This large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage.
Philadelphia, 1913: unpaginated, repro. 1914 Sedelmeyer, Charles.
A pair of portraits of Emilia di Spilimbergo and her younger sister Irene was begun in about 1558, most likely in anticipation of their prospective marriages. The initial reason may have been to present two highly eligible, aristocratic young women to potential husbands, or the portraits may have been intended as permanent mementos for the sisters’ family after they were married.
Philadelphia, 1916: unpaginated, repro., as by Titian. 1923 Paintings in the Collection
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Philadelphia, 1913: intro., repro. Rosenberg, Adolf.
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Philadelphia, 1913: unpaginated, intro., no. 34, repro., as by Rembrandt van Rijn
Pieter de Hooch excelled in the sensitive depiction of people going about their daily lives, be it inside their houses or in the sheltered environment of an urban courtyard. His masterly control of light, color, and complex perspectival construction can be compared to the work of Johannes Vermeer, his contemporary and colleague in Delft.
Philadelphia, 1913: unpaginated, repro. 1914 Rudder, Arthur de.
Ailsa Mellon Bruce Visiting Senior Fellow, winter 1997 An Architectural History of Philadelphia
simultaneously to the Metropolitan Museum of Art, the Art Institute of Chicago, the Philadelphia
Roses was painted shortly before Van Gogh’s release from the asylum at Saint–Rémy. He felt he was coming to terms with his illness—and himself.
unnumbered catalogue, repro. 17. 1963 A World of Flowers: Paintings and Prints, The Philadelphia
Van Gogh arrived in Arles in February 1888, the landscape covered with snow. But it was sun that he sought in Provence—a brilliant light that would wash out detail and simplify forms, reducing the world around him to the kinds of flat patterns he admired in Japanese woodblock prints.
Kyoto Municipal Museum of Art, 2011, no. 19, repro. 2012 Van Gogh: Up Close, Philadelphia
Kress Collection, Philadelphia Museum of Art, 1950, no. 17. 1956 Paintings and
