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
In 1775, Gilbert Stuart set sail for London where Benjamin West welcomed the destitute young man into his home. The Skater marks the end of his five-year apprenticeship to West.
National Portrait Gallery, Washington; Pennsylvania Academy of the Fine Arts, Philadelphia
„Early Italian paintings in Washington and Philadelphia.“
Philadelphia, 1916: unpaginated, repro., as by Lorenzo di Credi, Portrait of Himself
„Early Italian paintings in Washington and Philadelphia.“
Peter Paul Rubens (1577–1640) was one of the greatest masters of the 17th century and a man of great integrity, probity, and discretion. The growth of his international artistic reputation was paralleled by his increased involvement in European politics.
Philadelphia, 2004: 73, 76, fig. 19. 2005 Wheelock, Arthur K., Jr.
George Bellows’s paintings devoted to boxing were among the most popular pictures he produced during his lifetime and remain so today. Executed in August and September 1907, Club Night is the first of three similar boxing subjects that Bellows painted early in his career, from 1907 to 1909.
1908 One Hundred Third Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia
Joseph Mallord William Turner excelled at capturing the beauty and mysteries of light. Cool, white moonlight contrasts with warm, yellow and orange firelight.
at Lynnewood Hall, Elkins Park, Pennsylvania: British and Modern French Schools, Philadelphia
One of Domenico Veneziano’s major works is an altarpiece that he painted about 1445 for the Church of Santa Lucia dei Magnoli, in Florence. The incident illustrated in this small panel from the base of the altarpiece is John’s act of exchanging his rich, worldly clothes for a rough, camel–hair coat.
The 1913 date was supplied by Carl Strehlke (curator, Philadelphia Museum of Art;
Irene di Spilimbergo was about 20 years old when this painting was begun. Along with a pendant portrait of her older sister, Emilia, the two paintings were probably initially commissioned in anticipation of the prospective marriages of the two sitters.
Philadelphia, 1916: unpaginated, repro., as by Titian. 1923 Paintings in the Collection
