How do portraits influence the way we see historic figures? David shows Napoleon Bonaparte working tirelessly for the people of France.
Napoleon was a military genius whose code became the model of modern legal systems
Guitarist Sonia De Los Santos hails from Mexico, where as a child she was exposed to different musical influences. In Auguste Renoir’s Young Spanish Woman with a Guitar De Los Santos sees echoes of her younger self. Her song „Sueña“ is an ode to dreams.
MARY MORTON: No, she would be a model.
Go on a MONUMENTAL drawing adventure inspired by the Running Fence artists, the first in our series hosted by Wendy MacNaughton.
So they created a unique, smart business model: Christo made and sold preparatory
Lorenzo de‘ Medici, the brilliant, learned, and ruthless head of a wealthy banking family, ruled the Italian city-state of Florence in the Renaissance. This bust may copy a wax statue made to commemorate Lorenzo’s survival in 1478, when an assassination plot took the life of his younger brother.
Lorenzo de‘ Medici possibly 1513/1520 Florentine 16th Century, probably after a model
Composer/producer Emily Wells sees us as the buffalo: frozen before downfall, but still alive—which is why she includes so much breath in her song. Wells, whose work deals with the climate crisis, looks to David Wojnarowicz’s AIDS activism for lessons.
And I try to do the same: Take his role model and just keep looking at the natural
of the time; instead of presenting her son to the observer as in the Byzantine model
This Coronation of the Virgin may be the first time the subject, which originated in the West, appears in Venetian art. Some of the earliest representations were carved above cathedral doorways in France—and certain elements in the Gallery’s painting—its elaborate halos, for example—share in the decorative elegance of Gothic art.
The artist, however, did not have a Byzantine model.
painting, or they can use recyclable materials to construct a three-dimensional model
The Dancer was one of seven works that Renoir included in the first exhibition of the Société anonyme coopérative des artistes, peintres, sculpteurs, graveurs, etc., which opened in April 1874. In contrast to works by most of the other artists in the group—soon to be dubbed the impressionists—Renoir’s paintings were relatively well received.
Although Renoir himself never identified the figure, the model is almost certainly
[13] This interpretation is reinforced by the fact that the model for the man
