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Eyes to behold stunning artworks in world-class museums.

From 1646 To 1663

  • Yoel Davis

Yoel Davis

•4 min read
Dutch, Leiden 1596–1656 The Hague / The Met

    The scene of fishermen casting their net in front of a moated fortress catered to a taste for picturesque and ancient architecture.
    Working on the smooth surface of an oak panel allowed Van Goyen to achieve a variety of painterly effects and enliven a limited color palette as he evoked crumbling masonry, rippling water, or cottony clouds.
    Although the artist studied medieval monuments in preparing such scenes, the castle shown here is imaginary, pieced together from both observation and fantasy.

View of La Crescenza

French, Chamagne 1604/5?–1682 Rome / The Met

    In its immediacy and breadth of handling, this small painting recalls drawings that Claude made from nature in the environs of Rome.
    The composition is illustrated in the painter's drawn record book of his work, the Liber Veritatis.
    The building, which still stands in the outskirts of Rome, was a medieval fortress transformed into a country house, which in the seventeenth century belonged to the aristocratic Crescenzi family.

María Teresa (1638–1683), Infanta of Spain

Spanish, Cuenca ca. 1612–1667 Madrid / The Met

    Mazo was Velázquez's assistant and son-in-law, having married his daughter Francisca in 1633.
    María Teresa, daughter of King Philip IV of Spain and his first queen, Isabel de Borbón, was portrayed by Mazo when she was seven years old.
    In 1660 the Infanta married her cousin Louis XIV and became Queen of France.

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