Fine Art

In keeping with our love of the arts, we are pleased to bring you a selection of paintings by the masters, direct from the Rijks Museum in Amsterdam. New pages of paintings will be added periodically, so come back soon to enjoy different examples of their magnificent collection.

The Battle of Waterloo, Jan Willem Pieneman, 1824

The Battle of Waterloo
Jan Willem Pieneman, 1824
In 1815 Napoleon was finally defeated at the Battle of Waterloo. This painting – the largest in the Rijksmuseum – depicts the turning point in the battle, when the Duke of Wellington, the British commander, hears that Prussian help is on the way. Victory and the end of twenty years of war are in sight. The Dutch Crown Prince, later King William II, lies wounded on a stretcher. His bravery earned him the nickname the Hero of Waterloo.

The Incredulity of Thomas, Hendrick ter Brugghen, c. 1622

The Incredulity of Thomas
Hendrick ter Brugghen, c. 1622
Thomas simply could not believe that Christ had actually risen from the dead. His doubts were dispelled only when he had seen and touched the wounds in Christ’s side and hands himself. Emulating his great model Caravaggio, Ter Brugghen portrayed Christ and his followers with craggy faces and wrinkled, rough hands.

Geertruy Haeck Kneeling in Adoration before Saint Agnes, Anonymous, c. 1465

Geertruy Haeck Kneeling in Adoration before Saint Agnes
Anonymous, c. 1465
This painting is a ‘memorial tablet’, intended to honour the memory of a deceased person. It probably hung near the tomb of Geertruy Haeck-van Slingelandt van der Tempel in the church of the convent of Saint Agnes in Dordrecht. Although Geertruy was not herself an ordained nun, she is dressed in a nun’s habit as a sign of her piety.

The Quay de Paris in Rouen, Johannes Bosboom, 1839

The Quay de Paris in Rouen
Johannes Bosboom, 1839
During the Romantic era, the picturesque French city of Rouen in Normandy was a popular destination for artists. They were fond of medieval architecture and considered the great cathedrals to be an expression of pure Christian faith. The houses along the quay in this painting are situated closely together, dwarfed by the cathedral towers rising up behind them.

View in the Park of the Villa Chigi at Ariccia, Abraham Teerlink, 1822

View in the Park of the Villa Chigi at Ariccia
Abraham Teerlink, 1822
Teerlink mainly painted sweeping, panoramic views. In this painting, however, he depicted a small slice of nature in a large format. The monk descending to fetch water leads the viewer’s eye to the flowing stream in the foreground. The painter probably relied on his portfolio of sketches from nature for the many details in this scene, such as the plants by the stream.

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