The subject is obscure but the wreath worn by the enthroned figures perhaps indicates a poet. There is a hermit high on the rock to the left. The painting was long considered as the product of Giorgione's studio. More recently it has been suggested that it is an imitation of Giorgione made in about 1540. ...
This work is a portrait of Giovanni di Nicolao Arnolfini & his wife, but is not intended as a record of their wedding. His wife is not pregnant, as is often thought, but holding up her full-skirted dress in the contemporary fashion. Arnolfini was a member of a merchant family from Lucca living in Bruges. The couple are shown in a well-appointed interior. The ornate Latin signature translates as ' Jan van Eyck was here 1434'. The similarity to modern graffiti is not accidental. Van Eyck often inscribed his pictures in a witty way. The mirror reflects two figures in the doorway. One may be the painter himself. Arnolfini raises his right hand as he faces them, perhaps as a greeting. Van Eyck was intensely interested in the effects of light: oil paint allowed him to depict it with great subtlety in this picture, notably on the gleaming brass chandelier. ...
The sitter in this portrait was the daughter of Degas's lifelong friend, the industrialist & collector Henri Rouart. She is shown in the family house surrounded by paintings & objects from her father's collection, including Egyptian wooden statues, a Chinese wall-hanging, a painting by Corot & a drawing by Millet. ...
In the 18th century a number of Italian genre artists painted sitters suffering from afflictions. This sitter's neck is disfigured by a goitre. The painting is not by the artist Giacomo Francesco Cipper, but it shows his influence in both subject matter a ...
This characterful portrait of a peasant is one of a pair with ' Head of a Man in Blue' also in the National Gallery collection. Painted boldly, with a restricted palette, they show the influence of Giacomo Francesco Cipper in both subject matter & techni ...
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House On The Cliffs Near Fécamp
The site of this work may be in the neighbourhood of Fecamp, which Chintreuil visited in 1861. The modest subject and the sensitive treatment of light are typical of the artist.
The site of this work may be in the neighbourhood of Fecamp, which Chintreuil visited in 1861. The modest subject & the sensitive treatment of light are typical of the artist.
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