(© Copyright - by The Metropolitan Museum of Art - www.metmuseum.org) Van Dyck was in Palermo, Sicily, when a plague broke out and the city was quarantined. On July 15, 1624, the remains of Saint Rosalie—the city’s patroness, who died about 1160—were opportunely discovered on Mount Pellegrino, which is visible here above the harbor of Palermo. Images of Saint Rosalie were in great demand; this one was painted by Van Dyck on top of a striking self-portrait that he had sketched on the canvas. The artist employed a design he had used earlier for paintings of the Assumption of the Virgin. Structured artwork information Piece of art title: "Saint Rosalie Interceding for the Plague-stricken of Palermo" Artwork classification: painting Art classification: classic art Artwork century: 17th century Artpiece year: 1624 Age of artwork: more than 390 years Original medium of artwork: oil on canvas Size of the original artpiece: 39 1/4 x 29 in (99,7 x 73,7 cm) Museum: The Metropolitan Museum of Art Location of museum: New York City, New York, United States of America Web page: The Metropolitan Museum of Art License of artwork: public domain Courtesy of: The Metropolitan Museum of Art, New York, Purchase, 1871 Creditline: Purchase, 1871 Artist overview Artist: Anthony van Dyck Alias names: bandio, Ant. v. Dyck, Wandik, Dyck Antonie van, Anton de Dück, Van-Dyk, Antonio Vandich, Dyck Antoine van, Sir Anthony Vandyck, A.v. Dyck, Antony van Dyck, Anton van Dyck, Anthonius van Dijck, Ant Van Dick, A. Vandyck, von Dyck, Dyck Antoon van, After Van Dyck, Dyck Sir Anthony van, Antoine Van Dick, Vandiche, Dyck Anton van, bandic, Anthony Vandyke, A. Vaudick, Deĭk Antoni van, Van Daĭk Antonis, Van Vandyck, Dijck Antoon, Antonio van Deyc, Antoine Wandick, Vandeich, van Dyck Anton., Van Dycke Anthony, Van Dyck Anthony Sir, Antonio Vandichi fiamengho, comme de Van Dyck, Antoni van Dyk, Van Dijk, Van Dyck Antoine, Anton von Deyck, Ant v. Dyk, Anthony Vandycke, Van Deick, An. van Dyck, Anton van Dijck, antoon van dyck, Vandik Antonio, Vandyke Sir Anthony, Van Dich Antonio, Chevaliér van Dyk, Wandik Antonio, A.v. Dyk, A. Van Dick, Vandyck Sir Anthony, Van Dych, Dyck Anthonie van, Vandyke Anthony, V. Dyck, Valdiq, Vandyck &, van Deyck, Anth. Vandyke, sir a. van dyck, Ant. Vandyck, Ant. von Dyck, Antoine van Dyck, Vannic, A. Vandyk, Antoine Vandick, Ant. Vandeick, Vandych Antonio, Antoine Vandyk, Dack, Antonio Vandik, Van Dich, antonys van dyck, A. Van Dyc, Antonio van Deyck, Bandique, anthonius van dyck, Anth. van Dyk, Van Dyck School, Van-Dick, Antoine Van-Dyck, jan van dyck, Ant. Vandeyck, Antoin Vandyk, Antonii van Dyck, dyck van, Vandec, Daĭk Antonis van, Anthony van Dyk, An. Dyk, Vandech, A. v. Dyck, Van Dyck Antoon Sir, Anthonie van Dyk, A. van Dyk, A. Dyck, Antony van Dijck, Vannich, A. Vandick, Ant. Van Dyck, Bandeique, A. Vandych, Vandyck Antonio, Antonio Vandyck, Van. Dick, Vandicco, Dyck Anthonis van, Dyck Anthonie, A. van-Dyck, Vandyck Anthony, Wanclelfef, v. Dychs, Antonie van Dyck, Antoni v. Deick, von Deycks, Antoine Vandik, Antonio von Dyk, Bandiq, Van Dyck, Badic, Van-Deĭk Antoni, V. Dycke, A. Van Dik, Van Dyck Anthony, Vandycke, v. Dyk, A. van Dycl, Anth. van Dyck, dyck van a., Anthony Van Dyck Sir, Anthonis van Dyck, Anton van Dyk, Van Dyke, V Dyck, Mandique, dyck anton van, Van Dyck Anton, Valdique, dyck van, A. von Dyck, Vandique Anttonio, Ant. van Dyk, vandic, Vand Duyke, Dyck Ant. van, Wandick, Van Dyck Anthonis, von Deick, Van Dick Anthony, Dyck Antoon, Vandike, Ant. Vandick, A. van Dijk, Anthonij van Dijck, Antonio Vandicch, Sir Anthony van Dyck, Sir A. Vandyke, Antonio Dyck, Ant Van Dyck, Vandych, Dyk Anthonis van, Vandick, Wan Dick, Vandick A., Vandyk, Wandih, c., Anttonio Vandique, Dijck Sir Anthony van, Van Dyck Antonio, Ant.v. Dyck, Wan Dyck, A. Van Dyck, Dyck Sir, Antoine Van-Dick, Antt.o van Deyck, Vandich, Ant. v. Dyk, Vandeck, A Vandyke, Anthony Vandyck, Vandich Antonio, Dijk Anthony van, Vnaydke, Sr. Ant. Van. Dych, Anth. v. Dyck, Dyck Anthony van Sir, דייק אנטוני ואן, A Van Dyck, van dycke sir anthony, Van diq, von Deyck, Dyck Ant. van, Sir Antonio Van Dyck, Anton von Dyck, Wandyck, van dyck a., von Dyk, Vandicch Antonio, Ban Dycq, Van-Dyck, Antoni van Dyck, Anthon van Dyck, Dyck Antonis van, antonis van dyck, Antonio Vandych, Dyck Anthony van, Vandique, Vandyck Sir Ant. Flem., Antoine Vandeik, Antony van Dyk, Van Dyc, Vandeyc, Anton Vandyk, Dyck A. van, V. Dyke, Antoine Vandich, A. Van-Dick, Vendeich, Anthonius van Dyk, Ant. Van Dick, Van Dijck, Dyck, Antonio Wandik, A. Vandik, Chev. Anton van Dyk, Vau Dyke, Dyke, Vandyck, Vandick Fiammengo, V Dyck, Dijck Anton van, Anthonis van Dijck, Antoine van Dyk, Antonius van Dyck, Van Dyck Sir Anthony, Vandycke Anthony, Anthoni van Dyck, Sir A. Vandyck, Vandiq, Sir Anthony Vandyke, Vandicche, anthonys van dyck, Deick, Dyk, Vandichi, Vandyke, Anthony van Dyck, Wandich, Van Dyk, Vandeic, A. V. Dyke, Antonio Vandik Fiammingo, Ant. van Dyks, A. Vandyke, Van Dycke, Vandaich, Van Dyk Anthony, A. Vandyck. en Italie, Vandeik Antoine, Antonio van Dyck, Van-Deyck, Dyck Anthonis van, A. von Deyk, Vandyck Sir Ant., Vandeique, Antoine Vandyck, Van Dick, den Ridder van Dyk, Anthonio van Dijk, Vandicca, Van Dyck Antoon, Van Daik Anton, van dyck a., Vandyck Anthony Sir, baldique, Van Dyck Anthonie, Ant. Van-Dyck, Vandino, Anthonie Van Dyck, Vandisco fiamengo, Antonio van Dyk, After Vandyck, Van. Dyck, van dyck sir anthony, Dijck Anthonie, A. v. Dyk, Vandik, van Dyijck Gender of the artist: male Artist nationality: Dutch Professions: theater director, painter, author, etcher, translator, dramaturge Country of the artist: the Netherlands Artist classification: old master Styles: Baroque Lifespan: 42 years Birth year: 1599 Hometown: Antwerp, Antwerpen province, Flanders, Belgium Year died: 1641 Place of death: London, Greater London, England, United Kingdom Structured article information Article type: fine art print Method of reproduction: digital reproduction Manufacturing method: UV direct print (digital printing) Origin of the product: German production Stock type: on demand production Intended product use: art reproduction gallery, wall décor Orientation of the artwork: portrait alignment Aspect ratio: length to width 3 : 4 Image aspect ratio meaning: the length is 25% shorter than the width Item material options: canvas print, metal print (aluminium dibond), poster print (canvas paper), acrylic glass print (with real glass coating) Canvas print (canvas on stretcher frame): 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47", 120x160cm - 47x63" Acrylic glass print (with real glass coating) sizes: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Poster print (canvas paper): 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Aluminium print variants: 30x40cm - 12x16", 60x80cm - 24x31", 90x120cm - 35x47" Picture frame: no frame Available product materials The product dropdown menu ofers you the opportunity to choose the material and size of your choice. In order match your personal requirements perfectly, you can choose among the following product customization options: Canvas: The UV printed canvas material mounted on a wood frame. Canvas prints are relatively low in weight. This means, it is quite simple to hang up your Canvas print without any wall-mounts. Canvas prints are suited for any kind of wall. The glossy acrylic glass print: A glossy acrylic glass print, often denoted as a UV print on plexiglass, makes your favorite artwork into stunning wall decoration. Besides, the acrylic print offers a good alternative option to dibond and canvas art prints. The artwork is made with modern UV printing technology. This creates vivid, sharp colors. With an acrylic glass fine art print contrasts and also smaller details become identifiable due to the granular gradation of the print. Our acrylic glass protects your selected art print against light and heat for between 4 and 6 decades. Aluminium print (aluminium dibond): An Aluminium Dibond print is a print with a true depth effect. The poster print on canvas material: A poster is a printed sheet of canvas paper with a fine surface structure, that resembles the actual work of art. A poster print is perfectly appropriate for putting the art copy with the help of a customized frame. Please keep in mind, that depending on the size of the poster print we add a white margin between 2 - 6cm around the painting to facilitate the framing with a custom frame. The print product offering The 17th century artwork Saint Rosalie Interceding for the Plague-stricken of Palermo was painted by the artist Anthony van Dyck in 1624. The original version had the size: 39 1/4 x 29 in (99,7 x 73,7 cm). Oil on canvas was applied by the European artist as the technique for the piece of art. It is part of the digital collection of The Metropolitan Museum of Art, which is one of the world's largest and finest art museums, which includes more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe.. We are glad to state that the public domain piece of art is being supplied with courtesy of The Metropolitan Museum of Art, New York, Purchase, 1871. Creditline of the artwork: Purchase, 1871. The alignment is portrait and has a ratio of 3 : 4, meaning that the length is 25% shorter than the width. Anthony van Dyck was a male translator, author, dramaturge, painter, theater director, etcher, whose art style can mainly be assigned to Baroque. The European artist was born in the year 1599 in Antwerp, Antwerpen province, Flanders, Belgium and passed away at the age of 42 in 1641 in London, Greater London, England, United Kingdom. Legal disclaimer: We try the best we can in order to describe our products as accurate as it is possible and to showcase them visually. Still, the colors of the printing material, as well as the imprint may diverge to a certain extent from the prese

While searching ffffound.com I stumbled across the artwork of Rosalie Gascoigne and through some investigating found out that she was a New...

Rosalie Gascoigne 1917-1999 at roslyn oxley9 gallery

Blessed Rosalie Rendu Fine Art Print Choose 8x10”, 11x14”, 16x20”, 18x24” 20x26”, or 22x28" print size. DESCRIPTION: This fine art print is ready to frame. It is a copy of my original Prismacolor pencil portrait. The 8x10" and 11x14" are printed on acid-free 80 lb. cardstock. The 16x20" and larger are printed on premium 11-mil, acid-free paper. The watermark will not appear on your print. PACKAGING: 8 x 10" images are printed on 8.5 x 11" paper. All prints 11x14 and larger are carefully rolled and shipped in a rigid mailing tube to ensure safe shipment. We take great care to package your order so it arrives in perfect condition. Order with confidence! ADDITIONAL SAINT INFO: Blessed Rosalie Rendu 1786-1856 Feast Day: February 7 Blessed Rosalie Rendu was born in France during the chaotic French Revolution. Her life was one of prayer and charity which led her to enter the Daughters of Charity, eventually becoming the superior of the Paris convent. She served the poor, opened a free clinic, pharmacy, schools, orphanages, childcare centers, homes for the elderly, youth clubs for young workers, and cared for the wounded between both sides of warring revolutions. She worked closely with Bl. Frederic Ozanam whose work became the St. Vincent de Paul Society. She died of frailty and fatigue from a lifetime of incredible work. ©Tracy L. Christianson, all rights reserved.

After my recent post on Helen Frankenthaler, I thought I’d take a look at the work of another female artist – quite different, but one whose work follows on neatly from that of Christopher Wool, featured in my last posting. Rosalie Gascoigne (1917 – 1999) was a New Zealander – Australian sculptor. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994 she was awarded the Order of Australia for her services to the arts. Gascoigne was born Rosalie Norah King Walker in Auckland, New Zealand. She emigrated to Canberra, Australia in 1943 at the age of 26 to marry astronomer S. C. B (Ben) Gascoigne, later to become an eminent professor, and set up home in the isolated scientific community of Mount Stromlo. In the late 1960s she started experimenting with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. She learnt to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand. 1977 Sir Bagby iron Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in. She said that her art-making materials "need to have been open to the weather." She thus used mostly found materials: wood, iron, wire, feathers, and most famously yellow and orange retro-reflective road signs, which flash and glow in the light. Some of her other best-known works use faded, once-bright drinks crates; thinly-sliced yellow Schweppes boxes; ragged domestic items such as torn floral lino and patchy enamelware; vernacular building materials such as galvanised tin, corrugated iron and masonite; and fibrous, rosy cable reel ends. These objects represent, rather than accurately depict, elements of her world. "The countryside's discards ... no longer suggest themselves but evoke experiences, particularly of landscape.” Text is another important element of her work; she would cut up and rearrange the faded, naive lettering found on these items to create abstract yet evocative grids of letters and word fragments, sometimes alluding to the crosswords and poetry of which she was so fond. Knowledgeable and widely read, she was inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins and Robert Rauschenberg. However gradually both colour and text seemed to fade from her work, and in her final years she created meditative, elegiac compositions of white or earth-brown panels. 1999 Earth 4 sawn builders form wood Although working vigorously into her 80s, with occasional help from an assistant, her age at the height of her success precluded the travelling that would have been necessary to build the international audience her work deserved. Although she exhibited occasionally overseas - including the 1982 Venice Biennale (the first Australian woman to do so), Switzerland and Sweden as well as throughout Asia - the major holdings of her work remain in Australia and New Zealand, both of which claim her as their own. Fine examples of Gascoigne's oeuvre can be found in most Antipodean galleries; and the Metropolitan Museum of Art, New York, owns one of her smaller pieces. Rosalie Gascoigne died in Canberra in 1999. 1976 The Colonel's Lady mixed media 1976 Triptych mixed media 1980-1 Untitled (12 squares of 6) sawn weathered wood 1984 Untitled (25 scallop shells) 1985 Pineapple Pieces No. 4 1988 Painted Words spray painted masonite on plywood 1989 Tesserae 1 sawn / split soft drink crates on plywood 1990-2 Regimental Colours (B) sawn / split soft drink crates on plywood 1992 Port of Call cut tea crates and weathered formwork on plywood 1992 Text sawn / split soft drink crates on plywood 1992-3 Rose Red City #6 corrugated iron on wood 1993 Lily Pond linoleum and plywood 1993-4 White City wood on craft-board 1994 Bread and Butter sawn wood on craft-board 1994 Compound timber and masonite 1994-5 The Apple Isle sawn wood on craft-board 1995 Gentlemen of Japan retro reflective road sign on craft-board 1995 White Garden corrugated iron on wood 1998 Full Fathom Five sawn wood on wood 1998 Magpie sawn wood on wood 1998 Tartan sawn wood on wood 1999 Metropolis retro reflective road-sign on wood 1999 Parasol retro reflective road-sign on wood 1999 Valentine retro reflective road-sign on wood

This week I found the work of Rosalie Gascoigne (1917-1999). I love the soft washed out, white washed, sea washed qualities of this artists work that are like a mosaic of sea treasure or a jigsaw of driftwood.

1624. Oil on canvas. The Menil Collection, Houston.