Gérôme specialized in a brand of photographic realism which, from the 1840s onward, distinguished him from the increasingly stale Neoclassical style promulgated by the followers of Jean Auguste Dominique Ingres
Philadelphia, [ca. 1880], vol. 3, p. 124, as in Henry T.
Philadelphia. Pennsylvania Academy of the Fine Arts.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Johnson Collection at the Philadelphia Museum of Art, is currently writing a catalogue
Superfine: Tailoring Black Style presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism.
The stylish Black couple in the Philadelphia Fashions portrait, accustomed to societal
[probably Ambroise Vollard, Paris, by 1895–until 1896; stock book B, no. 3451, as „maisons étagées,“ sold on February 27, 1896 to Costa]; probably count Enrico Costa (from 1896); [Ambroise Vollard, Paris, 1904/6–until 1924; sold on February 12, 1924 to Thannhauser]; [Justin K
Philadelphia, 1996, p. 226 [French ed., Paris, 1995], comments that "Cézanne was
According to Giorgio Vasari, The Holy Family with the Young Saint John the Baptist, one of the artist’s greatest late works, was painted for the Florentine Giovanni Borgherini. The biographer described the subject of the painting as „the Virgin, an infant St
Philadelphia, 2001, pp. 80, 93, 227 n. 212, p. 235 n. 12, p. 237 n. 34, pl. 69, states
James Stuart was a loyal supporter of his cousin Charles I and served in high posts at court, such as Gentleman of the Bedchamber and Lord Steward of the Household. He was installed as Knight of the Garter on November 6, 1633, and in 1641 was created Duke of Richmond
Philadelphia, 1942, p. 403. Aline B. Louchheim. "Five Thousand Years of Art."
Bonne of Luxembourg (d. 1349) ; Charles V, King of France (by descent, d. 1380) ; Ambroise Firmin-Didot, Paris (until 1882) ; his sale, Hôtel Drouot, Paris (June 12–17, 1882, no. 3) ; Baron Horace de Landau, Florence (d
Philadelphia: University of Pennsylvania Press, 2001. p. 158, fig. 74.
Inscription: Recto inscribed toward the center of the upper border in pen and medium brown ink by Leonardo, script reading from right to left:ilramarro . fedele allomo vede[n]do quello adorme[n] / tato
Worth, Kimbell Art Museum; The Baltimore Art Museum; The Minneapolis Museum of Art; Philadelphia
Exh. cat., Philadelphia Museum of Art.
