Rembrandt | The Night Watch, 1642

Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch, but commonly referred to as The Night Watch (Dutch: De Nachtwacht), is a 1642 painting by Rembrandt van Rijn.

It is in the collection of the Amsterdam Museum but is prominently displayed in the Rijksmuseum as the best-known painting in its collection.

The Night Wahtc is one of the most famous Dutch Golden Age paintings.

Rembrandt's large painting (363x437 cm (12 by 14+1⁄2 feet)) is famed for transforming a group portrait of a civic guard company into a compelling drama energized by light and shadow (tenebrism).

The title is a misnomer; the painting does not depict a nocturnal scene.

William Shakespeare | To be, or not to be / Essere o non essere

To be, or not to be, opening line of a monologue spoken by the character Hamlet in Act III, scene 1, of William Shakespeare’s revenge tragedy Hamlet (1599-1601). Often referred to as a soliloquy, the speech technically does not meet that term’s strictest definition - that is, a monologue delivered by an actor alone onstage - because Ophelia, the object of Hamlet’s fickle affections, is also present, though Hamlet does not speak directly to her until the speech’s very end.

The scene in which "To be, or not to be" appears is sometimes referred to as "the nunnery scene", because Hamlet spurns Ophelia by telling her to "get thee to a nunnery" rather than wed him or another.

William Shakespeare | To be, or not to be

John Everett Millais | Ophelia (1852) depicts Lady Ophelia's mysterious death by drowning. In the play, the gravediggers discuss whether Ophelia's death was a suicide and whether she merits a Christian burial.

To be, or not to be, that is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles

And by opposing end them. To die - to sleep,

No more; and by a sleep to say we end

The heart-ache and the thousand natural shocks

That flesh is heir to: 'tis a consummation

Devoutly to be wish'd. To die, to sleep;

To sleep, perchance to dream - ay, there's the rub:

For in that sleep of death what dreams may come,

When we have shuffled off this mortal coil,

Must give us pause - there's the respect

That makes calamity of so long life.

Sir Thomas Lawrence | John Philip Kemble as Hamlet, 1801 | Tate Britain

For who would bear the whips and scorns of time,

Th'oppressor's wrong, the proud man's contumely,

The pangs of dispriz'd love, the law's delay,

The insolence of office, and the spurns

That patient merit of th'unworthy takes,

When he himself might his quietus make

With a bare bodkin? Who would fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death,

The undiscovere'd country, from whose bourn

No traveller returns, puzzles the will,

And makes us rather bear those ills we have

Than fly to others that we know not of?

Thus conscience doth make cowards of us all,

And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought,

And enterprises of great pith and moment

With this regard their currents turn awry

And lose the name of action.

Edwin Austin Abbey | The Play Scene in "Hamlet" (Act III, Scene II), 1897 | Yale University Art Gallery

William Shakespeare | Essere o non essere

Essere, o non essere, questo è il dilemma:

se sia più nobile nella mente soffrire

colpi di fionda e dardi d'oltraggiosa fortuna

o prender armi contro un mare d'affanni

e, opponendosi, por loro fine? Morire, dormire…

nient'altro, e con un sonno dire che poniamo fine

al dolore del cuore e ai mille tumulti naturali

di cui è erede la carne: è una conclusione

da desiderarsi devotamente. Morire, dormire.

Benjamin West | Hamlet: Act IV, Scene V (Ophelia Before the King and Queen), 1792 | Cincinnati Art Museum

Dormire, forse sognare. Sì, qui è l'ostacolo,

perché in quel sonno di morte quali sogni possano venire

dopo che ci siamo cavati di dosso questo groviglio mortale

deve farci riflettere. È questo lo scrupolo

che dà alla sventura una vita così lunga.

Perché chi sopporterebbe le frustate e gli scherni del tempo,

il torto dell'oppressore, l'ingiuria dell'uomo superbo,

gli spasimi dell'amore disprezzato, il ritardo della legge,

l'insolenza delle cariche ufficiali, e il disprezzo

che il merito paziente riceve dagli indegni,

quando egli stesso potrebbe darsi quietanza

con un semplice stiletto? Chi porterebbe fardelli,

grugnendo e sudando sotto il peso di una vita faticosa,

se non fosse che il terrore di qualcosa dopo la morte,

il paese inesplorato dalla cui frontiera

nessun viaggiatore fa ritorno, sconcerta la volontà

e ci fa sopportare i mali che abbiamo

piuttosto che accorrere verso altri che ci sono ignoti?

Eugène Delacroix | Hamlet and Horatio in the Graveyard, 1839 | Museo del Louvre

Così la coscienza ci rende tutti codardi,

e così il colore naturale della risolutezza

è reso malsano dalla pallida cera del pensiero,

e imprese di grande altezza e momento

per questa ragione deviano dal loro corso

e perdono il nome di azione.

Daniel Maclise | The Play Scene in "Hamlet", 1842 | Tate Museum

Sir Anthony Van Dyck | Baroque painter

Sir Anthony van Dyck (1599-1641) was the most important Flemish painter of the 17th century after Rubens, whose works influenced the young Van Dyck.

He also studied and was profoundly influenced by the work of Italian artists, above all, Titian.

Anthony van Dyck studied under Peter Paul Rubens and was one of his most accomplished students.

Ginevra Cantofoli | Baroque painter

Ginevra Cantofoli (1618-1672) was an Italian painter.

She was active in Bologna in the Baroque period.

Cantofoli was born in Bologna, Italy in 1618.

She trained under Giovanni Andrea Sirani, the father of Elisabetta Sirani, in Bologna.

Sebastiano Ricci | Baroque painter

Sebastiano Ricci (1659-1734) was born in Belluno. At the age of fourteen, Sebastiano Ricci left his birthplace for Venice, where he soon entered the studio of Federico Cervelli (1625 - before 1700), a Milanese painter active there since the mid-1650s.

While contemporary biographers sometimes discounted Sebastiano's debt to Cervelli, modern scholars generally agree that the Milanese master gave him solid practical instruction and introduced him to the Venetian painters of the seventeenth century.

Lucio Massari | Madonna of the Laundry, 1620

"Mary washed, Joseph laid... "

The subject of this painting really seems to illustrate the famous lullaby your grandparents or parents used to sing to you when you were a child.

You know, no one can escape household affairs, not even Joseph, Mary and Jesus!

The scene depicted by the Bolognese painter Lucio Massari (1568-1633) is in fact very unusual: every member of the Sacraiglia works with commitment and organization to clean and iron the laundry.

Lucio Massari Holy Family (Madonna of the Laundry), 1620 | Galleria degli Uffizi, Firenze

Marco Ricci | Baroque painter

Marco Ricci (1676-1730) was an Italian painter of the Baroque period.

Early years

He was born at Belluno and received his first instruction in art from his uncle, Sebastiano Ricci, likely in Milan in 1694-6.

He left for Venice with his uncle in 1696, but had to flee the city.

He visited Rome, where he was for some time occupied in painting perspective views.

Emily Dickinson: The Poets light but Lamps / Accendere una lampada e sparire..

The Poets light but Lamps

- Themselves - go out -

The Wicks they stimulate

If vital Light

Peter Paul Rubens | Saint Simon, 1610-1612 (detail) | Museo Nacional del Prado

Rosalba Carriera | Rococo painter

Rosalba Carriera (1673-1757), a Venetian Rococo painter, was best known for her innovative approach to pastels, which had previously been used for informal drawings and preparatory sketches.

She was also credited with pastel as a medium for serious portraiture that redefined the Rococo manner.

In her younger years, she specialized in portrait miniatures.

Carriera would later become known for her pastel portraits, helping popularize the medium in eighteenth-century Europe.

Federico Barocci | Baroque / Mannerist painter

Federico Barocci (also written Barozzi) (1535 in Urbino - 1612 in Urbino) was an Italian Renaissance painter and printmaker.

His original name was Federico Fiori, and he was nicknamed Il Baroccio.

His work was highly esteemed and influential, and foreshadows the Baroque of Rubens.

He is generally considered the greatest and the most individual painter of his time in central Italy.

Giovanna Fratellini | Baroque painter

Giovanna Fratellini (1666-1731) was a Florentine artist during the Baroque period.

Born in Florence as Giovanna Marrmocchini Cortesi, she married Guiliano Fratellini in 1685 and changed her name to Fratellini.

This well-born woman pastellist was a lady-in-waiting to Vittoria della Rovere, the Grand Duchess of Tuscany.

The Ladies of the Baroque | Part 3

Elisabetta Sirani

Italian painter, 1638-1665

Elisabetta Sirani was an Italian Baroque painter and printmaker who died in still unexplained circumstances at the early age of 27.

She was the most famous woman artist in early modern Bologna and established an academy for other women artists.

Sirani produced over 200 paintings, 15 etchings, and hundreds of drawings, making her an extremely prolific artist, especially considering her early death.

Domenico Fetti | Baroque painter

Biography from: National Gallery of Art, Washington, D.C.

Domenico Fetti (1589-1623) was born in 1589, almost certainly in Rome, and is known to have been educated at the Collegio Romano.

He probably received his initial artistic training from his father, Pietro Fetti, a painter, perhaps from Ferrara, about whom very little is known.

Contemporary sources refer to Domenico Fetti as a student of Ludovico Cardi, called Il Cigoli (1559-1613).

Domenico could have entered Cigoli's shop as early as 1604, the year in which the Florentine painter came to Rome.

The Ladies of the Baroque | Part 2

Ginevra Cantofoli

Italian painter, 1618-1672

Ginevra Cantofoli trained under Giovanni Andrea Sirani, the father of Elisabetta Sirani, in Bologna.

Although a generation older than Elisabetta Sirani, Cantofoli was described by Carlo Cesare Malvasia, Cesare Masini and Marcello Oretti as Elisabetta's student.

Ginevra Cantofoli | Woman in a Turban, 1650 | Galleria Nazionale d'Arte Antica di Palazzo Barberini, Roma.

Orsola Caccia (1596-1676) | Mannerist painter

Orsola Maddalena Caccia, born Theodora Caccia (1596-1676) was an Italian Mannerist painter and Catholic nun.

She painted religious images, altarpieces, and still lifes.

The daughter of painter Guglielmo Caccia and Laura Olivia, she was baptized Theodora Orsola on December 4, 1596.

In 1620, she entered the Ursulines convent at Bianzè, where she changed her name to Orsola Maddalena after she took her vows.

Mary Beale | Baroque painter

Mary Beale (née Cradock; bapt. 26 March 1633 – bur. 8 October 1699) was an English portrait painter.

She was part of a small band of female professional artists working in London.

Beale became the main financial provider for her family through her professional work - a career she maintained from 1670/71 to the 1690s.

Beale was also a writer, whose prose Discourse on Friendship of 1666 presents scholarly, uniquely female take on the subject.

Cornelis de Heem | Baroque painter

Cornelis de Heem (8 April 1631 (baptized) - 17 May 1695 (buried) was a still-life painter associated with both Flemish Baroque and Dutch Golden Age painting.

He was a member of a large family of still-life specialists, of which his father, Jan Davidszoon de Heem (1606–1684), was the most significant.

Cornelis was baptised in Leiden on 8 April 1631, and moved with his family to Antwerp in 1636.

Rachel Ruysch | Baroque painter

Rachel Ruysch (1664-1750), who has been called the "most celebrated Dutch woman artist of the 17th and 18th centuries", was successful for nearly 70 years as a specialist in flower paintings.

Born in The Hague, Ruysch moved to Amsterdam with her family when she was three.

Her maternal grandfather, Pieter Post, was an important architect and her father, Frederik Ruysch, an eminent scientist from whom she learned how to observe and record nature with great accuracy.

Matthias Stom | Baroque painter

Matthias Stom or Matthias Stomer (1600-1652) was a Dutch, or possibly Flemish, painter who is only known for the works he produced during his residence in Italy.

He was influenced by the work of non-Italian followers of Caravaggio in Italy, in particular his Dutch followers often referred to as the Utrecht Caravaggists, as well as by Jusepe de Ribera and Peter Paul Rubens.

The Ladies of the Baroque | Part 1

As in the Renaissance Period, many women among the Baroque artists came from artist families. Artemisia Gentileschi is an example of this.

She was trained by her father, Orazio Gentileschi, and she worked alongside him on many of his commissions.

Luisa Roldán was trained in her father's (Pedro Roldán) sculpture workshop.

Artemisia Gentileschi | Judith and her maid with the head of Holofernes, 1613 | Gallerie degli Uffizi, Firenze.