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291:, New York). His large house on one of the main canals of Utrecht remains, though remodelled, and as well as family portraits the Utrecht museum has two very fine pieces of his furniture. He had several children, and seems to have stopped painting for almost the last decade of his life, perhaps influenced by the illness and death of his wife. Like his brother he was a city councillor; as a member of the main
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602:. His treatments are not without realist elements; the furniture, metalware, and other props are often carefully depicted versions of the luxury products of his own day, and the faces of his Olympians often un-idealized and very Dutch-looking, so that the viewer "often has the sense of seeing flesh and blood figures in bizarre circumstances rather than fantasies tinged by observations from life". Dutch
168:
554:, dating from several periods of his career, and proposes that his treatments are designed to allude to various different possible interpretations of the biblical story, and to pose a "moral dilemma" for the viewer. His favourite subjects had all been used previously, especially in Mannerism, but his choices seem to show a deliberate avoidance of the most familiar, as in his preference for the
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probably little help in producing his small works on copper, and none of them became well-known. Wtewael was thus one of the founding generation of
Utrecht painting; previously the city had been a centre for sculpture, as befitted a city governed by its bishop, but not known for painting. While Wtewael's reputation may have been beneficial to other Utrecht painters, his own style remained too
689:, and was usually one of the scenes shown in illustrated editions. Wtewael's approach to this subject too can be traced back to Spranger and Goltzius, and a drawing of 1585 by the latter (now in the Getty Museum) is close to Wtewael's several compositions, with a scrum of figures hovering over an elaborate bed. Drawings by Bloemaert may also have had an influence.
256:, are some examples of these favourite subjects. The first of these was painted in all sizes. Often the large paintings contain only a few figures, but the small and middle sized ones are extremely crowded compositions, the mythological ones typically including many nudes. In some works he also revived the kitchen scene subjects of
373:, visiting Utrecht in 1626, complained that Peter and his father neglected painting for the flax business. In the portraits by Joachim of his two sons, Peter is shown as a painter and Jan as a "humanist", carrying a book. Peter died a wealthy man in 1660, having remodelled the family house in 1639, the year after his father died.
537:
The Getty version was itself kept in private collections in ways that meant it was not normally visible, which may partly explain its immaculate condition. Other works by
Wtewael have also been changed by overpainting to hide erotic anatomical details. Wtewael had other means of creating a sensuous
479:
hidden churches of
Utrecht, which had a large Catholic population who were not able to worship in public. There is no evidence, or suggestion by scholars, that Wtewael's religious paintings were produced for this market; instead they are assumed to have been for the houses of the wealthy, like his
361:
for the painters of
Utrecht. He never lived elsewhere, and seems never to have travelled outside the Netherlands again. A gentlemanly contemporary in Utrecht, who might be thought in a good position to know the artist and his work, also praised very highly Wtewael's skill in sculpture, but no clear
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In the late 1620s
Joachim painted portraits of both his sons, dated 1628, his daughter Eva (1607–1635, see gallery) and a pair of his other daughter and her husband Johan Pater, dated 1626. All of these are in Utrecht. Burial records suggest several other children died young, but their birthdates
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trained at least for a while. He also changed his style significantly, reflecting newer influences from Italy and the
Netherlands itself. In contrast, apart from his son Peter, Wtewael had only three recorded painting apprentices, and was without any assistance for long intervals. They were
387:
for his loyalty against the
Remonstrants. However his brother was also rewarded in this way and Utrecht had a rule against more than one brother being on the council at any time. So he did not take up his seat until 1632, after his brother had died. Despite a reasonable amount of documentary
453:(1571–1638), whose works must have been very familiar to Wtewael. The appearance of the whole family is only recorded in single formal portraits by Wtewael. He also painted a few half-length imaginary paintings of saints or gods, singly or in small groups, such as a set of the
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His biography by Carel van Mander says regretfully that his flax business occupied much of his time, and records examples of his pictures in the collections of two wealthy Dutch collectors. Many of
Bloemaert's religious paintings were produced for the Catholic semi-secret
240:. In all these sizes he painted a mixture of conventional religious subjects and mythological ones, the latter with a strong erotic element. Especially in his works on copper he returns to the same subjects in several works, but varying the compositions. The
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The eroticism of his mythological works was daring for the time, and some of the small paintings were probably not displayed publicly, by their original collectors as much as later by museums. Two of the preparatory drawings for different painted versions of
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His depiction of erotic subjects are not simply titillating, but like many such Dutch paintings, depicted subjects that allowed for moralistic interpretations. Anne
Lowenthal, the most dedicated scholar of Wtewael, has analysed his several depictions of
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version, part of the founding royal gift, was not displayed in the 1920s, the contemporary explanation being that this was "to protect an immature public from itself". It remained in storage, and rather dirty, until the 1980s, when, after the
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307:. Producing his highly finished small paintings was probably not very economic, and he was not short of money; his own pleasure and fame were probably his main motivations. His granddaughter still owned 30 of his paintings in 1669.
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1118:
Liedtke (2005), 93, and n. 3 at 102. In 1986 Lowenthal catalogued 98 paintings, with a further 9 "problemmatical attributions". Since then a number of newly attributed works, including the
Metropolitan's
433:(illustrated in the gallery below), which though bought as a Spranger in 1900, shows a movement away from the more extreme poses and colours of the 1590s, and even from the drawing which may have been its
701:, Utrecht, who were given works that had remained in the family until recent decades. Several other Dutch, German, British and American museums have works, but many also remain in private collections.
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219:, and his distinctive and attractive style remained largely untouched by the naturalistic developments happening around him, "characterized by masterfully drawn, highly polished figures often set in
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Wtewael's style remained largely unchanged, although his colours shifted from the acidic pastels of his earlier work to stronger shades after about 1615, and some influence from the style of
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330:, as a glassmaker and glass engraver in his father's workshop. In 1586, he began four years of travelling and living in Italy and then France, the latter in the household of the bishop of
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409:, also from Utrecht and born the same year as Wtewael. Bloemaert's later career in Utrecht contrasted strongly with Wtewael's in that he was an important teacher, with whom most of the
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In contrast, his few portraits are almost all of his family and are in a conventional and more realist style comparable to that of the leading Utrecht portraitist of his day,
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or "justification by faith alone", since Jesus' action in restoring Lazarus to life is presented in the Gospels as unrelated to anything Lazarus has done to deserve this.
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was so large, at 16 7/8 x 33 5/8 in. (43 x 85.4 cm), that it was printed from three different plates. More than 80 figures are shown, placed up in the clouds over a
369:, who became a painter; their other son, Jan (1598–1652), may also have been a painter as, unlike Peter, he registered with the guild, in 1639 after his father's death.
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poses". Wtewael was trained in the style of late 16th-century Haarlem Mannerism and remained essentially faithful to it, despite painting well into the early period of
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Altogether he has left about a hundred paintings, as well as drawings and some stained glass he designed. He painted a mixture of large paintings on canvas, and tiny
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About 30% of his paintings are of mythological subjects, historically an unusually large proportion even within Northern Mannerism, perhaps not exceeded before
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469:; these may have been his last works, and show some influence from the Caravaggisti in the single large figures placed as though very close to the viewer.
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484:, which he painted at least twice, was given a specifically Protestant interpretation by contemporary Protestants, as demonstrating the efficacy of
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He married Christina Wtewael van Halen (1568–1629), whose portrait of 1601 makes a pair with the self-portrait illustrated. In 1596 they had a son
326:, where he died. He was the son of a glassmaker and glass painter who had settled in Utrecht in 1566. He began his career in Utrecht, according to
639:, sometimes appeared in Italian Renaissance art, but became especially popular in Northern Mannerist painting. This seems to spring from a large
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acquired their version of the subject, it was cleaned and placed on display, soon joining touring selections of "masterworks" from the museum.
1945:
1768:, The Barber Institute's critical perspectives in art history series, 2000, Manchester University Press, eds. Katie Scott, Caroline Arscott,
1920:
970:
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679:, Wtewael produced a painted version of this, much smaller than the print or drawing, but still with dozens of figures (illustrated left).
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on copper plates, the latter the more numerous and typically the most distinctive. There is also a group of mid-sized paintings, often on
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275:), which no doubt occupied much of his time, but was also famous as a painter in his own day, with his reputation reaching as far as
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Liedtke, Walter (1992), entry in "Masterworks from the Musée Des Beaux-arts, Lille", 1992, Metropolitan Museum of Art, New York,
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atmosphere, such as the suggestive pink mouths of large shells that often lie on the ground below nude females, as in the Louvre
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The largest collection of his work, which includes a self-portrait (1601), and several other family portraits, is in the
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Returning to Utrecht in about 1590 (by 1592 at the latest), Wtewael established a workshop and joined the saddlemakers'
353:(which in Utrecht then covered painters as well) as a painter and began producing paintings, drawings, engravings, and
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314:, the first major exhibition devoted solely to his work, showed in Utrecht, Washington DC and Houston, Texas.
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659:) that Carel van Mander had brought back from Prague, where Spranger was court painter to Emperor Rudolf II.
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130:, 1605, one of several small versions Wtewael painted of the subject. 20.3 x 15.5 cm (7.99 x 6.1 in)
1870:, an exhibition catalog from The Metropolitan Museum of Art (PDF), with material on Wtewael (cat. no. 34)
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records, the leading scholar of his work has written that "Wtewael the man is essentially inscrutable".
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are unknown. Wtewael's dated paintings stretch from 1592 to 1628, taking him from the age of 26 to 62.
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1606:, Chilvers, Ian and Osborne, Harold (editors), online ed. Oxford University Press, Oxford, England. (
1536:, New York. Sale "Important Old Master Paintings Including European Works of Art", 24 Jan 2008, Lot 3
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as the wedding feasts of Cupid and Psyche, Peleus and Thetis, the latter often combined with the
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from the Centraal Museum Utrecht, on the exhibition, 3.38 minutes (in Dutch, but video useful)
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614:(from the spirit or intellect)." These were respectively associated with "low" subjects and
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can be detected in later works. The shift in his style can be seen in his largest painting,
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Bull, 183–186; Lowenthal (1995), 50–65 gives an account of the subject through Western art
949:, 1606, on canvas, unusually for such a small work. 16.83 x 13.59 cm (6.63 x 5.35 in)
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City of Gotha and Federal Republic of Germany v. Sotheby's and Cobert Finance S.A.
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Reflecting an increase of interest in Wtewael's art in recent decades, in 2015–16
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He was on the town council in 1610 and was later awarded a seat for life by the
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were mutilated by later owners to remove parts of the lovers' bodies, and the
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1688:, eds. Roland E. Fleischer, Susan Scott Munshower, 1988, Penn State Press,
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The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods
1513:, who died in 1972, was the last member of the main line of Wtewael's heirs
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1331:
MacLaren, 502; Slive, 13–15; Clifton, Helmus, & Wheelock, Introduction
1680:
Lowenthal, Anne W. (1988), "Lot and His daughters as Moral Dilemma", in
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1585:
The Story of Painting, The Essential Guide to the History of Western Art
591:, 1612, adapted from a famous drawing by Spranger, made into a print by
1602:"Grove": Lowenthal, Anne W. (1988), "Wtewael, Joachim (1566-1638)" in
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The timetable of his travels varies somewhat between different sources.
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A Kitchenmaid, in the background Jesus in the house of Mary and Martha
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299:. His best known work, and almost his largest, is the near life-size
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He was very prosperous as a merchant of flax (for the manufacture of
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1764:: looking for love in early seventeenth-century Dutch painting", in
713:, about 1606 – 1610, 20.3 x 15.5 cm (8 × 6 1/8 in.).
1838:
Joachim Anthonisz Wtewael, "The Wedding of Peleus and Thetis," 1612
1682:
The Age of Rembrandt: Studies in Seventeenth-century Dutch Painting
1358:
He was commissioned to paint a portrait of the long-dead commander
1818:
McGrath, Elizabeth. "A Netherlandish History by Joachim Wtewael."
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of the day recognised two "pictorial modes": "'realist' depiction
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Lowenthal (1988), throughout; Lowenthal (1995), 33–34 summarizes
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1632:
Liedtke, Walter (2005). ""The Golden Age" by Joachim Wtewael".
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that can be glimpsed below. The composition borrows from both
334:, Charles de Bourgneuf de Cucé. His main Italian base was in
1850:
Liefde & Lust | De kunst van Joachim Wtewael (1566–1638)
1686:
Papers in Art History from the Pennsylvania State University
1310:
Clifton, Helmus, & Wheelock, Introduction; MacLaren, 501
264:, "When well preserved his little pictures glow like gems".
174:, 1612, oil on panel, 109.5 x 166.4 cm (43.1 x 65.5 in)
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Pleasure and Piety: The Art of Joachim Wtewael (1566–1638)
312:
Pleasure and Piety: The Art of Joachim Wtewael (1566–1638)
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803:, about 1600, his largest painting at 158 x 208 cm,
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The Feast of the Gods at the Marriage of Cupid and Psyche
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Clifton, J.; Helmus, L. & Wheelock Jr. A. (2015)
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Clifton, Helmus, & Wheelock, p. 2; see RKD database
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His wife, Christina Wtewael van Halen (1568-1629), 1601
152:; the young girl has found an apple with a patch of rot
346:, which was probably the result of visiting there.
342:, and his earliest works show awareness of the Second
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Wtewael was born and spent almost all of his life in
215:. Wtewael was one of the leading Dutch exponents of
728:, c. 1606–1610, oil on copper, 19.8 x 15.5 cm,
627:, typically particularized as either the wedding of
141:, c. 1605–1610, 131 x 162 cm, newly cleaned in 2015.
457:that are now dispersed in various collections. The
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1704:Joachom Wtewal: Mars and Venus Surprised by Vulcan
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1492:Lowenthal (1995), 27–32; 35–36; Liedtke (2005), 93
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849:His daughter Eva Wtewael (1607-1635), 1628, shown
1281:, Volumes 1–2, 2007, Metropolitan Museum of Art,
1279:Dutch Paintings in the Metropolitan Museum of Art
675:'s versions. Among several other compositions of
441:in both its Italian and Northern manifestations.
1790:Lindeman, Catharinus Marius Anne Alettus (1929)
1820:Journal of the Warburg and Courtauld Institutes
1459:The engraving at the Metropolitan Museum of Art
853:, not typical for a portrait of a wealthy woman
480:other works. Among his religious subjects, the
1868:Dutch and Flemish paintings from the Hermitage
1834:RKD database, with most of Wtewael's paintings
1565:Pleasure and Piety: The Art of Joachim Wtewael
244:, Venus and Mars Surprised by Vulcan, and the
1941:Dutch stained glass artists and manufacturers
1327:
1325:
1144:Clifton, Helmus, & Wheelock, Introduction
8:
1706:. J. Paul Getty Museum, Malibu, California.
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994:, 1624, 44.6 × 66.7 cm (17.6 × 26.3 in)
913:, 1598, 8.67 x 10.7 cm (3.41 x 4.21 in)
445:Portraits, religious subjects, and economics
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1094:
1092:
357:. Later he was a founder member of the new
1766:Manifestations of Venus: Art and Sexuality
1614:), online edition. Retrieved 20 April 2015
785:, 1600, 169 x 125 cm (66.6 x 49.3 in)
295:he was involved in the struggles with the
20:
1071:Lowenthal (1995), p. 13 on other versions
461:in the gallery section was paired with a
260:from a half century before. According to
16:Dutch painter and draughtsman (1566–1638)
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418:for him to have much influence on them.
163:, 1615, 59.8 x 79.2 cm (23 x 31 in)
155:
133:
1956:Municipal councillors of Utrecht (city)
1808:. Davaco, Doornspijk, The Netherlands.
1636:. Essays in Memory of John M. Brealey.
1235:"gettyguide/Joachim Anthonisz. Wtewael"
1083:
1064:
898:
757:
513:, 1611, 180 × 150 cm (70.9 × 59.1 in),
725:The Holy Family with Saints and Angels
610:(from the life) and 'ideal' imitation
401:He trained with the Haarlem Mannerist
1725:The Dutch School, 1600–1800, Volume I
1217:
1215:
1109:Slive, 13–14; Lowenthal (1995), 26–46
199:) (1566 – 1 August 1638) was a Dutch
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185:
7:
1040:, oil on copper, 10.5 x 8.6 cm.
926:Mars and Venus Surprised by the Gods
128:Mars and Venus Surprised by the Gods
1806:Joachim Wtewael and Dutch Mannerism
1727:, 1991, National Gallery Catalogues
889:, about 1628, one of his last works
1463:at the British Museum, in sections
1025:Sine Cerere et Baccho friget Venus
710:Mars and Venus Surprised by Vulcan
621:Among his favourite subjects, the
14:
211:merchant, and town councillor of
207:, as well as a highly successful
1863:Joachim Wtewael on Artcyclopedia
1859:from BBC's "Your Paintings" site
1362:(d. 1571) by the subject's son,
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977:The Wedding of Peleus and Thetis
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589:The Wedding of Peleus and Thetis
172:The Wedding of Peleus and Thetis
31:
1413:Lowenthal (1995), 21–25; 66–67
150:The Fruit and Vegetable Seller
1:
946:Annunciation to the Shepherds
833:, 1620–25. Close to works by
704:Some large zoomable images:
1946:Painters from Utrecht (city)
1729:, National Gallery, London,
1604:The Oxford Dictionary of Art
1224:. Retrieved 16 November 2015
783:Martyrdom of Saint Sebastian
770:, 1595, 148 x 184.6 cm
362:examples of this are known.
179:Joachim Anthoniszoon Wtewael
1921:Artists from Utrecht (city)
1642:University of Chicago Press
1634:Metropolitan Museum Journal
1237:. getty.edu. Archived from
359:Utrecht Guild of Saint Luke
107:, small paintings on copper
1977:
1804:Lowenthal, Anne W. (1986)
1702:Lowenthal, Anne W. (1995)
1569:Princeton University Press
1222:National Gallery biography
910:Adoration of the Shepherds
556:Adoration of the Shepherds
289:Metropolitan Museum of Art
242:Adoration of the Shepherds
64:1 August 1638 (aged 71–72)
1926:Dutch Golden Age painters
1792:Joachim Anthonisz Wtewael
1745:Dutch Painting, 1600–1800
1528:24 September 2015 at the
465:, and perhaps a now lost
385:Maurice, Prince of Orange
227:Dutch Golden Age painting
30:
1916:Dutch Mannerist painters
730:Museo Thyssen-Bornemisza
683:Mars and Venus Surprised
542:or the National Gallery
523:Mars and Venus Surprised
1876:at The National Gallery
1716:google books, full view
1650:10.1086/met.40.20320646
1581:Beckett, Wendy (1994),
1374:Lowenthal (1995), 24–25
992:Moses Striking the Rock
429:(158 x 208 cm) in
344:School of Fontainebleau
220:
1857:10 paintings in the Uk
1440:Lowenthal (1995), 2–14
1404:Woodall, 41, 45–48, 52
737:The Judgement of Paris
595:
581:
577:, 1605, once owned by
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500:Mythological paintings
427:The Raising of Lazarus
175:
164:
153:
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139:The Raising of Lazarus
131:
1794:. Oosthoek, Utrecht.
1762:Perseus and Andromeda
1589:, Dorling Kidersley,
1349:Liedtke (2005), 92–95
1008:Lot and His Daughters
653:Bartholomeus Spranger
587:
570:
561:Adoration of the Magi
558:over the more common
552:Lot and his Daughters
510:Perseus and Andromeda
507:
301:Perseus and Andromeda
293:Dutch Reformed Church
254:Lot and His Daughters
170:
161:The Judgment of Paris
159:
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137:
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101:Perseus and Andromeda
1951:Dutch businesspeople
1822:, 38 (1975), 182–217
1392:Lowenthal (1995), 21
1319:Lowenthal (1995), 26
1277:Liedtke, Walter A.,
1165:Lowenthal (1995), 72
866:Cephalus and Procris
411:Utrecht Caravaggisti
371:Joachim von Sandrart
183:Dutch pronunciation:
52:Habsburg Netherlands
1961:Dutch glass artists
1931:Dutch male painters
1842:Clark Art Institute
1553:, Oxford UP, 2005,
405:, who also trained
392:Style and reception
196:[ˈœytəʋaːl]
187:[ˈyːtəʋaːl]
37:Self-portrait, 1601
1383:Liedtke (2005), 95
1241:on 17 January 2015
1156:Liedtke (2005), 93
837:, 103 x 72 cm
596:
582:
544:Judgement of Paris
518:
482:Raising of Lazarus
250:Judgement of Paris
217:Northern Mannerism
176:
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154:
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116:Northern Mannerism
1906:Dutch draughtsmen
1776:, 9780719055225,
1747:, Yale UP, 1995,
1696:, 9780915773022,
1625:, 9780870996498,
1289:, 9781588392732,
962:Judgment of Paris
895:Smaller paintings
624:Feast of the Gods
579:Emperor Rudolf II
407:Abraham Bloemaert
281:Emperor Rudolf II
246:Feast of the Gods
234:cabinet paintings
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1179:, NGA Washington
1172:
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1132:Slive, 13; Grove
1130:
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1123:, have surfaced.
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794:
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764:
742:National Gallery
651:of a drawing by
645:Hendrik Goltzius
629:Cupid and Psyche
616:history painting
455:Four Evangelists
328:Carel van Mander
198:
190:; also known as
189:
184:
97:
35:
21:
1976:
1975:
1971:
1970:
1969:
1967:
1966:
1965:
1936:Glass engravers
1911:Dutch engravers
1886:
1885:
1880:Joachim Wtewael
1874:Joachim Wtewael
1840:Video from the
1829:
1787:
1785:Further reading
1782:
1758:Woodall, Joanna
1631:
1597:
1580:
1549:Bull, Malcolm,
1545:
1540:
1530:Wayback Machine
1521:
1517:
1509:
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754:Large paintings
751:
699:Centraal Museum
695:
665:world landscape
600:Nicolas Poussin
502:
451:Paulus Moreelse
447:
399:
394:
320:
182:
95:
74:
65:
55:
54:
38:
26:
25:Joachim Wtewael
17:
12:
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5:
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1972:
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1933:
1928:
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1844:, 2.29 minutes
1835:
1828:
1827:External links
1825:
1824:
1823:
1816:
1802:
1786:
1783:
1781:
1780:
1755:
1741:Slive, Seymour
1738:
1718:
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1684:, Volume 3 of
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1596:978-0751301335
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1559:978-0195219234
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1501:Liedtke (2005)
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868:(The Death of
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285:The Golden Age
258:Pieter Aertsen
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87:Known for
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673:Giulio Romano
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367:Peter Wtewael
363:
360:
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355:stained glass
352:
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341:
337:
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329:
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306:
302:
298:
294:
290:
286:
283:obtained his
282:
278:
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270:
265:
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262:Seymour Slive
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1805:
1791:
1778:google books
1765:
1761:
1744:
1735:0947645-99-3
1728:
1724:
1703:
1698:google books
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1637:
1633:
1627:google books
1603:
1584:
1564:
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1506:
1497:
1488:
1479:
1474:Slive, 12–13
1470:
1454:
1445:
1436:
1427:
1418:
1409:
1388:
1379:
1370:
1354:
1345:
1340:Slive, 18–26
1336:
1315:
1306:
1297:
1291:google books
1278:
1273:
1264:
1255:
1243:. Retrieved
1239:the original
1229:
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724:
715:Getty Museum
709:
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522:
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416:retardataire
415:
403:Joos de Beer
400:
379:
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348:
321:
311:
309:
300:
297:Remonstrants
284:
266:
231:
203:painter and
191:
178:
177:
171:
160:
149:
138:
127:
100:
96:Notable work
90:Oil painting
18:
1901:1638 deaths
1896:1566 births
1449:Woodall, 45
1364:now Utrecht
1268:Woodall, 48
930:Mauritshuis
798:Raising of
693:Collections
657:Rijksmuseum
643:of 1587 by
631:or that of
527:Mauritshuis
487:sola gratia
397:Development
382:Stadtholder
338:, close to
205:draughtsman
79:Nationality
1890:Categories
1882:at PubHist
1774:0719055229
1753:0300074514
1712:0892363045
1694:0915773023
1644:: 93–104.
1623:0870996495
1612:0198661339
1543:References
1287:1588392732
1245:1 November
1121:Golden Age
768:The Deluge
685:came from
604:art theory
574:Golden Age
476:schuilkerk
423:Caravaggio
222:capricious
1800:560609176
1674:194210961
1658:0077-8958
1534:Sotheby's
1523:lot notes
1100:Slive, 13
964:, c. 1605
641:engraving
540:Andromeda
493:sola fide
439:Mannerism
201:Mannerist
1666:20320646
1526:Archived
1431:Bull, 83
1046:See also
744:, London
740:, 1615,
732:, Madrid
593:Goltzius
279:, where
192:Uytewael
112:Movement
1030:Bacchus
886:Bacchus
870:Procris
800:Lazarus
749:Gallery
669:Raphael
649:Haarlem
459:Bacchus
435:modello
332:St Malo
324:Utrecht
303:in the
213:Utrecht
68:Utrecht
48:Utrecht
1848:Video
1812:
1798:
1772:
1751:
1733:
1710:
1692:
1672:
1664:
1656:
1621:
1610:
1593:
1574:
1557:
1285:
979:, 1612
719:Malibu
677:Feasts
637:Thetis
633:Peleus
515:Louvre
340:Venice
305:Louvre
277:Prague
273:canvas
252:, and
105:Louvre
1670:S2CID
1662:JSTOR
1200:Grove
1060:Notes
1038:Venus
1034:Ceres
805:Lille
655:(now
467:Venus
463:Ceres
431:Lille
351:guild
336:Padua
287:(now
269:linen
238:panel
82:Dutch
1810:ISBN
1796:OCLC
1770:ISBN
1749:ISBN
1731:ISBN
1708:ISBN
1690:ISBN
1654:ISSN
1619:ISBN
1608:ISBN
1591:ISBN
1572:ISBN
1555:ISBN
1283:ISBN
1247:2014
1036:and
687:Ovid
671:and
635:and
572:The
318:Life
271:and
209:flax
61:Died
56:1566
43:Born
1646:doi
647:in
1892::
1743:,
1723:,
1714:,
1668:.
1660:.
1652:.
1640:.
1638:40
1567:,
1532:,
1461:;
1397:^
1324:^
1214:^
1193:^
1149:^
1137:^
1091:^
1076:^
1032:,
1028:,
928:,
717:,
564:.
546:.
229:.
103:,
70:,
50:,
1676:.
1648::
1249:.
872:)
181:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
