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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

collection/search/318318 https://www.metmuseum.org/art/collection/search/318318 Link

The art of the third millennium B.C. reflects not only the extraordinary developments
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd

Majesty Exhibition Blog, The Metropolitan Museum of Art (blog), October 30, 2015. http

Reception Room (Qa’a)This interior, a splendid example of a wood-paneled reception chamber (qa‘a) from a private house in Damascus, is among the earliest extant, nearly complete interiors of its kind, dated by an inscription to A
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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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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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“Upper and Lower Egypt are reunited by Mentuhotep II who establishes the capital at Thebes. Egypt is briefly ruled by competing dynasties from western Asia, but reunification occurs again under Ahmose I. Hatshepsut, the most powerful female ruler of pharaonic history, builds her unique funerary temple in western Thebes. After the reign of Ramesses III, Egypt’s power gradually declines, leading to the Third Intermediate Period.”
New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/ht

David worked in a progressive, even enterprising, mode, casting off his late medieval heritage and proceeding with a certain purity of vision in an age of transition.
These provided David with a stock of material for his paintings ( 2008.368a,b).