#abrahambloemaert

[harvard-art-museums-prints]

Saint Anthony Abbot, Abraham Bloemaert, 17th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, George R. Nutter Fund Size: 21.3 x 16.1 cm (8 3/8 x 6 5/16 in.)

https://www.harvardartmuseums.org/collections/object/257857

[mia-paintings]

Shepherd Boy Pointing at Tobias and the Angel, Abraham Bloemaert, c. 1625–30, Minneapolis Institute of Art: Paintings

Boy seated in front under a tree with a yoke, buckets, and a jug, pointing to Tobias and the Angel walking on the right. The shepherd boy, resting with his bucket, milk can, and yoke, guides our eye to travelers in the distance. They are Tobias and the archangel Raphael, whose tale is told in some versions of the Christian Bible. Tobias, a young Jewish man, was sent off by his blind father to recover the family fortune. Accompanying him on his trek were his dog and a guide—the archangel Raphael in disguise. Though we can see Raphael’s true identity, Tobias does not learn it until later. The story concludes with renewed fortune, restored eyesight, and a happy marriage for Tobias. In the 1500s and early 1600s, Dutch artists frequently combined scenes of everyday life with biblical subjects, often placing the Bible stories in the background. Bloemaert has left the meaning of this image open. Possibly the shepherd is indicating that people on a devout journey through life have a protector. Size: 36 1/4 x 46 3/8 in. (92.08 x 117.79 cm) (canvas) Medium: Oil on canvas

https://collections.artsmia.org/art/1401/

[harvard-art-museums-drawings]

Dilapidated Cottage with Sleeping Peasant and Three Women Spinning, Abraham Bloemaert, 17th century, Harvard Art Museums: Drawings

The Maida and George Abrams Collection, Fogg Art Museum, Harvard University, Cambridge, Massachusetts, Promised Gift Size: 22.2 × 31.1 cm (8 3/4 × 12 1/4 in.) Medium: Black chalk, brown wash, green and rose transparent watercolor, and opaque white watercolor (now darkened) on off-white antique laid paper; framing line in brown ink

https://www.harvardartmuseums.org/collections/object/360605

[met-european-paintings]

Moses Striking the Rock by Abraham Bloemaert, European Paintings

Purchase, Gift of Mary V. T. Eberstadt, by exchange, 1972 Metropolitan Museum of Art, New York, NY Medium: Oil on canvas

[rijksmuseum-art]

The Preaching of Saint John the Baptist by Abraham Bloemaert, Museum of the Netherlands

The protagonist in this scene, John the Baptist, the forerunner of Christ, stands partially concealed in the shade of a group of fanciful trees. It is as if Bloemaert wanted to prove that he could paint virtually anything and everything: a mountainous landscape, leafy trees, as well as figures, either nude or clad in exotic colourful gowns and arranged in complicated poses. All of this proves him to be a master of Mannerism.

https://www.rijksmuseum.nl/nl/collectie/SK-A-3746

[met-drawings-prints]

Raising of Lazarus by Abraham Bloemaert, Drawings and Prints

Medium: Engraving; second state of two

The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/374040

[the-met-art]

Studies of Two Pollard Willows; Verso: Wide Landscape Prospect by Abraham Bloemaert via Drawings and Prints

Medium: Pen and brown ink, watercolor, traces of black chalk, framing line in pen and brown ink; verso black chalk and watercolor

Rogers Fund, 1970 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/335072

[mia-paintings]

Shepherd Boy Pointing at Tobias and the Angel, Abraham Bloemaert, c. 1625–30, Minneapolis Institute of Art: Paintings

Boy seated in front under a tree with a yoke, buckets, and a jug, pointing to Tobias and the Angel walking on the right. The shepherd boy, resting with his bucket, milk can, and yoke, guides our eye to travelers in the distance. They are Tobias and the archangel Raphael, whose tale is told in some versions of the Christian Bible. Tobias, a young Jewish man, was sent off by his blind father to recover the family fortune. Accompanying him on his trek were his dog and a guide—the archangel Raphael in disguise. Though we can see Raphael’s true identity, Tobias does not learn it until later. The story concludes with renewed fortune, restored eyesight, and a happy marriage for Tobias. In the 1500s and early 1600s, Dutch artists frequently combined scenes of everyday life with biblical subjects, often placing the Bible stories in the background. Bloemaert has left the meaning of this image open. Possibly the shepherd is indicating that people on a devout journey through life have a protector. Size: 36 1/4 x 46 3/8 in. (92.08 x 117.79 cm) (canvas) Medium: Oil on canvas

https://collections.artsmia.org/art/1401/