Tomaso Albinoni | Oboe concerto in D minor op. 9

"Oboe Concerto in D minor" has long been regarded as one of the finest concertos composed for the instrument.

Tomaso Giovanni Albinoni (1671-1751) was an Italian composer of the Baroque era.

His output includes operas, concertos, sonatas for one to six instruments, sinfonias, and solo cantatas.

While famous in his day as an opera composer, he is known today for his instrumental music, especially his concertos.

Samuel Scott | London, a view of the Thames and Old Westminster Bridge looking towards Westminster Abbey

Ginevra Cantofoli (Bologna, 1618-1672)

Ginevra Cantofoli è stata una pittrice Italiana dell'epoca Barocca.

Nata da Francesco Cantofoli ed Ottavia Buldrini, si avvicinò tardi alla pittura.

Studiò presso l'Accademia del disegno di Elisabetta Sirani e quindi operò presso la sua bottega.

Sigismondo Coccapani | Baroque painter

Sigismondo Coccapani (1585-1643) was an Italian painter of the Baroque period.

Born in Florence, he studied under Ludovico Cigoli in Rome, before returning to his native city.

He at first studied literature and mathematics, but abandoned them for painting, becoming a pupil of Ludovico Cigoli in Rome where he assisted him on his work at Santa Maria Maggiore in 1610-13.

Using his scientific background he showed Cigoli, who was making a record of solar activity for his friend Galileo, how to observe and record sunspots through a method of projection.

Wisława Szymborska | Le donne di Rubens

Ercolesse, fauna femminile,

nude come il fragore di botti.

Fanno il nido in letti calpestati,

nel sonno la bocca si apre al chicchirichì.

Le pupille rovesciate all’indietro

Penetrano dentro le ghiandole da cui i lieviti stillano nel sangue.

Peter Paul Rubens | Frans Snyders - Ceres with two Nymphs, 1624 | Museo Nacional del Prado

Peter Paul Rubens | Mars and Rhea Silvia, 1617

Mars and Rhea Silvia is a 1617 painting by Peter Paul Rubens, now in the Liechtenstein Museum in Vienna.

It shows Mars's rape of Rhea Silvia, which resulted in the birth of Romulus and Remus, founders of Rome.

Musée des Beaux-Arts (Lione) | 5.000 anni di storia dell'arte

Il musée des Beaux-Arts di Lione è il principale museo della città ed uno dei più grandi musei d'arte in Francia.

Aperto dal 1801 - uno dei primi dopo il Louvre, il museo presenta collezioni di pittura, scultura, arte antica (egiziana, greca, romana, etrusca e orientale), oggetti d'arte, medaglie e monete, disegni e stampe.

James Pradier | Odalisque, 1841 | Musée des Beaux-Arts de Lyon

Musée des Beaux-Arts de Lyon | 200 years of history

Thanks to its proximity to the Lyon city hall, the abbey was not sold or destroyed during the French Revolution.

In 1792, the Municipal Council designated the building as a place to conserve medals, bronzes and other artistic monuments.

On 14 Fructidor in the year IX (1801), the Chaptal decree to establish painting collections in fifteen French cities enabled the founding of the Lyon Museum of Fine Art.

Joseph Bail | Au Jardin, 1880 | Musée des Beaux-Arts de Lyon

Amore non è amore se muta.. | Shakespeare, Sonetto 116

Shakespeare | Let me not to the marriage of true minds | Sonnet 116

Let me not to the marriage of true minds

Admit impediments. Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove:

O no! it is an ever-fixed mark

That looks on tempests and is never shaken;

Alessandro Puttinati | Paolo e Virginia, 1844

Johannes Vermeer died on this day, in 1675

Dutch Golden Age painter Johannes Vermeer (1632-1675) passed away on this day December 15th, 1675.

He was 43 years old.

Vermeer’s small oeuvre is remarkable.

It is estimated that Vermeer created around 40 to 50 paintings, which is not a big number compared to other master painters of the time.

For example, Rembrandt made around 300 paintings and Frans Hals around 200.

7 masterpieces at the Thyssen-Bornemisza Museum

Frederick Carl Frieseke | The House in Giverny, 1912

When Frieseke first settled at Giverny in 1906, he stayed at Le Hameau (the hamlet) on the rue du Pressoir.

The two-story cottage surrounded by high walls on three sides enclosing a garden was next door to the home of Claude Monet and had previously been occupied by the American artist Lilla Cabot Perry.

The house shown in The House in Giverny, however, is most likely the Whitman house, the second of Frieseke's three Giverny residences.

Its green shutters and the distinctive open lattice-work of green trellises laden with flowers appear in a number of Frieseke's paintings, including Lilies, Tea Time in a Giverny Garden (both Daniel J. Terra Collection) and Hollyhocks, c. 1912-1913 (Carmen Thyssen-Bornemisza Collection).

The intimacy of Frieseke's small painting and his interest in decorative pattern links the artist more closely with the Nabi painters Vuillard and Bonnard than to his neighbour Monet or with Renoir, the French Impressionist he most admired.

The artist stated his creed published in a 1914 interview: "My one idea is to reproduce flowers in sunlight.

I do not suggest detail by form, as I have to keep it as pure as possible or the effect of brilliancy will be lost.

Of course, there is a limit to the strength of pigments, and one can but relatively give the impression of nature. I may see a glare of white light at noon, but I cannot render it literally [...]

I usually make my first notes and impressions with dashes of tempera, then I paint over this with small strokes in oil to produce the effect of vibration, completing as I go". | Source: © Thyssen-Bornemisza Museum

Frederick Carl Frieseke (American, 1874-1939) | The House in Giverny, 1912 | Museo Nacional Thyssen-Bornemisza, Madrid

Christopher Marlowe | Vieni a vivere con me e sii il mio amore / The passionate shepherd to his Love, 1599

"The Passionate Shepherd to His Love" (1599), by Christopher Marlowe (English playwright, poet, and translator of the Elizabethan era, 1564-1593), is a pastoral poem from the English Renaissance (1485–1603).

Marlowe composed the poem in iambic tetrameter (four feet of one unstressed syllable followed by one stressed syllable) in six stanzas, and each stanza is composed of two rhyming couplets; thus the first line of the poem reads: "Come live with me and be my love".

Come live with me, and be my love;

And we will all the pleasures prove

That hills and valleys, dales and fields,

Woods, or steepy mountains yields.

Walter Crane | The Passionate Shepherd to his Love illustration

Johannes Vermeer | View of Houses in Delft, 1658

View of Houses in Delft / Het Straatje, known as 'The Little Street' is an unusual painting in Vermeer’s oeuvre, and remarkable for its time as a portrait of ordinary houses.

The composition is as exciting as it is balanced.

The old walls with their bricks, whitewash, and cracks are almost tangible.

The location is Vlamingstraat 40-42 in Delft.

Vermeer’s aunt Ariaentgen Claes lived in the house at the right, with her children, from around 1645 until her death in 1670. | Source: © Rijksmuseum, Amsterdam

Ludovico Carracci | The penitent Saint Peter, 1613

Although mentioned by Ludovico's earliest biographer Malvasia as early as 1678, all trace of this monumental and imposing image of repentance was lost until its rediscovery only thirty years ago.

Malvasia recorded how Ludovico had given to Count Camillo Bolognetti, a nobleman and occasional amateur painter in the Carracci workshop, 'la figura intera di quel S. Pietro piangente, così risentito e terribile'.

In a handwritten note included in the 1841 edition of his Felsina pittrice the picture is referred to as 'San Pietro piangente l'aversi negato discepolo di Cristo, figura sedente, meno del naturale'.

Jean-Baptiste Greuze | Le uova rotte, 1756

Anche se questo dipinto venne eseguito a Roma e presenta ambiente e costumi italiani, la fonte del soggetto ritratto è un quadro olandese del Seicento dell’artista Frans van Mieris il Vecchio (1635-1681), Le uova rotte (Museo dell’Ermitage, San Pietroburgo), che l'artista francese Jean-Baptiste Greuze (1725-1805) conosceva attraverso un’ incisione.

Le uova rotte simboleggiano la perdita della verginità.

Il bambino che cerca di ricomporre le uova rappresenta l’ignara innocenza dell’infanzia.

Il quadro suscitò una reazione favorevole quando fu esibito al Salon di Parigi nel 1757. | © The Metropolitan Museum of Art

Jean Baptiste Greuze | Broken Eggs, 1756 (detail) | Metropolitan Museum of Art

Rembrandt's palette

Technical investigation of Rembrandt's (1606-1669) paintings in the possession of the Gemäldegalerie Alte Meister and in the Gemäldegalerie Alte Meister (Kassel) was conducted by Hermann Kühn in 1977.

The pigment analyses of some thirty paintings have shown that Rembrandt's palette consisted of the following pigments: lead white, various ochres, Vandyke brown, bone black, charcoal black, lamp black, vermilion, madder lake, azurite, ultramarine, yellow lake and lead-tin-yellow.

Synthetic orpiment was shown in the shadows of the sleeve of the jewish groom.

Peter Paul Rubens | Christ Risen, 1616

"Christ Risen", "The Easter Tomb" or "The Triumph of Christ over Death and Sin" is a painting by Peter Paul Rubens (1577-1640), executed c. 1616.

It entered the collection of Ferdinando de' Medici, Grand Prince of Tuscany between 1713 and 1723 and is now in the Palatine Gallery of the Palazzo Pitti in Florence.

Martin Desjardins | The Four Captives, 1682-1686

The "Louis XIV Victory Monument", also known as "Four Prisoners" or "Four Defeated Nations", was an elaborate trophy memorial celebrating the military and domestic successes of the early decades of Louis XIV's personal rule, primarily those during the Franco-Dutch War of 1672–1678, on the Place des Victoires (Victories' Square) in central Paris.

It was designed and sculpted by Martin Desjardins (French sculptor and stuccoist of Dutch birth, 1637-1694) between 1682-1686 on a commission by François d'Aubusson, Duke of La Feuillade.

Martin Desjardins | Spain or Hope (detail) | Louvre Museum

Rembrandt | The Artist's Mother, 1629 | Royal Collection

"An old Woman called 'The Artist's Mother'" by Rembrandt van Rijn (1606-1669) is a study in old age by a young, aspiring painter who rapidly gained a reputation for this kind of work before moving to Amsterdam to develop his career as a portraitist and history painter.

Executed towards the end of his time in Leiden (c.1629), this painting already reveals Rembrandt’s mastery of precise detail in the treatment of the folds of skin, the sunken eyes, the taut mouth and the prominent nose.

Rembrandt | The Artist's Mother, 1629 | Royal Collection

Il Salon di Parigi (1667-1890)

A partire dal 1667, Il Salon de Paris fu la mostra d'arte ufficiale dell'Académie des Beaux-Arts di Parigi.

Per quasi 150 anni (1740-1890 ca.), il Salon è stato l'evento artistico annuale o biennale più prestigioso al mondo.

Di conseguenza, la sua influenza sulla pittura francese - in particolare lo stile artistico, le convenzioni pittoriche e la reputazione degli artisti - fu enorme.

Al Salon del 1761 contribuirono trentatré pittori, nove scultori ed undici incisori.

Dal 1881 in poi, è stato gestito dalla Société des Artistes Français.

Claude Monet | Donna con il parasole - Madame Monet con il figlio, 1875 | Washington D.C., National Gallery of Art

Jusepe de Ribera | Saint Joseph, 1635

Born in Spain, Jusepe de Ribera spent his entire active career in Italy.

He arrived in Spanish-ruled Naples between 1607 and 1614.

Caravaggio’s presence had a profound impact on Neapolitan painting.

Ribera then travelled to Parma, Rome, before settling in Naples.

Jusepe de Ribera | Saint Joseph, 1635 | Montreal Museum of Fine Arts