CMA: European Painting and Sculpture

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The Vision of Saint Jerome, Giovanni Battista Langetti , c. 1660, Cleveland Museum of Art: European Painting and Sculpture Jerome (c. AD 347–420) studied Greek and Latin literature in Rome, but eventually pursued theology, perceiving his conduct as...

The Vision of Saint Jerome, Giovanni Battista Langetti , c. 1660, Cleveland Museum of Art: European Painting and Sculpture


Jerome (c. AD 347–420) studied Greek and Latin literature in Rome, but eventually pursued theology, perceiving his conduct as corrupt and sinful. Around AD 374, Jerome had a vision of the Last Judgment in which an angel called him to task for his transgressions. Jerome then withdrew from society, learned Hebrew, and studied the Gospels, which led to his influential translations of the Bible. Langetti here follows a convention by depicting Jerome’s vision after he retreated from the world. Working in the northern Italian port of Genoa, Langetti absorbed Caravaggio’s impact, seen in the composition’s naturalistic bodies and dramatic light.
Size: Framed: 238 x 187 x 13 cm (93 11/16 x 73 5/8 x 5 1/8 in.); Unframed: 200.2 x 149.2 cm (78 13/16 x 58 ¾ in.)
Medium: oil on canvas

https://clevelandart.org/art/1951.334

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Portrait of a Woman, possibly Elizabeth Boothby, Cornelis Jonson , 1619, Cleveland Museum of Art: European Painting and Sculpture The woman in this portrait was recently identified as Elizabeth Boothby (1590–1658), daughter of a prominent London...

Portrait of a Woman, possibly Elizabeth Boothby, Cornelis Jonson , 1619, Cleveland Museum of Art: European Painting and Sculpture


The woman in this portrait was recently identified as Elizabeth Boothby (1590–1658), daughter of a prominent London merchant. The jewels in her hair, the silver thread and expensive lace adorning her silk gown, and even the faux marble oval surrounding her image are all signs of wealth and status. Although painted in England, this portrait reflects the traditions of Dutch portraiture, evidence of the fluid artistic exchange that existed between the two countries. Jonson was born in London, received his artistic training in Amsterdam, and spent the last 20 years of his career in the Dutch Republic.
Size: Framed: 93.5 x 78 x 5 cm (36 13/16 x 30 11/16 x 1 15/16 in.); Unframed: 65.7 x 56 cm (25 7/8 x 22 1/16 in.)
Medium: oil on wood

https://clevelandart.org/art/1973.185

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aic-european: “Self-Portrait, Vincent van Gogh, 1887, Art Institute of Chicago: European Painting and Sculpture In 1886 Vincent van Gogh left his native Holland and settled in Paris, where his beloved brother Theo was a dealer in paintings. Van Gogh...
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Self-Portrait, Vincent van Gogh, 1887, Art Institute of Chicago: European Painting and Sculpture


In 1886 Vincent van Gogh left his native Holland and settled in Paris, where his beloved brother Theo was a dealer in paintings. Van Gogh created at least twenty-four self-portraits during his two-year stay in the energetic French capital. This early example is modest in size and was painted on prepared artist’s board rather than canvas. Its densely dabbed brushwork, which became a hallmark of Van Gogh’s style, reflects the artist’s response to Georges Seurat’s revolutionary pointillist technique in A Sunday on La Grande Jatte—1884. But what was for Seurat a method based on the cool objectivity of science became in Van Gogh’s hands an intense emotional language. The surface of the painting dances with particles of color—intense greens, blues, reds, and oranges. Dominating this dazzling array of staccato dots and dashes are the artist’s deep green eyes and the intensity of their gaze. “I prefer painting people’s eyes to cathedrals,” Van Gogh once wrote to Theo. “However solemn and imposing the latter may be—a human soul, be it that of a poor streetwalker, is more interesting to me.” From Paris, Van Gogh traveled to the southern town of Arles for fifteen months. At the time of his death, in 1890, he had actively pursued his art for only five years. Joseph Winterbotham Collection
Size: 41 × 32.5 cm (16 1/8 × 12 13/16 in.)
Medium: Oil on artist’s board, mounted on cradled panel

https://www.artic.edu/artworks/80607/

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Portrait of King Charles II of England, Philippe de Champaigne , 1653, Cleveland Museum of Art: European Painting and Sculpture Charles II (1630–1685) fled England in 1651 during the English civil war and commissioned this portrait during his exile...

Portrait of King Charles II of England, Philippe de Champaigne , 1653, Cleveland Museum of Art: European Painting and Sculpture


Charles II (1630–1685) fled England in 1651 during the English civil war and commissioned this portrait during his exile in France. Charles II never fought on the battlefield, but he was the last British monarch to wear a full suit of armor, which represented his rank and status. The king gestures to the sea beyond the Dover cliffs, and the waiting fleet reveals his intention to return to England, which he did in 1660.
Size: Framed: 182 x 141 x 15 cm (71 5/8 x 55 ½ x 5 7/8 in.); Unframed: 129.5 x 97.2 cm (51 x 38 ¼ in.)
Medium: oil on canvas

https://clevelandart.org/art/1959.38

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Figure from a Crèche: Attendant of the Magi, 1780-1830, Cleveland Museum of Art: European Painting and Sculpture The practice of creating scenes of the Nativity for the home dates from the early 1700s in Italy, where people began to set up doll-like...

Figure from a Crèche: Attendant of the Magi, 1780-1830, Cleveland Museum of Art: European Painting and Sculpture


The practice of creating scenes of the Nativity for the home dates from the early 1700s in Italy, where people began to set up doll-like figures of about a foot or less in height. The custom was particularly popular in Naples around 1800, where crèche scenes (crèche means cradle, or crib) included many figures, whose heads and hands of painted terracotta, stuffed cloth bodies, and clothing adapted from contemporary local costumes gave them an amazingly realistic character. Representations of the birth of Jesus can be traced to the first few centuries of Christianity. Both living creatures and sculptural depictions of them were used from early times. By the late middle ages it was customary to create life-size figures of wood or stone, naturalistically painted, to represent the characters who participated in the events of Jesus’s early life. These sculptures were then arranged in scenes illustrating one or both of the most important of these events, the Adoration of the Shepherds and the Adoration of the Magi-the three kings from the East who came to pay homage to the Christ child. Used in churches, these large figures were especially popular in Italy, Central Europe, Spain, and Portugal. This Object in Focus presentation was organized by Henry Hawley, Curator of Renaissance and Later Decorative Arts and Sculpture.
Size: Overall: 21.7 cm (8 9/16 in.)
Medium: painted wood and terracotta with various textiles

https://clevelandart.org/art/1972.368.7

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Herengracht, Amsterdam, Jan Wijnants , c. 1661, Cleveland Museum of Art: European Painting and Sculpture This painting is the first depiction of Amsterdam in which a canal is given prominence. Flanked by picturesque, tree-lined avenues and exquisite...

Herengracht, Amsterdam, Jan Wijnants , c. 1661, Cleveland Museum of Art: European Painting and Sculpture


This painting is the first depiction of Amsterdam in which a canal is given prominence. Flanked by picturesque, tree-lined avenues and exquisite mansions, the Herengracht (Gentleman’s Canal) was one of Amsterdam’s most important waterways. The precision with which Jan Wijnants portrayed the topography of the city enables the viewer to witness the development of this location. To the left of the canal, Wijnants depicted a lumber yard, on which, in 1662, the architect Philip Vingoboons built four houses for the merchant Jacob Cromhout. Furthermore, soon after Wijanants completed this painting the canal was expanded.
Size: Framed: 87 x 101 x 9.2 cm (34 ¼ x 39 ¾ x 3 5/8 in.); Unframed: 67.2 x 81.6 cm (26 7/16 x 32 1/8 in.)
Medium: oil on canvas

https://clevelandart.org/art/1964.419

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