Subjects of this type are sometimes entitled ' The Magdalen Writing', but the lightening of the background around the girl's head is not a halo. Her costume is of about 1520; it is also depicted in two paintings, Woman weighing Gold (Berlin, Staatliche Mus ...
Van de Velde frequently reused drawings of animals made from life. Both the goat & the kid in this painting appear in other works by the artist. It is possible that the landscape background is by another artist, perhaps Frederick de Moucheron, whose work is also represented in the National Gallery's Collection. The background was certainly painted after the animals as an unpainted outline around them is visible. ...
Two gondoliers wearing festival costume propel themselves across part of the Venetian lagoon. On the horizon is the tower of Malghera, near Mestre on the mainland (see also Guardi ' View of the Venetian Lagoon with the Tower of Malghera'). This painting is likely to be a late work (after 1780) & comparable with a work of higher quality but similar in style & date in Milan, Museo Poldi Pezzoli. ...
Possibly from the Chapter House of S. Francesco, Siena, apparently from a large wall painting, perhaps of The Body of Saint Francis halted at S. Damiano, Assisi, & wept over by Saint Clare & her companions. Ambrogio is recorded by Ghiberti & other writers as having painted frescoes in the cloister of the convent. His brother, Pietro Lorenzetti, also contributed to the decorations. ...
This painting is a mature work, probably of the mid-1650s, & shows how a traditional type of composition was transformed by the artist. The scene is illuminated from the left by the warmth of the sun which sparkles on the water, highlighting the reflect ...
This scene is inspired by the landscape along the lower Rhine. Cuyp used the warm Italian sunlight he had adopted from his colleagues who specialised in Italianate landscapes. It is an important work of Cuyp's maturity & was probably painted around 1655 ...
The seated man in the centre wearing the Cross of the Order of Santiago, was formerly thought to be intended as a portrait of Velàzquez writing, possibly in connection with his court duties. It has recently been proposed more convincingly that this painting is a portrait sketch of the Count of Santisteban with his daughter. The Count was Viceroy of Naples between 1687 & 1695. Giordano probably painted this picture when he was in Spain. The significance of the composition is unclear: Giordano, who depicts himself as the figure in the lower right, seems either to point out the scene in the upper portion of the picture or else to be indicating that it is painted by himself. ...
This scene shows a horse (a white horse, characteristic of Wouwermans) being shod outside a village smithy. In the right foreground is a grinding stone. This work is thought to have been painted early in Wouwermans's career, probably in the 1640s. Wouwerma ...
This work was formerly attributed to a follower of Giorgione but is more probably by Bonifazio or his studio. It has been suggested that this work may derive from a series representing the ' Labours of the Months'. ...
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A Herdsman With Seven Cows By A River
This may be a copy after an unknown landscape by Cuyp, or a pastiche imitating his style. Such pastiches were painted by the 18th-century painter Jacob van Strij (1756 - 1815), who may be the artist of this picture.
This may be a copy after an unknown landscape by Cuyp, or a pastiche imitating his style. Such pastiches were painted by the 18th-century painter Jacob van Strij (1756 - 1815), who may be the artist of this picture.
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A Herdsman With Five Cows By A River National Gallery
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