Raphael was born in Urbino, a central Italian duchy noted for its elegant gentility and Renaissance scholarship. He moved to Florence toward the end of 1504.
Saint Petersburg;[6] purchased March 1931 through (Matthiesen Gallery, Berlin; P.
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.
A pair of portraits of Emilia di Spilimbergo and her younger sister Irene was begun in about 1558, most likely in anticipation of their prospective marriages. The initial reason may have been to present two highly eligible, aristocratic young women to potential husbands, or the portraits may have been intended as permanent mementos for the sisters’ family after they were married.
New York House, 1886-1960; sales, 1901-1910, p. 62, reel 4, box 5; stock book, 1909
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.
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Pictures in the collection of P. A. B.
Like Jacques Onésime de Bergeret, Lalive de Jully (1725-79) was an influential collector, amateur, and painter in the Parisian art world of the 1750s and 1760s. One of Jean-Baptiste Greuze’s first patrons, Lalive is depicted seated on a chair he had commissioned as part of a suite of furniture à la grecque.
. 1887], by 1874 until at least 1885; Alexandre Léon Joseph, comte de Laborde [b.
This is no “family� in the usual sense. A harlequin, a jester, a young man in a leotard, a boy in a blue costume, a girl in a tutu with a basket, and a woman in a flowered hat are arranged in this rose-hued landscape.
Art Institute of Chicago, 1943-1952 (extended loan), unnumbered catalogue, repro. p.
Merchants of Art: 1880-1960, Eighty Years of Professional Collecting, New York, 1961, p.
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.
