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Filippino Lippi was the son of the painter Fra Filippo Lippi, who was undoubtedly the boy’s first master. After his father died in 1469, he became a pupil of Botticelli, who had a profound influence on his style.
Die Fürstlich Liechtenstein’sche Galerie in Wien.
It is impossible to guess what 16-year-old Ginevra de’ Benci was thinking as she sat for this portrait to commemorate her upcoming marriage. The young Florentine woman has a distant gaze.
Die Fürstlich Liechtenstein’sche Galerie in Wien.
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden.
Jahrbuch der Kunsthistorischen Sammlungen in Wien 2 (1928): 317-328. 1930 Valentiner
There is little doubt that these two portraits by Rembrandt van Rijn (see also NGA 1942.9.67) were conceived as pendants, or companion pieces. In both, light illuminates the subjects from exactly the same angle.
Jahrbuch der Kunsthistorischen Sammlungen in Wien 2 (1928): 317-328. 1930 Valentiner
Isabella Brant was the first wife of the Antwerp master Peter Paul Rubens, whom she married shortly after his return from Italy in 1609. Just before Anthony van Dyck, one-time protégé and frequent collaborator of Rubens, left Antwerp in October 1621 for his own extended stay in Italy, he apparently presented this portrait to his mentor.
Jb Wien 35 (1920-1921): 61, 65-66, 94. 1926 Vanzype, Gustave.
about 1590 attributed to Jan Baptist Saive the Elder (Kunsthistorisches Museum Wien
In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window.
Sammlungen des allerhöchsten Kaiserhauses (Jahrbuch der kunsthistorischen Sammlungen in Wien
Controversy and the Arts Artur Rosenauer, Institut für Kunstgeschichte der Universität Wien
A play and a painting appear to have merged in Jan van Eyck’s dramatic Annunciation , which is rich with Christian symbolism. The rainbow-winged archangel Gabriel tells the Virgin Mary that God has chosen her to bear his son.
Sammlungen des allerhöchsten Kaiserhauses (Jahrbuch der kunsthistorischen Sammlungen in Wien
Louis Wiener through the Friends of the Corcoran) Dimensions overall: 60.96 ×
