In 1765, two years after these pictures were painted, they were presented at the Paris Salon as a loan from the fermier général Bergeret de Grancourt and titled Jupiter transformé en Diane pour surprendre Calisto and Angélique & Médor
Washington. National Gallery of Art.
[Aaron Furman Gallery, New York, until 1962]; Nelson A. Rockefeller, New York, 1962, on loan to The Museum of Primitive Art, New York, 1962–63; The Museum of Primitive Art, New York, 1963–78
Washington, D.C.: Center for Maya Research, 1987. Taube, Karl A., William A.
Washington. National Gallery of Art.
Thomas Cole inspired the generation of American landscape painters that came to be known as the Hudson River School.
Washington, D.C.: Corcoran Gallery of Art, 1986. Parry, Ellwood C. III.
Alfred Stieglitz returned to New York in 1890 determined to prove that photography was a medium as capable of artistic expression as painting or sculpture.
Washington, D.C.: The National Gallery of Art, 1983. Homer, William Innes.
New York, 1873−New York, 1922
only eight of the panels, including Nude Woman (1910; National Gallery of Art, Washington
Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era.
Washington, D.C.: National Museum of American Art, 1995.
Lady Herringham, England(until d. 1929); bequeathed to Bedford College for Women, London University, London (1929–1982); [ Terence McInerney, New York; from 1982]; Howard Hodgkin, London (by 1985–d
Sackler Gallery, Smithsonian Institution, Washington, D.C., 15 Sept. 1991–12 Jan
Inscription: Stickers: [1] Description cut from catalogue of „Marquess of Exeter Sale, 1888“ (ink), „286“ (pencil); 286 C (pencil); [2] I.B.; [3] 1067 (pencil)Marking: Stamped on lid, on shoulder band, and twice on plain band above base: three trefoils voided within a shaped shield (maker’s mark)
Washington D.C. Freer Gallery of Art and Arthur M.
Pater, born in Valenciennes, was apprenticed to a local painter in 1706. A contemporary would later report that his father sent him to Paris to study with Jean Antoine Watteau (1684–1721): probably the two painters left Valenciennes together in late 1709 or 1710
Washington. National Gallery of Art.
