How did a decade of unprecedented financial strife, radical social upheaval, and technological innovation shape art and cultural identity in the United States?
National Gallery of Art, Washington, D.C., Corcoran Collection, Gift of Amelia E.
This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
Ardinghelli (also identified as Monsignor della Casa; National Gallery of Art, Washington
Old Testament prohibitions against worshipping graven images (Exodus 20:4) provided one of the most important precedents for Byzantine Iconoclasm.
Washington, D.C.: National Gallery of Art, 1990. Pentcheva, Bissera V.
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
The Robert Lehman Collection Gloria De Liberali Ph.D., Art History, University of Washington
Easily portable, and certainly necessary, bedcovers might be some of the few decorative objects a woman had in her home.
pattern First Reform Churches of Fishkill and Hopewell ca. 1855–60 George Washington
Washington, D. C. Smithsonian American Art Museum and Renwick Gallery.
Washington DC, 1973, cat. no. 73, ill. Colta Ives, Janet S.
baron Arthur de Schickler, Martinvast, France (by 1908–d. 1919); his daughter, comtesse Hubert de Pourtalès, Martinvast (1919; sold to Duveen); [Duveen, Paris, and Wildenstein, Paris, 1919, as by Alvise Vivarini; sold to Salomon]; William Salomon, New York (d
Mellon, Washington, D.C., 1923–24; sold for $180,000 to Bache]; Jules S.
Washington, D.C., 1978, pp. 127, 133–41, 146–48, 150–52, ill. p. 46 and fig
In Bloemaert’s version of the Old Testament subject (Exod. 17:1–6), the children of Israel march out of Egypt either naked or provocatively dressed, and weighed down with earthenware pots, copper-lined cookware, and, in the arms of the young woman at center, a silver-gilt ewer dating from the late sixteenth century
Washington, 2015, p. 6, fig. 7 (color). Arthur K.
