditionally been a static military group portrait. The painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd: the two gentlemen in the centre (from whom the painting gets its original title),"
"group portraits for other Amsterdam municipal organizations. Meagre Company The Meagre Company, or The company of Captain Reinier Reael and Lieutenant Cornelis Michielsz Blaeuw, refers to the only militia group portrait, or ""schutterstuk"", painted by Frans Hals outside of Haarlem, and today is in the collection of the Amsterdam Museum, on loan to the Rijksmuseum, where it is considered one of its main attractions of the ""Honor Gallery"". Hals was unhappy about commuting to Amsterdam to work on the painting and, unlike his previous group portraits, was unable to deliver it on time. The sitters contracted Pieter Codde to finish"
"was a common practice before the 19th century. This alteration resulted in the loss of two characters on the left side of the painting, the top of the arch, the balustrade, and the edge of the step. This balustrade and step were key visual tools used by Rembrandt to give the painting a forward motion. A 17th-century copy of the painting by Gerrit Lundens at the National Gallery, London shows the original composition. The painting was commissioned (around 1639) by Captain Banning Cocq and seventeen members of his ""Kloveniers"" (civic militia guards). Eighteen names appear on a shield, painted circa"
"The Banquet of the Officers of the St George Militia Company in 1616 The Banquet of the Officers of the St George Militia Company in 1616 refers to the first of several large schutterstukken painted by Frans Hals for the St. George (or St. Joris) civic guard of Haarlem, and today is considered one of the main attractions of the Frans Hals Museum there. Hals was in his thirties when he painted this piece, and was far from established as a portrait painter. To be safe, he based most of his design on the painting of his predecessor, Cornelis Cornelisz"
"St Adrian Militia Company in 1633"". He later became colonel for many years. In his portrait of Andries as captain, Frans Hals seems to have him talking with his brother-in-law Lieutenant Buttinga who is seated in the foreground looking up at him. Andries turns towards the viewer as if he is interrupted, and it is this informal pose which set Frans Hals apart as a painter and made him popular as a group portraitist in Haarlem. His informality was copied by later artists, such as Bartholomeus van der Helst (who was possibly his pupil). Buttinga had previously been painted three"
"exile living in Britain. His time in exile also inspired several important paintings, including: ""La Belgique indomptable"" (1916), depicting a sword-wielding allegorical female figure holding off an attacking Germanic eagle,""Les Mères"" (1919), depicting a group of mourning mothers surrounded by dead corpses of their fallen sons, and ""Sur l'Autel de la patrie"" (1918), a modern pieta depicting a female figure with the corpse of a bleeding dead soldier at her feet. His most notable work of this period is his ""Les Forces"" (completed in 1924), depicting two vast celestial armies confronting each other. The forces of light, represented on the"
"with the Ninety-fourth Infantry and the Seventy-third Infantry. At the time he left the army he held the rank of major, with the Chasseurs à Pieds. He never ceased drawing. He was known for the first time in 1872 at the art exhibition Salon de Paris, where he presented a watercolor painting called ""Intérieur de forêt"". The next year he presented the painting ""Le Vernan à Nass-sous-Sainte-Anne"". From then on he was a regular contributor to the Salon de Paris, where he presented new works with views of Toulouse, Paris, Troyes, the edges of the Seine, and some portraits. In"
"Sergeant of the Colonial Regiment (Albert Marquet) Sergeant of the Colonial Regiment is an early 20th century painting by French artist Albert Marquet. It is in the collection of the Metropolitan Museum of Art in New York city. Done in oil on canvas, the painting depicts an assistant to a quartermaster-corporal of the Troupes coloniales, the colonial French army. The painting has been cited as being one of Marquet's few portraits and an example of the influence of Fauvism in his work. In addition to the painting in the collection of the Met, a second copy of the work is"
"as part of a First World War commemorative set. The Kensingtons at Laventie The Kensingtons at Laventie is a large oil painting on glass by Eric Kennington completed in 1915 that depicts a First World War platoon of British troops. The group depicted was Kennington's own infantry platoon; Platoon No 7, C Company, the 1/13th (County of London) Battalion, London Regiment (Kensington), who were commonly known as the Kensingtons. Kennington completed the painting having been invalided out of the British Army due to wounds suffered on the Western Front in early 1915. The painting is Kennington's most famous work. It"
"familiar, vernacular manner rather than in an idealized, Davidian fashion; he was just twenty when he exhibited the ""Taking of an Entrenched Camp"" a work which was distinguished by a good deal of character. Some other of his paintings that represent French soldiers in a more direct, less idealizing style, include ""Dog of the Regiment"", ""Trumpeter's Horse"", and ""Death of Poniatowski"". He gained recognition during the Bourbon Restoration for a series of battle paintings commissioned by the duc d'Orleans, the future King Louis-Philippe. Critics marvelled at the incredible speed with which he painted. Many of his paintings made during this"
"1881, after the army offered him the rank of commandant, he resigned to devote himself exclusively to painting. He took up residence in Paris. His works from this period represent mainly scenes of military life that allowed him to forge a reputation. Jeanniot established himself permanently in 1882 and obtained his first award the following year (medal third class of the Salon de Paris) with his ""les Flanqueurs"" (1883, Musée du Luxembourg). In 1886, ""La ligne de feu, souvenirs de la bataille de Rezonville"", remembering the Battle of Mars-La-Tour (Museum of Pau), assured his notoriety. From then on, he started"
"on display at the Musée des Beaux-Arts in Bordeaux, France. The painting is on view at the Metropolitan Museum of Art in Gallery 962. Sergeant of the Colonial Regiment (Albert Marquet) Sergeant of the Colonial Regiment is an early 20th century painting by French artist Albert Marquet. It is in the collection of the Metropolitan Museum of Art in New York city. Done in oil on canvas, the painting depicts an assistant to a quartermaster-corporal of the Troupes coloniales, the colonial French army. The painting has been cited as being one of Marquet's few portraits and an example of the"
"feast) 1899, and the picture by which he is now best known, 'Les Disciples Pierre et Jean courant au sépulchre le matin de la Résurrection', 'The Disciples Peter and John running to the sepulchre on the morning of the Resurrection' 1898, which is in the Musée d'Orsay, Paris. At the start of the 20th century he was at the height of his fame and he and other artists contributed to the ceiling of the now famous ""Train Bleu"" buffet in the Gare de Lyon, Paris, that at the time was major part of the new building work to mark the"
"and ""The Cannonade of Chios"". The latter, the only surviving painting by van Beecq of which a contemporary documentary record exists, is now in the collection of Musée de la Marine in Paris. The king also owned van Beecq's painting of the bombardment of Genoa by Admiral Dusquesne in 1684; two versions were painted, though neither is known today. Surviving correspondence shows that drawings by eyewitnesses of the bombardment were gathered by government officials as source material to supply to van Beecq, to ensure the accuracy of his representation. A large engraving on two plates was made after the painting"
"Musée des Beaux-Arts de Rouen), which won that year's prestigious Prix du Salon. There followed ""La Jacquerie"" (1885; Untraced), ""Le mort de Babylone (The fall of Babylon)"" (1891; Untraced), ""The death of the Emperor Geta"" (1899; Musée de Picardie, Amiens), and ""Barbarian ambassadors at the Court of Justinian"" (1907; Untraced), all of which exemplify his strong and spirited but sensational and often brutal painting. In quite another style and beautiful in color is his """" (1894; Musée d’Orsay, Paris; RF 898). He was elected an Officer of the Legion of Honor in 1892 and received the medal of honor in"
"of Concord, Massachusetts, which was unveiled April 19, 1875, on the centenary of the Battle of Lexington and Concord. He soon established his own studio, first in Washington, DC, moving later to Boston and then to New York City. French's reputation grew with his ""Statue of the Republic"" for the World's Columbian Exposition of 1893, in Chicago. Other memorable works by French include: the ""First Division Monument"" and the ""Butt-Millet Memorial Fountain"" in Washington; ""John Harvard"", Cambridge, Massachusetts; bronze doors for the Boston Public Library; and ""The Four Continents"" at the US Custom House, New York (now the Alexander Hamilton"
"the narrow rear entrance, which is perhaps how some of them were damaged. Today all of the schutterstukken that once hung here have been transferred to the Frans Hals Museum. The Officers of the St George Militia Company in 1639 The Officers of the St George Militia Company in 1639 refers to the last and largest schutterstuk painted by Frans Hals for the St. George (or St. Joris) civic guard of Haarlem, and today is considered one of the main attractions of the Frans Hals Museum there. In this painting over 4 meters wide, nineteen men are portrayed, each wearing"
"the French. The victory caused elation in France, compounding the interest in Egypt (often referred to as first wave of ""Egyptomania"") that Napoleon's campaign in Egypt had already generated. This interest was in turn reflected in the art of turn of the century France, producing a number of works of art centered around Napoleon's military triumphs. The outbreak of the Napoleonic Wars ensured that this focus continued, as Napoleon's continued military success into the early 19th century ensured that French artists maintained their interest in depicting French martial glory. The drawing was produced by François-André Vincent at the turn of"
"eventually led to financial difficulties and his mansion was repossessed by his creditors. He was named a knight in the Legion of Honour in 1893 and had many wealthy people among his clients; notably Cornelius Vanderbilt, who paid 100,000 francs for one of his works at the Palais de l'Industrie in 1893. He also painted many notable people in period costume; including Count Robert de Montesquiou, Madame Henriette Poincaré and General Joseph Gallieni. Toward the end of his life, he turned to religious subjects, producing a tableau of 22 paintings depicting the Passion of Christ. After his death, in 1921,"
"sold at auction by Bonhams for £2,800 in December 2007. The highest recorded price may be 13,200 euros obtained for ""Port a l'ile d'Yeu"", a large (165 x 195 cm) oil painting sold by Chayette-Cheval in France in December 2004. ""Bénézit Dictionary of Artists"" (2006). Paris: Gründ. (vol. 14) Raymond Wintz Raymond Wintz (Joseph Raimond Wintz) (1884–1956) was a Paris-born painter and engraver whose most famous paintings were of marine and coastal views in Brittany. He is best known for his painting ""The Blue Door"", which is still widely available as a poster and print. Raymond Wintz was born on"
"The Banquet of the Officers of the St George Militia Company in 1627 The Banquet of the Officers of the St George Militia Company in 1627 refers to a schutterstuk painted by Frans Hals for the St. George (or St. Joris) civic guard of Haarlem, and today is considered one of the main attractions of the Frans Hals Museum there. In this group, each man wears a sash belonging to the color of the ""rot"", in this painting all three are represented with their flag-bearers wearing the colours Orange, white or blue. These officers were selected by the council of"
"he carried out no less than fourteen pictures representing the Passion of Christ and these were exhibited in 1847 and gained for him the Order of Leopold. His best-known picture perhaps is entitled ""Abundance"", a replica of which the artist was employed to make for Prince Albert, according to the instructions of the queen of the Belgians, Marie-Louise. He was intensely interested in the subject of mural decoration, and studied every variety of it very closely, preparing a long essay on the subject and a series of paintings representing the Beatitudes, in order to exemplify his ideas in this direction."
"became an active participant in the most extreme wing, the Jacobins, He supported the dissolution of the Academy of Fine Arts, and designed sets for revolutionary pageants and ceremonies. His most famous picture of the period, ""Marat Assassiné"" (1793), adapted the facial expression and the limp arm of Christ in Michaelangelo's ""Pieta"" to depict the assassinated Jacobin leader, Jean Paul Marat. When the Jacobins fell in 1794, he was imprisoned twice for several months, but then resumed an active career as a portraitist and then as court painter for Napoleon Bonaparte. When Napoleon fell and the monarchy was restored, he"
"painting represents the agitators as ferocious, crazed and moronic. At the left of the picture agents are shown bribing one of the rioters. A copy of the painting decorated one wall of the Hôtel de Ville of Paris for several years, but was burned during the fire of 1871. In 1848 Vinchon painted Louis Philippe with his company visiting the Galerie de Pierre in Versailles to see how a statue of Joan of Arc looked by torchlight. The painting is now held by the Musée National in Versailles. Vinchon became head of one of the leading printing houses in Paris,"
"Under the Sea"". He also illustrated ""Le Tour du monde"" and Guizot's ""History of France"". At the same time he painted a number of remarkable pictures: ""The Attack in the Streets of Magenta by Zouaves and the Light Horse"" (1864), ""A Zouave Sentinel"" (1865), ""The Battle of San Lorenzo"" (1867), and ""Dismounted Cavalry crossing the Tchernaia"" (1869). In these he showed peculiar insight into military life. His full power was reached after the Franco-Prussian War of 1870–71. The long-term French reaction was Revanchism: a deep sense of bitterness, hatred and demand for revenge against Germany, especially because of the loss"
"wars ongoing at the time of painting such as the Seven Years' War of 1756–1763 and later The American Revolutionary War, as well as earlier events such as the battles of the War of the Quadruple Alliance which took place when he was a baby. The paintings include many dramatic effects such as battles at night, the shooting of cannons and the effect of bombardments. There are, however, also less militant themes such as ships becalmed. His ""sublime depiction of the sky"" was considered especially noteworthy. Prints of his works, made among others by Pierre-Charles Canot, made them widely known."
"that he painted is pastose and burnished, less clear than it subsequently became. Later, he became more effective, displayed more freedom of hand and a greater command of effect. During this period, he painted the full-length portrait of Madame van Beresteyn (Louvre) and a full-length portrait of Willem van Heythuyzen leaning on a sword. Both these pictures are equalled by the other ""Banquet of the Officers of the St George Militia"" (with different portraits) and the ""same militia in 1627"" and ""Banquet of the Officers of the St Hadrian Militia"" of 1633. A similar painting with the date of 1639"
"Howe's action, or the Glorious First of June"" (exhibited 1795) and other large naval pictures were commissioned to commemorate British naval victories, many of them ending up soon afterwards in the Greenwich Hospital Gallery (in whose successor, the National Maritime Museum, they still remain). His finest work was the ""Destruction of the Armada"". He also painted the ""Great Fire of London"" and several historical works, including the ""Attack of the Combined Armies on Valenciennes"" (1793). He was interested in the industrial revolution and his 1801 painting ""Coalbrookdale by Night"" shows iron foundries at work. Seven of his paintings, including ""Lodore"
"he began painting again, for the first time in five years. It was then that he completed his best known work, depicting the death of Gaius Gracchus; an allusion to the suicide attempt made by Gracchus Babeuf after hearing his death sentence. When the painting was shown at the Salon in 1798, no one dared to say the name ""Gracchus"". In 1799, he joined the , a Neo-Jacobin organization, and painted ""The Siege of Sparta"", a call-to-arms to defend the Republic. Later, he became a suspect in the Conspiration des poignards, an alleged plot to assassinate Napoléon that was apparently"
"1883), views of ports or ships (mainly three-masted and tartanes). He also produced illustrations of important events (The capture of Sfax, 1882, President Carnot embarking aboard the Formidable 1890), watercolors of historic ships (Le Soleil Royal, Royal Louis) and lithographs of warships: The Marengo, The Ocean, Le Suffren and L'Epervier). Many of his marine paintings were entrusted to the National Museum of the Navy in 2002, where, after a long and meticulous restoration campaign, they were studied, classified, inventoried, restored and photographed. Most of them are currently held in the Marine Museum's reserves at Chaillot, and will be transferred in"