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Signature: [On recto, annotated in pen and light brown ink at lower left:] di Michel Angelo bona RotiInscription: On verso, annotated in pen and brown ink at upper right: 58 Annotated by early 16th century hand at lower center, following the same numbering system of the Michelangelo drawings in the Buonarroti family: nº
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This painting, one of Bor’s finest works, dates from about 1640. Its subject and its relationship to a similar picture in the Rijksmuseum, Amsterdam, have been debated, but it is likely that the two canvases were painted as a pair and depict the complementary stories of the disillisioned Medea and Cydippe with Acontius’s apple (see fig
collection/search/435713 https://www.metmuseum.org/art/collection/search/435713 Link

The Artist: Antonio Vivarini was a member of a family documented on the island of Murano (Venice) and Padua from the second half of the fourteenth century. His father, Michele, and the founder of the family, „Vivarinus vitruarius,“ were both glassmakers
collection/search/437909 https://www.metmuseum.org/art/collection/search/437909 Link

C.M.A. Groenvelt, Causuarinen Coast, Hollandia, New Guinea, until 1958; Koninklijk Instituut voor de Tropen, Amsterdam, 1958–1961; Nelson A. Rockefeller, New York, 1961, on permanent loan to The Museum of Primitive Art, New York, 1961–1978
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Vicente Huidobro, Paris, acquired before 1920; Paul Guillaume, Paris, ca. 1925–(d.)1934; Sir Jacob Epstein, London, 1935–(d.)1959; Nelson A. Rockefeller, New York, 1961, on loan to the MPA, New York, 1961–78
collection/search/312429 https://www.metmuseum.org/art/collection/search/312429 Link

This study for the unrealized bronze equestrian monument to the Milanese duke Francesco Sforza — one of the most ambitious sculptural monuments of the Renaissance – was made by the Florentine master Antonio Pollaiuolo, probably before the celebrated commission was awarded to Leonardo da Vinci in the mid-1480s
monument commissioned by Ludovico Sforza (1480-94, de facto ruler of Milan; 1494-99

Along with the Virgin and Child with Saint Anne (The Met 14.40.633), the Salvator Mundi (Savior of the World) is one of two exceptional paintings by Albrecht Dürer in the collection of The Metropolitan Museum
Burlington Magazine 9 (July 1906), p. 267, describes it as an unfinished work, possibly

Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
collection/search/437630 https://www.metmuseum.org/art/collection/search/437630 Link

Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
collection/search/437630 https://www.metmuseum.org/art/collection/search/437630 Link

This beautiful and moving picture was acquired in 1908 by one of Bellini’s most eloquent admirers, the great British critic Roger Fry (1866–1934), who was employed by the Museum at the time (see Fry 1908)
collection/search/435641 https://www.metmuseum.org/art/collection/search/435641 Link