The Campo di SS. Giovanni e Paolo, Venice by Bernardo Bellotto https://www.nga.gov/artworks/1144-campo-di-ss-giovanni-e-paolo-venice
Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter
Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter
Few artists could match Moroni’s skill in depicting the appearance of his sitters, far less his ability to conjure the inner workings of their minds. The identity of the gentleman in this penetrating portrait is a mystery.
Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[3] inheritance from Estate of
Widener, Elkins Park, Pennsylvania; inheritance from the Estate of Peter A. B.
Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[1] inheritance from the Estate
Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[4] inheritance from Estate of
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.
Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter
This exhibition celebrates Augustus Saint-Gaudens’ magisterial Shaw Memorial (1883–1900), considered by many to be one of the finest examples of 19th-century American sculpture. The monument commemorates the July 18, 1863, storming of Fort Wagner, near Charleston, South Carolina.
Department of the Interior, National Park Service, Saint-Gaudens National Historic
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.
Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[5] inheritance from Estate of
This large double portrait on horseback is unusual in Dutch art, because equestrian likenesses were initially reserved for sitting monarchs. Traditional portrait convention would have placed the woman to the left and slightly behind the man, yet this elegant lady on her magnificent steed occupies center stage.
Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[3] inheritance from Estate of
A pair of portraits of Emilia di Spilimbergo and her younger sister Irene was begun in about 1558, most likely in anticipation of their prospective marriages. The initial reason may have been to present two highly eligible, aristocratic young women to potential husbands, or the portraits may have been intended as permanent mementos for the sisters’ family after they were married.
Widener [1834-1915], Elkins Park, Pennsylvania;[3] Inheritance from the Estate of