The daughter of an army sergeant, Hendrickje Stoffels advanced in Rembrandt’s household from servant (by 1649) to mistress, presumed model, and common-law wife, as well as stepmother to the artist’s son Titus (1641–1668) and mother of his daughter Cornelia (1654–1685)
Washington. National Gallery of Art.
James Stuart was a loyal supporter of his cousin Charles I and served in high posts at court, such as Gentleman of the Bedchamber and Lord Steward of the Household. He was installed as Knight of the Garter on November 6, 1633, and in 1641 was created Duke of Richmond
Washington. National Gallery of Art.
Washington, DC. Freer Gallery of Art and Arthur M.
Washington, 1946, pp. 101, 166, pl. 131 (detail). Josephine L.
Washington, D.C.: National Gallery of Art, 1999. p. 157. Karrenbrock, Reinhard.
This diptych, or pair of folding panels, is formed of two slabs of ivory connected with metal hinges, allowing them to fold together to protect the carvings on the interior. It was once possible to lock the panels by means of a now missing sliding hook that locked into the iron mount on the top of the right panel
Washington DC.: Dumbarton Oaks Press, 1985.
Steve Berger, Arte Textil, San Francisco, c. 1983-early 2000s; private collection, Santa Fe, New Mexico, early 2000s–2010; [Steve Berger, Arte Textil, San Francisco]; private collection, New York, 2010–18
Washington, DC: Dumbarton Oaks Research Library and Collection, 1996.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Before joining The Met in 2019, she was associate conservator at the George Washington
Greuze was of modest birth, the son of a roofer. He received his early training in Lyons and in Paris studied drawing with Charles Joseph Natoire. In 1755, after he was accepted as a candidate member of the Académie Royale de Peinture et de Sculpture in the category of genre painter, Greuze presented five works for exhibition at the Salon
Washington. National Gallery of Art.
While religious themes had dominated Limoges enamels in the Middle Ages and continued to cover the surfaces of Limoges plaques particularly in the first third of the sixteenth century, images of Greek and Roman subjects predominated from the 1530s.
Washington, D.C.: National Gallery of Art, 1996. Blunt, Anthony.
