This group of five ivory panels are the reassembled elements of a „composite casket,“ so called by scholars because the narrative scenes that adorn them are vignettes from a variety of popular stories and chivalric romances
Los Angeles: J. Paul Getty Museum, 2010. no. 55, pp. 281–83.
Greuze was of modest birth, the son of a roofer. He received his early training in Lyons and in Paris studied drawing with Charles Joseph Natoire. In 1755, after he was accepted as a candidate member of the Académie Royale de Peinture et de Sculpture in the category of genre painter, Greuze presented five works for exhibition at the Salon
Los Angeles, 2000, pp. 5, 27, fig. 2 (color), notes that the genre pictures painted
This painting, one of the key works of Ter Borch’s maturity, probably dates from about 1660–62. Though it was painted when the artist lived in Deventer, the luxurious interior and elegantly attired figures evoke the cosmopolitan milieu of Amsterdam
Los Angeles, 2024, p. 77, fig. 49 (color), notes that in this painting, with the
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
/makers 1865–1873 Head a young woman facing the viewer, from the portfolio ‚Los
This magnificent painting by the leading painter of King Louis XIV (1638–1715)—the artist who supervised the decoration of the Louvre and Versailles and headed the Gobelins manufactory for tapestries and furniture—is a landmark in the history of French portraiture
Paul Getty Museum, Los Angeles; 94.SB.11.1) This image cannot be enlarged, viewed
The magnificent volute-krater on loan from Ferrara.
“Spina,” in Etruscan Civilization, Los Angeles, 2000, p. 193-195.
Gericault’s lifelong interest in animal themes is best known through his love of horses. He had an intimate knowledge of horses, which he derived not only from drawing and painting them continually but also from developing his skills as an equestrian
, for example, by a sketchbook datable to about 1812–14, in the Getty Museum, Los
Although the French neo-classical artist Jean Auguste Dominique Ingres often confessed reluctance to paint portraits, his many splendid paintings of French aristocrats and powerful personalities ultimately glorified his persona, and assured his social ascendancy in the royal circles of Louis-Philippe d’Orléans (r
Los Angeles, 2006, p. 61, color ill. p. 60. Michael Leyton.
