through-the-night-softly

ALFRED STEVENS (BELGIAN, 1823-1906)

Le Tréport

signed 'AStevens' (lower left); inscribed and dated 'Le Tréport/Octobre.1890' (on the reverse)

oil on canvas

32 1/8 x 25 3/4 in.

Good Friday Procession at Seville

Nicaise de Keyser

Victor Guidalevitch

Bruges

To some painters such study may be highly beneficial, to others detrimental to the point it can destroy their art. To achieve, however, the highest degree of perfection in painting, one should, I am convinced, know the works of antiquity intimately and be deeply versed in their understanding.

To make use of them in painting, on the other hand, insight into the characteristic laws of that art is needed, so that the painter does not transfer in any way what in sculpture is by necessity preconditioned by the material in which the sculptor works, to wit the stone. Many inexperienced painters, and even skilled ones, do not make the proper differentiation between the material and the form expressed in that material, they do not differentiate between the stone and the statue worked in stone, nor do they take into regard how far the artist may be constrained by the nature of the marble and how far he may be able to express his inner idea, which is independent from that material…

Peter Nestler and Reinald Schnell,

Mülheim (Ruhr),

▪︎Book of Hours.

Artist: Simon Bening (Netherlandish, Ghent (?) 1483/84–1561 Bruges)

Date: ca. 1530–35

Place of origin: Bruges, present-day Belgium

Culture: Netherlandish

Panel from Saint John Retable by Domingo Ram, The Cloisters

The Cloisters Collection, 1925 Metropolitan Museum of Art, New York, NY Medium: Tempera on wood, gold ground

Pieter Brueghel the Younger. The Drunkard on an Egg (ca. 1600)