A ragtag group of people gathers around an elderly man holding a violin. He pauses, as if interrupted mid performance, and gazes directly at us.
Ph.D. dissertation, University of California, Los Angeles, 1973.
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
Paul Getty Museum, Los Angeles; formerly in the collection of Patrick de Charmant
Sandro Botticelli, a Florentine, painted several versions of the theme of the Adoration of the Magi. The Magi, or wise men, were particularly venerated in Florence, as one of the city’s leading religious confraternities was dedicated to them.
In 2012 The Getty Research Institute, Los Angeles, acquired the M.
London, 1975), 3:200–201; Terisio Pignatti, Golden Century of Venetian Painting (Los
Paul Getty Museum in Los Angeles in recent years (no. 93.PB.16). Cf.
After the Reformation had brought social and political upheaval to Germany, creating an unfavorable climate for artists, Holbein moved to England in 1526. He first painted for Sir Thomas More’s circle of high servants of the crown and then became painter to the King himself, Henry VIII.
Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los
Sensational and scandalous for an American audience unused to seeing classically nude statues of women, this figure by Hiram Powers caused a frenzy when it was first exhibited in the mid-19th century. Curious viewers came in droves to see it after Powers sent several copies from Italy, where he created the work.
Berkeley, Los Angeles, and London, 2006: 90-91, repro. Meslay, Olivier.
