Meintest du modell?
Extolling the ideal pleasures of arcadian life is the point of the pastoral, which is above all an escape from reality.
Girl Braiding her Hair Barthélemy Prieur 1600–1610 The Nurse Guillaume Dupré model
Italian Renaissance artists became anatomists by necessity, as they attempted to refine a more lifelike, sculptural portrayal of the human figure.
skin—and recorded such findings in exquisitely detailed studies after the live nude model
La Chaux de Fonds, Switzerland, 1887–Roquebrune-Cap-Martin, France, 1965
This model residence featured Purist art by Gris, Léger, Lipchitz, Ozenfant, and
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
A Male Model Standing before a Stove John Singer Sargent ca. 1875–80 Corfu
Museum of the American Indian, Heye Foundation, New York, from 1927; Wolfgang von Paalen, acquired by 1939; Claude Levi Strauss, New York, acquired by ca. 1945 (?); [Ralph C. Altman, Los Angeles, acquired by 1952]; Nelson A
early 20th century Bearded Seal Mask 20th century Mask 20th century Mask Model
Learn more about the themes explored in The Met Cloisters galleries of Heavenly Bodies: Fashion and the Catholic Imagination.
collection, which was staged as a performance during which the designers dressed the model
Popes strove to make Rome the capital of Christendom while projecting it, through art, architecture, and literature, as the center of a Golden Age of unity, order, and peace.
Looking to imperial Rome as a model, they conceived building and art projects to
?John Churchill, 1st Duke of Marlborough, Blenheim Palace, Woodstock, Oxfordshire (until d. 1722); the Dukes of Marlborough, Blenheim Palace (by 1740–1883; cat., 1862, no. 151); George Charles Spencer-Churchill, 8th Duke of Marlborough, Blenheim Palace (1883–86; his sale, Christie’s, London, July 24 and 26, 1886, no
The present whereabouts of the pastoral scene by Bassano, which was Teniers‘ model
Rider on a NagA number of drawings from the Deccani kingdoms that incorporate marbling are known. A whole group of them illustrate nags; among the Sufis, nags are thought metaphorically to embody the body’s gross desires and therefore are properly shown starved and beaten
whose aged mount appears pathetically frail and on the verge of death.[3] One such model
Prague, 1880–New York, 1954
On a similar model, the exhibition “Die Kunst in unserer Zeit”in 1930 brought together
