El Greco (attributed), Portrait of Charles de Guise, Cardinal de Lorraine, 1572, Kunsthaus Zürich, The Betty and David Koetser Foundation, 1986
Giovanni Antonio Canaletto, Ricevimento dell’ ambasciatore imperiale a Palazzo Ducale, c. 1730, Kunsthaus Zürich, Betty and David Koetser Foundation, 1986
Rembrandt Harmensz. van Rijn, Der Apostel Simon, 1661, Kunsthaus Zürich, Ruzicka-Stiftung, 1949
Jacques Linard, Still Life with Shells, 1638, Kunsthaus Zürich, donated by Annette Bühler, 1999
Asselijn, Hafenszene, 1652
Jan Asselijn, Harbour Scene with Galley Slaves, ca. 1652, Kunsthaus Zürich, Ruzicka-Stiftung, 1948
Lanfranco, Rinaldo, 1614
Giovanni Lanfranco, L’addio di Rinaldo ad Armida (Rinaldo’s Farewell to Armida), 1614, Kunsthaus Zürich, Donated by the Dr. Joseph Scholz Foundation and René Wehrli, 2014
Angelica Kauffmann, Amor und Psyche, 1792, Kunsthaus Zürich, donated by the Jacobs Suchard AG, Zurich, 1987
Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, c. 1670/1675, Kunsthaus Zürich, The Ruzicka Foundation, 1949
Bartolomeo Montagna, Cristo portacroce, um 1515, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, 2002

During the first half of the seventeenth century Italian and Netherlandish painting reached new heights marking one of the great periods in European art. The visible world provided one of the most important motifs for this new art: landscape painting, the still life and genre painting all came into their own.

In Italian Baroque painting in Italy around 1600 there were two rival schools: Caravaggio followers such as Matthias Stom and Mattia Preti painted emphatically naturalistic figures in close-up, illuminated by stark shafts of light that pierced the darkness. Artists like Annibale Carracci and Domenichino aligned themselves more closely with tradition but imbued it with more lively observation of nature and emotion.

Exhibition view

The main problem in the composition of realistic paintings in the seventeenth century was how to present the pictorial space as a harmonious whole. The high point of this harmonization in Dutch painting came under Jan Brueghel der Ältere and Jan van Goyen around 1600–1640: flowing brushwork melds bright colors and compositional detail into a single, atmospheric whole.

Teaser digitale Sammlung

Collection online

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The Collection

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