Meintest du rosa?
Pietro Bembo (1470–1547) wears the red biretta and cape of a cardinal. At the time Titian painted this portrait, Bembo had recently been elevated to that status in honor of his service to the Church and his scholarly career, although the writer’s literary output was almost entirely secular.
pittura italiana, studi storico-critici: le Gallerie Borghese e Doria-Pamphi in Roma
recto, numerical notations overall; lower right verso in red chalk: disegno fate a Roma
Fragonard et Hubert Robert à Roma, Villa Medicis, Académie de France à Rome, 1990
The Pulitzer Prize-winning poet is inspired by the French painter’s work made “in the lull before history dissolves.”
guest curator at the Mead Art Museum of Amherst College responds to Modigliani’s „Roma
Inscriptions lightly incised on shell between figure’s legs: CD [or (A)] / CARPEAUX / ROMA
Between 1600 and 1608, Peter Paul Rubens lived and worked in Italy, where he immersed himself in the study of ancient sculpture. He admired the idealized beauty of its classical forms and recognized its importance as a pictorial source for Greek and Roman history.
, 2018-2019, no. 7, repro. 2023 Il tocco di Pigmalione: Rubens e la scultura a Roma
1968) Imaginative Literature and Painting Mario Praz, Università degli Studi di Roma
unpaginated and unnumbered. 1983 Honoré Daumier; Georges Roualt, Accademia di Francia a Roma
In her youth, Georgia O’Keeffe had been particularly fascinated by the jack-in-the-pulpit. In 1930, she executed a series of six paintings of the common North American herbaceous flowering plant at Lake George in New York.
Fe, 2009-2010, unnumbered catalogue, pl. 120. 2011 Georgia O’Keeffe, Fondazione Roma
Luca Signorelli e Roma. Oblio e riscoperte. Exh. cat.
