Pater, born in Valenciennes, was apprenticed to a local painter in 1706. A contemporary would later report that his father sent him to Paris to study with Jean Antoine Watteau (1684–1721): probably the two painters left Valenciennes together in late 1709 or 1710
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This portrait of the artist’s cousin Hartogh van Moerkerken (1622–1694), his first wife, Sibilla Nijkerken (1625–1665), and their son Philippus (1652–1688) is generally dated 1653–54 on stylistic grounds, and more specifically on the basis of the boy’s apparent age (he was born on January 8, 1652, and seems here to be about two years old)
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Beads (1980.456, .457) and pendant (30.95.37)Among the luxury arts that flourished under the Fatimid caliphs, gold jewelry stands out for its innovation and complexity. According to literary sources, prodigious amounts of such jewelry were manufactured for both royal and patrician patrons; most of these items were later melted down for currency or refashioned into newer pieces
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Although a virtual contemporary of Jacopo Bellini, Giambono represents the final flowering of Late Gothic painting in Venice. It was the combined presence in Venice of Michelino da Besozzo, Gentile da Fabriano, and Pisanello that provided the reference points for his refined style, with its combination of decorative richness and acute description of flora and fauna
Here is a link to download the audio instead. Playlist 2639.
Purchased in Luxor by Reverend Randolph Berens, ca. 1894. Later in Bruce collection, sold at Sotheby’s, Jan. 18, 1951, no. 286. Purchased by Albert Gallatin at a private sale at Spinks, London, 1951. Exhibited at The Metropolitan Museum, December 1959 – February 1960, and published in the exhibition’s catalog, 1961
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Here is a link to download the audio instead. Playlist 1105.
Inscription: At upper right, inscribed „nota quod color pullus non est / peculiaris Sinensium litteratis sed / Patribus S Iesù exceptis tamen fascijs / ceruleis quae [„omnibus“ deleted] ceteris [que] communes sunt / Sinenses porro vestis colore non uno / sed quovis promiscue utantur
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The Artist: One of the leading painters in Rome in the late seventeenth century and the first half of the eighteenth, Trevisani trained in Venice before moving to the papal city, where he worked for Cardinal Flavio Chigi (1631–1693), the nephew of Pope Alexander VII
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