After the Reformation had brought social and political upheaval to Germany, creating an unfavorable climate for artists, Holbein moved to England in 1526. He first painted for Sir Thomas More’s circle of high servants of the crown and then became painter to the King himself, Henry VIII.
He rests one hand on the ledge and holds a gold orb on a stick in that hand.
With great bravura, this fashionably clad member of the Haarlem civic guard stands with one arm akimbo, staring out at the viewer. His proud bearing, accented by the panache of his shimmering pink satin costume and plumed hat, attests to the great sense of confidence felt by the Dutch at the height of their „golden age.“ Andries Stilte, whose family coat of arms decorates the upper corner of this painting, is presented as a standard bearer, or ensign, of the Kloveniers, one of Haarlem’s militia companies.
He stands with his body facing our left in profile with his left hand on his hip,
Nineteenth-century viewers and critics were immediately taken with Rodin’s three-dimensional group, entitled Paolo and Francesca , the passionate lovers from the fifth canto of Dante’s Inferno . When one enthusiastic critic referred to it as The Kiss , the new title stuck, and the association with Dante’s ill-fated lovers gave way to a more contemporary, universal response to their passionate embrace.
The man rests his right hand, closer to us, on her hip and she hooks one leg over
� Mickey stands to our right, covering his smiling mouth with his left hand, on
Our Lady with the little Child on the other [side] in another landscape, by the hand
He holds a white pipe to his lips with one hand, and tendrils of smoke curl from
One hand props up Jesus’s shoulder and the other wraps around his other forearm
Oudry was the leading painter of still-life and hunting scenes in France during the first half of the eighteenth century. Much admired by Louis XV, he portrayed favorite royal hounds and painted scenes of the king riding to the hunt, which was the monarch’s sporting passion.
In his raised left hand, on our right, the partridge dangles from one red leg, its
directly at the observer, whereas Mary does not point to her son with her right hand
This panel, along with The Birth, Naming, and Circumcision of Saint John the Baptist , and Madonna and Child with Five Angels were once part of the same altarpiece devoted to Saint John the Baptist (see Reconstruction ). The altarpiece’s original location is not known, though it was probably featured in a church dedicated to the saint in what is today the northern Italian region of Emilia-Romagna, close to Giovanni Baronzio ’s home in Rimini.
forward on his left foot, farther from us, to touch Jesus’s head with his right hand
