Meintest du essen?
Explore the life and work of Jonathan King, one of the nineteenth century’s most important producers of valentines.
was, after all, a pretty one, and it is a pity that it should die out, for what else
Curator Daniëlle Kisluk-Grosheide on the reconsideration of European decorative arts.
Let’s find something else.
From a room above the chapter house of the Monastery of San Pedro de Arlanza, near Hortigüela, Burgos, Spain (sold by the government in the nineteenth century); Private Collection ; [ Sr. Colominas, Barcelona (sold 1931)]
"Les pintures de San Pedro de Arlanza i els bestiaris anglesos del 1200."
Renowned pipa player Wu Man returns to The Met to perform Lou Harrison’s Pipa Concerto with The Knights.
traditional solo repertoire, but I was always interested in playing with someone else
Munich, October 1912–around September 1914
Schmidt was a charity auction on February 17, 1913 to benefit the Expressionist poet Else
Rybnik, Poland (formerly Prussia), 1886–New York, 1977
The latter’s daughter, Else, and her husband the art historian Curt Glaser of Berlin
This composition, in which half-length figures of the three magi are viewed behind a fictive arcade, offering their gifts to the Christ Child—an event celebrated in the Church as the Feast of Epiphany (January 6)—conforms to the rising popularity in the Netherlands for close-up devotional paintings that put the viewer in a direct relationship with the event depicted
Netherlands, probably in Antwerp, at the end of the fifteenth century, but little else
Occasionally, the close scrutiny of early Netherlandish paintings yields quite another finding—that portraits of figures, and sometimes figures in their entirety, were reworked or initially painted by a different hand.
How else may we explain the addition of the arched latticework and grape arbor to
The most musical tree in the world.
guitarists, the sound of guitars made with wood from The Tree is truly unlike anything else
Turner made three trips to Venice, in the late summers of 1819, 1833, and 1840, and the present painting, exhibited at the Royal Academy in 1835, must have been painted upon his return from his second visit, presumably using his own drawings and watercolors as source materials
Wedderburn 1903–12, vol. 13, 1904], calls it "a challenge to Canaletto, being nothing else
