Dein Suchergebnis zum Thema: Professor

Rococo Revival Parlor | The Metropolitan Museum of Art

https://www.metmuseum.org/about-the-met/collection-areas/the-american-wing/period-rooms/rococo-revival-parlor

The Richard and Gloria Manney John Henry Belter Rococo Revival Parlor presents a sumptuous mid-nineteenth-century parlor characteristic of affluent homes in the United States. It features furniture by one of the most innovative and virtuosic American cabinetmakers of the period in a room whose architectural elements are from the double parlor of a Classical Revival style villa built around 1850 in Astoria, Queens, for a prosperous businessman named Horace Whittemore (1813–1871).
A distinguished judge, revered professor of law at Trinity College in Hartford, Connecticut

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Raphael (Raffaello Sanzio or Santi) – The Agony in the Garden – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/437371

the convent of Sant’Antonio da Padova, Perugia (until 1663; sold to Christina); Christina, former Queen of Sweden, Rome (1663–d. 1689; unnum. inv., ca. 1689); Cardinal Decio Azzolino, Rome (d. 1689); his nephew, marchese Pompeo Azzolino, Rome (1689–96; sold to Odescalchi); principe Livio Odescalchi, duca di Bracciano, Rome (1696–d
Raphael; mention an old copy, made from the same cartoon, in the collection of Professor

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Exhibition Galleries | The Metropolitan Museum of Art

https://www.metmuseum.org/exhibitions/listings/2020/making-the-met-1870-to-2020/exhibition-galleries

In a flush of optimism following the Civil War, a group of businessmen, civic leaders, and artists determined to found an art museum in New York City. They took the first concrete step toward this goal on April Making We Scheduled The In These Above
president of the board of trustees, and Director Thomas Hoving recruited Princeton professor

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Pieter Bruegel the Elder – The Harvesters – The Metropolitan Museum of Art

https://www.metmuseum.org/art/collection/search/435809

Attribution, Date, and Bruegel’s Working Methods: When The Met acquired The Harvesters in 1919, the extraordinarily low sale price in part had to do with the art market that had virtually collapsed during World War I
beaux-arts, 6th ser., 15 (1936), pp. 105–7, fig. 1, notes that Adolphe Crespin, professor

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