Ducks by Winifred Austen (British, 1876-1964)
Kristus ja Mataleena
Edelfelt has placed Christ in a Finnish landscape, in a grove of birches beside a lake and he wears bast shoes.
The model for Christ was Finnish painter Magnus Enckell, and the model for Mary Magdalene was a servant of Edelfelt’s, whose young groom had recently drowned. A neighbor of Edelfelt’s recalled that in order to capture a sad expression on the girl’s face, Edelfelt led their conversation to his death.
Male nudes done by William Etty.
Pieter Jansz. Saenredam painted this, Cathedral of Saint John at ‘s-Hertogenbosch, in 1646.
It isn’t a surprising subject to see from him—as the Getty Museum (correctly) generalizes, “Unlike his flamboyant predecessors…Saenredam painted the whitewashed austerity of the Dutch Reformed church.”
Of course, presenting him as an exception in that regard rings just a little bit false—though he got there earlier than many, images of the newly unpainted churches were soon to become almost ubiquitous in Dutch art.
This particular painting, though, certainly is an exception.
After all, for a church that’s been divested of its art, it sure has a lot of the stuff.
It’s not, though, that the Reformation mysteriously missed a spot. Rather, Saenredam has condensed many years of the church’s history into one painting.
To use the National Gallery of Art's example, “Prior to his visit, the altar’s painting had been removed by Catholics fleeing the Protestants. Saenredam, a close friend of the altarpiece’s artist, ingeniously reinserted the missing picture in his painting.”
Summer Silence, 1929, Daniel Garber
Le petit talibé, Paul Alexandre Leroy
Hugh Ramsay: Man with Staff (1894-1900)
A Family of Lions, Géza Vastagh
George Hitchcock Field of Flowers