The Flickr Micheleanddonalddamourmuseumoffinearts Image Generatr

1515-1520

Artist Herman Herzog, American, born in Germany, 1832 or 1832-1932
Oil on Canvas, 1872

Herzog, a native of Germany, arrived in the United States in the early 1870s. Known for his sublime wilderness scenes, particularly waterfalls, the artist sought out Niagara Falls as one of his first American subjects. Painting the Falls, which were regarded as a symbol of national power, was considered an important milestone in launching an artist's career.

Frans de Momper, Flemish, 1603-1660
Oil on Panel

Frans de Momper came from a family of painter that included his uncle, famous landscape artist Joos de Momper. In Winter Landscape de Momper draws on the tradition of representing seasons through the activities associated with that time of year. Notice how the raised foreground and the buildings form a line that divides the painting, corner to corner. Colder, lighter, winter colors show the season to the right, while dimer, slightly warmer, colors fade into the background on the left.

Emmanuel de Witte, an accomplished architectural painter, frequently rendered the Old Church in Amsterdam. His painting commented on the importance of a virtuous life. The grave digger, preparing a burial plot in the church floor (a common grave for the wealthy), and the diamond shaped coats of arms on the columns (grave markers for the deceased until tombstones were carved) remind us of the inevitability of death.

Artist Gerrit Adiaensz. Berckheyde, Dutch, 1638-1698
Oil on Canvas, after 1690

In his picture, Berckheyde paints one of his favorite subjects, the market square in his native city, Haarlem, in the Netherlands. The dramatic scene, framed within a gateway, accurately shows the square with its various shops. Int the background, the Church of St. Bavo, the cathedral of Haarlem, towers of the scene.

Francesco Maria Schiaffino, Italian, 1690-1765
Sculpture, Terracotta, mounted on carved and painted pedestal, undated

Francesco Maria Schiaffino studied in Rome where he saw the intense, theatrical sculptures of Gian Lorenzon Bernini. Schiaffino's sculpture expresses a high degree of drama, heightened by vigorous movement. The stance of the Virgin and Child create a balanced ethereal impression.

Francesco Guardi, Italian, 1712-1793
Oil on Canvas, undated

Francesco Guardi worked in the Guardi family workshop. Most of his works were landscapes, but he did do an occasional portrait. The boy in the painting was the son of Senator Gradenigo, a prominent Venetian and known patron of Guardi. He is obviously quite self-satisfied and Guardi catches it beautifully.

Artist Luigi Valadier, Italian, 1726-1785
Sculpture, Bronze

Valadier, the sculptor of this horse, delineated the muscles, the skeletal structure, and some of the circulatory system of the animal so closely that veterinarians have been able to look at the sculpture and identify specific bones and muscles. The tradition of creating an écorché, or study of a flayed skin can be traced, in part to the efforts of Leonardo da Vinci (1425-1519). His interest in science and his investigations into the natural world led him to create detailed drawings of the anatomy of animals and humans. Valadier, a goldsmith, bronze-founder and sculptor, lived in Rome and was well-known for this bronzes and decorative ornaments.

Unknown Artist (probably Venetian), Italian, 17th century
Oil on canvas

The dramatic play of light on the face and body, the formal yet elegant interpretation of the face and hands and bold application of paint present in this portrait are all characteristics found in late Renaissance art. The unknown painter has skillfully contrasted the white lace trimmed rochet (over-vest) against the rich red-purple of the cape, or mozetta. The clergyman's hat is painted in another brilliant splash of color. A large gem encrusted ring is prominent on the man's left hand. The inclusion of the small dog, with a color of bells, is characteristic of many portraits of the time.

Artist Melvin Edwards, American, born 1937
Wall Relief, Steel, 1991

At the height of the civil rights movement in the early 1960s, Melvin Edwards began a series of welded steel reliefs known as Lynch Fragments. Inspired by Ralph Ginzburg's book, 100 years of Lynchings, the sculptures are a protest against racism and oppression.