Priority has been given to oils, frescos & watercolours. However works in other media were included where they were particularly significant. Watercolours were sometimes ignored where lists would have otherwise been excessively long & the artist was not a specialist in this type of painting. Works in private collections were ignored unless they were especially important. However stately homes were regarded as being in the public domain. NB all towns where no country is mentioned are in Europe
CONTENTS: SURNAMES BEGINNING WITH LETTERS:
{2}valasco:
Mexico, 1877 (Museo Nacional de Arte, Mexico City)
Netzabualcoyotl’s Bath, 1878 (Museo Nacional de Arte, Mexico City)
Chimalpa Hacienda, 1893 (Museo Nacional de Arte, Mexico City)
valenciennes (1750-1819)
A Landscape of Ancient Greece, 1787 (Detroit) R&J p80.
Thunderstorm on the Lake, (Louvre). Plein air study of type that encouraged painting of transient light, aerial perspective TurnerDtoI p388
Study of Clouds, from the Quirnal, (). Typical plein air Italian oil study TurnerDtoI p386
Cicero Uncovering the Tomb of Archimedes, 1787 (Toulouse, Augustins). Classical reception piece for Academy TurnerDtoI p386.
Ancient City of Agrigentum, 1787 (Louvre). Classical landscape TurnerDtoI p386.
{2}valentin:
Concert, c1620 (Louvre)
The Cardinal Players (Dresden). One of most carefully planned pictures in design/psychology Waterhouse1962 p40
The Martyrdom of Saints Processus & Martinian, 1629-30 (Vatican)
{2} van baburren:
The Mocking of Christ, 1621-2 (MCatharinjneconvent, Utrecht)
The Procuress, 1622 (Museum of Fine Arts, Boston)
Prometheus Chained, 1623 (Rij)
{2}van brekelenkam:
Old Woman Combing a Child’s Hair, 1648 (StedelM.Lakenhall, Leiden)
Tailor’s Workshop, 1653 (Worcester Art Museum, Massachusetts)
Man Spinning & Woman Scraping Carrots, c1653 (Museum of Art, Philadelphia)
Interior, 1663 (Kunsthaus, Zurich)
Gallant Conversation, c1663 (the Met)
vanderbank:
Isaac Newton, 1725 (Royal Society)
Thomas Guy (Guy’s Hospital, London)
George I, 1726 (Windsor Castle)
Queen Caroline (Goodward House). His masterpiece L&L.
Don Quixote paintings, 1730-9 (Tate, Huntington Library & Art Gallery, Los Angeles; etc)
van cleve:
The Holy Family, c1517 (NG)
van de cappelle:
Bridge Across a Frozen Canal, 1653 (Mauritshuis, The Hague)
{2}van der ast:
Still Life with Flowers, Fruit & Shells (Staatliche Galerie, Dessau)
Fruit, Flowers & Shells, c1620-5 (Toledo Museum of Art, Ohio)
Still Life with Shells (Museum Boymans-van Beuningen, Rotterdam)
vanderbank:
The Death of Jane McCrea, 1804 (Wadsworth Atheneum). This is a major example of a modern subject –the murder of a white woman by Indians- being given history painting treatment L&L
Ariadne Asleep on Naxos, 1814 (Philadelphia Academy of Fine Arts)
van der goes:
Portinari Altarpiece, c1474-1476 (Uffizi, Florence) 1001
The Adoration of the Shepherds, the central panel of the Portinari altarpiece c1476 (Uffizi). Showing the adoration of the shepherds instead of the Magi is unusual. Here the child is adored not as the King of Kings but as the being who will suffer for ordinary men. One shepherd is a lout but is equally aware that he present at a miracle. No other head in the history of painting surpasses this in in psychological revelation through explicitly realistic representation CanadayEHH pp25-6, 30.
van der helst:
Abraham del Court & His Wife, 1654 (Boymans-van-Beuningen M, Rotterdam). Contrast with Hals’ earlier marriage portrait of Isaac Massa & his Wife; absence of Massa’s resolute pose Fuchs pp 90-1
van der neer:
Skating Scene, 1645 (NG Art?)
Frozen River (Rijksmuseum)
Frozen River, Evening (NG London)
van der velde, esajas:
On the Ice, 1624 (Mauritshuis, The Hague)
Skating Near the Town Wall (Bayerische Staatsgemaldessammlungen, Munich)
Village at Winter Time (State Museum, Raleigh, North Carolina)
View of Zierikzee, 1618 (Gemaldegalerie) Fuchs p105.
{2}van der weyden:
Deposition, 1435-4- (Museo del Prado, Madrid, Spain)
Descent from the Cross, oil, before 1443 (Prado). This is arguably the most influential painting of the 15th century. The figures are dramatically posed with unstable footing, lax grips, dishevelled clothing, & echoing positions of the Virgin & Christ (it was believed that they suffered the same pain/co-passion); their positions crossbow-like & picture for + of crossbowmen’s guild, Leuven Nash p34
Miraflores triptych, c1435 (Gemaldegalerie, Berlin)
The Exhumation of St Hubert, oil with some egg tempera, c1437 (NG)
The Magdalen Reading, oil, before 1438 (NG). Truncated. Magdalen’s depiction as a semi-circular shape expresses her self-absorbtion JonesS pp 14, 54
St Luke Drawing the Virgin, oil, c1440 (Museum of Fine Arts, Boston)
Triptych of the Virgin, the Miraflores Altarpiece, oil, c1443 (Staatliche, Berlin) [but appears above]
Crucifixion, c1455 (Escorial)
Adoration of the Magi, c1455 (Alte Pinothek, Munich)
Portrait of a Young Woman, c1460 (NG Arts)
van de velde, Esaias
View of Zierikzee, 1618 (Gemaldegalerie) Fuchs p105.
van dijck:
Still-life, 1613 (Fans Hals, Museum, Haarlem)
van doesburg:
Counter-Composition V, 1924 (Amsterdam). Abandonment of previous vertical & horizontal formula Lynton p114
Counter-Composition of dissonants XVI, 1925 (Hague). Abandonment of previous vertical & horizontal formula Lyntonp114
{2}van dyck:
Marchesa Balbi, c1625 (NG Arts). Image of elegance (in contrast to Rubens) through low viewpoint, small head/hands etc Kitson1966 p51
Herbert Family Group, c1634 (Wilton). Sumptously brilliant; Rubensian/Venice echoes with its rhythmical line of figsnow transformed into two-dimensional surface pattern W&M p71
Equestrian Portrait of Charles I, 1637-38 (NG) 1001
Lady Elizabeth Thimbleby and Dorothy, Viscountess Andover, 1637 (NG) 1001
Elizabeth Brydges, Countess of Castletlehaven, 1638 (Wilton House). Haunting: when 13 raped by Earl of Castletlehaven & sevants; East executed for sexual crimes Blake pp 362-3
Thomas Killigrew & Thomas Carew. Mannered elegance but lurking sense of false security, latter appears in Carew’s poem In Answer of an Elegical Letter upon Death of King of Sweden W&M p72
Thomas 1st Earl of Strafford (Petworth). Sympathetic intensity of one van Dyke knew well W&M p70
Dorothy, Viscountess Andover& Lady Elizabeth Thimbleby (Althorp). Playful allusion to their matrimonial achievements &harmony of silvers & golds has refinement brodering on decadence W&M p72
Algernon, 10th Earl of Northumberland (Alnwick Castle). Magnificent with contemptouous glance W&M p72
van eyck(s):
Baptism of Jesus/Hours of Milan, 1415 (Turin). Subtle tones, reflections of evening sky Clarke 1949.
Adoration of the Lamb, 1425 (). First great modern landscape ?
Arnolfini Marriage, 1434 (NG)
Ghent Altarpiece. Eve’s archetypal bulblike body Clark1956 p319. 1001
Madrid of Canon van der Paele (Bruges). First Sacra Conversazione Murrays1963 p157
Man in a Red Turban, 1433 (NG) 1001
Portrait of Giovanni Arnolfini and His Wife, 1434 (National Gallery, London) 1001
{2}van ghent:
The Communion of the Apostles/The Institution of the Eucharist, 1472-4
Portraits of Famous Men (28) (ducal palace Urbino. & also Louvre)
Duke Federico du Montefaltro with his Son (ducal palace Urbino). This has also been attributed to Berruguete Urbino Artistic Guide pp 52-3
Duke with Courtiers Listening to a Lecture (Royal Colection)
van gough:
The Olive Trees,1889 (MoMA)
The Starry Night, 1889 (MoMA)
Night Cafe (Yale) Denvir p28
van goyen:
On the Ice Near Dordrecht, 1643 (Art Museum, St Louis, Missouri)
On the Ice Near Dordrecht, 1644 (Museum Boymans-van Beuningen)
A Scene on the Ice, 1645 (NG)
On the Ice, 1650 (Staatliche Museum???)
van haarlem:
Marriage of Peleus & Thetis, 1593 (Frans HalsM, Haarlem)
Bathsheba, 1594 (Rijksmuseum). Mannerist with its mysterious nudes & garden Fuchs p34
van heemskerk:
Election in Guildhall, Oxford, 1687 (Town Hall, Oxford)
Quaker Meetings (Hampton Court, Powys M, Welshpool etc)
van hoogstraten, samuel:
The Slippers, 1654-62 (Louvre) 1001 p270
A View Down a Corridor, 1662 (Dyrham Park, Gloucestershire) 1001 p270
{2}van honhorst:
Christ Before the High Priest, c1617 (NG)
Supper Party, 1620 (Uffici)
Denial of Saint Peter, c1623 (Minneapolis Institute of Art)
Saint Sebastien, c 1623 (NG)
Mercury Presenting the Liberal Arts to Apollo and Diana, 1628 (Hampton Court)
Artemesia, 1632-5 (Princeton University Art Museum)
van laer:
The Quack Dentist (Christ Church)
A Game of Bowls in a Roman Ruin (Christ Church)
{2}van leyden:
Mohammed & the Monk Sergius, 1508, engraving
The Fortune Teller, c1508 (Louvre, Paris) 1001
Adoration of the Magi, c1500-10 (Barnes Foundation?)
Ecco Homo, 1510, engraving
Lot & His Daughters, c1509 (Louvre)
Chess Players, c1510 (Stat). His earlies known genre painting L&L
The Card Players, c1514 (Wilton House)
Madonna & Child with Angels, c1518 (Berlin)
Annunciation, 1522 (Alte Pinakothek, Munich)
Self-Portrait, c1525 (Herzog Anton Ulrich Museum, Brunswick)
Gambling Scene, c1520 (NG Art)
The Sermon (Rijksmuseum)
The Worship of the Golden Calf, 1525 (Rijksmuseum)
The Last Judgement, 1526-7 (Lakenhal Museum, Leyden)
Moses Striking Water From the Rock (Museum of Fine Arts, Boston)
Susanna Before the Judge
The Healing of the Blind Man of Jerico, 1531 (Hermitage)
Temptation of S. Anthony. [It is beautifully engraved; great depth & naturalistic detail.]
{2}{5}van mieris, frans, the elder:
Elderly Couple Sitting Down to a Simple Meal, Seen through an Arched Window (Uffizi)
Inn Scene with Two Peasants & a Maid, c1555 (Sted, Leiden). Warm dancing light & bright colours, in contrast to Dou’s chirascuro TurnerRtoV p215
Pen Grinder by an Arched Window (Gemaldegalerie, Dresden)
The Doctor’s Visit, 1657 (Kunsthistorisches)
Inn/Brothel Scene, 1658 (Mauritshuis, The Hague). NB the copulating dogs Fuchs p31
The Duet, 1658 (Staatliches Museum, Schwerin)
Man Offering Oysters to a Young Woman, 1959 (Hermitage)
The Cloth Shop, 1660 (Kunsthistorisches)
The Oyster Meal, 1661 (Mauritshuis, The Hague)
Woman Before a Mirror, 1662 (Gemaldegalerie, Berlin)
Woman Playing a Theorbo-Lute, 1663 (NG Scotland)
Woman Feeding a Parrot, 1663 (Leiden Collection, New York)
Younger Woman at Her Toilet, 1667 (Gemaldegalerie, Dresden). This has darker colours & a more stylised figure TurnerRtoV p216
Sleeping Courtesan, 1669 (Uffizi). This has darker colours & a more stylised figure TurnerRtoV p216
Young Woman Standing Before a Mirror, c1670 (Alte Pinakothek, Munich)
Woman Writing a Letter by Candlelight, 1670 (Private).
Family Concert, 1675 (Uffici). This has darker colours & a more stylised figure TurnerRtoV p216
A Woamn with a Bird in a Small Coffer, 1676 (Rijksmuseum)
Younger Woman Writing a Letter, 1680 (Rijksmuseum). Enamel-like smoothness & restless reflections which were his aim TurnerRtoV p216
{5}van mieris, jan:
Self-portrait of the Artist in His Studio, 1688 (Kunsthalle, Hamburg)
van mieris, willem:
The Escaped Bird, 1687 (Kunsthalle, Hamburg)
A Mother Feeding Her Child, 1707 (Art Institute)
The Lute Player, 1711 (Wallace Collection)
vanni. See Jo’s computer
van pitloo:
View of Ischia (Capodimonte)
van reymerswaele:
Two Tax Gathers, c1540 (NG). Satirical intent shown by their outlandish dress, that of left figure ludicrously large, female & outdated JonesS p134
P van ruisdael:
Dune Landscape, 1646 (Hermitage)
The Pond (Hermitage)
River Landscape, 1649 (NG, Edinburgh?)
Landscape with a Hut (Kunsthalle, Hamburg)
The Great Oak, 1652 (Private)
Two Water Mills & an Open Sluice, 1653 (Getty Museum, Malibu)
Bentheim Castle, 1653 (NG Dublin)
Windmill, 1657 (Institute of Art, Detroit)
Cornfield at the Edge of a Wood, c1655 (Worcester College, Oxford)
Village in Winter, 1655 (Alte Pinakothek, Munich)
A Waterfall in a Rocky Landscape, c1660-70 (NG) 1001 p276
An Extensive Landscape with a Ruined Castle and a Village Church, 1665-70 (NG) 1001 p279
Waterfall with a Castle & Cottage, c1665 (Fogg Art Museum, Cambridge, Massachusetts)
Pool in a Forest, c1665 (Hermitage)
Wheat Fields, c1670 (The Met)
Mill at Wijk, c1670 (Rijksmuseum)
Jewish Cemetery, c1667 & 1670 (Gemaldegalerie, Dresden; &
Detroit Institute of Arts)
View of Haarlem, c1675 (Mauritshuis, The Hague)
Coast of the Zuider Zee near Muiden, 1670s (Polsden Lacey, National Trust)
Dam with the Weigh-house of Amsterdam Weighhouse, c1678 (Bode Museum, Berlin)
Country House with Park, c1678 (NG of Art)
Village Street (Bayerische Staatsgemaldesammlungen)
van schooten:
Little Breakfast (Frans Schooten)
van scorel,
S. Francesca Stigmatised (Pitti). [This is beautifully painted in retro-style with harmonious colours. It is very peaceful & has fantastic mountains.]
van troostwijk:
Landscape in Guelderland, 1809 (Rijksmuseum). This is unspectacular like Constable Honour1979 p69
van wittel, gaspar:
The Island in the Tiber, 1685 (Kunsthistorisches) 1001 p285
varley:
Waltham Abbey (V&A)
vasari:
Alessandro de Medici, Duke of Florence Pope-H pp 180-1, 236, 38 Vasari’s explanation of complex symbolism
Immaculate Conception (Lucca) Friedlaender1925 pp 56-7
vasiliev (1850-73):
Wet Meadow, 1872 (Tretyakov). Tightly controlled, subtly coloured King p23.
Marsh in a Forest, Autumn, 1872 (Russian Museum). [This is a stunning work because of its vibrant & contrasting colours togetether with its dynamic brushwork. It outshines the Impressionists two years before their first great exhibition.]
P vasnetsov:
The Little Bookshop, 1876 (Tretyakov)
From House to House, 1876 (Tretyakov)
After the Battle of Igor Svyatoslavich with the Polovski, 1880 (Tretyakov). This was Vasnetsov’s first historical painting 50Rus p139
Alenushka, 1881 (Tretyakov)
Tsarevich Ivan on a Grey Wolf, 1889 (Tretyakov)
Ivan the Terrible, 1897 (Tretyakov)
Bogatyrs, 1898 (Tretyakov). This painting of folk heroes guarded the frontiers became a classic national image Grove32 p73
The Bard, 1910 (Russian Museum)
The Sleeping Princess (Vanetsov House Museum, Moscow)
The Frog Princess, 1918 (Vanetsov House Museum, Moscow)
The Princess who Would Not Laugh, 1914-26 (Vanetsov House Museum, Moscow)
Kaschei the Deathless, 1917-26 (Vanetsov House Museum, Moscow)
vecchietta:
Allegory of the Blessed Sorore & the Education of the Foundlings, fresco 1441 (s. Maria della Scala)
vedder:
The Cumaen Sibyl, 1876 (Detroit Institute of Arts)
veit:
The Introduction of the Arts into Germany by Christianity, 1834-6, fresco (Stadelsches Kunstinstitut, Frankfurt)
velazquez, diego:
Christ on the Cross, c1632 (Museo del Prado, Madrid) 1001
The Surrender of Breda, 1634-35 (Museo del Prado, Madrid) 1001
Portrait of Pope Innocent X, 1650 (Galleria Doria-Pamphiljj, Vatican) 1001 p262
Las Meninas, 1656 (Museo del Prado, Madrid) 1001 p256
venetsianov:
Self-Portrait, 1811 (Russian Museum). One of his best early works 50Rus p70
K. I. Golovachevsky, Inspector of the Academy of Arts, with Three Pupils, 1811 (Russian Museum)
The Threshing Floor, 1821 (Russian Museum). These are dignified peasants King p21
In the Ploughed Field, (). Stillness, restraint, dignified peasants King p22.
At the Harvest Summer, (). Stillness, restraint, dignified peasants King p22.
Sleeping Shepherd Boy, 1823-6 (Russian Museum)
A Peasant Girl, 1820s (Russian Museum)
Peasant Girl with Mushrooms in the Wood, 1820s (Russian Museum)
Pelageya, 1820s (Russian Museum)
Peasant Girl with Cornflowers, 1830s (Russian Museum)
Ploughing in Spring, 1830s (Tretyakov).
Harvesting in Summer, 1830s (Tretyakov)
Sleeping Girl, 1840s (Gorky Art Museum?)
Girl with Accordian, 1840s (Gorky Art Museum?)
Fortune Telling, 1840s (Russian Museum)
Peasant Girl Embroidering, 1840s (Tretyakov)
veneziano, agostino:
The Witches’ Procession, 1620. [A mysterious & haunting work &, unlike many witch pictures it is clear.]
P veneziano, domenico:
Adoration of the Magi (B). Attributed toV Murrays1963 pp 104-5
Carnesecchi Tabernacle fragments: Madonna & heads of two Saints, c1432-7 (NG). Noble simplicity Murrays1963 p106
Madonna & Child, c1432-7 (ITatti).
S. Lucy Altarpiece: Madonna & Child with Saints, 1447 (Uffizi) Early Italian Sacra Conversazione Murrays 1959.
S. Lucy Alterpiece: Miracle of S. Zenobius, 1447 (Fitzwilliam Musuem, Cambridge)
St. John in the Desert, 1445-50 (National Gallery of Art, Washington, DC) 1001
Calvacanti fresco fragments: S. John the Baptist & S. Francis,
1450-3 (Florence, S. CroseM). Attributed toVeneziano Murrays1963 p106
P vereshchagin:
Beggars in Samarkand, 1870 (Tretyakov)
Uzbeck Woman in Tashkent, 1873 (Tretyakov)
Apotheosis of War, 1871-2 (Tretyakov)
Buddist Temple at Darjeeling, 1874-5 (Tretyakov)
Procession of the British & Native Authorities in Jeypore, 1875-9 (Victorian Memorial Museum, Calcutta)
The Vanquished. Requiem for the Dead, 1878-9 (Tretyakov)
The Execution of Conspirators in Russia, 1884-5 (Museum of the Revolution)
Monk at the Door of a Mosque, 1870s (Museum of Fine Arts, Boston)
vermeer:
Art of Painting () Martin pp 240-2
Music Lesson () Wolfflin 1915 p85
Painter with Model () Wolfflin 1915 p77
Street in Delft () Wolfflin 1915 p213
View of Delft () Wollflin 1915 pp 83-5
Officer & Laughing Girl, c 1657 (Frick). [It subtly comments on women’s position: he telling about wide world, witness theoutside light, while she listens.]
Glass of Wine, 1659 (Gemaldegalerie)
Woman Holding a Balance, c1664 (NG of Art, Washington) 1001 p271
Young Lady with a Pearl Necklace, 1664 (Gemaldegalerie)
The Artist’s Studio, c1665-66 (Kunsthistorisches) 1001 p272
The Girl with the Red Hat, c1665-66 (NG of Art, Washington) 1001 p271
Girl with a Pearl Earring, 1666 (Mauritschuis, The Hague) 1001 p273
The Astronomer, 1668 (Louvre)
The Lacemaker, c1669 (Louvre)
vernet, Claude-Josoeph:
Marine, Soleil Levant, Port avec un Temple, (MCalvert). [Extremely Claudian]
vernet, Horace:
Joseph Vernet Lashed to Mast…, 1822 (Avignon) Kraske
p55.
Peace & War, 1820 (Wallace) Kraske p56.
P veronese:
Magdalene Laying Aside Her Jewels, late 1540s (NG). Typical example of early work Grove32 p347
Christ Preaching in the Temple, 1548 (Prado). Reality of space established from relation of colour values, example of Veronese’s new understanding of chiaroscuro RAVenice p43
The Holy Family with St John the Baptist, St Anthony Abbott & St Catherine, c1511 (S. Francesco dell Vigna, Venice). Brilliant use of scumbles with the colouring revealing the independence of his palette which looks back to Mantega. Veronese’s interest the marble’s rich surfaces & the cloth of honour recalls Carpaccio. However, the Saints are not effectively linked with the Holy Family in contrast to other altarpieces which he painted RAVenice p234
Temptation of St Anthony, 1552 (CaenM). Unique among early works for warm tonality & sensuality, obvious inspired by Turner32 p348
Marriage at Cana, 1552-3 (Louvre)
Marogna Altarpiece, 1565 (S. Polo, Verona)
Mystical Marrige of St Catherine, 1565-75 (Accademia)
The Madonna & Child with Saints Sebastian, Peter, Francis & Catherine,1570 (San Sebastiano)
The Vision of St. Helena, c1570 (NG)
Feast in the House of Levi, 1573 (Accademia) 1001
Dead Christ with the Virgin & Angel, c1581 (Hermitage). Perhaps finest late relgious work Grove32 p353
Triumph of Venice, 1579-82 (Ducal Palace, Venice)
Portrait of a Man in Fur (Pitti)
S. Pantaleone Healing a Child, 1587 (S. Pantalon, Venice).
Family of Darius before Alexander (NG) Levey 1966 pp 19-21
Pieta with Saints Roch, Jerome & Mark (San Giuliano, Venice)
Saints Mark & Marcellus Led to Martyrdom & Comforted by St Sebastian (San Sebastiano)
The Second Martyrdom of St Sebastian (San Sebastiano)
The Trial & Martyrdom of St Sebastian (San Sebastiano)
P verrio:
Charles II’s Sea Triumph, painting c1623-5 (Hampton Court)
King’s Dining Room, ceiling fresco (Windsor)
Queen’s Presence & Audience Chambers, ceiling fresco (Windsor)
Heaven Room, ceiling & walls, c1688-98 (Burghley House). Light-hearted with lively figures Grove32 p359; undoubted masterpiece F&K-B p93
King’s Staircase, c1700-2 (Hampton Court). Clebrates Protestant succession & anti-Stuart Grove32 p359
Queen’s Drawing Room, c1700-2 (Hampton Court)
verrocchio:
Baptism of Christ, c1472 (Uffizi). Left (unconventional) angel by Leonardo Clark 1939 p50
P verspronck, johannes:
Portrait of a Man, 1641 (Szepmuveszeti Museum, Budapest)
Regentesses of the St Elizabeth Hospital, Haarlem (Frans Hals Museum, Haarlem?). The subtly blended background greys set off the blacks of the dresses, the white of the ruffs, the green of the tablecloths & the flesh colour of the heads. With its serene atmospher & controlled composition, this is one of the most attractive group portraits in Dutch art Haak p234
Portrait of Eduard Wallis, 1652 (Rijksmuseum)
Portrait of Maria Strijp, 1652 (Rijksmuseum)
victors:
Butchers Shop, 1651 (CityArtG, New York)
The Dentist, 1654 (HistorichM, Amsterdam). Not as satiric as some depictions of ignorant peasants deceived by clever quacks SuttonP p347
P vien:
Christ Healing the Paralytic, 1759 (Marseilles). Christian subject matter Rosenblum1967 p53
Selling of Cupids, 1763 (FontB). Inspired by unearthed Rome painting Rosenblum1967 p3. Shallow spac&clean rectilinear divisions/statutory poses of Rome prototype but eroticism/
sophisticated detailing eg inlaid marble floor Rosenblum1967 p6.
Marcus Aurelius Distributing Food & Medicine, 1765 (Amiens). An exemplum virtutis Rosenblum1967 pp 56-7.
Greek Girl at Bath, 1767 (Private). Eroticism clothed in the gauzy decencies of Neo-Classicsm Levey 1966 p168.
Jeunes Greques Parant de Flueurs l’amour Endormi, 1773 (Louvre). [Lots of strikingly empty/vacant faces.]
Amant Couronnant sa Maitresse, (Louvre). [It contains lots of strikingly empty & vacant faces.]
Love Fleeing Slavery, 1789 (Toulouse). Love=cupid escapes causing consternation; Rome scene but Rococo theme Rosenblum1967 p19.
RP vigee-lebrun:
La Comtesse Skavronskaia, 1776 (Louvre). [A strikingly open countenance.]
Self Portrait in Straw Hat, 1782 (Private). Based directly on Rubens Le Chapeau de Paille TurnerDtoI p397
Madame Mole-Raymond,1786 (Louvre). [She has a brilliantly painted muff.]
Madam Vigee-Lebrun et sa Fille, 1786 (Louvre). [She could paint flesh as shown by the veins in her hand.]
Madam Rousseay et son Fille, 1786 (Louvre). [A Slightly sad depiction.]
Marie-Antoinette & Her Children, 1787 (Versailles). The opposite of a traditional royal portrait; almost a secular Holy FamilyRosenblum1984 p21.
Frederick Augustus Harvey, 4th Earl of Bristol, 1790 (Ickworth). Example of her Neapolitan paintings of English tourists TurnerDtoI p398.
Countess Potocka, 1791 (Fort Worth). With new Romantic background TurnerDtoI p398.
Lady Hamilton as Bacchante, c1791 (Lady Lever Art Gallery, Port Sunlight). She has a striking pose (probably one of her notorious attitudes the Gallery says) and it is aninteresting composition featuring Venus.]
Countess Golovin, 1800 (Barberi). New intense, solitary figure in relatively modest attire with plain background TurnerDtoIp398
P vinckboons:
Kermis, c1605 (Gemaldegalerie, Dresden). Note the way in which the peasants urinate, drink & vomit with wild abandon. This is likely to be a Catholic celebration because it is occasioned by the feast day of St George who is portrayed on the banner Franits p54
Outdoor Merry Company, 1610 (Gemaldegalerie, Vienna)
Jew’s Harp Seller, 1614 (Brussels)
Peasant Kermis, 1629 (Mauritshuis)
vinton:
The River Long Grez, France, 1890 (Museum of Fine Arts, Boston)
La Blanchisseuse, 1890 (Museum of Fine Arts, Boston)
P vivarini, alvise:
Madonna & Child Enthroned, 1483 (S. Andrea, Barletta)
Benedicente, (S. Giovanni in Bragora, Venice)
Cristo Ristorto (S. Giovanni in Bragora, Venice)
Madonna & Child (S. Giovanni in Bragora, Venice)
P vivarini, antonio:
The Ancona of S. Sabina, 1443, with D’ Allemagna (Capella di S.Traviso, S. Zaccaria, Venice)
Dead Christ, 1445-6 (Pinatoceca Nazionale, Bologna). This is not an International Gothic picture because the figure & space are unified by light
Madonna with Four Saints, 1446, with D’Allemagna (Accademia). This is one of his largest & most sumptuous works. Instead of the confined space of the polyptych, here we see a deep blue sky. International gothic detail is subordinated & there isa unity of space & atmosphere Steer pp 39-40
P vivarini, bartolomeo:
St John the Baptist, 1464 (Academia)
Madonna & Child, two versions, 1465-70 (Accademia). [A gold background & very linear. She has a very sad face. These paintings have a certain stark simplicity.]
Madonna & Child Enthroned with Saints, 1465 (Capodimonte)
Madonna with Child & Saints (S. Giovanni in Bragora)
volaire. See de volaire
P vouet:
The Birth of the Virgin, c1617 (S. Francescoa Ripa, Rome)
Appearance of the Virgin to S. Bruno, 1620 (S. Martino, Naples)
S. Jerome and the Angel, (NG Art). Shows Carravaggesque influence Allen p90
Lot and His Daughters, 1633 (Musee de Beaux-Arts, Strasbourg)
The Presentation, 1641(Louvre)
Saturn Concquered by Love, Venus & Hope, c1644 (MduBerry, Bourges)
Allegory of Peace, c1648 (Chatsworth House)
vroom:
View of Hoorn, 1622 (Westfries Museum, Hoorn)
P vrubel:
Hamlet & Ophelia, 1884 (Russaian Museum). This was his first oil painting 50Rus p184
The Mother of God, 1885 (Museum of Russian Art?, Kiev)
Seated Demon, 1890 (Tretyakov)
Mikula Selyaninovich, 1896 (Russian Museum)
Venice, 1892 (Russian Museum)
Spain, 1894 (Tretyakov)
The Fortune Teller, 1895 (Tretyakov)
K. Artsybushev, 1897 (Tretyakov)
Savva Mamontov, 1897 (Tretyakov)
Bogatyr, 1898 (Russian Museum)
Flying Demon, 1899 (Russian Museum)
Pan, 1899 (Tretyakov)
The Swan Princess, 1900 (Tretyakov)
Lilac, 1900 (Tretyakov)
The Demon Prostrated, 1901-2
Portrait of N. Zabela with Birch Trees, 1904 (Russian Museum)
vuillard:
Mother & Sister of the Artist, c1893 (MoMA)
wagner:
The Chariot Race, c1882 (Manchester Art Gallery)
waldmuller:
The Seizure, 1847 (Historisches Museum der Stadt Wien).
waite:
In the Meadow, 1896 (Private?)
(Bristol Art Gallery)
(Preston Art Gallery)
walker, fred:
The Vagrants, 1868 (Tate)
The Old Gate, 1869 ()
The Harbour of Refuge, 1872 (Tate)
The Bathers, (Lady Lever Art Gallery, Port Sunlight). [The figures are statuesque & frozen but it has an interesting (Tonked) heavily painted facture.]
walker, robert:
Cromwell (National Portrait Gallery; Leeds; Althorp). Modelled on Van Dyke Waterhouse1953 p88
Colonel John Hutchinson & his Son (Milton Park). One of his best portraits Waterhouse1953 p88
Mrs Hutchinson & her Daughter (Milton Park?).
Second Duke of Somerset (Syon House).
Self-Portrait (Ashmolean). Witty parody of Van Dyke’s self-portrait but with Walker pointing to a statue of Mercury, the patron of vagabonds & thieves L&L
wallis, henry:
The Stonebreaker, 1857 (Museum & Art Gallery, Birmingham). Believed to have been painted as comment on 1834 Poor Law, which sometimes led to labourers working themsevs to death to avod the workhouse; picture marks West’s move from Pre-Raphaeliteh to Social Realism 1001 p435
walton:
Girl Plucking a Turkey, 1776 (NG)
The Cherry Barrow, 1779 (Renishaw Hall). As lovely as anything in England 18th century painting with woman’s high fur hat imparting solemn gravity & hieratic importance; her clothes have intens&luminance transparency; skirt of indescribable rose colour; children reminiscent of Murillo Sitwell pp 49-51
A Pretty Maid Buying a Love Song
Miss Curtis, or the Muff
ward, james, 1769-1859:
Sheep Salving, 1828 (Museum & Art Gallery, Birmingham). [This is an interesting genre scene. The sheep are being being treated to kill parasites & the yocals are not being patronised.]
warhol:
Campbell’s Soup Cans, 1962 (MoMA). Subverts idea of painting as invention/originality MOMAH p 260, Academy p260 []
waterhouse:
The Lady of Shalott, 1888 (NG)
Hylas and the Nymphs, 1896 (Manchester Art Gallery)
watteau:
Expulsion of the Italian Players, 1697 (). The troupe looking at the royal decree shown as stock stage characters; humour used as shield BorschS p31.
Fair with Players, 1708 (SansS) BorschS p53.
Bivouac, 1710 (Pushkin). Note dominant cook BorschS p39.
Rest Stop, 1710 (ThyssenB). Note officers’ wives BorschS p41.
Village Bride, 1712 (SansS) BorschS pp 68-9.
French Theatre, 1714 (Gemaldegalerie) BorschS pp 54-5.
Concert, 1716 (SansS) BorschS p86.
Departure from the Island of Cythera, 1717 (Louvre) Levey1966 pp 58, 62.
Gathering in the Park, 1718 (Louvre) Levey 1966 pp 67-8.
Gilles, 1718-20 (Louvre) 1001 p294
Love in the Country, 1718 (CharlotB) BorschS p119.
Embarkation for Cythera, 1719 (CharolotB) BorschS p69.
Shepherds, 1719 (CharoltB) BorschS p79.
Love in the Country, 1718 (CharlotB) BorschS p119.
Dance, 1720 (Gemaldegalerie) Borsch S. p121.
Entertainment in the Open Air, 1721 (Gemaldegalerie) BorschS pp 126-7.
Gersaint’s Shop Sign (Gemaldegalerie) Levey 1966 pp 77, 80-2; BorschS pp 12-20, 23-4
watts:
The Irish Famine, c1850 (WattsG, Compton
webster, Thomas:
The Boy with Many Friends, 1841 (BuryAG)
weir:
The Red Bridge, 1895 (the Met)
welti:
Nessus & Deianeira, 1895 (Kunsthaus, Zurich)
Walpurgis Night, 1897 (Kunsthaus, Zurich?)
The King’s Daughters, 1901 (Kunsthaus, Zurich?)
Removal of the Penates, 1905 (Kunsthaus, Winterthur)
west:
Continence of Scipio, c1766 (Fitzwilliam Museum, Cambridge). This & the following work were painted in Rome Grove33 p91
Pylades & Orestes, 1766 (Tate)
Agripainna Landing at Brundisiam with the Ashes of Germanicus, 1768 (Yale University Art Gallery)
Departure of Regulus for Rome, 1769 (Royal Collection)
Leonidas & Cleombrotus, 1770 (Tate). Here Leonidas banishes his son-in-law for treason anticipating the cleavage of families in David. Note the Greuzian sorrowing daughter R&J p66
Death of Wolfe, 1770 (NG Canada). The is no reference to Christian doctrine & the hero replaces a saint Honour1968p152. The picture was a triumph, though Reynolds had warned West against painting Wolfe’s death as a contemporary event RAMag Autumn 2015 p40
Hanibal Taking the Oath , 1771 (Royal Collection). This transforms Lucretia’s private tragedy into a political picture Rosenblum1967 p69
William Penn’s Treaty with the Indians, 1771-2 (Philadelphia Academy of Fine Arts)
Death of Bayard, 1772 (Royal Collection).
Death of Epaminondas, 1773 (Royal Collection)
Last Supper, 1784 (Tate)
Death on a Pale Horse, 1796 (Detroit Institute of Arts) R&J p59
Last Supper, 1784 (Tate)
Death of Lord Nelson, 1806 (Walker)
Christ Healing the Sick in the Temple, 1811 (Tate)
Our Saviour Brought from the Judgement Hall by Pilate to Caiaphas/Christ Rejected, 1814 (Philadelphia Academy of Fine Arts)
Death on the Pale Horse, 1817 (Pennsylvania Academy of Fine Arts)
General Kosciuszko in London, 1797 (Allen Memorial Art Museum, Oberlin College, Ohio)
westall:
Storm in a Harvest. Highly idealised labourers; young man with scythe has extremely delicate face; Richard Payne Knight owned picture Burke p298-9
wheatley:
A Holiday Resort with Gipsies, drawing
The Wilkinson Family, c1777 (Detroit Institute of Arts). Group portraits where nature larger/figures smaller prepaing for later intimate relation between man & nature DIA p75
Portrait of Mr & Mrs Wilkinson, 1778 (NG Ireland)
The Browne Family, c1778 (Yale Center for British Art). Group portrait where nature larger/figures smaller prepaing for later intimate relation between man & nature DIA p75
Arthur Philip, 1786 (National Portrait Gallery). It is typical of Wheatley’s small-scale portraiture with its broad touch, clean outline & clear Romney-like colour Waterhouse1953 p320
Mr Howard Offering Relief to Privateers, 1787 (Sandon, Staffs). This has been condemned as sentimental bourgeois genre, the nearest approach to Greuze by English painter Waterhouse1953 p320. On the other hand, Howard’s face has been found so lifelike with its indignant & compassionate expression that the picture’s theatricality is redeemed in this moving document of the humanitarianism of the age Blake p300
whistler:
The White Girl, 1863 (NG Arts). This is his mistress Joanna Heffernan. The picture was shown in the Salon des Refuses & was the sensation of the exhibition. Though the public reaction was hostile the wisest critics were enthusiastic Walker p292
Symphony in Flesh colour & Pink: Portrait of Mrs Frances Leyalnd, 1871-4 (Frick). [It is spoilt by poor background work at torso edges; also insufficient contrast between flesh & background???
Harmony in Pink & Grey: Portrait of Lady Meux, 1881-2 (Frick). [Looks like easy painting; almost seems slick; a harmony not a portrait???
Arrangement in Flesh Colour & Black: Portrait of Theodore Duret, 1883-4 (the Met). Example of Whistler’s use of uncharacteristic poses & clothing. Whistler is unlikely to have seen Duret in dress clothes or with a lady’s opera cloak MooreG p82. Whistler had a conversation in which he wondered why dress clothes were so rarely seen in portraiture & asked Duret to pose in them Spalding1979 p40
wiertz:
Revolt of Heaven Against Hell, 1842 (Musee Wiertz, Brussels)
Visions of a Severed Head, 1853 (Musee Wiertz, Brussels)
La Belle Rosine (Musee Wiertz, Brussels)
wilkie:
The Blind Fiddler, 1806 (Tate)
Village Politicians, 1806 (Private). This conforms to Price’s concept of the Picturesque because it wove intricate & varied parts into a more or less successful overall composition Solkin2008 pp 12-3. The central elderly man is holding the Edinburgh Gazetteer a radical journal, 1792-4, & left centre argument obviously sparked by its political views Solkin2008 p9; highly detailed eg some drinking wiskey, others beer; hence pictorial unity threatened; Wilkie has tried to mitigate this by grouping figures (unlike Teniers) & disposing them in a serpentine frieze; nevertheless in crowded right corner pictorial detail excessive; brownish colouring another possible attempt to hold picture together Solkin2008 pp 12-3; argued by Social Historians that arguing figures have been humerously, grotesquely, condescendingly portrayed & made too stupid to be threatening Barrell pp 114-5; Solkin2008 p10, See Social History of Art since 1970. However it is conceeded that] when the picture was painted the danger of domestic subversion had almost disappeared Solkin2008 p10. It is not clear that a Marxist reading is correct. It seems evident that the young gesticulating man (drinking wiskey) is adopting a radical position, that the older man is thoughtfully considering what he is saying & that one of the onlookers is aghast (as indicated by his hand), while the other is excited. The picture may be humerous but does not depict stupidity.]
The Rent Day, 1809 (Private)
The Cut Finger, 1809 (Private). Here Wilkie first uses the devise of figures grouped round a central dramatic action to elevate an ostensibly everyday occurrence; everyday operations (sowing) have been interrupted by crisis; space, like time, contained/condensed/concentrated ie by stage-like setting Solkin2008 pp 67, 72-4
Boys Digging for Rats, 1811-2 (RA)
BlindMan’s Buff, 1813 (Royal Collection)
Distraining for Rent, 1815 (). The Directors of the British Institution hid it in a lumber-room because they believed it be a seditious attack on landlords Errington p5. When ultimately found it moved Washington Irving to tears Errington p5.
The Penny Wedding, 1819 (Royal Collection)
Chelsea Pensioners Reading the Gazette of the Battle of Waterloo, 1822 (Apsley House). This sums up & finishes a chapter in Wilkie’s career & is a point of departure for Frith’s Victorian panoramas of modern life. It is a modern equivalent to history painting & effectively the first celebratory Victorian painting of modern life Errington pp 54, 65, Treuhertz1993 p17. Gericault said it was “like nature itself” R&J1984 p 121. As usual Wilke worked from living models, selecting actual Pensioners, but he used a device that he had only tried once before: a box containing clay models properly coloured & put in proper light & shadow. Hence the picture’s forceful & consistent three dimensional & tactile realism Errington p66
The Parish Beadle, 1823 (Tate)
William IV, 1832-3 (Apsley House)
The Duke of Sussex (Royal Collection)
Portrait of Sotiri, Dragoman of MrColquhoun colourd drawing (Ashmolean)
wilson:
View of Dover, 1747 (National Museum of Wales, Cardiff). This is a pre-Italian landscape in which the detail is well subordinated to the overall design Hayes11966 p7.
River & Farmhouse, 1751 (V&A). Rich broken handling of paint; bunched foliage in sharp little highlights showing influence of Zuccarelli & Zais Hayes11966 p3.
View of Rome & the Ponte Molle, 1754 (Cardiff). Claudian composition: trees & buildings at sides with those on left predominating & those on right further back; obsereve nice placing of cypresses in total composition & in relation to S. Peter’s & hill on right Hayes11966 pp 3, 5.
Destruction of Niobe’s Children, 1760 (). Salvator Rosa-like Hayes11966 p4.
View of the River Dee, 1762 (NG). Inspired by Cuyp: sunset glow, warm tone, sharp highlights Hayes11966 p4.
The Unransomed, end 60s (Lady Lever Art Gallery, Port Sunlight). Looser handling of paint & more lurid colours but keen sense of order in overall design G
View of Tivoli & the Villa of Maecenas, 1767 (Birmingham). Gaspard’s grandeur in massing Hayes11966 p3.
Valley of the Mawddach, c1773 (Walker). Wilson’s masterpiece? A break with Claudian construction ; gentle diffused evening light & carefully modulated tones; not melancholy but serenity & acceptance Hayes11966 p6.
View of Minchenden House from Muswell Hill (). A panorama brilliantly suggested in lose & vigourously handled slabs of rich impasto Hayes11966 p5.
wissel:
Kahlenberg Farming Family, 1939 (Germany Federal Republic). Purchased by Hitler for Chancellery. [The figures look depressed except for the self-absorbed girl.]
wissing:
Charles II (St James’s Palace)
The Prince of Orange, 1685 (St James’s Palace)
Sir John Brownlow’s Wife (Belton House)
Elizabeth Brownlow (Belton House)
Full-length Portraits (Grimesthorpe Castle)
Lord Burghley, c1686 (Burghley House). His masterpiece Waterhouse1953 p112
wolf:
Alpine Landscape, 1778 (Basel). Scientifically exact galacial rainbow Honour1968 p94.
Lauternagletscher, (). This is the sublime with worried dogs but humans having a rational discussion without a hint at any profounder meaning Honour1979 pp 28-9. [However in Rosenlaui (almost exactly the same as Alpine Landscape) there is an unworried dog] & the puny humans are dwarfed by mountains beyond the grasp of human reason R&J p75. Rosenlaui???
wolffort:
Christ in the House of Simon the Pharisee (MMunicipal, Bergues)
Academy Seraglio/The Bath (Wilton House)
wols:
Composition V, 1946 (Centre Pompidou)
wonnacott:
The Life Room, Norwich School of Art, 1977-80
Norwich School of Art, 1982-4 (Tate). Vanishing points at each side thrust central building forward Wilcox1990 p34
Portrait of Sir Adam Thompson, 1985-6 (Scotish National Portrait Gallery)
wood:
Stone City, Iowa, 1930 (Omaha) Jennings
p91. This shows the influence of his mother’s willow-pattern plates with their stylised rounded hills & clumps of trees Hughes1997 pp 439-40
American Gothic, 1930 (Art Institute). The father is defending the virtue of his daughter (Wood’s sister). The painting has an inherent ambiguity because Wood himself was uable to decide whether he was celebrating or satirising Hughes1979 p441.
Dinner for Threshers, 1934 (San Francisco) Jennings p91.
Spring Turning, 1936.
woodville:
War News from Mexico, 1848 (NG Art?)
The Sailor’s Wedding, 1852 (Walters Art Museum, Baltimore)
wootton:
Lady Hentietta Harley Hawking in Wimpole Park, 1716 (Welbeck Abbey). [Good composition & interesting landscape background with a striking blue-green section.]
Academy Philosppers’ Grove, c1723 (Wimpole Hall?)
Leaving the Kennel, c1734 (Althorp). Lively animal/human observation & sympathy for subject Waterhouse1953 p298
George II at Dettingen (Hopetoun House). Extremely lively background battle Waterhouse1953 p298
Warren Hill, at Newmarket. [This has a splendid background landscape. It is atmospheric with distinctive silver greenish section.]
Hunting the Hare on Orwell Hill, 1716 (Welbeck Abbey
wouwermans, philips:
Calvary Making a Sortie from a Fort on a Hill, 1646 (NG) 1001 p255
Wright, Joseph/Wright of Derby:
Brooke Boothby, 1781 (Tate). He is recumbent in a position traditional for women, reading Rousseau in a forest Westp160, & for signifying melancholy, also indicated by setting sun & explained by gulf between modern man in fashionable clothes & sylvan environment; however, as features suggest, melancholy here indicates sensibility, not sadness; BB had met Rome in 1776 & been entrusted with Rome’s Dialogues in 1st (later published by BB) Rousseau attributed enlightened self-discovery to an exquisite sensitivity Solkin2015 p232
Indian Widow, 1785 (Derby) R&J p15.
wright, michael/john michael:
Lady Catherine & Lady Charlotte Talbot, 1679 (NG Ireland). [A curiously uneven picture. The painting of the drapery is accomplished & the distinctive greyish colouring is interesting. However, the flesh tones are poorly rendered except for the head of the girl on the left. Moreover the righ hand girl has unrealistic & clumsy shoulders.]
Sir Thomas Mydelton IV, (Chirk Castle). [An unusual & interesting pose.]
Sir John Crewe, (Grosvenor Museum)
wtewael:
Andromeda , 1611(Louvre)
Saint Sebastian, 1600 (NelAtMA)
The Judgement of Paris, 1615 (NG)
wyatt, henry:
Portrait of Thamas Harrison, 1820 (Grosvenor Museum). [An accomplished Lawrence-like work.]
wyeth, andrew:
Cool Hunter, watercolour 1941 (Art Institute, Chicago)
Winter Fields, tempera 1942 (Whitney Museum of American Art)
Public Sale, 1943 (Museum of Art, Philadelphia). [This is dourly effective with excellently indicative figures.]
Chritina’s World, tempera 1948 (MoMA) Hughes pp 597-8. [There is something obviously wrong with her. She has thin arms & is crawling. Moreover the house is sinister. There is a wide shadow under the eves & evil looking washing blowing in the wind. The house & barns are bleak like the whole picture. There are no trees or bushes & the cart track does not lead to the house.] Christine Olson who modelled here, & in other pictures, was a cripple Grove33 p451
Up in the Studio, drybrush watercolour 1965 (the Met)
wyeth, newell:
Pyle’s Barn, 1921 (Private)
wyspianski:
The Planty Park by Night – Straw-Men, pastel, 1899 (Muzeum Narodowe, Warsaw). The straw over the rosebushes indicates the nation is hibernating but will revive in the spring Gibson p175
View of the Kosciudzko Mound from the Window of the Artist’s Atelier, 1905 (National Museum, Warsaw). [Note Howard J pp215-6]
Eliza Parenska, pastel, 1905 (Muzeum Narodowe, Warsaw?)