Inscription: Inscribed in image bottom center left: „Lucas Vorsterman sculp. et excud. Ao. 1621.“; five lines in Latin in lower margin bottom center: „Pietate Reverendo, Virtute spectabili, Eruditione Clarissimo
Saint Lawrence, which at the time was hanging in the Notre-Dame de la Chapelle in Brussels
Palais des Beaux-Arts, Brussels.
Étienne-Joseph-Théophile Thoré (Willi Bürger), Paris (until d. 1869); private collection, Paris (until 1870); William T. Blodgett, Paris (from 1870; sold half share to Johnston); William T. Blodgett, Paris, and John Taylor Johnston, New York (1870–71; sold to The Met)
Brussels, 1956, p. 166, as among unsigned works ascribed to Fyt. Colin Eisler.
The increasingly erotic character of Rodin’s sculpture in the 1880s can be explained by his preoccupation with two highly charged literary sources. These were Dante’s Inferno and Baudelaire’s The Flowers of Evil.
monumental stone sculptures that included the allegorical groups Africa and Asia for the Brussels
He was an astoundingly inventive painter and draftsman, and, due to the continuity of the family trade and the industry that developed in prints after his works, Bruegel’s impact was widespread and long lasting.
depictions, such as the Landscape with the Fall of Icarus (Musées Royaux des Beaux-Arts, Brussels
St. Petersburg, 1872–Paris, 1950
and Sert spent most of her childhood with her maternal grandmother in Halle, near Brussels
The Artist: Hugo van der Goes (ca. 1440–1482), born in Ghent, was one of the leading Flemish artists of the second half of the fifteenth century. Initially, Hugo followed in the grand tradition of the illusionism of Jan van Eyck’s paintings, with a palette of richly saturated colors and a clear organization of space that depended on single vanishing-point perspective
(Musées Royaux des Beaux-Arts de Belgique, Brussels). Photo: KIK/IRPA Fig. 3.
Exh. cat.Brussels, 1946. André Chastel. Vuillard, peintures, 1890-1930 .
The movement Luther initiated spread and grew in popularity—especially in Northern Europe, though reaction to the protests against the church varied from country to country.
ca. 1525–28 The Fifteen Mysteries and the Virgin of the Rosary Netherlandish (Brussels
Inscription: Upper right, in pen and brown ink: 2Lower right, in pen and brown ink: illegible figuresBottom center, in graphite: 18Verso, upper left, in graphite: 1980.515Verso, upper right, in graphite: 100
Brussels, 1962, cat. no. 41, fig. no. 54,55, pp. 110-111, ill.
