Monday, April 4, 2016

Elegy Written in a Country Churchyard - Thomas Gray - 1751




Thomas Gray English poet b. 1716 d.1771. Classical scholar and professor at Cambridge University. The poem 'Elegy Written in a Country Churchyard' was first published in 1751.



The curfew tolls the knell of parting day,

The lowing herd wind slowly o'er the lea,

The ploughman homeward plods his weary way,

And leaves the world to darkness and to me.



Now fades the glimmering landscape on the sight,

And all the air a solemn stillness holds,

Save where the beetle wheels his droning flight,

And drowsy tinklings lull the distant folds;



Save that from yonder ivy-mantled tower

The moping owl does to the moon complain

Of such, as wandering near her secret bower,

Molest her ancient solitary reign.



Beneath those rugged elms, that yew-tree's shade,

Where heaves the turf in many a mouldering heap,

Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep.



The breezy call of incense-breathing morn,

The swallow twittering from the straw-built shed,

The cock's shrill clarion, or the echoing horn,

No more shall rouse them from their lowly bed.



For them no more the blazing hearth shall burn,


Or busy housewife ply her evening care:

No children run to lisp their sire's return,

Or climb his knees the envied kiss to share.



Oft did the harvest to their sickle yield, 

Their furrow oft the stubborn glebe has broke;

How jocund did they drive their team afield!

How bowed the woods beneath their sturdy stroke!



Let not Ambition mock their useful toil,

Their homely joys, and destiny obscure;

Nor Grandeur hear with a disdainful smile,

The short and simple annals of the poor.



The boast of heraldry, the pomp of power,

And all that beauty, all that wealth e'er gave,

Awaits alike the inevitable hour.

The paths of glory lead but to the grave.



Nor you, ye Proud, impute to these the fault,

If Memory o'er their tomb no trophies raise,

Where through the long-drawn aisle and fretted vault

The pealing anthem swells the note of praise.



Can storied urn or animated bust

Back to its mansion call the fleeting breath?

Can Honour's voice provoke the silent dust,

Or Flattery soothe the dull cold ear of Death?



Perhaps in this neglected spot is laid

Some heart once pregnant with celestial fire;

Hands that the rod of empire might have swayed,

Or waked to ecstasy the living lyre.



But Knowledge to their eyes her ample page


Rich with the spoils of time did ne'er unroll;

Chill Penury repressed their noble rage,

And froze the genial current of the soul.



Full many a gem of purest ray serene, 

The dark unfathomed caves of ocean bear:

Full many a flower is born to blush unseen,

And waste its sweetness on the desert air.



Some village-Hampden, that with dauntless breast

The little tyrant of his fields withstood;

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country's blood.



The applause of listening senates to command,

The threats of pain and ruin to despise,

To scatter plenty o'er a smiling land,

And read their history in a nation's eyes,



Their lot forbade: nor circumscribed alone

Their growing virtues, but their crimes confined;

Forbade to wade through slaughter to a throne,

And shut the gates of mercy on mankind,



The struggling pangs of conscious truth to hide,

To quench the blushes of ingenuous shame,

Or heap the shrine of Luxury and Pride

With incense kindled at the Muse's flame.



Far from the madding crowd's ignoble strife,

Their sober wishes never learned to stray;

Along the cool sequestered vale of life

They kept the noiseless tenor of their way.



Yet even these bones from insult to protect

Some frail memorial still erected nigh,

With uncouth rhymes and shapeless sculpture decked,

Implores the passing tribute of a sigh.



Their name, their years, spelt by the unlettered muse,

The place of fame and elegy supply:

And many a holy text around she strews,

That teach the rustic moralist to die.



For who to dumb Forgetfulness a prey,

This pleasing anxious being e'er resigned,

Left the warm precincts of the cheerful day,

Nor cast one longing lingering look behind?



On some fond breast the parting soul relies,

Some pious drops the closing eye requires;

Ev'n from the tomb the voice of nature cries,

Ev'n in our ashes live their wonted fires.



For thee, who mindful of the unhonoured dead

Dost in these lines their artless tale relate;

If chance, by lonely Contemplation led,

Some kindred spirit shall inquire thy fate,



Haply some hoary-headed swain may say,

'Oft have we seen him at the peep of dawn

'Brushing with hasty steps the dews away

'To meet the sun upon the upland lawn.



'There at the foot of yonder nodding beech

'That wreathes its old fantastic roots so high,

'His listless length at noontide would he stretch,

'And pore upon the brook that babbles by.



'Hard by yon wood, now smiling as in scorn,

'Muttering his wayward fancies he would rove,

'Now drooping, woeful wan, like one forlorn,

'Or crazed with care, or crossed in hopeless love.



'One morn I missed him on the customed hill,

'Along the heath and near his favourite tree;

'Another came; nor yet beside the rill,

'Nor up the lawn, nor at the wood was he;



'The next with dirges due in sad array

'Slow through the church-way path we saw him borne.

'Approach and read (for thou can'st read) the lay,

'Graved on the stone beneath yon aged thorn.'



The Epitaph



Here rests his head upon the lap of earth

A youth to fortune and to fame unknown.

Fair Science frowned not on his humble birth,

And Melancholy marked him for her own.



Large was his bounty, and his soul sincere,

Heaven did a recompense as largely send:

He gave to Misery all he had, a tear,

He gained from Heaven ('twas all he wished) a friend.



No farther seek his merits to disclose,

Or draw his frailties from their dread abode,

(There they alike in trembling hope repose)

The bosom of his Father and his God.



Discussions on art and literature by Pieter Bergli

For my readers that just love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Tuesday, March 1, 2016

Dutch Masters - Landscapes of Aelbert Cuyp

The Dutch Golden Age of the 17th century brought great wealth to the Netherlands with trade and commerce from the orient to the west. Formerly a client state of the Holy Roman Empire the new Dutch state shook off its yoke in 1590 and embarked upon an ambitious global trading policy that eventually saw Dutch maritime supremacy by the 17th century. With the coffee trade and tea, to spices and condiments Dutch traders scoured the globe to make markets back home in Europe and monopolize the supply of such commodities throughout Western Europe. merchants became successful and the citizens flourished as artisans throughout the land received commissions for new works of fine art. One such artist of renown for his serene and gentle Dutch landscapes is Aelbert Cuyp who portrayed the success of his nation by demonstrating the peaceful contentment of rural life allowed to grow in this new age of national wealth. For Aelbert Cuyp b.1620 d.1691, rural life is not overwhelmed with abject poverty but rather an idyllic vision that only economic success can bring as money and wealth brings hopes for greater visions and new achievements. The idyllic visions are tinged with hope and confidence that the newly born nation can rise above turmoils associated with other great political births in history. Aelbert Cuyp can just as well carry this theme through his images of animals, landscapes, social gentry or even maritime subjects. His paintings speak of a quiet inner strength of his nation as the Golden Age permeates all walks of life.



Landscape with a Timber Yard near Dordrecht c.1639
Oil on panel, The Kremer Collection.



Portrait of a Twenty-year-old Duck Sijctghen c.1647
Oil on panel, Dordrechts Museum, Dordrecht.



River Landscape with Seven Cows c. 1648
Oil on panel, The Kremer Collection.



The Avenue at Meerdervoort c. 1650
Oil on wood, Wallace Collection London.



Landscape with a Hunt c. 1650
Oil on canvas, Private collection.



The Valkhof at Nijmegen 1652
Oil on wood, Museum of Art Indianapolis.



View of Dordrecht c. 1655
Oil on canvas, Kenwood House, London.

From the quiet pastorals to the unassuming display of Dutch naval mercantilism, Aelbert Cuyp demonstrated the growing confidence of his nation in a period known as the Dutch Golden Age in the 17th century. Also known as the 'Dutch Miracle' his paintings remind us of the economic growth reflected through the placidity of his images of rural life sans squalor sans poverty but beaming with contentment over every plot of land that is home to the Netherlands.


Fine art discussions by Pieter Bergli

For my readers that just love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Tuesday, February 16, 2016

The unveiling of the Portraits of Marten Soolmans and of Oopjen Coppit by Rembrandt

The sale of the Rembrandt work - the twin  Portraits of Marten Soolmans and Portrait of Oopjen Coppit, wife, c 1634, constitutes one of the finest recent acquisitions in fine art through the carefully coordinated sale from Rothschild's banking family to the governments of the Netherlands and France for joint ownership of the masterpiece. The two unseen Rembrandt's were sold for the collective sum of 160m Euro.




The Dutch painter Rembrandt née Rembrandt Harmenszoon van Rijn b.1606 d. 1669 is often considered to be one of the greatest painters in the history of European art. His works coincided with a period of immense prosperity for his homeland, the Netherlands, and together with the collective cultural achievements of his age, the brilliance of Rembrandt is always enjoyed as one of the masters of the Dutch Golden age. Rembrandt shall always be revered for his own unique mastery of colors and composition among the many portraits that he would compose for his patrons. Although Rembrandt would also turn to the subject matter of Biblical themes, it would always be the area of portrait of the human figure that would demonstrate the exquisite touch and palette of the master's hand.

As part of the sales agreement which once saw the governments of the Netherlands and France in heated dispute; the paintings of Marten Soolmans and of Oopjen Coppit, of husband and wife, are to be displayed on an equal basis annually at the Rijksmuseum in Amsterdam and the Louvre in Paris.

Mariëtte (Jet) Bussemaker, Minister for Education, Culture and Science for the Netherlands, wrote to her government as follows:

“We believe these two rare portraits should always be allowed to be admired together, alternately between the Rijksmuseum and the Louvre, so they are accessible to the broader public, both young and old".


Rembrant Harmenszoon van Rijn c. 1659 National Gallery of Art, Washington.


The move for equality of sharing for public display has been well received by the public at large and for all those who take an interest in the history of European art and it's heritage.


Fine art reviews and education by Pieter Bergli

For my readers that just love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you





Sunday, February 14, 2016

The Collection of A. Alfred Taubman - Old Masters sold.

Sold at Sotheby's; a fine collection of old masters works inclusive of 67 pieces of fine art for a total of USD 24,128,750 inclusive of buyer's premium charges.


Leading the way was Lot - 20 - The Crowning With Thorns - Valentin de Boulogne - sold for USD 5,178,000.





Valentine de Boulogne was a French artist b. 1591 d. 1632. who traveled to Rome to study painting as did all young French artists of his day. The early 17th century was dominated by the school of Mannerism. Whilst at Rome Valentine came under the influence of the naturalism of Caravaggio and he became part of a group of emigre artists known as the French Caravaggisti. whilst in Rome among French and Dutch an Flemish young painters, Valentine earned his nickname nickname "Innamorato" but is said to have lived in solitude in the  parish of Santa Maria del Popolo. Valentine was attracted to Biblical subjects at this time. Upon his return to France valentine and other young artists began the introduction of the Baroque style. However the artists life was cut short. it is estimated that the work - Crowning of Thorns was completed somewhere near the date 1620 whilst at Rome. Oil on canvas, 128 x 95 cm and formerly owned privately and loaned for display at the Alte Pinakothek, Munich. Acquired at  sale by A. Alfred Taubman for his collection.


The second attraction of the bidding was Lot 8 - Portrait of Valerio Belli - Raphael - sold for USD 3,250,000.



Raffaello Sanzio da Urbino b.1483 d.1520 was an Italian painter also known as Raphael. During the period of the the High Renaissance his serene works were admired for such consummate clarity of form. Spending most of his time in the north of Italy and in particular Florence, Raphael developed his perfection of form, along with his contemporaries Michelangelo and Leonardo da Vinci, and formed the three great masters of this period in the history of European art. His famous works include - The Madonna of the Pinks and the Deposition of Christ among others. The portrait of Valerio Bello was commissioned in 1517. It is an oil on roundel panel of the dimensions overall diameter: 4 15/16  in.; 12.5 cm and painted surface diameter: 4 in.; 10.1 cm. Formerly owned privately. Acquired at sale by A. Alfred Taubman for his collection.


The third attraction of the bidding was Lot 62 - The Blue Page - Thomas Gainsborough - which also sold for USD 3,250,000.





Thomas Gainsborough was an English portrait and landscape painter b. 1727 d. 1788. He was a contemporary of the other famous English portrait painter Sir Joshua Reynolds and founding member of the Royal Academy. The dimensions of this work are approximately 3 1/2  inches across the bottom 65 by 44 1/2  in.; 165.5 by 113 cm. This oil on canvas c. 1765 is thought to be the forerunner to the artist's most famous work - The Blue Boy c. 1770. Formerly owned privately. Acquired at sale by A. Alfred Taubman for his collection.


The Fourth attraction on the sale was Lot 50 - Venice, a View of the Grand Canal Looking East from the Campio Di San Vio, to the Left the Palazzo Correr  - Bernardo Bellotto-  sold for USD 3,010,000.





Bernardo Bellotto, is also known as 'Canaletto' named after his famous namesake uncle and  whose own fame as an Italian painter lay in his exquisite city of Venice landscapes. The younger Canaletto, or Bellotto, b.1721 d.1780, was known for his accentuated detail of architecture and Rococco style. At the height of his career he spent 16 years under commission of King August III of Poland and his successor  King Stanislaus Augustus Poniatowski at Warsaw. This painting was made before his departure to Dresden somewhere between 1740 and 1746. Oil on canvas with dimensions 24 by 38 3/8 in,  61 by 97.5 cm. Previous owner private collection and acquired through sale by A. Alfred Taubman.


The fifth most expensive painting of the collection was Lot 30 - Christ Disputing With The Doctors - Matthias Stomer - Sold for USD 2,650,000.






Matthias Stomer, or Stom was a Dutch painter b. 1600 d. 1650 and known for his Baroque style Biblical themes. The painter was part of the Dutch Golden Age painter and Stom was known to be part of a group that collectively became known as the masters of Utrecht Caravaggism, with themes in the manner of the great Italian painter Caravaggio. Stom spent a considerable time in Italy whereby he came under the influence of the style of Caravggio. This work is thought to have been completed in 1630. Oil on canvas 53 1/2  by 71 1/4  in, 136 by 181 cm. Previous owner private collection and acquired through sale by A. Alfred Taubman.



Discussions in fine art by Pieter Bergli

For my readers that enjoy a cafe and something to read please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and for readings in history there is my writings on the histories of the Napoleonic campaigns at

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Thursday, January 28, 2016

Dutch Masters - Landscapes of Aert van der Neer

When it comes to Dutch landscapes there is one artist that predominantly comes to my mind: Aert van der Neer. 

Moody, sombre, bleak and bare; Aert van der Neer captures the imagination with autumnal and wintry landscape scenes and figures with contrasting animation against the backdrop of a blustery and cold setting.

Born in 1603 and deceased in 1677 Aert van der Neer mostly lived a life of complete obscurity and poverty although he was a contemporary of more famous artists such as Albert Cuyp and Mendert Hobbema in an age that has been described as the Golden Age of Dutch painting. It was not until after his death that his sombre landscapes and settings became a source of inspiration for the great painters of the romantic movement in the latter 18th century. Aert van der Neer died in Amsterdam penniless and his paintings were deemed unwanted as an artist born with an artistic vision that was much ahead of his time. Note the sombre melancholy in the artists eyes through his masterful renditions of nocturnal scenes juxtaposed with glimmers of hope through the artists view of a lively humanity that sparkles into life set against a background of a wintry mood.

Collection of oil on wood panel board paintings:


Landscape with Windmill c.1647 Aert van der Neer - Hermitage Museum


Moonlit Landscape with a View of the New Amstel River
and Castle Kostverloren c.1649 Aert van der Neer - Getty Center


Moonlit Landscape with Bridge c.1650 Aert van der Neer -  National Gallery of Art, Washington D.C.



Riviergezicht bij winter c. 1655 - Aert van der Neer - Rijksmuseum Amsterdam



Winter Landscape c.1660 Aert van der Neer - Gemäldegalerie Berlin


Frozen River at Sunset c.1662 Aert van der Neer - Private Collection



River Lanscape c.1663 Aert van der Neer - Gemäldegalerie, Berlin


Aert van der Neer may not have captured the imagination of his contemporaries but his wonderful use of neutral colors in contrast with flickers of yellow and balance of shade with light bears all the tinges and hallmarks of the creative genius of a much more famous successor; the wilder and unwieldy JMW Turner himself, leading the passionate revolt against the organized pastoral blandness of his age. Truly the critics of the Dutch Golden Age had sorely missed the creativity of an under-estimated genius in the guise of the impoverished artist Aert van der Neer. Witness the birth of the argument of art for art's sake crying out for individuality against conformity. For Aert van der Neer there has always been something magical about sunsets and sunrises as points in time where events should commence to unfold or close upon us. All Time is broken down into these two chapters of nature and life. Herein, the under-estimated master combines the use of shades of murky brown and dull grey contrasting greatly and effectively with the foreground subject matter of figures that seem to become even larger than life itself in spirit on wooden panel. Drawn to the chill of nature Aert van der Neer sketches the continuity of life oblivious to the seasonal changes. Although unsuccessful in life later artists could become impressed with the Dutch master's astuteness of finding excitement among common themes. Aert van der Neer would always be remembered for his soul searching on canvas and his attempt to portray life within the enveloping darkness of nature at it's bleakest. An underlying Romantic tone can almost be discerned as the artist masterfully combines the powerful emotions of sadness with joy to render his natural landscapes with deeper thoughtful reflections on the vagaries of all life. Ahead in time; unrecognized in the present; the lofty sentiment of the artist could only choose to create from a vision untainted by the need to conform even should it mean a road towards abject poverty and a lonely destination in his lifetime.



Discussions in fine art by Pieter Bergli

For my readers that enjoy a cafe and something to read please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and for readings in history there is my writings on the histories of the Napoleonic campaigns at

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you