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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
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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
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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
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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
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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
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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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One of Correggio’s most significant early works, this altarpiece was painted for a church in the artist’s hometown (from whence his name derives) to the east of Parma. It was commissioned by a local patron, Melchior Fassi, and hung in his chapel in the hospital church of Santa Maria Verberator, usually known as Santa Maria della Misericordia, until 1690
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