Bulletin of the Metropolitan Museum of Art, 23(2), part 1: p. 54–57, figs. 1–
Bulletin of the Metropolitan Museum of Art, 23(2), part 1: p. 54–57, figs. 1–
London: B. T. Batsford, Ltd., 1931. pl. XXVIII.
The reconstructed portal is composed of five medieval elements. Neither the bases nor the arch of rosettes were part of the medieval monument. The two jambs of gray Carrara marble were apparently recarved from sections of antique sarcophagi
Forsyth, William H., and Margaret B. Freeman.
This beautiful and moving picture was acquired in 1908 by one of Bellini’s most eloquent admirers, the great British critic Roger Fry (1866–1934), who was employed by the Museum at the time (see Fry 1908)
B[attista]. Cavalcaselle. 2nd ed. [1st ed. 1871].
–B. de La Faille. L’Oeuvre de Vincent van Gogh: Catalogue Raisonné.
Daily Chronicle (October 5, 1912), p. 6 [reprinted in J. B.
"Three Exhibitions: Georg Kolbe, Arthur B. Davies and Charles Demuth."
Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
B[ryson]. B[urroughs].
This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Harry B. Wehle.
This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Harry B. Wehle.
