Grevinnan Beata Elisabeth von Königsmarck, 1637-1723, g.m greve Pontus Fredrik De la Gardie.Oljemålning på duk. Namn Tillverkare: Hendrick Munnichhoven Avbildning: Beata Elisabet von Königsmarck Datering1654 cirka Övriga NyckelordOljemålning Kvinna SamlingSkoklosters slott Inventarienummer3038
ARTEMISIA GENTILESCHI (1593, Rome - 1654, Naples) The eldest child of the Tuscan painter Orazio Gentileschi who introduced her to painting in his workshop. Orazio was a great encouragement to his daughter since, during the 17th century, women were considered not to have the intelligence to work. Her first work "Susanna and the Elders" shows the sexual assault by the two Elders as a traumatic event. Some months later she was raped by one of her father's assistants. She faced a public trial.
Portrait of King Charles I copy after Anthony van Dyck (Flemish, 1599-1641) Date: 17th century Medium: oil on canvas Dimensions: Framed - h:153.67 w:130.17 d:105.41 cm (h:60 1/2 w:51 3/16 d:41 1/2 inches) Unframed - h:116.80 w:96.30 cm (h:45 15/16 w:37 7/8 inches) Department: European Painting and Sculpture Type of art work: Painting Credit Line: Gift of Mr. and Mrs. J. H. Wade
A Young Lady Trimming her Fingernails probably 1670-5, Jacob OchterveltIn 17th-century Holland it was usual to drape tables with Turkish carpets, as here, on the right. The tapestry hanging on the back wall appears to show Hagar in the Wilderness. Probably painted in the early 1670s, this painting belongs to a group of works by the artist from these years, in which the same costumes are worn and the same basin and ewer appear. National Gallery London
Portrait of a Lady ('La Schiavona') about 1510-12, Titian National Gallery, London.The painting, known by the 17th century as 'La Schiavona' (the Dalmatian woman), must date from 1510-12. The initials T.V. on the parapet probably stand for Tiziano Vecellio. The raised portion of the parapet is a revision, and drapery originally painted there now shows through it. The profile relief, inspired by those on antique cameos, seems to be of the same sitter.
Georges de La Tour - The Fortune Teller [probably 1630s] While an old gypsy crone tells his fortune, a naive youth is robbed by her accomplices, a subject popular among Caravaggesque painters throughout Europe in the 17th century. La Tour's painting can be interpreted as a genre or theatrical scene, or as an allusion to the parable of the prodigal son. It has been variously dated from about 1620 to as late as 1639.
Charles I of England and Queen Henrietta Maria Object: Oil painting Date: 17th century (painted) Artist/Maker: Coques, Gonzales, born 1614 - died 1684 (attributed to, painter (artist)) Materials and Techniques: Oil on oak panel Credit Line: Bequeathed by Rev. Chauncey Hare Townshend Museum number: 1342-1869 Gallery location: Prints & Drawings Study Room, room 315, case R, shelf 24, box L
The 17th-century Spanish giant of religious painting, Zurbarán had a knack for evoking spiritual matters with simple images. A still life can suggest the Virgin Mary; a portrait of a kneeling monk, his face dark, communicates the eerie mystery of God. In this painting, he excels himself, seeing in a meticulously depicted spring lamb, its feet trussed for the slaughter, an image of the Passion. A great painting that finds profundity in the everyday world