'View Of Delft' is one of the best known works of which 17th century artist?
"The Ghost of Vermeer of Delft Which Can Be Used As a Table The Ghost of Vermeer of Delft Which Can Be Used As a Table is a small Surrealist oil painting by Salvador Dalí. Its full title is The Ghost of Vermeer of Delft Which Can Be Used as a Table (Phenomenologic Theory of Furniture-Nutrition). It makes reference to ""The Art of Painting"" by Johannes Vermeer, a famous seventeenth-century work in which a painter, thought to be a self-portrait of Vermeer, is depicted with his back to us, in distinctive costume. It is one of a number of paintings"
"A View of Delft A View of Delft, with a Musical Instrument Seller's Stall is a 1652 painting by Carel Fabritius. It is an oil painting on canvas of 20.9 by 35.7 cm (8.2 by 14.1 in) of a cityscape of Delft. The work has been in the collection of the National Gallery in London since 1922. The unusual perspective suggests that it may have been intended to have been displayed on a curved surface at the back of a perspective box. Fabritius is documented to have worked on these. The view is of the Nieuwe Kerk facing the Town"
"Hall and several still-extant houses at the point where the Oude Langendijk canal meets the Vrouwenrecht. A View of Delft A View of Delft, with a Musical Instrument Seller's Stall is a 1652 painting by Carel Fabritius. It is an oil painting on canvas of 20.9 by 35.7 cm (8.2 by 14.1 in) of a cityscape of Delft. The work has been in the collection of the National Gallery in London since 1922. The unusual perspective suggests that it may have been intended to have been displayed on a curved surface at the back of a perspective box. Fabritius is"
"Carel Fabritius Carel Pietersz. Fabritius (; bapt. 27 February 1622 – 12 October 1654) was a Dutch painter. He was a pupil of Rembrandt and worked in his studio in Amsterdam. Fabritius, who was a member of the Delft School, developed his own artistic style and experimented with perspective and lighting. Among his works are ""A View of Delft"" (1652), ""The Goldfinch"" (1654), and ""The Sentry"" (1654). Carel Pietersz. Fabritius was born in February 1622 in Middenbeemster, a village in the ten-year-old Beemster polder in the Dutch Republic, and was baptized on 27 February of that year. He was the"
"1643, Delft), was a pupil of his father and of Cornelis van Haarlem, and distinguished himself by very fine pictures of still life. Rochus Delff was a portrait painter, and a pupil of his father. Jacob Willemsz Delff Jacob Willemszoon Delff the Elder, (c. 1550 in Gouda5 May 1601 in Delft) was a portrait painter active in Delft. He is known by a picture of an 'Archery-feast' in the Hotel de Ville at Delft, dated 1592; and by a ""Reconciliation of Esau and Jacob,"" in the Belvedere at Vienna, bearing the date 1584. He also painted ""The Sportsman's Dinner,"" and"
"Veduta A veduta (Italian for ""view""; plural vedute) is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other vista. The painters of ""vedute"" are referred to as ""vedutisti"". This genre of landscape originated in Flanders, where artists such as Paul Bril painted ""vedute"" as early as the 16th century. In the 17th century Dutch painters made a specialty of detailed and accurate recognizable city and landscapes that appealed to the sense of local pride of the wealthy Dutch middle class. An archetypal example is Johannes Vermeer's ""View of Delft"". The Ghent architect, draughtsman"
"Jacob Willemsz Delff Jacob Willemszoon Delff the Elder, (c. 1550 in Gouda5 May 1601 in Delft) was a portrait painter active in Delft. He is known by a picture of an 'Archery-feast' in the Hotel de Ville at Delft, dated 1592; and by a ""Reconciliation of Esau and Jacob,"" in the Belvedere at Vienna, bearing the date 1584. He also painted ""The Sportsman's Dinner,"" and a portrait group of his family. His works display good conception and execution, but are somewhat heavy in colouring. Jacob Delff had three sons, Cornelis, Rochus, and Willem. Cornelis Jacobsz Delff (Gouda c. 1571-15 August"
"of painting. He used cool colour harmonies to create shape in a luminous style of painting. Fabritius was also interested in complex spatial effects, as can be seen in the exaggerated perspective of ""A View of Delft, with a Musical Instrument Seller's Stall"" (1652). He also showed excellent control of a heavily loaded brush, as in ""The Goldfinch"" (1654). All these qualities appear in the work of Delft's most famous painters, Vermeer and de Hooch; it is likely that Fabritius was a strong influence on them. Carel Fabritius Carel Pietersz. Fabritius (; bapt. 27 February 1622 – 12 October 1654)"
"Master of Delft The Master of Delft (fl –1520) was a Dutch painter. He may have been born in 1470. His style can be compared to the Master of the Virgo inter Virgines, who was believed to have been active in Delft. The Master of Delft can be connected to Delft by the inclusion of the Nieuwe Kerk tower, which was completed in 1496, in the background of his early ""Crucifixion"" triptych. He can also be connected with Delft by a pair of altarpiece wings painted in the Master's workshop circa 1510, which had the arms and portraits of the"
"Mayor of Delft, Dirk van Beest, and his family. Master of Delft The Master of Delft (fl –1520) was a Dutch painter. He may have been born in 1470. His style can be compared to the Master of the Virgo inter Virgines, who was believed to have been active in Delft. The Master of Delft can be connected to Delft by the inclusion of the Nieuwe Kerk tower, which was completed in 1496, in the background of his early ""Crucifixion"" triptych. He can also be connected with Delft by a pair of altarpiece wings painted in the Master's workshop circa"
"notable contributions. Besides the genres most closely associated with Delft painters, artists in the city continued to produce still life and history paintings, portraits for patrons and the court, and decorative pieces of art that reflect more general tendencies in Dutch art of the period. Delft School (painting) The Delft School is a category of mid-17th-century Dutch Golden Age painting named after its main base, Delft. It is best known for genre painting: images of domestic life, views of households, church interiors, courtyards, squares and the streets of that city. Carel Fabritius and Nicolaes Maes are seen as the originators"
"a bird's eye view of an ancient city. In the Middle Ages, cityscapes appeared as a background for portraits and biblical themes. From the 16th up to the 18th century numerous copperplate prints and etchings were made showing cities in bird's eye view. The function of these prints was to provide a map-like overview. Halfway the 17th century the cityscape became an independent genre in the Netherlands. In his famous 'View of Delft' in 1660-1661 Jan Vermeer painted a quite accurate portrait of the city Delft. Cities like Amsterdam, Haarlem and The Hague also became popular subjects for paintings. Painters"
"can still be seen at the pottery factories De Koninklijke Porceleyne Fles (or Royal Delft) and De Delftse Pauw. The painter Johannes Vermeer (1632–1675) was born in Delft. Vermeer used Delft streets and home interiors as the subject or background in his paintings. Several other famous painters lived and worked in Delft at that time, such as Pieter de Hoogh, Carel Fabritius, Nicolaes Maes, Gerard Houckgeest and Hendrick Cornelisz. van Vliet. They were all members of the Delft School. The Delft School is known for its images of domestic life, views of households, church interiors, courtyards, squares and the streets"
"the 17th century; and he states that it was his intention to surprise his readers with this information, that ""people and goods and ideas were moving around the world in ways that ""their"" ancestors had no idea was possible."" The growth in trade and exploration was facilitated in part by advances in navigation and in shipbuilding technology and also, according to the author, was driven along when European nations such as ""England, the Netherlands and France started to fight their way into the trade."" By studying and analyzing the paintings of Johannes Vermeer, beginning with his landscape ""View of Delft"","
"Jacob Willemsz Delff the Younger Jacob Willemsz Delff the Younger (1619, Delft – 1661, Delft), was a Dutch Golden Age portrait painter. According to Houbraken he won a lucrative commission from the Delft ""vroedschap"" to repair his grandfather's schutterstuk after the Delft Explosion in 1654 damaged it. This showed not only the respect the young man had for his grandfather, but also the value that the Delft council placed on their schutterstuk by him. According to the RKD his wedding portrait and the pendant of his wife were drawn from (now lost) paintings and are in the possession of the"
"View of the Dam and Damrak at Amsterdam (Boymans van Beuningen) View of the Dam and Damrak at Amsterdam, also known as The Damrak in Amsterdam, is a 17th-century oil on canvas painting by the Dutch Golden Age painter Jacob van Ruisdael. Since 1866 it is in the collection of the Museum Boymans van Beuningen in Rotterdam. There are two other paintings by Ruisdael of the same scene and same name. One ""View of the Dam and Damrak at Amsterdam"" is in the Frick Collection in New York; the other ""View of the Dam and Damrak at Amsterdam"" is in"
"Pieter van der Werff Pieter van der Werff (1665 – September 26, 1722) was a Dutch Golden Age painter. He assisted his older brother, Adriaen van der Werff. He learned to paint from his brother Adriaen and according to the RKD, he spent most of his life working in Rotterdam, where he painted the rich and famous. There is possible evidence he might have travelled to England to seek commissions as two portraits painted c.1709 attributed to unknown Gentleman and unknown woman, hang in the Victoria Art Gallery Bath. Their alternative titles being John Churchill, First Duke of Marlborough and"
"out of public favour. Yet it remained popular in some royal art collections; Mary of Hungary and Philip II of Spain both sought out Netherlandish painters, sharing a preference for van der Weyden and Bosch. By the early 17th century, no collection of repute was complete without 15th- and 16th-century northern European works; the emphasis however tended to be on the Northern Renaissance as a whole, more towards the German Albrecht Dürer, by far the most collectable northern artist of the era. Giorgio Vasari in 1550 and Karel van Mander (c. 1604) placed the art works of era at the"
"by Derek Mahon. The Courtyard of a House in Delft The Courtyard of a House in Delft is a 1658 oil painting by Pieter de Hooch, an example of Dutch Golden Age painting. The painting portrays domestic architecture typical of de Hooch's middle period, with building and courtyard dominating people. It is signed and dated to the left on the archway ""P.D.H. / A 1658"". The scene is divided into two pieces. To the left, an archway of brick and stone leads from a paved courtyard a passageway though a house, where a woman dressed in black and red stands"
"The Courtyard of a House in Delft The Courtyard of a House in Delft is a 1658 oil painting by Pieter de Hooch, an example of Dutch Golden Age painting. The painting portrays domestic architecture typical of de Hooch's middle period, with building and courtyard dominating people. It is signed and dated to the left on the archway ""P.D.H. / A 1658"". The scene is divided into two pieces. To the left, an archway of brick and stone leads from a paved courtyard a passageway though a house, where a woman dressed in black and red stands looking away to"
"Flemish Baroque artist and leading court painter in England. Joseph Mallord William Turner (23 April 1775 – 19 December 1851) was an English Romantic landscape painter, who is commonly known as ""the painter of light"". Claude-Joseph Vernet (14 August 1714 – 3 December 1789) was a French painter whose landscapes, including those of moonlights were popular with English aristocrats. His ""The Port of Rochefort"" (1763, Musée national de la Marine) is particularly notable; in the piece Vernet is able to achieve, according to art historian Michael Levey, one of his most 'crystalline and atmospherically sensitive skies'. Joseph Wright of Derby"
"work by Joos van Cleve. Paintings from the 16th century include a ""Judith"" by Luca Cranach the Elder, a ""Mater Dolorosa"" by Aelbrecht Bouts and a ""Mary Magdalen"" by Cornelis Engebrechtsz.. Major artists from the 17th century who are represented here include from Spain Francisco de Zurbarán, Luis de Morales and Jusepe de Ribera and from Italy Bartolomeo Manfredi. The large collection of paintings from Flanders and the Netherlands shows works by Anthony van Dyck, Jacob Jordaens, Frans Snyders, Jacob Isaacksz van Ruisdael, Frans Hals, Willem Claeszoon Heda, Willem Kalf, Joseph de Bray and Jan Boeckhorst. The modern art collection"
"Rijksmuseum). A few of his paintings show a certain hardening of manner and are generally thought to represent his late works. From this period come ""The Allegory of Faith"" (c. 1670; Metropolitan Museum of Art, New York) and ""The Love Letter"" (c. 1670; Rijksmuseum, Amsterdam). Vermeer's works were largely overlooked by art historians for two centuries after his death. A select number of connoisseurs in the Netherlands did appreciate his work, yet even so, many of his works were attributed to better-known artists such as Metsu or Mieris. The Delft master's modern rediscovery began about 1860, when German museum director"
"painter of the 17th century (also known as the Dutch Golden Age) will fall into one of four categories, a painter of portraits, landscapes, still-lifes, or genre. Dutch painting was highly specialized and rarely could an artist hope to achieve greatness in more than one area in a lifetime of painting. Jan van Goyen would be classified primarily as a landscape artist with an eye for the genre subjects of everyday life. He painted many of the canals in and around Den Haag as well as the villages surrounding countryside of Delft, Rotterdam, Leiden, and Gouda. Other popular Dutch landscape"
"the second-highest price in the sale (175 guilders, exceeded only by the 200 guilders paid for Vermeer's cityscape, ""View of Delft"".) In 1765 the painting was auctioned by Leendert Pieter de Neufville. ""The famous milkmaid, by Vermeer of Delft, artful"", went through at least five Amsterdam collections before it became part of what The Metropolitan Museum of Art called ""one of the great collectors of Dutch art"", that of Lucretia Johanna van Winter (1785–1845). In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting (as part of the famous Six collection"
"William of Cologne William of Cologne (""Wilhelm von Köln"" or ""Meister Wilhelm"") was a medieval German painter active in Cologne and recorded in city charters between 1370 and 1390. He is regarded as the foremost artist of the Cologne School. No paintings can be attributed securely to him by him, though his name is used as a collective term for a series of altarpieces from late in the fourteenth century, whose main qualities are ardent piety and delicate grace, particularly in the characteristics of the female figures. Their formal aspects, however, remain within the prevailing Gothic style. Images of this"
"View of the Dam and Damrak at Amsterdam (Frick Collection) View of the Dam and Damrak at Amsterdam, also known as Quay at Amsterdam, is a 17th-century oil on canvas painting by the Dutch Golden Age painter Jacob van Ruisdael. It is since 1910 in the Frick Collection in New York. It is currently not on view. There are two other paintings by Ruisdael of the same scene and same name. One ""View of the Dam and Damrak at Amsterdam"" is in the Museum Boymans van Beuningen in Rotterdam; the other ""View of the Dam and Damrak at Amsterdam"" is"
"the Hebrew faith. The book, titled ""De Arte Predicandi"" (1503), is possibly one of his best-known works from this period. Albrecht Dürer was at the time, and remains, the most famous artist of the German Renaissance. He was famous across Europe, and greatly admired in Italy, where his work was mainly known through his prints. He successfully integrated an elaborate Northern style with Renaissance harmony and monumentality. Among his best known works are ""Melencolia I"", the ""Four Horsemen"" from his woodcut ""Apocalypse"" series, and ""Death, the Knight, and the Devil"". Other significant artists were Lucas Cranach the Elder, the Danube"
"waterfalls. His pupil was Meindert Hobbema (1638–1709), best known for his atypical ""Avenue at Middelharnis"" (1689, London), a departure from his usual scenes of watermills and roads through woods. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Cuyp took golden Italian light and used it in evening scenes with a group of figures in the foreground and behind them a river and wide landscape. Koninck's best works are panoramic views, as from a hill, over wide flat farmlands, with a"
"Rembrandt Rembrandt Harmenszoon van Rijn (; ; July 15, 1606 – October 4, 1669) was a Dutch draughtsman, painter and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great"
"Dort or Dordrecht: The Dort packet-boat from Rotterdam becalmed The Dort, or Dort or Dordrecht: The Dort packet-boat from Rotterdam becalmed is an 1818 painting by J M W Turner, based on drawings made by him in mid September 1817. It shows a view of the harbour of Dordrecht. It is the finest example of the influence of Dutch marine painting on Turner's work. It was exhibited at the Royal Academy in 1818, where it was described by ""The Morning Chronicle"" as ""one of the most magnificent pictures ever exhibited, and does honour to the age"". In 1832, John Constable"
"The Art of Painting The Art of Painting, also known as The Allegory of Painting, or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. This illusionistic painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious; Walter Liedtke ""as a virtuoso display of the artist's power of invention"
"more complete list of paintings attributed to de Hooch, see the list of paintings by Pieter de Hooch: Pieter de Hooch Pieter de Hooch (, also spelled ""Hoogh"" or ""Hooghe""; 20 December 1629 (baptized) – 24 March 1684 (buried)) was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. He was a contemporary of Jan Vermeer in the Delft Guild of St. Luke, with whom his work shares themes and style. De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was"