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This painting, one of Bor’s finest works, dates from about 1640. Its subject and its relationship to a similar picture in the Rijksmuseum, Amsterdam, have been debated, but it is likely that the two canvases were painted as a pair and depict the complementary stories of the disillisioned Medea and Cydippe with Acontius’s apple (see fig
„The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture européenne

Une vision européenne et pluridisciplinaire de l’art.“

Giovanni de Lutero, known as Dosso Dossi, painted this landscape with figures soon after becoming court artist to Duke Alfonso I d’Este of Ferrara, where the artist arrived by July 1513. The subject is generally given as the Three Ages of Man, analogous to Titian’s well-known painting of the subject (National Gallery of Scotland, Edinburgh), with „youth“ represented by the youngsters who watch the amorous couple, who in turn represent „maturity“, while the two men in the background symbolize „old age“
„The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture européenne

„The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture européenne

Watteau did not participate in public exhibitions, nor title his pictures, whose meaning is often difficult to fathom. This late work is clearly a theatrical subject, and as he is known to have made drawings of comic actors and quacks from an early age, he must have been interested in the theater throughout his short life
„The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture européenne

The daughter of an army sergeant, Hendrickje Stoffels advanced in Rembrandt’s household from servant (by 1649) to mistress, presumed model, and common-law wife, as well as stepmother to the artist’s son Titus (1641–1668) and mother of his daughter Cornelia (1654–1685)
Baetjer in The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture europÃ

„The Metropolitan Museum of Art, New York: Chefs-d’Å“uvre de la peinture européenne

Revue européenne (January 1, 1835), p. 91, as „Agar dans le désert“; states “ .

The Artist: The great history painter and portraitist Jacques Louis David studied with Joseph Marie Vien and then, in 1766, entered the school of the Académie Royale de Peinture et de Sculpture
Revue européenne 15 (1861), pp. 82–83, 91, finds fault with this picture.