Art in Space

Fra Filippo Lippi: Portrait of a Man and Woman at a Casement (1435 – 1440)

2023-01-23T13:41:00.001+01:00

(The Metropolitan Museum of Art, New York, USA)

A painting made by the Italian artist Filippo Lippi (1406 - 1469). This piece is the earliest surviving double portrait in Italy, the first to show the sitters in a domestic setting, and the first with a view of a landscape. The sleeve of the woman has the letters "lealta" (faithful) embroidered. The identity of the couple is unknown but the names of the florentine couple Lorenzo di Ranieri Scolari and Angiola di Bernardo Sapiti, who were married about 1439, have been suggested. Painting from 1435-1440.

Steven van Lamsweerde (after Johannes van Wijckersloot): Pulling the Amersfoortse boulder (1661)

2023-01-09T11:27:00.000+01:00

(Rijksmuseum, Amsterdam, The Netherlands)

The esquire Everhard Meyster discovered in 1661 a 7,157 kg boulder on the Leusderheide and made a bet with his friends that he could round up enough people to drag the rock inside the city walls. Aided by lots of beer and pretzels, a group of 400 men managed to complete the job. As the whole affair was actually a joke by the esquire, neighboring towns soon made fun of the citizens of Amersfoort, giving them the nickname 'keistad ('rock town'). The large boulder can still be seen in Amersfoort (it is situated on the Arnhemsestraat). the print shows people pulling the stone with mythological people like Hercules, Ceres, Cupid, and Bacchus walking alongside them. Engraving from 1661.

Gerard Seghers: The Denial of Saint Peter (1620-1625)

2023-01-02T11:39:00.002+01:00

(North Carolina museum of art, Raleigh, USA)

A painting by the flemish artist Gerard Seghers (1591 – 1651). According to the account in the Gospels (Matthew 26:69–75; Mark 14:66–72; Luke 22:55–62; John 18:17–18, 25–27), when Christ was arrested Peter followed him into the courtyard "to Annas, who was the father-in-law of Caiaphas, the high priest that year" (following John 18:13). There he was accused at three separate confrontations of being a disciple of Jesus. Peter denied each and thus fulfilled Christ's prophecy that before the cock crowed he would deny him thrice. This painting was made in 1620-1625.

Titian: Portrait of Suleiman the Magnificent (1530)

2022-01-10T09:52:00.001+01:00

(Kunsthistorisches Museum, Vienna, Austria)

A painting by the Italian artist Tiziano Vecelli (1488/90– 1576), also known as Titian. Suleiman I (1494 – 1566), commonly known as Suleiman the Magnificent and Suleiman the Lawgiver, was the tenth and longest-reigning Sultan of the Ottoman Empire from 1520 until his death in 1566. Under his rule, the Ottoman Empire reached its apex of economic, military and political power. He managed to conquer large parts of the Middle East, North Africa and Eastern Europe before his armies were checked at the siege of Vienna in 1529. He was a distinguished poet and goldsmith; he also became a great patron of culture, overseeing the "Golden" age of the Ottoman Empire in its artistic, literary and architectural development. After the death of Suleiman I, the empire began to experience significant political, institutional, and economic changes - a period known as the 'Transformation of the Ottoman Empire'. Painting from 1530s.

Vincent van Gogh: The Seated Zouave (1888)

2021-12-20T09:37:00.002+01:00

(Private Collection)

A painting by the Dutch artist Vincent van Gogh (1853-1890). Vincent liked nothing more than working with models but he rarely found people who were willing to pose for him. In June 1888, Van Gogh had a stroke of luck. He finally found someone who was willing to sit for a portrait. It was an infantryman from the elite corps known as the Zouaves. Zouaves were a class of light infantry regiments of the French Army (and later also in other armies) serving between 1830 and 1962 and linked to French North Africa. The word "Zouave" is a French-language derivative of Zouaouas; the original name of the Kabyle Berbers recruited for French service. This is one of the paintings that he made of him. Painting from 1888.

Ludwig Rubelli von Sturmfest: The battle of Lissa (1866-1905)

2021-12-06T11:42:00.001+01:00

(Unknown)

A painting by the Austrian artist Ludwig Rubelli von Sturmfest (1842-1905). The battle of Lissa was part of the Third Italian War of Independence (June-August 1866) and was fought between the Italian navy and the Austrian-Hungarian navy. Although having more and modern ships, the Italian navy was poorly led and was quickly defeated by the Austrian-Hungarian navy. The battle is especially famous for being the first major sea battle between ironclads and the various deliberate ramming attempts. The several successful ramming attempts influenced ship design for the next 50 years with almost every future ship being outfitted with ram bows. Painting from 1866-1905.

Jan Matejko: Stańczyk (1862)

2021-11-30T10:35:00.000+01:00

(Warsaw National Museum, Warsaw, Poland)

A painting by the Polish artist Jan Matejko (1838-1893). This piece shows Stańczyk (1480–1560), a Polish court jester who was employed by three Polish kings: Alexander, Sigismund the Old and Sigismund Augustus. The primary composition of the painting is in the contrast between the solemn Stańczy in the foreground and the lively ball going on in the background. While the court is celebrating the recent victory at the Battle of Orsha (8 September 1514), they are disregarding the bad news about Smolensk. Stańczyk himself is the only person at a royal ball who is troubled by the news that the Muscovites have captured Smolensk in 1514 (Smolensk was part of the Polish–Lithuanian Commonwealth). Painting from 1862.

Paja Jovanović: The proclamation of Dušan's Law Codex (1900)

2021-11-19T08:43:00.000+01:00

(National Museum of Serbia, Belgrade, Serbia)

A painting by the Serbian artist Paja Jovanović (1859-1957). This historical painting shows a scene from the coronation of tsar Stefan Uroš IV Dušan of Serbia. The painting shows the presentation of Dušan's Code, a compilation of several legal systems that were enacted by Dušan of Serbia in 1349 at the end of his coronation. The painting depicts Dušan exiting a church with his wife, Helena of Bulgaria, and son, Uroš (the future Saint tsar Stefan Uroš V of Serbia). The royal couple is surrounded by court officials, the Tsar's bodyguard and the Serbian archbishop and patriarch Joanikije II (1337-1354). Standing in front of Dušan is the noble Gojko Mrnjavčević who reads the proclamation before the crowd. The crowd is composed of nobles, knights and commoners. The knights lower their swords at Dušan's feet as a sign of respect and submission. The painting was commissioned by the Royal Serbian government for the Exposition Universelle in Paris where it was well-received. Painting of 1900.

Lucas Cranach the Younger: The Family of Sigismund I of Poland (1555-56)

2021-11-17T10:06:00.001+01:00

(Princes Czartoryski Museum, Kraków, Poland)

A set of paintings made by the German artist Lucas Cranach the Younger (1515-1586). This set of portrait miniatures shows ten members of the Jagiellonian dynasty (Jagiellon Family), produced during Bona Sforza's time as queen in Poland after she had married Sigismund I of Poland. shown from left to right:

top row:
- King Sigismund I the Old of Poland (1467-1548)
- Bona Sforza d’Aragona (21494 – 1557), second wife of Sigismund I the Old
- King Sigismund II Augustus of Poland (1520–1572), son of Sigismund I and Bona Sforza. Sigismund II remained childless throughout his life. He was the last male monarch from the Jagiellonian dynasty
- Elizabeth of Austria (1526–1545), the first wife of Sigismund II
- Barbara Radziwiłł (1520/23-1551), the second wife of Sigismund II

Bottom row:
- Catherine of Austria (1533-1572), the third wife of Sigismund II
- Isabella Jagiellon (1519–1559), daughter of Sigismund I and Bona Sforza. Married with King John I of Hungary
- Catherine Jagiellon (1526–1583), daughter of Sigismund I and Bona Sforza. Married with King John III of Sweden
- Sophia Jagiellon (1522–1575), daughter of Sigismund I and Bona Sforza. Married with Duke Henry V of Brunswick-Lüneburg
- Anna Jagiellon (1523–1596), daughter of Sigismund I and Bona Sforza. Married with king Stephen Báthory of Poland-LithuaniaPaintings from 1555-56.

Unknown: De civitate Dei, folio 7 (1480)

2021-11-10T10:01:00.003+01:00

(Bibliothèque municipale, Mâcon, France)

An illuminated page made unknown French artists. This page from a copy of De civitate Dei (The City of God), a famous book of Christian philosophy written in Latin by Augustine of Hippo in the early 5th century AD. The book presents human history as a conflict between what Augustine calls the Earthly City (or the City of Man) and the City of God, a conflict that is destined to end in victory for the latter. The City of God is marked by people who forgo earthly pleasure to dedicate themselves to the eternal truths of God, now revealed fully in the Christian faith. The Earthly City, on the other hand, consists of people who have immersed themselves in the cares and pleasures of the present, passing world. Raoul de Presles (1316 - 1382) translated the book into French, a councillor of King Charles V of France. This book is a copy of the translation of Raoul de Presles. shown here is folio 7 which shows various scenes:

- Top: The City of God

- Middle: The Earthly City

- Bottom: Hell

On the right side are various church fathers depicted (a Church father/ doctor is an influential Christian theologian and/ or writer who established the intellectual and doctrinal foundations of Christianity). From top to bottom:

- The Latin Church Fathers: Augustine of Hippo, Jerome of Stridonium, Pope Gregory I the Great, Hilary of Poitiers & Ambrose of Milan

- The Franciscan Church Doctors: Alexander of Hales, Bonaventure & John Duns Scotus

- The Dominican Church Doctors: Albertus Magnus, Thomas Aquinas & Peter of Tarentaise

- The Augustinian Church Doctors: Thomas of Strasbourg, Gregory of Rimini & Giles of Rome

- The Carmelite Church Doctors: Thomas Netter of Walden, Jean de Bologne & Jean Golein

An illuminated page made in ca 1480.

Nicolò Nelli: The World Turned Upside Down (1552–79)

2021-11-08T09:52:00.004+01:00

(Metropolitan Museum of Art, New York, USA)

An engraving made by the Italian artist Nicolò Nelli (1530 - 1576 or 1585). The World Turned Upside Down was a popular theme in medieval art. The topos of the world upside down shows a world returned to its initial state of primaeval chaos, in which everything is inside-out and out of bounds: the cart is set before the ox, only fools can be wise, kings no longer rule, animals behave like people, children punishing their parents, women adopting the role of men, ships sailing on land etc. Usually, the theme serves as a warning to social, political and religious changes. engraving from 1552-1579.

Vincenzio Carduccio: The vision of Denis the Carthusian (1626 - 1632)

2021-10-13T09:14:00.008+02:00

(Museo del Prado, Madrid, Spain)

A painting by the Spanish artist Vincenzio Carduccio (1576/78–1638). This painting is part of a set of 54 paintings for the Carthusian Monastery of El Paular, representing the lives of various Carthusian martyrs. This piece shows the Dutch monk Dionysius van Rijkel (1402–1471), also known as Denis the Carthusian. Dionysius van Rijkel is best known for the large number of books that he wrote, including commentaries on the entire Bible and over 900 sermons. He also wrote a series of treatises, laying down rules of Christian living for churchmen and for laymen of every rank and profession. Behind the saint is a vision of God appearing before Dionysius. Painting from 1626-1632.

Anthony van Dyck: Portrait of François Langlois (early 1630s)

2021-10-04T10:39:00.006+02:00

(National Gallery, London, UK)

A painting by the Flemish artist Anthony van Dyck (1599 – 1641). François L’Anglois (1589-1647) was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. Painting from the early 1630s.

Arnold Boonen: The regents of the municipal orphanage of Amsterdam (1716)

2021-09-27T11:31:00.000+02:00

(Amsterdam Museum, Amsterdam, The Netherlands)

A painting by the Dutch artist Arnold Boonen (1669-1729). The municipal orphanage of Amsterdam (Dutch: Burgerweeshuis) was founded in 1520 by wealthy citizens of Amsterdam. The orphanage was exclusively intended for children of Amsterdam burghers (so foundlings and children of poor people were not admitted to the orphanage). In 1580 the municipal orphanage moved to the complex of the saint Lucianmonastry in the Kalverstraat (this catholic monastery was liquidated after the 'alteration of Amsterdam' on May 26, 1578, when the Catholic city government was deposed in favour of a Protestant one). The board of the orphanage consisted of six wealthy Amsterdam gentlemen, the regents. They met weekly in the regent's room. There were also four regentesses, rich bourgeois ladies who met separately from the gentlemen. Among other things, they supervised the staff for the youngest orphans and the older girls. The board work was unpaid but honourable. This painting shows the six regents of the municipal orphanage and probably the 'binnenvader' (literally 'innerfather'), the man who carried out the day-to-day management of the complex. Painting from 1716.

Solomon Joseph Solomon: An Octave for Mr Ernest Hart at Sir Henry Thompson's house (1893)

2021-09-17T10:40:00.000+02:00

(Wellcome Library, London, UK)

Painting by the British artist Solomon Joseph Solomon (1860-1927). An octave was a dinner party held by Sir Henry Thompson (1820–1904), Professor of Surgery at University College, London, at his house 35 Wimpole Street, London, at which 8 courses, accompanied by 8 wines, were served at 8 o'clock to 8 guests in addition to the host and the guest of honour. The guest of honour here, seated to the right of the mantelpiece, was Ernest Hart, Editor of the British Medical Journal. The other guests are all senior members of the British surgical and medical professions. Painting from 1893.

George Gower: Portrait of Lady Philippa Coningsby (1578)

2021-09-14T10:34:00.001+02:00

(Indianapolis Museum of Art, Indianapolis, USA)

A painting by the English artist George Gower (c.1540–1596). This painting is an example of Elizabethan portraiture. The lady shown here is Phillipa Fitzwilliam (1530-1596), the wife of Sir Thomas Coningsby (1550-1625), the couple had 11 children. Her husband was an English soldier and Member of Parliament, notable for his diary of military action in France in 1591. The cherries in Lady Philippa's hand are traditional symbols of transience. This meaning is reinforced by the inscription (in French): "Pleasure dies but honour endures". Painting from 1578.

Moretto da Brescia: Saint Justina, Venerated by a Patron (1530-34)

2021-08-31T10:06:00.001+02:00

(Kunsthistorisches Museum, Vienna, Austria)

A painting by the Italian artist Alessandro Bonvicino (1498-1554), better known as Moretto da Brescia. In front of an expansive landscape the figure of Saint Justina stands, patron saint of Padua, with her attribute, the unicorn, and the donor kneeling to her left, gazing up at her in adoration. Painting from 1530-1534.

Esaias Boursse: An officer of lascarins sitting on a bench (1662)

2021-08-30T09:07:00.001+02:00

(Rijksmuseum, Amsterdam, The Netherlands)

A drawing made by the Dutch artist Esaias Boursse (1631-1672). This drawing is part of an album of 116 drawings from Ceylon (nowadays called Sri Lanka). Esaias Boursse entered the service of the Dutch East India Company (Vereenigde Oostindische Compagnie or V.O.C.) and travelled to Ceylon in 1661 and made drawings of the island's inhabitants, landscapes, and city views. This drawing shows an officer of the lascarins. The lascarins were Cingalese soldiers in the service of the Dutch East India Company. The necklace he is wearing is a badge of the Dutch East India Company which states that he is in the service of the Company. Drawing from 1662.

Anonymous: The siege of Baghdad (1430)

2021-08-19T10:19:00.009+02:00

(Bibliothèque nationale de France, Paris, France)

An illuminated page made by an unknown Persian artist. This page comes from a copy of the Jāmiʿ al-tawārīkh ('Compendium of Chronicles'), written by the Persian historian Rashid al-Din Hamadaniat (1247–1318) the start of the 14th century. The book is seen as "the first world history" and describes cultures and major events in world history from China to Europe until the 14th century. This page shows the siege of Baghdad (capital of the Abbasid Caliphate) in 1258 by the Mongol army of the Ilkhanate. A large Mongol army invaded the Middle East in 1257, seeking the submission of various Muslim states, including the Abbasid Caliphate. Caliph Al-Musta'sim Billah neglected to summon armies to reinforce the troops at his disposal in Baghdad nor did he strengthen the city's walls. The Mongol army began to lay siege of Baghdad on January 29 and after 10 days the city surrendered. After the siege, the Mogol army plundered Baghdad in a week of massacre and destruction. For several decades, the city was described as 'a depopulated, ruined city' and only gradually recovered some of its former glory. An illuminated page made in 1430.

Abd al-Hasan Al-Isfahani: The great wall of Gog and Magog (1390-1450)

2021-08-17T10:22:00.001+02:00

(Bodleian Libraries, Oxford, UK)

An illuminated page made by the 14th century Persian artist Abd al-Hasan Al-Isfahani. This page comes from the book Kitab al-Bulhan ('book of wonders'). The book contains a diverse selection of astrological, astronomical, folktales, geomantic texts etc. This page shows The Gates of Alexander, a legendary barrier supposedly built by Alexander the Great in the Caucasus to keep the uncivilized barbarians of the north. The tale itself comes from the Alexander Romance which is a historical and fictional account of the life and exploits of Alexander the Great. Gog and Magog appear in the Hebrew Bible, Christian Bible, and Quran as individuals, tribes, or lands. In the Alexander Romance, they are kings of the 'Unclean Nations', driven beyond a mountain pass by Alexander, and blocked from returning by his new wall. Gog and Magog are usually depicted as monsters who engage in human cannibalism. Page from 1390-1450.

Albert Robida: Going to the Opera in the Year 2000 (1902)

2021-08-11T09:31:00.003+02:00

(Library of Congress, Washington, D.C., USA)

A lithograph made by the French artist Albert Robida (1848 – 1926). Albert Robida is best known for his trilogy of futuristic works. The books are a nineteenth-century conception of life in the twentieth century. This piece shows a futuristic view of air travel over Paris as people leave the Opera. Many types of aircraft are depicted including buses and limousines, police patrol the skies, and women are seen driving their own aircraft. Piece from 1902.

Giovanni Battista Tiepolo: Armida Encounters the Sleeping Rinaldo (1742)

2021-08-09T08:56:00.000+02:00

(Art Institute of Chicago, Chicago, USA)

A painting by the Italian artist Giovanni Battista Tiepolo (1696-1770). This painting shows a scene from the book 'Jerusalem Delivered' by the Italian poet Torquato Tasso (first published in 1581). The book is set in the eleventh century, during the First Crusade. The painting shows the beautiful sorceress Armida who has just arrived to divert the sleeping hero Rinaldo from his crusade. Armida abducts Rinaldo in her chariot. She intends to kill him but she falls in love with him instead and takes him away to a magical island where he becomes infatuated with her and forgets the crusade. Two close companions of Rinaldo, Carlo and Ubaldo, manage to save Rinaldo. Painting from 1742.

Titian: Portrait of doge Andrea Gritti (1546-1550)

2021-07-21T10:17:00.001+02:00

(National Gallery of Art, Washington D.C., USA)

A painting by the Italian artist Tiziano Vecelli (1488 or 1490 – 1576), better known as Titian. Andrea Gritti (1455 – 1538), was a Venetian soldier and diplomat who was also elected doge of Venice (from 1523 to 1538). The doge was the chief magistrate and leader of the Republic of Venice. Doges of Venice were elected for life by the city-state's aristocracy. Gritti is also wearing the corno ducale, a unique ducal hat that was the headgear and symbol of the Doge of Venice. Painting from 1546-1550.

Jan van Eyck: Portrait of a Man in a Turban (1433)

2021-07-19T10:35:00.003+02:00

(National Gallery, London, UK)

A painting by the Flemish artist Jan van Eyck (before 1390 – 1441). This painting shows a middle-aged man sitting in three-quarters profile. The man is not wearing a turban, but a chaperon. The hood, which usually hung down over the wearer’s neck and shoulders, has been piled up on top of the sitter’s head, the long tail wound around it. The painting is still in its original frame. At the bottom is the inscription "JOHES DE EYCK ME FECIT ANO MCCCC.33. 21. OCTOBRIS" ("Jan van Eyck Made Me on October 21, 1433"). At the top, the text "AlC IXH XAN" ("As Well As I Can"), the personal motto of van Eyck. The painting is believed to be a self-portrait of Jan van Eyck. It has been proposed that van Eyck created the portrait to store in his workshop so that he could use it to display his abilities (and social status, given the fine clothes evident in the portrait) to potential clients.

Henry Ossawa Tanner: The Annunciation (1898)

2021-07-12T11:19:00.001+02:00

(Philadelphia Museum of Art, Philadelphia, USA)

A painting made by the African-American artist Henry Ossawa Tanner (1859 – 1937). Tanner specialized in landscapes, religious subjects, and scenes of daily life. This piece shows the archangel Gabriel and Mary during the Annunciation. The story is narrated in Luke 1:26–38, in which Gabriel tells Mary that she will bear Jesus, the Son of God. Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown as an adolescent dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Painting from 1898.