This is no “family� in the usual sense. A harlequin, a jester, a young man in a leotard, a boy in a blue costume, a girl in a tutu with a basket, and a woman in a flowered hat are arranged in this rose-hued landscape.
There’s no coherent, unified manner in the painting, which is one of the things
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.
Della Casa also wrote a book on manners, and in this portrait of the early 1540s
woman in the Washington painting is projected in a remarkably forceful and direct manner
Saint Judas Thaddeus once decorated the predella of an altarpiece along with nine other small portraits of apostles, three of which are in the collection of the National Gallery of Art: Matthew , Simon , and James Major .
softness of the modeling displays most clearly Simone Martini’s refined pictorial manner
Roses was painted shortly before Van Gogh’s release from the asylum at Saint–Rémy. He felt he was coming to terms with his illness—and himself.
The Sphere (13 July 1929): 105, repro. 1931 Mannes, Marya.
Meindert Hobbema studied under the noted landscape artist Jacob van Ruisdael, and quite a few of his compositions evolved from the work of his erstwhile master. The Travelers, one of Hobbema’s largest works, is a close variant of a smaller painting of a watermill by Ruisdael now in the Rijksmuseum, Amsterdam.
Hobbema approached nature in a straightforward manner, depicting picturesque, rural
One of Domenico Veneziano’s major works is an altarpiece that he painted about 1445 for the Church of Santa Lucia dei Magnoli, in Florence. The incident illustrated in this small panel from the base of the altarpiece is John’s act of exchanging his rich, worldly clothes for a rough, camel–hair coat.
Rather than showing the saint in the usual manner, as a mature, bearded hermit, Domenico
Rembrandt Harmensz van Rijn, born in Leiden on July 15, 1606, was the son of a miller, Harmen Gerritsz van Rijn, and his wife, Neeltgen van Zuytbrouck. The youngest son of at least ten children, Rembrandt was not expected to carry on his father’s business.
1650s and early 1660s, stylistic trends had veered away from his deeply personal manner
Nevertheless, Both’s manner of painting differed from that of his colleagues in
recently arrived immigrant slum dwellers and their dirty environments with all manner
