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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)
"Rembrandt Rembrandt," February 1–May 11, 2003, no. 36 (as "Halbfigur einer Frau

"Bilder einer Metropole: Die Impressionisten in Paris," October 2, 2010–January

Attribution, Date, and Bruegel’s Working Methods: When The Met acquired The Harvesters in 1919, the extraordinarily low sale price in part had to do with the art market that had virtually collapsed during World War I
Brussels and Vienna (until d. 1662; inv., 1659, nos. 582–86, "Fünff grosse Stuckh einer

This panel and a scene showing the Flagellation of Christ (The Met 2001.216.2) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
Gemälde, Zeichnungen und Kunsthandwerk aus einer westfälischen Privatsammlung.

This panel and a scene showing the Crucifixion of Christ (The Met, 43.161) come from a large dismantled retable probably made for the high altar of the former Collegiate Church (Kollegiatstift) of Sankt Maria und Sankt Georg, now the Neustädter Marienkirche, in Bielefeld
Gemälde, Zeichnungen und Kunsthandwerk aus einer westfälischen Privatsammlung.

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Georges de La Tour’s Fortune Teller is one of the painter’s early masterpieces. It has been variously dated between 1620 and 1639, and it is most likely from the 1630s. The canvas is signed at top right: G
"Georges de La Tour: Essendes Bauernpaar Zu einer Neuerwerbung der Gemäldegalerie

artwork: Scan your QR code: Gratefully built with ACNLPatternTool Das Puppenhaus, Eine

Studying first with François Élie Vincent (1708–1790), a miniaturist whose Paris studio was in the same street as her father’s shop, Adélaïde Labille embarked upon her career before she was twenty
Marie-Guilhelmine Benoist: Gestaltungsräume einer Künstlerin um 1800.

This magnificent painting by the leading painter of King Louis XIV (1638–1715)—the artist who supervised the decoration of the Louvre and Versailles and headed the Gobelins manufactory for tapestries and furniture—is a landmark in the history of French portraiture
Freye Bemerkungen auf einer Reise in den Rheingegenden.