Carpaccio reimagined the Madonna and Child theme when he made this painting. Instead of wearing a traditional blue cloak, the Virgin Mary, or Madonna, is clothed in fashionable Venetian dress.
Neale, Views of The Seats of Noblemen and Gentlemen in England, Wales, Scotland,
exhibition, Dancer (fig. 1), the Parisienne (1874, oil on canvas, National Museum of Wales
The Dancer was one of seven works that Renoir included in the first exhibition of the Société anonyme coopérative des artistes, peintres, sculpteurs, graveurs, etc., which opened in April 1874. In contrast to works by most of the other artists in the group—soon to be dubbed the impressionists—Renoir’s paintings were relatively well received.
mid-1870s and whose likeness was featured in La Parisienne (National Museum of Wales
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Joseph Russell Bailey [1840-1906], 1st Baron Glanusk, Glanusk Park, Breconshire, Wales
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Joseph Russell Bailey [1840-1906], 1st Baron Glanusk, Glanusk Park, Breconshire, Wales
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. The partnership of the two artists here— Puccio painted the center and right-hand panel of this tryptych and Allegretto the left—is a bit unusual, since they were not based in the same city.
Joseph Russell Bailey [1840-1906], 1st Baron Glanusk, Glanusk Park, Breconshire, Wales
The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This triptych was painted by two artists:
Joseph Russell Bailey [1840-1906], 1st Baron Glanusk, Glanusk Park, Breconshire, Wales
After the Reformation had brought social and political upheaval to Germany, creating an unfavorable climate for artists, Holbein moved to England in 1526. He first painted for Sir Thomas More’s circle of high servants of the crown and then became painter to the King himself, Henry VIII.
Advertisement for Edward VI as Prince of Wales facsimile.
Rembrandt’s portrait of Catherine Hooghsaet, signed and dated 1657 (Penrhyn Castle, Wales
Fellow Urban Planning in Rome: 1500 to 1750 William Eisler, Art Gallery of New South Wales
