Inscription: Lettered in plate below margin: ‚Prospettiva del Giardino del Serenis.mo Gran Duca di Toscana svl Monte Pincio/ Architettura di Annibale Lippi‘; at lower left: ‚Gio. Batta Falda del et inc
Battista Falda (Italian, Valduggia 1643–1678 Rome) 1691 or after Le Fontane ne
Search art at the Metropolitan Museum.
e Misuri de piu celebri Architetti Giovanni Giacomo De Rossi 1713 Le Fontane ne
Inscription: (central medallion (A), front, on scroll of Moses, center): SIC . ERIT . VITA . TVA . PENDENS / . ANE . N . CREDES . VITE . TVE (Thus your life will hang in the balance before [you], you will not be sure of your life [Deuteronomy 28:66])(central medallion (A), front, on upper left scroll): SICVT
central medallion (A), back, on scroll of right standing figure): : […] IDE : NE
d’Ivoire Culture: Dan Medium: Wood, metal Dimensions: H. 20 3/4 × W. 7 1/8 × D.
Greuze was of modest birth, the son of a roofer. He received his early training in Lyons and in Paris studied drawing with Charles Joseph Natoire. In 1755, after he was accepted as a candidate member of the Académie Royale de Peinture et de Sculpture in the category of genre painter, Greuze presented five works for exhibition at the Salon
for Fr 126,000 to Hertford); Richard Seymour, 4th Marquess of Hertford, Paris (d.
Boilly was born and educated around Lille. He moved to Paris in 1785 and exhibited at the Salon between 1791 and 1824. A painter in the tradition of Dutch seventeenth-century naturalism, for which he prepared by studying trompe l’œil as well as caricature, Boilly was well-known for genre scenes and for small-scale portraits, of which he claimed to have painted 4,500, most in single two-hour sittings
pourra lui etre nécessaire pour son tableau, don’t l’idée est charmante et qui ne
Signed (left center): Degas Henri Rouart, Paris (given to him by the artist; until d.
The Painting: This very unusual mixed-media picture shows a rehearsal for a ballet. The view is from a slightly elevated point above the orchestra pit; the scrolls of two double basses are just visible in the foreground, radically cropped at the bottom of the canvas
Edgar Degas, Répétition d’un ballet sur la scène, 1874, oil on canvas, 65 x
Richter, Gisela M. A. 1912. „Early Attic Vase.“ Bulletin of the Metropolitan Museum of Art, 7(4): pp. 68–71.Richter, Gisela M. A. 1917. Handbook of the Classical Collection. p
Beazley, John D. 1986.
When it came to depicting Jesus on the Cross, many artists of the earlier Middle Ages portrayed Jesus as alive and alert, his body entirely resistant to the trauma of crucifixion. In this example, Jesus almost bears himself easily, with his torso erect, knees slightly bent, and head held high
Technical analysis initiated in 1993 and published by conservator Michele D.
