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| James Hamilton - Moonlit Landscape (Night and Peace) oil on canvas. 25 x 36 cm; 10x14 inches Private collection |
Wednesday, July 19, 2023
James Hamilton (1819-1878) - Moonlit Landscape (Night and Peace)
Johan Barthold Jongkind - Le Port De Dordrecht Au Crépuscule, 1881
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| Johan Barthold Jongkind - Le Port De Dordrecht Au Crépuscule, 1881 oil on panel 37,1 x 28,4 cm ; 14⅝ by 11⅛ in. |
John Constable - Netley Abbey by Moonlight, 1833
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| John Constable - Netley Abbey by Moonlight, 1833 watercolour and graphite on paper, 14,6 × 20 cm Tate, London |
Constable and his wife visited Netley Abbey, Hampshire on their honeymoon in 1816. One of the drawings made on that occasion was the basis for this much later watercolour. In character it resembles the designs Constable painted in 1833 to illustrate an edition of Gray's 'Elegy'. He may even have considered using this Netley composition for that work: the figure at the left contemplating a tombstone (a detail not in the original pencil drawing) is a stock motif in all illustrations of the 'Elegy'. At the same time this melancholy image, based on a honeymoon drawing, would have carried a personal meaning for Constable in his widowhood. via
Caspar David Friedrich - Inside the forest in the moonlight, circa 1823
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| Caspar David Friedrich - Inside the forest in the moonlight, circa 1823 oil on canvas, 70.5 cm (27.7 in) x 49 cm (19.2 in) Alte Nationalgalerie |
Formerly attributed to Ikei Shūtoku - Hotei Admiring the Moon, probably 19th century
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| Formerly attributed to Ikei Shūtoku - Hotei Admiring the Moon, probably 19th century Hanging scroll; ink on paper, 36 1/2 × 17 3/4 in. (92.7 × 45.1 cm) The Metropolitan Museum of Art |
This painting depicts Budai, a beloved, semi-historical Buddhist figure known as Hotei in Japan. Although the work was traditionally associated with an artist known as Ikei Shūtoku, purportedly a follower of the celebrated medieval ink painter Sesshū Tōyō, it is believed to have been made in the nineteenth century. This late work entered The Met's collection in 1914 along with nearly two hundred other Japanese and Chinese artworks from the collection of Charles Stewart Smith (1832–1909), a Trustee of the Museum. Smith was primarily a collector of European paintings but also acquired many Japanese and Chinese works of art during the last two decades of his life, after he and his third wife honeymooned in Japan in 1892.
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Carl Gustav Carus - Italian Moonlight, 1833
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| Carl Gustav Carus - Italian Moonlight, 1833 oil on canvas, 28.3 cm (11.1 in) x 21.5 cm (8.4 in) Goethe House |
Carl Gustav Carus - Ruins of the Eldena Monastery with a Cottage near Greifswald in Moonlight
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| Carl Gustav Carus - Ruins of the Eldena Monastery with a Cottage near Greifswald in Moonlight, 1819-20 oil on canvas, 43 x 33 cm Pommersches Landesmuseum, Greifswald, Germany |
Carl Gustav Carus - Gothic Church over Treetops in Moonlight, c. 1840
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| Carl Gustav Carus - Gothic Church over Treetops in Moonlight, c. 1840 oil on cardboard , 7.0 x 11.1 cm |
Joseph Mallord William Turner - Moonlight on the Medway, c. 1824
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| Joseph Mallord William Turner - Moonlight on the Medway, c. 1824 Watercolour on off-white wove writing paper, 197 x 267 mm Tate, London |
id. Markó Károly - Diana és Endymion, 1853
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| id. Markó Károly - Diana és Endymion, 1853 olaj, vászon, 71 × 94,6 cm Magyar Nemzeti Galéria, Budapest |
Carl Gustav Carus - Faust in the Mountains, c. 1821
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| Carl Gustav Carus - Faust in the Mountains, c. 1821 oil on canvas, 48 x 38 cm Staatliche Kunstsammlungen Dresden, Dresden, Germany |
Carl Gustav Carus - Memories of Rome II (Raphael and Michelangelo at the Sight of St. Peter), 1839
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| Carl Gustav Carus - Memories of Rome II (Raphael and Michelangelo at the Sight of St. Peter) 1839 oil on panel, 36.8 cm (14.4 in) x 47 cm (18.5 in) Goethe House |
Carl Gustav Carus - Rising full moon behind fir trees (Aufgehender Vollmond hinter Tannen)
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| Carl Gustav Carus - Rising full moon behind fir trees (Aufgehender Vollmond hinter Tannen) oil on cardboard, 10.2 cm (4 in) x 8 cm (3.1 in) Private collection |
Shibata Zeshin - Autumn Grasses in Moonlight, 1872
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| Shibata Zeshin - Autumn Grasses in Moonlight, detail, 1872 18 in. × 33 1/4 in. (45.7 × 84.5 cm) The Metropolitan Museum of Art |
Florence Esté (1860-1926) - Arbres au clair de lune
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| Florence Esté - Arbres au clair de lune oil pastel, watercolor and gouache, on blue paper, 60.7 x 45.7 cm |
Albert Aublet - Selene, 1880
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| Albert Aublet - Selene, 1880 oil on canvas, 144.1 cm (56.7 in) x 115.5 cm (45.4 in) |
The artist was also deeply influenced by the literary circles in which he socialized (Alexandre Dumas was an important patron); most famously, he illustrated stories by Guy de Maupassant, which blended literary realism and elements of the supernatural. Aublet’s brilliant ability to draw upon a wide array of sources to inform his compositions is evident in the remarkable present work--centered on a pale-skinned model floating through a clouded sky, dappled with fading stars, above a landscape of purple mountains and ice-blue waters.
While the exact origins of this work have yet to be discovered, an inscription on the frame’s reverse suggest this nubile young woman is the personification of the moon goddess Selene. The goddess was most often depicted in Classical antiquity as a young woman with a pale white face, wearing the moon as a crown, traveling on a chariot drawn by two horses. The Homeric Hymn in her honor describes her as “a radiance from heaven [that] embraces the earth, and great is the beauty that comes from her shining light. The dark air grows bright.. and her rays fill the sky, when her fair skin is fresh from the waters of the Ocean, and divine Selene… [is] in the middle of the month, when her great orbit is full and her light is brightest” (as quoted in Jenny March, Dictionary of Classical Mythology, 1998, p. 353). Aublet’s Selene appears to be at the end of her nightly journey, her back arched, legs and arms wrapped around the slight silhouette of the moon, the sky brightening with the pink hues of the oncoming dawn (brought by her brother Helios). The details of Selene’s romantic exploits with Zeus, Pan, and most famously the shepherd Endymion, fated to sleep forever so his beauty would never fade from her sight, were well known from countless retellings; these informed visual representations by generations of artists from Hans van Aachen (1552-1615) to Anne-Louis Giordet-Trioson (1761-1824) to Charles Edward Hallé. Yet in his work Aublet seems disinterested with narrative conventions, placing his figure in an indiscriminate fantasy realm, allowing the goddess’s well-modeled and finely painted form to inspire the imagination. via
Adolph Tidemand & Hans Gude - Fishing with a Harpoon, ca. 1851
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| Adolph Tidemand & Hans Gude - Fishing with a Harpoon, ca. 1851 oil on canvas, 159 x 115 cm National Museum of Art, Architecture and Design, Oslo |
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