Nine-month and twelve-month internships (beginning in the summer) at The Met Fifth Avenue.
Former interns currently hold curatorial or administrative positions at the Los Angeles
Los Angeles, 2019, p. 87 n. 41. "Timeline 1850–1960."
Boilly was born and educated around Lille. He moved to Paris in 1785 and exhibited at the Salon between 1791 and 1824. A painter in the tradition of Dutch seventeenth-century naturalism, for which he prepared by studying trompe l’œil as well as caricature, Boilly was well-known for genre scenes and for small-scale portraits, of which he claimed to have painted 4,500, most in single two-hour sittings
Los Angeles, 2023, p. 45, fig. 24 (color).
Los Angeles, 2016, pp. 31, 62, 232, fig. 23, compares Degas’s use of the mirror in
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
Los Angeles, 2012, pp. 88, 91 n. 22.
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
Los Angeles, 2012, pp. 88, 91 n. 22.
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
Los Angeles, 2012, pp. 88, 91 n. 22.
This work is a large fragment of one of three altarpieces El Greco was commissioned to paint in 1608 for the church of the Hospital of Saint John the Baptist (also called the Tavera Hospital in honor of its co-founder, Cardinal-Archbishop Juan de Tavera, 1472–1545), just outside the walls of Toledo
Dos quadros bosquejados para los colaterales del ospital grandes" and, "184.
The Artist: The great history painter and portraitist Jacques Louis David studied with Joseph Marie Vien and then, in 1766, entered the school of the Académie Royale de Peinture et de Sculpture
José-Luis de Los Llanos.
Los Angeles, 2015, p. 120. Kathryn Calley Galitz.
