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collection/search/320636 https://www.metmuseum.org/art/collection/search/320636 Link

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

Provenance Information: Purchased from Galaxie Art & Gift Company, Hong Kong, by Florence and Herbert Irving, New York, in 1991; Collection of Florence and Herbert Irving, New York from 1991 to 2015, on loan to The Metropolitan Museum of Art from 1997 until donation to The Metropolitan Museum of Art in 2015
collection/search/39698 https://www.metmuseum.org/art/collection/search/39698 Link

Cup (no. 65.172.1) and Beaker (no. 1974.45)Inevitably, the immediate models used by Iranian glassmakers following the advent of Islam came from their Sasanian heritage, which in turn had developed from a centuries-long distinctive and individual artistic tradition in the geographical area of Greater Iran
collection/search/452522 https://www.metmuseum.org/art/collection/search/452522 Link

the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
collection/search/437980 https://www.metmuseum.org/art/collection/search/437980 Link

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collection/search/551322 https://www.metmuseum.org/art/collection/search/551322 Link

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Watteau, the son of a roofer, left Valenciennes for Paris about 1702 to work there as a copyist and assistant to Claude Gillot (1673–1722) and Claude III Audrun (1658–1734). He became interested in theater and fell under the spell of Peter Paul Rubens (1577–1640)
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The Painting: In his mid-fifties and at the height of his career, Paul Cézanne began a series of paintings, drawings, and watercolors of card players. The unprecedented repetition of the theme of card players and the monumental scale at which he chose to work in two of the later canvases demonstrate the significance of the project for him
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