The Van Rensselaer Hall was one of the largest and most elaborate rooms built in prerevolutionary America. The rare hand-painted English wallpaper and the magnificently carved woodwork create an elegant American Wing gallery.
(Philadelphia, 1876) In his book A Description of New Netherland (1655), Adriaen
The Artist: Stefano da Verona, sometimes mistakenly identified as Stefano da Zevio in the earlier literature, was among the outstanding painters in Lombardy and the Veneto in the early fifteenth century and a prime exponent of what is often termed the International Gothic Style, which is to say, art in the courts of Europe in the years around 1400
Verona and his Circle and the Origins of Collecting in Italy: A Catalogue Raisonne, Philadelphia
The Marimion Room was the principal parlor of Marmion, a plantation house built around 1756 by the Fitzhugh family of Virginia. The room’s elaborate painting was executed in the 1770s and is one of the most ambitious decorative schemes to survive from eighteenth-century America.
At that time, it was furnished with Philadelphia Rococo-style furniture, because
Learn more about the artist’s singular blending of media, Puerto Rican and Nuyorican culture, activism, issues of colonialism, and personal history in his remarkable prints.
Mundos that showcased the photographic work of Puerto Ricans in New York, Chicago, Philadelphia
The Robert and Gloria Manney Greek Revival Parlor is a re-creation of what the parlor of a fashionable New York City townhouse of about 1835 might have looked like. The room was designed to showcase a rare suite of seating furniture made for New York lawyer Samuel A. Foot (1790–1878) by the firm of cabinetmaker Duncan Phyfe (1770–1854).
William Strickland (American, 1788–1854), Second Bank of United States, 1818–24, Philadelphia
Keeping digital art alive.
FARBOWITZ: We called it VegPhilly, so it was like a vegan guide to Philadelphia.
This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
repeats that of a Virgin and Child with Saints from Cologne [now Johnson Collection, Philadelphia
This panel and a scene showing the Crucifixion of Christ (The Met, 43.161) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
repeats that of a Virgin and Child with Saints from Cologne [now Johnson Collection, Philadelphia
The Painting: In a small apsidal chapel, the Virgin Mary tenderly embraces the Christ Child while nursing him. She wears a blue underdress beneath a very pale blue robe and mantle. Her long, curly hair cascades down her shoulders
be found in numerous collections, including the National Gallery in London, the Philadelphia
