Wednesday, March 22, 2017

George Chambers Paintings in

George Chambers (1803-1840) painted maritime scenes with identifiable landmarks on shore.  Rather than just show the majesty of a vessel at full sail mastering the open seas, his views make a connection between we land-based observers and the instruments that can carry us to all points on the globe.  Harbors are of particular interest as the transition point for our modes of being.

Entrance to Portsmouth Harbour
by George Chambers

Friday, March 17, 2017

Henry Pether Paintings Geocoded

Henry Pether (1828-1865) did a large number of paintings by moonlight, including some scenes where the same location was painted by day and by night.  The subject of his dozens of paintings in moonlight were usually recognizable landmarks, almost evenly split between London and Venice.  The silhouettes of well-known structures lends more of a story to the images than there would be if were a simple river scene by moonlight (a few of which he did).  By and large, though, the works are identified by location, and have a intriguing air about them: without any other persons out at these hours, the viewer is left to imagine their own participation in the enchanting atmosphere.

Marlow On Thames 
by Henry Pether

Wednesday, March 15, 2017

George Cole Paintings in

George Cole (1810-1883) paintings of outdoor scenes bear a strong resemblance to the work of his son, George Vicat Cole. The elder did more port scenes and landmark structures, though never with an eye to record impressive architecture.  His handful of views around Windsor Castle seem just to be the location of pleasing countryside (a common trait in royal locations).  The elder also worked in portraits an animal studies, but the wide open country views were his most common, and were the subject almost exclusively adopted by his son,

The London Road, Portsdown Hill
by George Cole

George Vicat Cole Paintings Geocoded

George Vicat Cole (1833-1893) painted almost exclusively outdoor scenes, and these only occasionally included any man-made structure, or any evidence of human presence. His works generally feature overcast skies, without direct sunlight, leaving the edges of most objects are a little blurred.  Equally hazy are the specific locations of most of his scenes: the majority do not carry a title that would identify the spot of the pleasing "Country Life" or "Landscape with Sheep".  They do all possess a far horizon, the sort of spot that would make a passerby to stop for a moment to consider what a pleasant land they were passing through.

On the Tamar, Devon
by George Vicat Cole

Wednesday, February 15, 2017

William Marlow Paintings in

William Marlow (1740-1813) painted scenes across England and in some of the top tourists sites in Italy, with some views of the south of France thrown in.  His works are usually focused on a prominent man-made structure but with lots of sky and water included.  The skies are never a brilliant blue but cast a mood on the works, a sort of other-worldly backdrop that puts the accomplishment of man in a context.  Perhaps he brought the weather with him, but his Italian views are no more sunny than those 

View of the Bay of Naples from Posillipo
by William Marlow

Monday, January 30, 2017

Dozens of Paintings of Rome Geocoded

Painters of many nations have been enchanted by the Eternal City,  and have tried to capture on canvas some of the grandeur, the glory and the significance of the place.  

Over the centuries, different viewpoints have focused on the splendor of the symbols, or on what the lessons that might be learned from contemplating what was lost.

With the exception of Ippolito Caffi, most of the fine art renderings of Rome done after 1800 have been done by non-Italians: first by Dutch; then by French, Scandinavians and Russians, then Americans.

Follow the link to see each view, and compare to Street Views today.

Rome: View of the Piazza di San Giovanni in Laterano
by Bernardo Bellotto

Sunday, January 22, 2017

Hendrik Frans van Lint Paintings in

Hendrik Frans van Lint (1684-1763)  painted many "Italianate" scenes of soft focus, indirect light, fair skies, and lush vegetation.  In less than 20 of his works did he include details of a specific location being represented.  

When in Rome, though, he made faithful representations of some of landmark structures, in something of a "postcard" style.  In these views, any persons in the scene were depicted at a safe enough distance so as to not distract from the objects of interest.

View of Tivoli
by Hendril Frans van Lint