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Studying first with François Élie Vincent (1708–1790), a miniaturist whose Paris studio was in the same street as her father’s shop, Adélaïde Labille embarked upon her career before she was twenty
Here is a link to download the audio instead. Playlist 5019.

Labille-Guiard’s clients are most often presented in bust- or half-length against a shaded ground of a solid color, bringing her sitters‘ faces and costumes closely into view. She was admired by her contemporaries for her skill at capturing their expressions
collection/search/439405 https://www.metmuseum.org/art/collection/search/439405 Link

A leader’s association with a dynastic line of rulers was an important affirmation of legitimacy and allegiance.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd

It was also a period of great wealth marked by extensive mercantile activities and a flourishing of urban life, Buddhist thought, and the visual arts.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd

(http://www.britishmuseum.org/pdf/BMTRB_7_Elliott_Cartwright_and_Kevin.pdf) Elliott

The Artist: The Sienese master Simone Martini was one of the greatest and most influential painters of his time. His work combines an astonishing mastery of naturalistically observed details with an exquisite technique
For a reconstruction of the altarpiece, see http://www.metmuseum.org/collection/the-collection-online

An account of artists whose styles or approaches were literally transformed by the example of Titian or Veronese would comprise a veritable “who’s who” of the seventeenth century and beyond.
1480–1556), one of the great artists of the Italian Renaissance, is the “missing link

Royal pendants and masquettes, openwork bracelets, and altar sculpture are some of the art forms that found broad dissemination and usage within this region.
human attendants and warriors as well as crocodiles and fish-legged beings who link

The canvas is signed and dated 1647, a year after Charles Le Brun, the future premier peintre du roi under Louis XIV, returned to Paris from a period of study in Rome. In Paris, where he had been the pupil of François Perrier and spent time in the workshop of Simon Vouet, his work had caught the attention of Nicolas Poussin, who had returned to the French capital to work for the king in 1640
collection/search/442761 https://www.metmuseum.org/art/collection/search/442761 Link

Contrary to popular views about precolonial Africa, local manufacturers were at this time creating items of comparable, if not superior, quality to those from preindustrial Europe.
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd