Dein Suchergebnis zum Thema: Los Angeles

The seamy underside of the Parisian demimonde, populated by the singers, dancers, and patrons of Montmartre nightclubs was Toulouse–Lautrec’s principal subject. Scion of one of France’s great aristocratic families, Lautrec suffered physical maladies and stunted growth due to genetic factors.
] bequest 1963 to NGA. [1] Annotated sales catalogue, Getty Research Institute, Los

Records, accession number 960015, Research Library, The Getty Research Institute, Los

During the Trojan War, the priest Laocoön angered the Greek gods, who sent snakes to kill him and his two sons. The legend became popular after a monumental, ancient marble sculpture of Laocoön and his sons was unearthed in Rome in 1506.
RR. los Serenísmos Señores Infantes de España, Duques de Montpensier, Seville, 1866

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

family, such as the two portraits of his wife (Emma in the Purple Dress, 1919, Los

In European art, images of children blowing soap bubbles often suggest how frivolous and short our time on earth is. Life, like fragile bubbles, is fleeting.
no. 59, repro. 1990 Masterpiece in Focus: Soap Bubbles by Jean Siméon Chardin, Los

The firm’s records, now held by the Getty Research Institute in Los Angeles and available

Irene di Spilimbergo was about 20 years old when this painting was begun. Along with a pendant portrait of her older sister, Emilia, the two paintings were probably initially commissioned in anticipation of the prospective marriages of the two sitters.
Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los

Like Jacques Onésime de Bergeret, Lalive de Jully (1725-79) was an influential collector, amateur, and painter in the Parisian art world of the 1750s and 1760s. One of Jean-Baptiste Greuze’s first patrons, Lalive is depicted seated on a chair he had commissioned as part of a suite of furniture à la grecque.
(Duveen Brothers Records, Research Library, The Getty Research Institute, Los Angeles

We glimpse the harrowing drama unfolding in this painting, as if we are crouching by the roots of the tropical foliage and peering through a space between the leaves. Our focus is on the anonymous silhouettes of men and women, their shackles more prominent than their features.
. de Young Memorial Museum, San Francisco; Corcoran Gallery of Art, Washington; Los