A Satyr by Benvenuto Cellini https://www.nga.gov/artworks/73890-satyr
Zoom Out Recenter Visual Description A muscular man stands with one hand
Zoom Out Recenter Visual Description A muscular man stands with one hand
Saints played a very important role in the popular piety of the late Middle Ages. They were considered to be not only patrons and protectors against all manner of ills, but also mediators between the individual worshiper and God.
His bare arms reach forward toward Jesus as he upends a vessel in his right hand
He holds his right hand, to our left, up with his thumb and first two fingers almost
Her head tilts slightly to our right to rest on the curled fingers of that hand.
The angel holds one hand up with the first two fingers raised and holds a scroll
left, in graphite: Treated by Steichen 1949; lower left verso: OK 39D by later hand
Giovanni della Casa, who is in all likelihood the subject of this portrait, belonged to a wealthy Tuscan family and rose to prominence in the service of the church. As poet, humanist, and political theorist, he circulated at the highest levels of Italian intellectual life.
He holds a black hat in his right hand, on our left, close to his body.
With one arm akimbo and a penetrating, forthright stare, this dashing young man with his wide-brimmed hat exudes confidence and strength. His erect stance as well as the crisp, angular folds of his black satin cloak heighten the impression that he was a man of purpose.
Shown from the hips up, a pale-skinned man with a Van Dyck beard stands with one hand
Hostilities between North American colonists and Britain were boiling over in the 1770s when Benjamin West painted this double portrait. The British wanted to ensure the loyalty of the Mohawk people, the easternmost tribe of the Haudenosaunee (Iroquois Confederacy), in case of war.
With that hand, he holds a musket like a walking stick.
Frans van Mieris (1635–1681) was one of the most celebrated Leiden fijnschilders („fine painters“), whose elegant works are marked by smooth execution, invisible brushwork, and extraordinary attention to detail. Gerrit Dou (1613–1675) , with whom Van Mieris studied, described him as “the prince of all my pupils.” His small paintings of convivial genres, portraits, and allegories with their lively, often ambiguous narratives delighted both local and international collectors.
The man wears a tawny-brown glove on his left hand, to our right.