Dein Suchergebnis zum Thema: "...<b/"<b/""/</p/"

The Apocalypse and the Shape of Things to Come, British Museum, London, 1999, p.

A striking young woman—with loose, untied hair and sleeves and a richly jeweled but informal gown—returns the viewer’s gaze. In her time, a viewer would have seen her as being in a state of semiundress.
Milan, 1969: 124. 1972 Fredericksen, Burton B., and Federico Zeri.

The basic fascination with capturing and studying images of ourselves and of others—for what they say about us, as individuals and as a people—is what makes portraiture so compelling.
By 1802, she was married to a US representative from New York, John P.

Washington, D.C., 1992: 274-277, color repro. 275. 1998 Townsend, Richard P.,

1949 (reprinted 1953 and 1958): 34, repro., as by Jan Vermeer. 1950 Swillens, P.

Research Library, Getty Research Institute, Los Angeles: Commission book no. 4, p.

1949 (reprinted 1953 and 1958): 93, repro., as by Jan Vermeer. 1950 Swillens, P.

Born in Luxembourg, Steichen emigrated as a small child to the United States with his parents, eventually settling in Milwaukee, Wisconsin. At 15 he began a four-year apprenticeship at a lithography firm there and became interested in painting while studying at the newly established Milwaukee Art Students’ League.
P. Morgan.

Ante-Bellum Plantation House, Vicksburg, Mississippi, 1936, gelatin silver print, Robert B.

In contrast to the man with whom she shares this outdoor scene, the female figure is incongruously naked. Her features seem generalized.
Milan, 1969: no. 53. 1972 Fredericksen, Burton B., and Federico Zeri.