For the subject of this fresco (now transferred to canvas mounted on board) see Apollodorus, ' Library' (3: 10). Apollo slew the one-eyed race of giants, the Cyclops, because they had provided Zeus with the thunderbolts which killed his son, Aesculapius. At ...

For the subject see Ovid, ' Metamorphoses' (1). Daphne, pursued by Apollo, cries for help to her father, the river God Peneus. He transforms her into a laurel bush as Apollo reaches her. Generally considered an autograph work. ...

Coronis, loved by Apollo, was unfaithful to the god. Apollo's bird, the raven, revealed her infidelity to him & Apollo thereupon slew her. (Ovid, ' Metamorphoses' 2:600 ff). The lower half of this composition is of much higher quality in execution. ...

The male figures in the central group are members of the Medici family. The only one who has recognisable features is the figure in the centre who has the likeness of the aged Cosimo I. Above are Mars & Venus & the chariot of the Moon, preceded by Evening. At the left Saturn holds a scythe & devours one of his children. Apollo is riding the chariot of the Sun, accompanied by the Seasons & preceded by Aurora. This painting is one of a group of 10 modelli, or elaborated oil studies, made in preparation for the fresco projects that Giordano created for the Palazzo Medici Riccardi in Florence. This painting was for the centre of the ceiling of the Galleria. ...

In the upper part, Jupiter holds a crown accompanied by Juno; below them to the left are Venus & Cupid, & Bacchus. At the right, Minerva presents a female figure with spear & shield; this figure is perhaps a personification of Spain or some attribute ...

Impressionism was the most important art movement of the nineteenth century; it changed both the painting that followed & wider public taste. Part of the appeal of many Impressionist works is their feeling of novelty & freshness: often they appear to have been painted rapidly, in one or only a few working sessions, & frequently retain evidence of spontaneity & improvisation in the flickering application of paint. But these 'impressions' of fleeting moments were not usually improvised, despite their reliance on rapidly executed brushstrokes & gestures. Ready-made oil paint in metal tubes made painting outdoors easier, while newly synthesised brilliant pigments allowed artists to render their subjects more vividly than ever before. The principles of contrasting & complementary colour also had a profound impact on the Impressionists & are explained accessibly in this art DVD through detailed examination of original paintings. The bonus film Impressionism: Painting Quickly in France adds further exploration of works by Manet, Morisot, Monet & Renoir. This art DVD examines in detail such key Impressionist paintings, such as Manet's The Races at Longchamps, & Monet's Beach at Trouville, & how they were produced. ...

This painting was long known as ' Sophonisba taking Poison' because it was thought to show the suicide of Sophonisba, wife of the Numidian King Massinissa, as recounted by Livy. In fact Creti based his composition on a painting of Artemisia by the Bolognese painter Giovan Gioseffo dal Sole (1654
- 1719). Queen Artemisia drank the ashes of her dead husband Mausolus in order to become his living tomb. She built a great funerary monument (mausoleum) at Halicarnassus to his memory, which became one of the wonders of the ancient world.
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A gnarled, solitary pine stands silhouetted like a sentinel against the Haslital Valley. The Grimsel Pass is nearby & in the distance the river Aare spills to the valley floor far below. The Swiss landscape master Calame often visited this site in search of spectacular motifs. ...

This is one of the earliest of Degas's many café scenes. Two men are seated at a table, examining what appears to be a newspaper; the man on the right holds a magnifying glass & his companion wears a monocle. There are a number of related sketches in one of Degas's notebooks dating from about 1867 to 1874, now in the Bibliothèque Nationale, Paris. ...

Create your own bespoke National Gallery art print of Pierre-Auguste Renoir’s At the Theatre (La Première Sortie) from our collection. About this painting At the Theatre (La Première Sortie), 1876-7 © The National Gallery, London This painting joined our collection in 1923 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...