Still Life With Red, Black And Green Grapes On The Vine, Together With Oranges, A Partly-Peeled Lemon And A Melon On A Draped Table-Top, Jacob Marrel

Roughly 20 x 29 inches (51 x 74 cm), oil on panel. Link is to Sotheby’s auction (image file here). As this is the only image I can find, I assume the painting is in a private collection.

The title is a good example of how titles are assigned to so many paintings by contemporary cataloggers, and not by the artists themselves. There was apparently also confusion, deliberately created, by previous hands in an attempt to pass the work off at that of another 17th century Dutch still life painter, Jan Mortel, who was better known at the time and whose work therefore commanded higher prices.

Like many of his contemporaries, Marrel has filled his composition with fascinating detail, including insects that appear to be of specifically identifiable species.

I particularly like the delicately handled vines, some of which are barely visible as they wind into the background darkness. In that respect, it’s interesting to compare paintings like this with those of Jacob van Walscapelle (also here).

Sunset in the Woods, George Inness

The link is to a page on Wikimedia Commons from which you can access a high resolution file; the original is in the National Gallery of Art, DC, which also has a zoomable and downloadable high-res image.

There are paintings that seem to transcend art and move into the realm of ineffable mystery.

Of course, for American landscape master George Inness, transcendence, and the expression of the spiritual nature of the physical world, was his goal.

Don’t take the small image and detail crops I’ve provided above as your only experience of this image. Go to one of the links I’ve provided and fill your largest available screen; relax and enjoy the experience for a few minutes. (The original painting is four feet by six feet, or roughly 122 x 184 cm.)

Don’t look for detail, it’s the absence of detail that’s important here.

With his uncanny control of muted color, carefully finessed values, suggestive texture, and oh-so-subtle edges, Inness leads us into the woods, whispers to us of the sublime within the commonplace, and then steps out of the way to let our own perceptions carry us deeper.

Vivien, Frederick Sandys

Link is to Wikimedia Commons, original is in the Manchester Art Gallery, which doesn’t seem to have an image online. The Study for Vivien at bottom is in the Norwich Castle collection.

In this striking portrait, Pre-Raphaelite painter Frederick Sandys portrays his companion, Koemi Gray, as the character Vivien from “Idylls of the King”, Tennyson’s series of poems that draw on the King Athur legend.

Vivien is one of the interpretations of “The Lady of the Lake”, who proffers Excalibur to Arthur, and is presented by Tennyson as the temptress who beguiles Merlin. The apple with which Sandys’ portrays her may be a symbol of temptation, carried froward from the story of Adam and Eve.

I admire the way Sandys has used the tilt of the head and the lowered eyelids to give suggestion of the nature of the character, and yet still retains his obvious affection for the beauty of his model. The sensitive depiction of the hands, particularly the delicate sweep of the left wrist, is just wonderful. You can see the attention he has given them in his study.

I also love the distinctive touches of red on the lips, earring, necklace and foreground rose, as well as the touch on the apple, balanced out by the complementary greens throughout.