Ghost
Portrait of a Young Lady with a Plumed Headdress by British (English) School, 1633 England, Manchester City Galleries


A three-quarter, left side, portrait of a lady in a red embroidered dress with puffed sleeves, tied with yellow ribbon, and a lace collar. She wears a plumed headdress, which is trimmed with pearls and which sits near the back of her head.
A large pendant hangs around her neck with six black droplets hanging from the main section. A matching ring is tied to her collar with a piece of ribbon, while a ring is visible on the fourth finger of her left hand. Beaded bracelets adorn her wrist. She looks straight at the viewer, her face framed by her ringlets of dark hair. There is an oval painted frame with a dark background. Her age is documented in the top corner of the painting as ‘15’. This painting was probably made to celebrate the betrothal of her and her husband, who is represented in the accompanying painting entitled ‘A Gentleman’ which is executed in an identical style.

Portrait of a Young Lady with a Plumed Headdress by British (English) School, 1633 England, Manchester City Galleries

A three-quarter, left side, portrait of a lady in a red embroidered dress with puffed sleeves, tied with yellow ribbon, and a lace collar. She wears a plumed headdress, which is trimmed with pearls and which sits near the back of her head.

A large pendant hangs around her neck with six black droplets hanging from the main section. A matching ring is tied to her collar with a piece of ribbon, while a ring is visible on the fourth finger of her left hand. Beaded bracelets adorn her wrist. She looks straight at the viewer, her face framed by her ringlets of dark hair. There is an oval painted frame with a dark background. Her age is documented in the top corner of the painting as ‘15’. This painting was probably made to celebrate the betrothal of her and her husband, who is represented in the accompanying painting entitled ‘A Gentleman’ which is executed in an identical style.

(Source: BBC)

Anne Sophia, Countess of Carnarvon by Anthony van Dyck, unknown date (ca 1630’s?) UK
Sold in 2010 to an unknown collector for £1,609,250 ($2,442,842).
Click for a large image

Anne Sophia, Countess of Carnarvon by Anthony van Dyck, unknown date (ca 1630’s?) UK

Sold in 2010 to an unknown collector for £1,609,250 ($2,442,842).

Click for a large image

Portrait of a Young Girl by Anthony van Dyck, unknown date (ca 1630’s?), private collection

Portrait of a Young Girl by Anthony van Dyck, unknown date (ca 1630’s?), private collection

The Cheat with the Ace of Clubs by Georges de la Tour, 1630-34 France, Kimbell Art Museum

One of the greatest masterpieces of seventeenth-century French art, Georges de La Tour’s Cheat with the Ace of Clubs takes as its subject the danger of indulgence in wine, women, and gambling. While the theme harks back to Caravaggio’s influential Cardsharps, also in the Kimbell, the roots of this engaging morality play can be traced to earlier representations of the biblical subject of the prodigal son. La Tour’s dazzling colors and elaborate costumes create a brilliant tableau. His characters enact a psychological drama that unfolds through the cues of their sidelong gazes and the measured gestures that signal their next moves. The cheat tips his cards toward the viewer, who thereby becomes complicit in the scheme, knowing that in the next moment, the conniving trio of cheat, maidservant, and courtesan (identified by her low-cut bodice) will prevail. Another autograph version of this subject, Cheat with the Ace of Diamonds (Musée du Louvre, Paris), displays abundant variations in details of color, clothing, and accessories. For most of his life, La Tour remained in his native duchy of Lorraine, remote from Paris. Although he created some of the most visually compelling images of his age, soon after his death he fell into obscurity. It was only in the early twentieth century that his oeuvre began to be rediscovered.

Honestly, I’m not a big fan of this artist. While I like how his paintings tell a story, I can’t get over the eyes. His eyes were so creepy.

The Cheat with the Ace of Clubs by Georges de la Tour, 1630-34 France, Kimbell Art Museum

One of the greatest masterpieces of seventeenth-century French art, Georges de La Tour’s Cheat with the Ace of Clubs takes as its subject the danger of indulgence in wine, women, and gambling. While the theme harks back to Caravaggio’s influential Cardsharps, also in the Kimbell, the roots of this engaging morality play can be traced to earlier representations of the biblical subject of the prodigal son.

La Tour’s dazzling colors and elaborate costumes create a brilliant tableau. His characters enact a psychological drama that unfolds through the cues of their sidelong gazes and the measured gestures that signal their next moves. The cheat tips his cards toward the viewer, who thereby becomes complicit in the scheme, knowing that in the next moment, the conniving trio of cheat, maidservant, and courtesan (identified by her low-cut bodice) will prevail.

Another autograph version of this subject,
Cheat with the Ace of Diamonds (Musée du Louvre, Paris), displays abundant variations in details of color, clothing, and accessories.

For most of his life, La Tour remained in his native duchy of Lorraine, remote from Paris. Although he created some of the most visually compelling images of his age, soon after his death he fell into obscurity. It was only in the early twentieth century that his oeuvre began to be rediscovered.

Honestly, I’m not a big fan of this artist. While I like how his paintings tell a story, I can’t get over the eyes. His eyes were so creepy.

Hélène Fourment in Her Bridal Gown by Peter Paul Rubens, ca 1630 (Belgium?), Alte Pinakothek
Rubens married Hélène Fourment in 1630, four years after the death of his first wife.  Hélène was 16 and he was 53.

Hélène Fourment in Her Bridal Gown by Peter Paul Rubens, ca 1630 (Belgium?), Alte Pinakothek

Rubens married Hélène Fourment in 1630, four years after the death of his first wife.  Hélène was 16 and he was 53.

Self-portrait of the Artist with his Wife Suzanne Cock and their Children by Cornelis de Vos, 1630’s the Netherlands, the State Hermitage Museum

Self-portrait of the Artist with his Wife Suzanne Cock and their Children by Cornelis de Vos, 1630’s the Netherlands, the State Hermitage Museum

(Source: hermitagemuseum.org)

Isabel de Borbón by Diego Velázquez, 1632 Spain, private collection (NYC)

Isabel de Borbón by Diego Velázquez, 1632 Spain, private collection (NYC)

(Source: wga.hu)

Portrait of Camilla Spinola by Carlo Ceresa, ca 1633 Italy, Musée des Beaux-Arts de Strasbourg
Click for a giant image.

Portrait of Camilla Spinola by Carlo Ceresa, ca 1633 Italy, Musée des Beaux-Arts de Strasbourg

Click for a giant image.

Mariana of Austria as Holy Roman Empress by Franz Luycx, 1631

Mariana of Austria as Holy Roman Empress by Franz Luycx, 1631

Portrait of a Lady by Cornelis de Vos, 1630, Museo Bellas Artes de Sevilla

Portrait of a Lady by Cornelis de Vos, 1630, Museo Bellas Artes de Sevilla

Portrait of a lady, probably Pantasilea Dotto Capodilista by Chiara Varotari, ca 1630 Italy, National Museum of Women in the Arts

Portrait of a lady, probably Pantasilea Dotto Capodilista by Chiara Varotari, ca 1630 Italy, National Museum of Women in the Arts

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