"Who painted ""The Binding Of Samson"" (1636) and ""Jacob Blessing The Sons Of Joseph"" (1656)?"
"and solemn”. Jacob Blessing the Sons of Joseph Jacob Blessing the Sons of Joseph is a 1656 oil painting by Dutch artist Rembrandt van Rijn. It is said to have almost “a sculptural surface with a translucent glaze over paint”. This piece is housed in the Gemäldegalerie Alte Meister in Kassel, Germany. ""Jacob Blessing the Sons of Joseph"" shows a scene from the Old Testament book of Genesis, Chapter 48. In this scene, Joseph brings his two sons (Manasseh and Ephraim) to his dying father Jacob so that they can receive the family blessing. According to tradition, the eldest son"
"The Vision of the Blessed Hermann Joseph The Vision of the Blessed Hermann Joseph or The Mystical Engagement of the Blessed Hermann Joseph to the Virgin Mary is a 1629-30 painting by the Flemish Baroque painter Anthony van Dyck. The painting depicts Hermann Joseph, a Premonstratensian canon and priest from the Cologne region. He had a devotion to the Virgin Mary and according to legend had several visions of her during his lifetime - the painting shows one of these, in which he was joined in a mystic marriage to her and received the name 'Joseph' after her spouse Saint"
"church. The Vision of the Blessed Hermann Joseph The Vision of the Blessed Hermann Joseph or The Mystical Engagement of the Blessed Hermann Joseph to the Virgin Mary is a 1629-30 painting by the Flemish Baroque painter Anthony van Dyck. The painting depicts Hermann Joseph, a Premonstratensian canon and priest from the Cologne region. He had a devotion to the Virgin Mary and according to legend had several visions of her during his lifetime - the painting shows one of these, in which he was joined in a mystic marriage to her and received the name 'Joseph' after her spouse"
"chose painting over engraving and smithwork is possibly related to the high regard that the artists of Amsterdam had for this memorial cup. Van Eeckhout drew it with variations as one of several examples in a print book published by Cornelis Danckert. Van Eeckhout is also known for using the cup again, in at least four other paintings: Isaac Blessing Jacob (Gerbrand van den Eeckhout) Isaac Blessing Jacob is a 1642 religious painting by Gerbrand van den Eeckhout. It shows Jacob kneeling at the bed of his blind father Isaac under the watchful eye of his mother Rebecca as he"
"Samson and Delilah (Rubens) Samson and Delilah is a painting by the Flemish Baroque painter Peter Paul Rubens (1577–1640) which is currently on display in the National Gallery. It dates from about 1609 to 1610. Two preliminary copies of the painting also exist today: an ink and wash drawing on paper, and an oil sketch on wood panel. The oil sketch is currently on display in the Cincinnati Art Museum, while the ink sketch is being held in a private collection in Amsterdam. The painting depicts an episode from the Old Testament story of Samson and Delilah (Judges 16). Samson"
"Isaac Blessing Jacob (Gerbrand van den Eeckhout) Isaac Blessing Jacob is a 1642 religious painting by Gerbrand van den Eeckhout. It shows Jacob kneeling at the bed of his blind father Isaac under the watchful eye of his mother Rebecca as he receives his brother Esau's blessing. It is in the collection of the Metropolitan Museum of Art. The painting shows the biblical story quite literally, with Jacob wearing his older brother's ""best jacket"" (which is too large) and his hands and neck have been covered in goatskin. On his back is a hunting quiver of arrows, but on the"
"of the biblical story captured in the painting. Rembrandt painted the picture soon after the death of his beloved wife Saskia, and perhaps its subject is associated with his own feelings. The Hermitage contains other works by Rembrandt such as Flora (1634), Descent of the Cross (1634), The Sacrifice of Isaac (1635), Holy Family with Angels (1645) and The Return of the Prodigal Son (1668-1669). David and Jonathan (Rembrandt) David and Jonathan is a painting by the Dutch painter Rembrandt, made in 1642, now in the collection of the Hermitage Museum in Saint Petersburg, Russia. Painted on oak, It is"
"were favored, as were tronies. In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame. In 1629 he completed ""Judas Repentant, Returning the Pieces of Silver"" and ""The Artist in His Studio"", works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter. During his early years in Amsterdam (1632–1636), Rembrandt began to paint dramatic biblical and mythological scenes in high contrast and of large format (""The Blinding of Samson"", 1636, ""Belshazzar's Feast"", c. 1635"
"the Academy. His subsequent works at the Society of British Artists included ""The Sons of Jacob bringing the blood-stained garment of Joseph to their Father"", 1844; ""Salute, Signore"", 1845; ""A Girl of Sorrento at a Well"", 1847; ""Inhabitants of the Palace of the Cæsars—Rome in the Nineteenth Century"" 1850; ""Columbus asking Alms at the Convent of La Rabida"" 1853; ""The Last Sigh of the Moor"" (or ""Boabdil el Chico, mourning over the Fall of Granada, reproached by his Mother""), 1854; and ""Margaret of Anjou and Edward, Prince of Wales, in the wood on their flight after the Battle of Hexham"","
"of tapestries), Guido Reni (""Crucifixion"", today in the St. Stanisław's Church in Rome; ""Massacre of the Innocents"", Lviv Gallery of Art), Peter Paul Rubens (""Christ among the Pharisees""), Federico Barocci (""Deposition"", Lviv Gallery of Art). In 1716 he was awarded by the Accademia for two of his drawings, ""Samson vanquishing the lion"" and ""Victorious return from the expedition"". While still in Rome he painted some altar paintings for churches in Poland – ""Vision of St. Anthony"", ""The Descent from the Cross"", ""Protection of the Mother of God over Kraków"" for the Piarists Church in Kraków (1729) and ""Assumption of the"
"Samson and Delilah (Rembrandt) Samson and Delilah is a 1629–1630 painting by Rembrandt, now in the Gemäldegalerie, Berlin. It is first recorded in Frederick Henry of Orange's collection in the Hague in 1632 and passed down through the family until Huis Honselaarsdijk and its contents were bequeathed to Frederick I of Prussia on the death of William III of Orange. Frederick's son Frederick the Great probably moved the painting to Berlin in 1742. It was mentioned in the inventory of the Berlin Stadtschloss in 1793 as a work by Govert Flinck - it remained there until moving to its present"
"The Holy Infants Embracing The Holy Infants Embracing is a lost painting attributed to Leonardo da Vinci. It represents the infant Christ embracing his cousin John the Baptist. The subject matter relates to the two paintings of the ""Virgin of the Rocks"" by Leonardo and numerous other Renaissance works by Raphael and others of the meeting of the two children on the road to Egypt while escaping the Massacre of the Innocents. The subject of two Infants kissing was an inspirational source of quite a few (about thirty) copies of pupils and followers of Leonardo da Vinci. An early sketch"
"home in 1906. Samson and Delilah (Rembrandt) Samson and Delilah is a 1629–1630 painting by Rembrandt, now in the Gemäldegalerie, Berlin. It is first recorded in Frederick Henry of Orange's collection in the Hague in 1632 and passed down through the family until Huis Honselaarsdijk and its contents were bequeathed to Frederick I of Prussia on the death of William III of Orange. Frederick's son Frederick the Great probably moved the painting to Berlin in 1742. It was mentioned in the inventory of the Berlin Stadtschloss in 1793 as a work by Govert Flinck - it remained there until moving"
"Graces"", 1983), but this was of less importance that his historic and scriptural motifs. He painted the Christmas story (""""In dulci jubilo"""", 1991, ""The Adoration of the Magi"") and the history of Jesus' suffering (for example ""Man of Sorrows"", ""Stations of the Cross"", 1994, ""The body of Jesus taken off the cross"", 1981 and 1992 and of particular importance ""Ecce Homo"") and his resurrection and the coronation of the Eucharist (""The doubting Thomas"", 1993; ""The path to the Light"", 1998) The manner of painting shows the clear influence of such classical Dutch masters as Lucas van Leiden and Hieronymus Bosch."
"seen in Frans Fracken the Younger's painting ""Banquet at the House of Burgomaster Rockox"", where the painting is hanging above the mantlepiece. Jacob Matham, a Haarlem printmaker, used the Cincinnati oil sketch of ""Samson and Delilah"" as a modello for an engraving he made in circa 1613. The engraving is a reverse image of ""Samson and Delilah"". Samson and Delilah (Rubens) Samson and Delilah is a painting by the Flemish Baroque painter Peter Paul Rubens (1577–1640) which is currently on display in the National Gallery. It dates from about 1609 to 1610. Two preliminary copies of the painting also exist"
"and Child"" in 1611, Vasari's ""Immaculate Conception"" in 1611–12, Zuccari’s ""The Adoration of the Magi"" in 1613 and Francesco Salviati’s ""The Baptism of Christ"" in 1615. Jamie Gabarelli has pointed out that the relationship between Thomassin and Mancini was one based not only on a professional interaction but also one based on reciprocal favours, and the resulting engravings represent the earliest group of engravings to be based on works owned or handled by a single collector. Between 1608 and 1611/1612 Jacques Callot was present in Thomassin’s workshop, where he was tasked with engraving prints after well known paintings: a commercial"
"considered an example of Van Eeckhout's dependence on Rembrandt in his early years. This painting came into The Met's collection via the Collis P. Huntington bequest in 1925. It was first researched in 1990 when the provenance was documented back to the sale of Elizabeth Valckenier, née Hooft (1712–96), widow of Wouter Valckenier. It is probably the same painting that was sold at the Confrerie Pictura in The Hague on 24 April 1737 as a ""piece representing Isaac blessing his son Jacob by Gerbrand van den Eekhout"". The choice of subject by the 21-year-old son of a goldsmith who himself"
"Jacob and his sons which Francisco de Zurbarán (1598–1664) had painted in 1640. Glynde is home not only a fine portrait of the Prince-Bishop by Thomas Hudson but to the ""Apotheosis of King James I"" (1629–1630), a 37.5 x 25 inches oil-on-wood sketch Rubens (1577-1640) made as preparation for his Banqueting House (Whitehall, Westminster) ceiling scheme. With some associated sketches it has been on loan (number L79) to the National Gallery since 1981. That picture had been acquired by Bishop Trevor's elder brother, Robert (1706–83), or by one of his nephews, the 2nd and 3rd (and last) viscounts Hampden (first"
"Lights"" (2000), ""Tales of Hoffman"" (2001), and ""Psalm 85"" (2003). Swanson's images are optimistic and colorful, with a strongly humanistic feel. Swanson is perhaps best known for his biblical imagery. Combining the flat, stylized look of iconography with the bright palette and strong narrative sense of his background in Latin American folk art, pieces such as ""Daniel"" (2000), ""Good Samaritan"" (2002), and ""Washing of the Feet"" have proven popular among collectors of religious artwork around the world. Swanson's work is represented in the permanent collections of many museums, including three museums of the Smithsonian Institution: The National Museum of American"
"Baptism of Christ"", 1658), Francesco Gessi (""The Miraculous Draught of Fishes"" and ""The Expulsion from the Temple"", 1645), Giovanni Maria Galli da Bibiena (""The Ascension"", 1651), Lorenzo Pasinelli (""Entry into Jerusalem"", 1657), Domenico Maria Canuti, and the Neapolitan Nunzio Rossi (""Adoration of the Shepherds""). There are paintings of several Carthusian martyrs including the Englishmen Blessed William Exmew, Blessed Thomas Johnson, Blessed Richard Bere, and Blessed Thomas Green. Other works by Antonio and Bartolomeo Vivarini, Ludovico and Agostino Carracci, in addition to Guercino, were taken to Paris by Napoleon, and when returned to Bologna were deposited in the Pinacoteca Nazionale. The"
"carnations more of the appearance of ivory than the look of flesh"", a flaw that had been already apparent in Agnolo Bronzino. Among his best works are a ""St Sebastian""; the ""Four Evangelists"" at Florence; ""Christ Breaking the Bread""; the ; an ""Adoration of the Magi"" in the National Gallery, London; the and ""St Andrew praying before his Crucifixion"" (1646) in the Palazzo Pitti. He completed his portrait of ""Fra Ainolfo de' Bardi"", when he was only sixteen. He also painted a large altarpiece (1656) for the church of Sant' Andrea Cennano in Montevarchi. As was typical for Florentine painters,"
"he was appointed the director of the Clementine Academy. Giacomo Bolognini Giacomo Bolognini (1664–1734) was an Italian painter of the Baroque period. The nephew of Giovanni Battista Bolognini, he was born in Bologna. Married to Antonia Margherita Contoli, he had two sons, Giovanni Battista and Francesco, and four daughters, Anna, Olimpia, Rosalba and Teresa. Following tutelage under his uncle, he painted ""St Francis Receiving the Stigmata"" for the church of Santi Sebastiano e Rocco in Bologna, and a ""Dead Christ with Virgin Mary and Mary Magdalen"" now housed in the National Museum of Bologna. His works can be found in"
"historical or social/political presentations. He is best known for a series of four anti-slavery paintings. The first, ""Last Sale of the Slaves"" (1865) depicted the scene of the last sale of the slaves on the St. Louis courthouse steps. He followed this painting with ""John Brown's Blessing"" (1866) which depicted the abolitionist activist John Brown being led to his execution and blessing a child on the steps of the courthouse. His third painting, ""The Modern Medea"" (1867), portrayed the tragic event from 1856 in which Margaret Garner, a fugitive slave mother, murdered her children rather than see them returned to"
"sacred subjects for the church of the Carmelitani in Lviv. After a spell in Mantua, Sabbioneta, and Viadana, between 1726 and 1727, he was commissioned by Antonio Cavazza to paint ""Joseph retrieves the Silver Cup from Benjamin's Bag"" (now in Credito Romagnolo, Palazzo Magnani, Bologna). In 1732, he returned to Bologna, and in 1739, he joined the Accademia Clementina. In 1744 he painted a ""Madonna and Saints Anthony Abbot and Vitale"" in the parish of San Vitale di Calderara, and afterwards frescoes depicting the ""Martyrdom of San Procolo"" in the choir of the church of San Procolo, Bologna. In 1761"
"William Ensom William Ensom (1796–1832), was an English engraver. Ensom, in 1815 gained a silver prize medal from the Society of Arts for a pen-and-ink portrait of William Blake, poet and painter. He is best known by some small and neatly finished engravings from portraits by Sir Thomas Lawrence, including those of George IV, Master Lambton, Mrs. Arbuthnot, Marchioness of Salisbury, Lady Wallscourt, and others. He engraved ‘Christ blessing the Bread,’ after Carlo Dolce; ‘St. John in the Wilderness,’ after Carlo Cignani, and other subjects after Stothard, Smirke, Stephanoff, Bonington, and others; also plates for Neale's ‘Views of the Seats"
"Jerome"", ""A Woman Washing Her Feet"", ""An Old Book-stall with a Man Lighting His Pipe from a Flare"", and ""The Head of a Peasant Woman"" on sand-ground mezzotint. Later plates such as ""Hunger"", ""The Bachelor's End"" and ""The Salvation Army"" were also important. Some of his best etchings were done as series—one of the earliest, illustrating poet William Nicholson's ""Ballad of Aken Drum"", is remarkable for clear, delicate workmanship in the shadow tones, showing great skill and power over his materials, and for strong drawing. Another praised series was ""The Pilgrim's Progress"", revealing austere sympathy with John Bunyan's teaching. Samuel"
"The Judgement of Solomon (Giorgione) The Judgment of Solomon is a painting by the Italian Renaissance master Giorgione (1500–1501). It is housed in the Galleria degli Uffizi of Florence. The work is dimensionally and thematically similar to its Pendant painting ""Test of Fire of Moses"", also in the Uffizi. It shows Solomon, King of the Jews, on the throne, with the court dignitaries and two women at his feet. The two women were both claiming the same child and had appealed to the King. Solomon's choice unmasked the faking one. Behind them are two large oaks which divide the landscape"
"became the most famous Italian sculpture in England. On its arrival in England it was given to the king's favourite, the Duke of Buckingham, and subsequently changed hands three times before coming to the Victoria and Albert Museum in 1954. The sculpture shows Samson wielding the jawbone of an ass in order to slay one of the Philistines who have taunted him. It is a good example of the multiple viewpoints seen in Giambologna's work; the spiralling movement of the bodies means that there is no main view. The dramatic pose is based on a composition by Michelangelo, who was"
"paintings, as the church was the most important art patron in Rome and because there was a growing demand by wealthy patrons for devotional paintings at home. He took a large part of his themes from the Old Testament, which offered more variety and the stories were often more vague and gave him more freedom to invent. He painted different versions of the stories of Eliazer and Rebecca from the Book of Genesis and made three versions of ""Moses saved from the waters"". The New Testament provided the subject of one of his most dramatic paintings, ""The Massacre of the"
"light and shade. His subjects embraced an unusually wide range. He availed himself of his travels in the East in dealing with scenes from Scripture history, which he was probably the first of European painters to represent with their true and natural local background. Of this class were his ""Joseph sold by his Brethren"", ""Moses taken from the Nile"", and his scenes from the life of Samson, nine vigorous sketches in charcoal and white. Perhaps the most impressive of his historical pictures is ""Defeat of the Cimbri"", representing the conflict between a horde of barbarians and a disciplined army. Decamps"
"subjects: ""Christus Consolator"" (1836) was followed by ""Christus Remunerator"", ""The shepherds led by the star"" (1837), ""The Magi laying down their crowns"", ""Christ in the Garden of Olives"", ""Christ bearing his Cross"", ""Christ interred"" (1845), and ""St Augustine and Monica"" (1846). One of the reduced versions of his ""Christus Consolator"" (the prime version today to be found in the Van Gogh Museum, Amsterdam), lost for 70 years, was rediscovered in a janitor's closet in Gethsemane Lutheran Church in Dassel, Minnesota in 2007. It has been restored and is on display at the Minneapolis Institute of Art. Scheffer was also an"
"the beginning of the 19th-century, but it was attributed to Piazzetta at the time. The Strossmayer gallery in Croatia purchased the painting at a London auction in 1936 and research on the painting has determined this to be the same one. Abraham's Sacrifice of Isaac Abraham's Sacrifice of Isaac is a 1715 painting by the Baroque artist Federico Bencovich in the Strossmayer Gallery of Old Masters. This painting shows Abraham with a knife in his hand raised to kill his son Isaac at the moment that the angel intervenes. Bencovich became court painter of the Archbishop-Elector of Mainz Lothar Franz"
"(1742), now hanging in the ""Salle du synode"", once hung in the Parisian ""hôtel particulier"" of Samuel-Jacques Bernard. The three paintings in the chapel are copies of works by Antonio da Correggio: ""Adoration of the Shepherds"", ""Virgin and Child with Sts Jerome and Madeleine"", and ""The Rest on the Return from Egypt"". They were made in 1724 in Modena and Parma by Robert deSéry (1686–1733) for Armand Gaston, whom he had met in Rome the same year. DeSéry would later provide many other paintings for the cardinal's apartments, all of them copies of paintings by greater masters. Napoleon's green bed"