Like his friend and fellow artist Frederic Edwin Church, Sanford Robinson Gifford sought inspiration both in the northeastern United States and further afield. The Ruins of the Parthenon derives from sketches he made while visiting the Acropolis in 1869.
University of Texas Art Museum, Austin; Albany Institute of History and Art; Hirschl and Adler
National Gallery of Art, Washington, 1985: 244, repro. 1986 Adler, Kathleen.
Charles IX, was first put forward by Dimier and more strongly endorsed by Irene Adler
Louis, 1997: 124-125, 208-209, color repro. 1998 Adler, Shane. “Whiteness.“
The artist’s wife Camille stands on a hill with their son Jean behind her. Monet worked quickly to record this moment.
Adler, Shane. “Whiteness.“
When Thomas Sully painted fifteen-year-old Eliza Ridgely in the spring of 1818, he was widely regarded as America’s leading artist. Particularly noted for his graceful images of women, he was a natural choice to paint this Baltimore merchant’s daughter.
Adler, Shane. “Whiteness.“
Manet came from a well–to–do family, and this painting provides a glimpse of the sophisticated Parisian world he loved. He was uncomfortable in the countryside, preferring instead the finery of the city.
New York, 1985: 30, repro. 1986 Adler, Kathleen. Manet.
When The White Girl debuted in London in 1862, it puzzled viewers. At the time, portraits of this scale usually featured well-known people.
Adler, Shane. “Whiteness.“
François Clouet, the son of a Netherlandish artist, became court painter to the French kings Francis I, Henry II and Charles IX. In this Renaissance portrait Clouet has depicted a female nude, whose identity is unknown, at her bath.
Adler, Irene. „Die Clouet. Versuch einer Stilkritik.“
