In 1609 a Bolognese artist by the name of Guido Reni painted a version of what is typically called an “angel concert” in one of the chapels of Rome’s San Gregorio Magno. I have already posted several black and white views of this fresco, as well as what may be a preparatory drawing, in Trombone History: From the Balcony. You can also see the painting in broader historical context in the 17th century timeline (first half). I bring it up again here because I recently came upon a couple of nice color views of the work and thought they might be worth posting. Here they are, below. In my opinion, it’s one of the most beautiful of the many Baroque artworks that include trombone. Enjoy!
Here’s a rear-facing trombone from Italy that I just added to the 19th-century timeline (1st half) and will shortly be adding to the HubPages article, Backward Advances: Rear-Facing Trombones throughout History. If visual depictions are any indication at all, rear-facing trombones were surprisingly prominent in the 19th century.
Just added the below caption and image to the post, Serpent & Ophicleide: History and Images.
1812—Paris, France: Carle Vernet, a leading French military artist, is commissioned to provide paintings of Napoleon’s new military uniforms for use by the military and its tailors. Among the series of paintings, assembled in the collection Le Grande Armée de 1812, is a picture of military musicians that includes a serpent hanging on a wall in the background (see below image; public domain) (source: wikimedia).
I added the below entry and picture to the 19th century timeline (1st half) and to the HubPages article, Backward Advances: Rear-Facing Trombones throughout History. Although rear-facing trombones were common during the 19th century (see the many examples in the HubPages article), the one pictured below is a strange version (probably not very literal in its depiction). There’s not even a brace with which to hold the slide!
1807-08—Germany: Christoph and Cornelius Suhr, in their book on military uniforms in Hamburg (Abbildung der uniformen aller in Hamburg), published in the early 1820s, depict musicians from the Dutch military in Hamburg from the years 1807-08. Included is a musician with a somewhat awkwardly-rendered rear-facing trombone (see below image; public domain).
I just added the below entry and painting to the post Serpent & Ophicleide: History and Images. There are now close to 70 serpent and ophicleide images in that post!
I recently added the top painting shown below, Hendrick de Clerck’s Minerva and the Muses, to the 17th century timeline (1st half).
The timeline now features 11 Belgian (or Flemish, if you prefer) paintings within the short span of approximately 30 years (c. 1610-c. 1640) that include trombone. They are similar in several respects. Several of the artists, most notably Rubens and Breughel, are well known in art history. With the exception of Alsloot’s Procession (1615-16), which documents a literal event, nearly all of the paintings incorporate overt symbolism in the form of mythology and/or allegory. In terms of the trombone, one of the most striking things is that, while the paintings all include depictions of the instrument, none of them except the Procession show the trombone actually being played. The instrument is obviously acting as a symbol.
c. 1610—Belgium: Hendrick de Clerck’s painting, Minerva and the Muses, includes a trombone resting on some foliage in the foreground of the painting (see bottom-left of below image; click for larger image; public domain).
c. 1610—Antwerp, Belgium: Hendrick van Balen’s painting, The Banquet of the Gods, includes a trombone resting on the ground among several other instruments (see bottom right of below detail; public domain image).
c. 1610—The Judgment of Midas, a painting by Flemish artist Adriaen van Stalbemt, includes a trombone. The trombone rests on the ground among several other instruments (see below image; public domain).
c. 1615—Antwerp, Belgium: Hendrick van Balen’s painting, Minerva among the Muses, on the cover of a virginal belonging to Queen Maria Kazimiera Sobieski, features a trombone among several instruments resting on the ground. The trombone is somewhat unusual because of the double loop of tubing on the back of the instrument, similar to the one portrayed by Brueghel and Rubens in Allegory of Hearing (1617-18). Queen Maria, originally from Poland, marries King James Stuart and spends most of her life in Rome. Hendrick van Balen, the artist, is a mannerist from the Antwerp School (see below image) (source: wikimedia commons).
1615-16—Brussels, Belgium: Archduchess Isabella visits Brussels and subsequently commissions several paintings to portray the related celebrations. Denis van Alsloot, painter for the archdukes of Brussels, depicts a “procession of guilds.” The “loud” instruments pictured, which include a trombone, cornett, curtal, and 3 shawms, presumably constitute the civic wind band of Brussels. They occupy a place of honor between the relics and the statue (Denis van Alsloot, Procession en l’honneur de Notre-Dame du Sablon a Bruxelles le 31 mai,Museo Prado, Madrid) (see below detail—click for larger image; Lesure 94-95; Forney, Antwerp 363; Whitwell, Baroque 181; Wangermée, vol. 1 241; ). Public domain image.
c. 1617—Antwerp, Belgium: Hendrick van Balen and Jan Brueghel collaborate on a painting called An Allegory of the Five Senses, which includes a trombone among several instruments in the foreground (see below detail; public domain) (Haeften, pl. 8). For other depictions of the trombone by the same painter, see c. 1610 (Banquet of the Gods), c. 1615 (Minerva among the Muses), and c. 1625 (Allegory of Music). 1617-1618—Antwerp, Belgium: Jan Brueghel the Elder and Peter Paul Rubens collaborate on a series of paintings on the subject of the 5 senses. The Sense of Hearing or Allegory of Hearing depicts a trombone among the many instruments in the room. All of the paintings in the series are “portrayed against a backdrop of princely collections that together seem to paint an idealized picture of the court of the Habsburg rulers of the Southern Netherlands, the archdukes Albert and Isabella, whose castles in and near Brussels are depicted in the distance” (see below detail; public domain) (Woollett, 91-92; Museo del Prado, Madrid). c. 1625—Belgium: A painting attributed to Jan van Kessel, Hendrik van Balen, and Jan Brueghel titled Allegory of Music features depictions of numerous instruments, including trombone (see below detail; public domain) (Wangermée vol. I, 292; Saint-Germain-en-Laye, Musée municipal). 1625-1630—Belgium: The Royal Palace at Brussels, a painting attributed to Sebastian Vranckx and Jan Brueghel the Younger, includes a depiction of a trombone. The trombone rests on the ground, along with a dulcian, near an ensemble of 2 voices and 3 strings that is informally performing outdoors (see below image; public domain) (Kenyon de Pascual, Two Contributions).
1639—Adriaen van Stalbemt, a Flemish Baroque artist from Antwerpt, paints Midas Listening to Apollo, which includes a trombone among several other instruments resting on the ground (see below image; public domain).
c. 1640—Antwerp, Belgium: Jan van Kessel’s Allegory of Hearing depicts a room with numerous instruments, including a trombone leaning against a stool (see below detail; public domain). The image is similar to a painting on which the artist collaborated with Hendrik van Balen and Jan Brueghel (see c. 1625, above).
I just added the upper image and entry to the 17th Century Timeline (1st half). It is noteworthy for a couple of reasons. 1) Although there are numerous frescoes that feature the trombone (for starters, browse the Trombone History Timeline), very few of them include this many depictions of the instrument. 2) Kloster Nonnberg (or Nonnberg Convent), the convent that houses this painting, is actually the Salzburg convent featured in the motion picture, “The Sound of Music.” Coincidentally, there is an additional trombone tie-in with “The Sound of Music”: the lower image below, a panel painting in the Mondsee, Austria parish church where, centuries later, the wedding scene in “The Sound of Music” is filmed, also depicts an angel playing trombone (c. 1682). In fact, the depiction of the angel-trombonist in the Mondsee church bears a resemblance to the two outer trombonists in the convent.
Nonnberg Convent fresco:
Mondsee church painting:
c. 1682—Mondsee, Austria: A panel painting in the Mondsee, Austria parish church (where, centuries later, the wedding scene in the motion picture “The Sound of Music” is filmed) depicts an angel playing trombone in the middle-bottom of the image (see below image) (Salmen, Bilder 57).