The artist’s brother-in-law, Léon Appert, Paris (in 1892); Félix Fénéon, Paris (by 1904–at least 1909); [Stephan Bourgeois, New York, by 1916–at least 1918]; Adolph Lewisohn, New York (1919–d
"Eine Ausstellung Französischer Künstler im Münchener Kunstverein."
Along with the Virgin and Child with Saint Anne (The Met 14.40.633), the Salvator Mundi (Savior of the World) is one of two exceptional paintings by Albrecht Dürer in the collection of The Metropolitan Museum
Heller 1827], as "Ein Salvator, ist das letzte Stück, so er gemacht hat".
The Artist: Antonio Vivarini was a member of a family documented on the island of Murano (Venice) and Padua from the second half of the fourteenth century. His father, Michele, and the founder of the family, „Vivarinus vitruarius,“ were both glassmakers
"Ein Petrus-Martyr-Altar des Antonio Vivarini."
This group of five ivory panels are the reassembled elements of a „composite casket,“ so called by scholars because the narrative scenes that adorn them are vignettes from a variety of popular stories and chivalric romances
"Literatur in Bildern: Eine Vorbemerkung und sieben Stichworte."
the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
Vincent van Gogh: Mit Vierundfünfzig abbildungen und dem faksimile eines briefes
For over a century scholars have considered whether or not this sympathetic portrait of an old man is a self-portrait by El Greco. Lafond (1906) described the seemingly Romantic notion as at best a plausible hypothesis, and a number of more recent scholars (for example, Wethey 1962) have rejected the idea, mainly on the basis of comparisons with presumed self-portraits inserted by El Greco into several of his major religious pictures (see also Christiansen 2003)
El Greco: Eine Enführung in das Leben und Wirken des Domenico Theotocopuli gennant
The Artist: One of the great figures of seventeenth-century painting, Giovanni Francesco Barbieri was born in the town of Cento, not far from Ferrara. His nickname, Guercino—literally, “the little crossed-eyed�—derives from an eye defect evident in portraits of the artist
Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18.
The Painting: This compact, miniature altarpiece was commissioned for devotions to the Virgin of the Rosary.[1] The rosary refers to both the series of prayers recited, and the string of prayer beads used as a memory device
are modern. [4] For the related bibliography, see most recently Dürer war hier, eine
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
"Eine ‚verschollene‘ Florentiner Predellentafel in Dresden."
The Artist: Bernardo Daddi was one of the most important painters of the early Trecento in Florence. He began his activity there in the 1320s during the height of Giotto’s reign over Florentine painting
"Eine ‚verschollene‘ Florentiner Predellentafel in Dresden."
