The Artist: For a biography of Gerard David, see “Gerard David (born about 1455, died 1523).� In Heilbrunn Timeline of Art History
1953), pp. 14–15; Penny Howell Jolly, “Rogier van der Weyden’s Escorial and Philadelphia
Watteau did not participate in public exhibitions, nor title his pictures, whose meaning is often difficult to fathom. This late work is clearly a theatrical subject, and as he is known to have made drawings of comic actors and quacks from an early age, he must have been interested in the theater throughout his short life
Philadelphia Museum of Art.
This library comes from a red-brick Gothic Revival villa built for banker Frederick Deming (1787–1860) and his family in the hamlet of Balmville, New York. The house is a classic example of the Gothic Revival style in domestic architecture and the room is arranged to illustrate how an upper-middle-class family might have furnished their library.
Jackson Downing praised the accomplished cabinetmakers in New York, Boston, and Philadelphia
One of Correggio’s most significant early works, this altarpiece was painted for a church in the artist’s hometown (from whence his name derives) to the east of Parma. It was commissioned by a local patron, Melchior Fassi, and hung in his chapel in the hospital church of Santa Maria Verberator, usually known as Santa Maria della Misericordia, until 1690
Philadelphia, 2001, p. 199 n. 36. Andrea Bayer.
Jean, Duke of Berry d. 1416 (1408/09–d. 1416; item no. 960 in 1413 inventory) ; Yolande, Queen of Sicily and Duchess of Anjou (1417–d.1443) ; Pierre-Gabriel Bourlier, baron d’Ailly (before 1879–sold by 1884) ; Baron Edmond James de Rothschild, Paris (by 1884–d
Philadelphia: University of Pennsylvania Press, 1991. pp. 184–87, figs. 1–2.
Jean, Duke of Berry d. 1416 (1408/09–d. 1416; item no. 960 in 1413 inventory) ; Yolande, Queen of Sicily and Duchess of Anjou (1417–d.1443) ; Pierre-Gabriel Bourlier, baron d’Ailly (before 1879–sold by 1884) ; Baron Edmond James de Rothschild, Paris (by 1884–d
Philadelphia: University of Pennsylvania Press, 1991. pp. 184–87, figs. 1–2.
the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
Philadelphia Public Ledger (November 10, 1929), p. 65?
This work is a large fragment of one of three altarpieces El Greco was commissioned to paint in 1608 for the church of the Hospital of Saint John the Baptist (also called the Tavera Hospital in honor of its co-founder, Cardinal-Archbishop Juan de Tavera, 1472–1545), just outside the walls of Toledo
Philadelphia, 1984, pp. 47–54, pl. 11 (overall and details), attributes it to El
The Painting: This very unusual mixed-media picture shows a rehearsal for a ballet. The view is from a slightly elevated point above the orchestra pit; the scrolls of two double basses are just visible in the foreground, radically cropped at the bottom of the canvas
Philadelphia Museum of Art.
