Before a figure left the sculptor’s workshop, the eyes and lips were often tinted.
Washington, D.C.: The National Gallery of Art, 1999.
Fresco painting from the later Byzantine period reveals much about the mobility of artistic techniques and styles.
Seattle: University of Washington Press, 1999. Hetherington, Paul.
It became more profitable for artists to produce items for the open market than to be tied to the workshops of the low-paying court.
Washington, D.C.: Smithsonian Institution Press, 1980. Goodwin, Godfrey.
While attempts at official union between the churches were not wholly successful, compromise and exchange were widespread in the arts.
Washington, D.C.: Dumbarton Oaks Research Library and Collection, 1960.
London, 1892–Castello di Montegufoni, Italy, 1969
Additional correspondence can be found at the Washington State University Libraries
Washington D.C.: National Gallery of Art, 2001, pp. 206-221.
Folio from the ChingiznamaThis late sixteenth-century Mughal painting comes from a copy of the Chingiznama1 (Book of Genghis Khan; also known as the Genghisnama), the text of which is an extract from Rashid al-Din’s fourteenth-century Jami‘ al-tawarikh (Compendium of Chronicles) that describes the life of Genghis Khan and his descendants
Exhibition, Freer Gallery of Art, Smithsonian Institution, Washington, D.C.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Foundation Jane and Frances Stein Foundation Sidney Stern Memorial Trust Martha Washington
Washington, D. C. National Portrait Gallery, Smithsonian Institution.
Inscription: Titled, dated, inscribed, and signed by the artist in graphite on print, verso: „Ethel Waters, Carson McCullers + Julie Harris at // Opening Night Party for „Member of a Wedding“ 1950 N
National Gallery of Art, Washington D.C.
