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 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.
collection, Paris.[1] (Galerie Heinemann, Munich) from 1913; sold 1916 to Hans Wendland [b.
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.
In a chronological list of his works which David drew up in about 1815 ("Liste B"
privées en Suisse: La collection Emile Staub," L’Amour de l’Art, January 1926, p.
This six-foot-wide canvas was something new for a 19th-century artist: it’s a sketch the same size as the final painting (now in the Frick Collection in New York).
studio by the artist until his death in 1837.[1] John (later Sir John) Pender [b.
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 large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage.
Pictures in the collection of P. A. B.
