#artist is gerrit dou | Explore Tumblr Posts and Blogs

diioonysus · 1 month

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art aesthetics: dark acadmia

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saturneel · 7 months

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“Victoria aut Mors”

Inspired by "The penitent Magdalen" by Gerrit Dou, I redrew his painting and changed a few things to make a fanart of Mello hehe. The title I chose means "victory or death" in Latin and I thought it fitted the character of Mello, considering how his life went 😭

#death note #death note fanart #fanart #mello #mihael keehl #digital art #digital illustration #anime #manga #digital artist #my art #gerrit dou #penitent magdalene

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arinewman7 · 11 months

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Sleeping Dog with Terracotta Jug, Basket and Kindling Wood

Gerrit Dou

oil on canvas, 1650

#Gerrit Dou #art #artist #painting

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lightthereis · 1 year

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Gerrit Dou, A Woman Playing a Clavichord, c. 1665, Dulwich Picture Gallery

#art #artistic #artwork #painting #gerrit dou

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galleryofunknowns · 2 years

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Gerrit Dou (b.1613 - d.1675), 'Self Portrait of the Artist and palette in a niche', oil on panel, c.1664, Dutch, currently in the collection of the Louvre, Paris, France.

Formerly in the collections of Marc Rene Voyer d'Argenson (b.1722 - d.1782), at the Chateau d'Asnieres, then Louis, Duke of Noailles (b.1713 - d.1793), Marshal of France, to his son, Jean Louis (b.1739 - d.1793), after which it was siezed in the revolution, then deposited in the Louvre in 1794.

#gerrit dou #self portrait #known artist #known sitter #oil on panel #1660s #dutch #louvre #paris #chateau d'asnieres

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pwlanier · 5 months

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Gerrit Dou (Dutch, 1613–1675), Man Writing in an Artist’s Studio, 1631–32, oil on panel

Courtesy Alain Truong

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mizelaneus · 4 months

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Gerrit Dou

1657

oil on panel

34 x 26.9 cm

#gerrit dou #cat #atelier

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snacking-on-art-2022 · 2 years

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Gerrit Dou (Dutch, 1613–1675) ~ Sleeping Dog

The Dutch artist Gerrit Dou painted this ridiculously gorgeous picture of a sleeping dog in 1650 when he was 37.

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filmclingon · 11 months

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“Close to Vermeer” (2023)

Marvelous documentary shown at the Quad, with a talk afterward with Frick (”Cocktails with a”) curator Xavier Solomon. The two characters I most loved (likely because the documentarian obviously loves them as well) were the two "old white guys," Gregor Weber, the soon-to-retire of the Rijksmuseum's Fine Arts Department, and the artist Jonathan Janson. These men were so obviously emotionally invested in Vermeer from a very young age both personally and professionally. I went home and ordered Weber's book "Faith, Light, and Reflection," because I was fascinated by his discussion of Vermeer's connection with the Catholic Church and esp. the Jesuits, also the clarification of Vermeer's use of the camera obscura more as a way to look at the world than as a crutch in creating art images. I am a bit sorry after reading the bio of art collector Thomas Kaplan that I found him to be so affected here; and I think it a pity that Kaplan is so thrilled to own an inferior Vermeer, given that the man owns a truly impressive collection of Rembrandt and Gerrit Dou. (I came to know Dou thanks to the marvelous 1979 BBC adaptation of Le Fanu’s horror story “Schalcken the Painter.”) I confess I laughed but was also a bit bothered by the disdainful POV directed at the women curators at both the Braunschweig museum in Germany and at our own National Gallery -- maybe merited but borderline "cheap shot," though the film seemed to try to compensate with its inclusion of Mauritshuis conservator Abbie Vandivere. My issue with the contested Vermeers is that to me they don’t seem from Vermeer's time period: Kaplan's painting looks like something from the German Romantic or French Napoleonic era; "Girl with a Flute" has brushstrokes reminiscent of Whistler or one of the Impressionists (why Janson insists it is a Vermeer but unfinished). A highlight for me is the scene toward the end where Weber welcomes the artist Janson into his home (which almost uncannily resembles the setting of a Vermeer painting) and shows him an actual painting partially depicted in Vermeer's "The Music Lesson." Both men are taken with the fact that this is an object actually owned by Vermeer. But I was more impressed with Weber's detective work: Only a fraction of this painting appears in Vermeer's depiction. And again, the subject matter is so weird: "Roman Charity," an image of a woman suckling an old man -- also used in Christian art to depict a corporal work/act of mercy, also appears in a more overtly eroticized form in art. What was Vermeer's possible purpose in including it here, but only in a cut-off detail? I would have loved to hear Weber's opinion on that, can only hope he might give it a mention in his book.

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visualpoett · 28 days

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