Pieter de Hooch excelled in the sensitive depiction of people going about their daily lives, be it inside their houses or in the sheltered environment of an urban courtyard. His masterly control of light, color, and complex perspectival construction can be compared to the work of Johannes Vermeer, his contemporary and colleague in Delft.
Pictures in the collection of P. A. B.
This gruesome scene is from the Old Testament story of David defeating the giant Goliath. David is shown swinging the slingshot that brought down Goliath, whose severed head lies on the ground.
the Bargello, Florence, National Gallery of Art, Washington, D.C., 2004, fig. 13 (p.
Who is this elegant lady? A noblewoman surely, and most likely a member of the court of Cosimo I de‘ Medici, Duke of Florence in the mid-sixteenth century.
[2] According to B.
collection, Paris.[1] (Galerie Heinemann, Munich) from 1913; sold 1916 to Hans Wendland [b.
This small painting is less than 10 inches across, and it was surely made for the private devotions of the person who owned it. That the owner was of modest means is suggested not only by the painting’s size but also by the limited use of gilding.
country sale, Patterdale Hall, Ullswater, near Penrith, Cumbria, 8 August 1934); (P.
The short biblical account of the Flight into Egypt (Matt. 2:13–14) was elaborated upon by Early Christian and medieval theologians.
(P. & D.
Renoir had his girlfriend Lise Tréhot pose as the ancient Roman goddess Diana. He chose a mythological subject and painted it at grand scale in hopes of getting this picture into the largest art show of the time, the Salon.
Paris, 1912: p. 7 repro. 1918 Vollard, Ambroise.
Filippino Lippi was the son of the painter Fra Filippo Lippi, who was undoubtedly the boy’s first master. After his father died in 1469, he became a pupil of Botticelli, who had a profound influence on his style.
P. “Loan Collection of Mr. and Mrs. Frank D.
For this depiction of Joseph spurning the advances of his Egyptian employer’s wife, as recounted in the Book of Genesis, Guercino chose a three-quarter length format that presses the life-sized figures close to the spectator. He has filled the scene with the bed — all rumpled sheets and opulent curtains.
to Alexander Charles Robert Vane-Tempest-Stewart, 9th marquess of Londonderry [b.
