The political strength of Henry VIII’s regime lay in his ability to choose advisors who were both wise and learned. One of these men was Sir Brian Tuke.
version, although this is sometimes given as part of the provenance; see E.S. de Beer
When 80-year-old Emily Sims Motley posed for her grandson, her eyes focused on the artist working in front of her. That direct gaze now invites us to look carefully at this portrait.
I am a school social worker at Anne Beers Elementary School in Washington, D.C.
In the Low Countries, the Feast of Epiphany, or Twelfth Night, is known as Driekoningen (Three Kings). The Christian holiday is traditionally celebrated on January 6th with a festive meal at which friends and relatives gathered to eat, drink, and be merry.
Flanders, depicting the moment when the evening’s newly crowned „King“ raises his beer
Ludolf Backhuysen, whose name appears in the literature in a number of different forms (for example, Bakhuysen, Backhuisen, and Bakhuizen), was born in the German town of Emden on December 18, 1631. He was the son of a scribe, Gerhard Backhaus, and initially followed in his father’s footsteps, working as a clerk in the government offices at Emden.
Washington, D.C., 1995: 14-15. 2002 Beer, Gerlinde de.
Venus, as if filled with foreboding about Adonis’s fate, desperately clings to her lover, while he pulls himself free of her embrace, impatient for the hunt and with his hounds straining at the leash. The goddess’s gesture is echoed by that of Cupid, who anxiously watches the lovers’ leave-taking while clutching a dove—a creature sacred to Venus.
Esmond S. de Beer, 6 vols., Oxford, 1955: 4:162).
In 1648 a contemporary writer noted that Willem Claesz Heda was a specialist in breakfast and banquet still lifes, painting „fruit, and all kinds of knick-knacks.“ At first sight, Heda’s largest known still-life painting appears to welcome the viewer to a sumptuous feast. Yet pewter plates teeter precariously over the table’s edge, while a translucent goblet and a silver tazza have toppled over, indicating that the feast has already been enjoyed.
cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer
The three cargo ships in this large painting are the type of wide-bellied, seagoing vessels used to transport much of the commodities that generated the wealth of the Dutch in the seventeenth century. Flying the red, white, and blue flag of the Dutch Republic, these floating symbols of national prosperity are nevertheless in peril of crashing on the rocky shore.
New Haven, 1995: 223-224, repro. 2002 Beer, Gerlinde de.
See these 10 works by queer artists during your next visit.
Chester Dale Collection, 1963.10.158 “Why should I paint dead fish, onions, and beer
rounded out the feast, which would have been washed down with ample glasses of beer
[8] Letter from Bellows to Katherine Hiller, 1910, quoted in Thomas Beer, George
