God the Father is shown with an orb & with his hand raised in blessing. This painting was formerly catalogued as a work by Masaccio & said to be probably from the frame of his Pisan altarpiece, of which the ' Virgin & Child' (also in the Collection) i ...

A classic gold picture frame suitable for mounting postcards from the National Gallery collection. This picture frame, glazed with durable plastic, is also available in a larger size, perfect for framing mini prints & art prints, & in black & natural wood. This classic frame is designed to fit images measuring 8 x 10 inches, 203 x 254 mm. ...

Men in the foreground play golf; one is about to strike the ball with his club ('kolf'). On the horizon is a windmill & the skyline of Haarlem, dominated by the outline of the Grote Kerk. In the figure group pentimenti (alterations made by the artist to ...

Author Maryan W. Ainsworth is a curator in the Department of European Paintings at The Metropolitan Museum of Art. Jan Gossart (c. 1472-1532) has long been recognized for his pivotal role in disseminating & transforming the art of antiquity & the Italian Renaissance style in the North. This catalogue raisonné of the Netherlandish painter, draftsman, & printmaker is the first major publication on the artist in more than forty years. His achievement is reevaluated here in light of the many discoveries revealed by recent scholarship & new technical examination of the paintings. Among the topics discussed are the impact of Gossarts trip to Rome; the influence of his patron Philip of Burgundy; his simultaneous work in Gothic & new antique modes; the attribution of all his extant drawings, including a number of newly found sheets; the first serious consideration of his prints; & the evolution of his working methods & painting techniques. ...

The painting's alternative title, ' Le Nouveau Ne' (The New Born) is inscribed on the support. This genre subject is typical of the artist's compositions in which he portrayed characters in historical costume engaged in domestic or courtly scenes. Highly de ...

This painting, together with another ' Group of Heads', was formerly often attributed to Annibale Carracci. Both works are copies of the heads at the lower extremities of Correggio's destroyed fresco in the apse of S. Giovanni Evangelista, Parma. A number ...

This group portrait shows the officials of the guild, which included men who made barrels for the wine imported into Amsterdam & those who sampled & bottled it. The painter's brother Jan is listed among the names which appear in the document on the table, but he has not been identified. In the background is a painting of Saint Matthias, patron saint of the coopers, & the tools carved into the frame are those used by the coopers in the making of the barrels. The name of the guild is written on the seal which hangs over the edge of the table. This type of group portrait, showing the officials of a guild, charitable organisation or civic body, was very popular in the Netherlands during the 17th century. ...

The fragments of this altarpiece are mounted in a 19th-century frame. In the main panels are, from the left, Saints Michael & John the Baptist, & on the right, a bishop & a female martyr. The Archangel Gabriel & the Annunciate Virgin are depicted ...

This painting was formerly thought to be by the Utrecht painter Melichior d' Hondecoeter (1636
- 1695) but has recently been reattributed
...

George Stubbs (1724-1806) is now rightly recognised as one of the greatest & most original artists of the eighteenth century. His profound understanding of anatomy & his uncanny ability to translate the study of nature into remarkably balanced compositions mark him out from other practitioners in the field of animal painting. His most frequent commissions were for paintings of horses, dogs & wild animals, but awareness that such subjects were rated low in the artistic hierarchy did not deter him, throughout a resolute & hard-working career, from producing images that invariably arrest attention & frequently strike a deeply poetic note. Stubbs did not emerge as a painter until he was in his mid-thirties & had moved to London, but in the 1760s his genius flowered astonishingly, prolifically & diversely, & his reputation was first established among noblemen devoted to racing & breeding horses. More than any other painter he steadily & uningratiatingly celebrates English sporting & country life & reveals himself, as in his 'incidental' portraits of jockeys & grooms, as a most perceptive observer of different levels of social behaviour. Throughout his career, Stubbs constantly experimented with technique & in the late 1760s he began chemical experiments with painting in enamels, first on copper & later on earthenware 'tablets', manufactured for him in Wedgwood's potteries, although these fascinating works never found public favour. In preparation for many years, this is the first full catalogue of Stubbs' paintings & drawings. The full catalogue entries are preceded by a lengthy study of Stubbs' art & career that sets his work in context. ...