It might be said that with paintings like this one, Annibale Carracci invented the landscape as a subject for Italian baroque painting. Nature here is appreciated first and foremost for herself and not as the backdrop for a story.
DK-1 (Getty Research Institute, Los Angeles; copies in NGA curatorial files).
This bucolic landscape depicts two horsemen who have stopped on a small rise overlooking a broad river valley to ask local herdsmen for directions. With figures and cattle silhouetted against an expansive sky and late afternoon light bathing the scene in a golden glow, the painting conveys the sense of peace and tranquility that pervaded the Netherlands after the signing of the Treaty of Münster in 1648 that ended the war against Spain and finally established the Dutch Republic.
Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los
Vincent van Gogh painted 36 self-portraits. This was one of his last.
Berkeley, Los Angeles and London, 1997: 165-167, repro. 2000 Shackelford, George
Giovanni della Casa, who is in all likelihood the subject of this portrait, belonged to a wealthy Tuscan family and rose to prominence in the service of the church. As poet, humanist, and political theorist, he circulated at the highest levels of Italian intellectual life.
Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los
Asian Americans are often left out of view of US history. But their lives—and their art—are an essential part of the nation’s story.
Family Endure Japanese Internment Ruth Asawa grew up on a farm in the greater Los
In 1876, Renoir began to paint anecdotal depictions of women and children, subjects in which he excelled. A Girl with a Watering Can , typical of these works, displays a mature impressionist style attuned to the specific requirements of figure painting.
Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los
Blayds sale appears in an annotated copy of the sale catalogue in the Getty Library, Los
family, such as the two portraits of his wife (Emma in the Purple Dress, 1919, Los
Gentile da Fabriano’s patrons were princes, the church, and various city governments as well as the customary merchant clients. His art has a cosmopolitan flavor, in which brilliant color, textural richness, and ornamental pattern are combined.
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
A pair of portraits of Emilia di Spilimbergo and her younger sister Irene was begun in about 1558, most likely in anticipation of their prospective marriages. The initial reason may have been to present two highly eligible, aristocratic young women to potential husbands, or the portraits may have been intended as permanent mementos for the sisters’ family after they were married.
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
