catalog_1000.json

[{"artworkid":1,"author":"CONTE, Jacopino del","description":"\n\n","end_year":1530,"genre":"painting","materials":"Oil on panel, 66 x 47 cm","museum_name":"Museum of Art, Philadelphia","name":"Portrait of a Man","start_year":1530,"type":"portrait","url":"https://www.wga.hu/detail/c/conte/portrai6.jpg"},{"artworkid":2,"author":"MOSAIC ARTIST, Italian","description":"\r\nThe mosaic decoration continues in the nave. Here the primary source was the book of Genesis, the depiction of which encompasses forty-two scenes in two registers, accompanied by a frieze of angels, across the walls of the centre aisle. The narrative extends from the Creation to Jacob's wrestling with the angel, and it begins on the south wall next to the crossing. Another major picture cycle presents Christ's miracles, from the healing of the daughter of the woman of Canaan to that of the centurion's servant, and fills the walls of the side aisles.\r\nThere are definite stylistic parallels between the Old Testament scenes in Monreale and those in the Cappella Palatina, though the Monreale cycle is more extensive and differs from the earlier mosaics in a number of individual motifs.\r\nThe picture shows the north wall of the centre aisle of the nave with a view into the north side aisle. The represented scenes on the north wall are: Isaac and Esau, Isaac blessing Jacob. In the north side aisle depictions of Christ's miracles can be seen.\r\n\r\n\n","end_year":1180,"genre":"mosaic","materials":"Mosaic","museum_name":"Cathedral, Monreale","name":"Nave, centre aisle, north wall (detail)","start_year":1180,"type":"religious","url":"https://www.wga.hu/detail/zgothic/mosaics/5monreal/5nave08s.jpg"},{"artworkid":3,"author":"GALLEN-KALLELA, Akseli","description":"\r\nIn 1890 and 1892, Gallen-Kallela travelled in eastern Finland and Karelia, documenting folk art, vernacular architecture and physiognomic types for future use. Inspired by Karelian buildings, he designed a studio for himself in central Finland (Ruovesi, 1894-95); this is a key work in the architectural development of the Finnish National Romanticism movement. In his Ruovesi studio, Gallen-Kallela produced pioneering woodcuts, stained glass and other examples of the applied arts.\r\n\r\n\n","end_year":1897,"genre":"stained-glass","materials":"Stained glass","museum_name":"Gallen-Kallela Museum, Tarvasp, Espoo","name":"The Hand of Christ","start_year":1897,"type":"religious","url":"https://www.wga.hu/detail/g/gallenka/stained1.jpg"},{"artworkid":4,"author":"BATONI, Pompeo","description":"\r\nThe two paintings, Venus Presenting Aeneas with Armour Forged by Vulcan, and its companion-piece Hercules at the Crossroads tend towards Neoclassicism in the way they strive for clarity in its narrative presentation.\r\n\r\n\n","end_year":1748,"genre":"painting","materials":"Oil on canvas, 99 x 74 cm","museum_name":"Liechtenstein Museum, Vienna","name":"Venus Presenting Aeneas with Armour Forged by Vulcan","start_year":1748,"type":"mythological","url":"https://www.wga.hu/detail/b/batoni/venus1.jpg"},{"artworkid":5,"author":"BAROCCI, Federico Fiori","description":"\r\nBarocci painted this Annunciation for the chapel of his patron, Francesco Maria II della Rovere, duke of Urbino, in the Basilica of Loreto between the years 1582 and 1584. In 1797 the altarpiece was seized by French troops and transferred to Paris, where it remained until 1815. Probably because of damage caused on its journey to Paris, the panel was first placed on a cloth base, but since this proved too light in weight, it became necessary to transfer it onto a stronger canvas.\r\nMany copies of the painting are known to exist, they were produced by re-utilization of the same preparatory drawing, either by Barocci himself or by his workshop.\r\n\r\n\n","end_year":1584,"genre":"painting","materials":"Oil on canvas, 248 x 170 cm","museum_name":"Pinacoteca, Vatican","name":"Annunciation","start_year":1582,"type":"religious","url":"https://www.wga.hu/detail/b/barocci/annuncix.jpg"},{"artworkid":6,"author":"MACKINTOSH, Charles Rennie","description":"\r\nCharles Rennie Mackintosh is one of the most influential figures of Art Nouveau, as he developed his original, incomparable and linear style in architecture and decorative arts. He finely exploited natural and artificial lighting and explored new spatial concepts based on strong traditional Scottish elements adapted to the modern way of life. He treated his buildings as whole works of art, with every detail carefully designed into clear and pure lines.\r\nThe photo shows the family room at Hill House, which is now owned by the National Trust for Scotland.\r\n\r\n\n","end_year":1904,"genre":"architecture","materials":"Photo","museum_name":"Hill House, Helensburgh","name":"Interior view: family room","start_year":1904,"type":"interior","url":"https://www.wga.hu/detail/m/mackinto/4hillh05.jpg"},{"artworkid":7,"author":"BERNINI, Gian Lorenzo","description":"\r\nBernini's greatest architectural achievement is the Piazza San Pietro, begun in 1656 under Alexander VII and completed in 1667. The construction of the square and colonnade was an undertaking of immense proportions and complexity. In transforming the small existing piazza, Bernini was expected to cater for several functions. First, he had to provide a suitable space for the throngs who assemble for the papal blessing delivered from the Benediction Loggia above the main portal of the façade. He had to allow a view of the window in the Vatican Palace on the north side of the square from which the pope gives his Sunday blessing. It was also necessary to create a monumental, dignified approach to St Peter's, one that expressed its special status as the primary church of Christendom. On a more practical level, passageways protected from the elements were required for ceremonial processions as well as for pedestrian and coach traffic.\r\nBernini's solution was to regularize the narrow, sloping space immediately in front of the church and to demolish the medieval and Renaissance buildings impinging upon the planned site. He laid out a vast oval area, its long axis parallel to the façade of the basilica and with the great obelisk erected by Sixtus V at the centre. This space was defined and framed by two immense, curved, free-standing colonnades, each composed of four rows of Doric columns. Viewed from the square, these lines of massive columns produce a powerful sculptural effect capped by the legions of travertine saints populating the balustrade and silhouetted against the sky.\r\nThis architectural complex creates a ceremonial space of the utmost grandeur. Moreover, the purposely low profile of the colonnade arms, their heavy proportions and linkage to the outer edge of St Peter's stressed the vertical thrust of Maderno's façade with its lighter Corinthian columns and so helped to diminish the sense of excessive width caused by the addition of two bays as foundations for the unrealized bell-towers.\r\nIn his original plan for the square Bernini envisaged a third, free-standing section of colonnade, at the now open end of the piazza, to close off the arms and to screen the visitor's view upon his approach. This arm was never built, and the broad avenue created in 1937 with its vista towards the Tiber distorts Bernini's intention that the colonnades should 'embrace Catholics to reinforce their belief, heretics to reunite them with the Church, and agnostics to enlighten them with true faith'.\r\n\r\n\n","end_year":1667,"genre":"architecture","materials":"Photo","museum_name":"St. Peter's Square, Rome","name":"General view","start_year":1656,"type":"other","url":"https://www.wga.hu/detail/b/bernini/gianlore/architec/st_peter.jpg"},{"artworkid":8,"author":"DEGAS, Edgar","description":"\r\nThe painting shows the star of the show dancing a solo turn on an empty stage. Other dancers can partly be seen waiting in the wings. The ballerina is on her toes, completing an arabesque which Degas renders very precisely through the positions of arms and the one visible leg and the slight inclination of the head too.\r\nThis picture typifies Degas's lifelong fascination with dances. It is not executed solely in pastel, the artist made use of the possibilities of mixed media to convey the airy quality of the tutu and to juxtapose surfaces executed in the finest detail with swiftly and sketchily coloured surfaces.\r\n\r\n\n","end_year":1878,"genre":"painting","materials":"Pastel on paper, 60 x 44 cm","museum_name":"Muse d'Orsay, Paris","name":"The Star - Dancer on the Stage","start_year":1878,"type":"other","url":"https://www.wga.hu/detail/d/degas/3/1870s_76.jpg"},{"artworkid":9,"author":"FABRE, Franois-Xavier","description":"\r\nFabre was a pupil of Jacques-Louis David in Paris, but spent much of his career in Italy: from 1787 in Rome and then from 1793 in Florence, where he was particularly connected with the English expatriate community. He specialised in half-length society portraits; their crisp design and minute attention to detail were largely inspired by David's paintings. He gradually produced a wider range of works, painting history pictures and landscapes, and was also active as a dealer, printmaker and enthusiastic collector. It is, above all, for his collection rather than his paintings that he is now best known; it is housed in the Musée Fabre in his native Montpellier and includes a number of important sixteenth- and seventeenth-century Italian paintings, as well as a wide selection of the artist's own work.\r\nFabre returned briefly to Paris (1809-10) and this intense and sensitive portrait of a fashionably dressed young man is dated to the first year of this visit. It bears a pencil inscription on the unpainted edge of the canvas: M Camille, which is presumably a reference to the as yet unknown sitter. His dishevelled hair is arranged in the so-called 'a la Titus' antique style which was then in vogue.\r\n\r\n\n","end_year":1809,"genre":"painting","materials":"Oil on canvas, 62 x 50 cm","museum_name":"National Gallery of Scotland, Edinburgh","name":"Portrait of a Man","start_year":1809,"type":"portrait","url":"https://www.wga.hu/detail/f/fabre/port_man.jpg"},{"artworkid":10,"author":"VUILLARD, douard","description":"\r\nAn almost greater role than the children of the title, the dark red patch of carpet, or the Japanese screen is played by the landscape beyond the balcony. The floorboards bleached by the light form a sort of continuation, after a brief interval of shadow, and force the modest interior painted in the most general terms to open up under the intensity of the Normandy noon.\r\n\r\n\n","end_year":1909,"genre":"painting","materials":"Gouache on paper pasted onto canvas, 845 x 777 mm","museum_name":"The Hermitage, St. Petersburg","name":"Children","start_year":1909,"type":"portrait","url":"https://www.wga.hu/detail/v/vuillard/vuilla07.jpg"},{"artworkid":11,"author":"BALDUNG GRIEN, Hans","description":"\r\nBaldung's experiments with the macabre were initiated early in Strasbourg, 1508-12, before his sojourn in Freiburg. One of these is the Three Ages of the Woman and the Death. in which the portrayals of age have a sinister character and a mannered virtuosity.\r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on limewood, 48 x 33 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Three Ages of the Woman and the Death","start_year":1510,"type":"mythological","url":"https://www.wga.hu/detail/b/baldung/1/06_3ages.jpg"},{"artworkid":12,"author":"BERNINI, Gian Lorenzo","description":"\n\n","end_year":1669,"genre":"graphics","materials":"Pen, wash, and watercolour, 270 x 385 mm","museum_name":"Museo Civico, Bassano del Grappa","name":"Study for an Equestrian Statue of Loius XIV","start_year":1669,"type":"study","url":"https://www.wga.hu/detail/b/bernini/gianlore/zdrawing/design0.jpg"},{"artworkid":13,"author":"GOES, Hugo van der","description":"\r\nThe picture shows Jerusalem in the background of the central panel.\r\n\r\n\n","end_year":1468,"genre":"painting","materials":"Oil on wood","museum_name":"Cathedral of St Bavo, Ghent","name":"Calvary Triptych (detail)","start_year":1465,"type":"religious","url":"https://www.wga.hu/detail/g/goes/calvary/calvar22.jpg"},{"artworkid":17,"author":"BRAY, Jan de","description":"\n\n","end_year":1670,"genre":"painting","materials":"Oil on canvas","museum_name":"Private collection","name":"David Playing the Harp (detail)","start_year":1670,"type":"religious","url":"https://www.wga.hu/detail/b/bray/jan/davidhax.jpg"},{"artworkid":21,"author":"SCHALLER, Johann Nepomuk","description":"\r\nOn receiving a commission from the court to work up a lifesize male statue of youthful age, he opted for a group based on Bellerophon Fighting the Chimaera. For this sculpture, Schaller used as his model Canova's recently completed group of Theseus and the Centaur.\r\n\n\n\r\nSuggested listening (streaming mp3, 2 minutes):Jean-Baptiste Lully: Bellérophon, Air\n\n\n","end_year":1821,"genre":"sculpture","materials":"Marble, height 210 cm","museum_name":"sterreichische Galerie Belvedere, Vienna","name":"Bellerophon Fighting the Chimaera","start_year":1821,"type":"mythological","url":"https://www.wga.hu/detail/s/schaller/bellerop.jpg"},{"artworkid":25,"author":"BRAY, Salomon de","description":"\r\nAfter the painting Eliezer and Rebecca was completed in 1660, a copy of it was drawn with pen and brush. There are similar copies of many of De Brays paintings, most of them done in chalk. It may have been a standard practice in De Bray's studio to keep record of this kind of every picture that left the 'shop'. Some of the drawings were made by Salomon himself, others by his sons, Jan and Joseph. The sheet after Eliezer and Rebecca was probably the work of the master himself.\r\n\r\n\n","end_year":1660,"genre":"graphics","materials":"Pen in brown, brush, grey wash, 182 x 312 mm","museum_name":"Kunsthalle, Hamburg","name":"Eliezer and Rebecca","start_year":1660,"type":"religious","url":"https://www.wga.hu/detail/b/bray/salomon/73elieze.jpg"},{"artworkid":29,"author":"RUNGE, Philipp Otto","description":"\n\n","end_year":1810,"genre":"painting","materials":"Oil on canvas","museum_name":"Kunsthalle, Hamburg","name":"The Great Morning (detail)","start_year":1809,"type":"other","url":"https://www.wga.hu/detail/r/runge/2morning.jpg"},{"artworkid":33,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThe subject of the painting is Christ's carrying of the cross to the hill of Golgotha, which rises up in the centre of the picture as a tall rock, the crosses already erected upon it. Directly beneath it in the foreground we see Christ in a flame red robe. He has collapsed under the heavy weight of the cross. To the right, Veronica, holding the sudarium, turns away from the dramatic scene, visibly moved. To the left, the two thieves likewise condemned to crucifixion are being led forward. In the exact centre of the picture, between Christ's cross and the hill of Golgotha, and directly facing the viewer, are the figures of Jesus' disciples, together with Mary and Mary Magdalene. Brightly illuminated, they stand out symbolically from the other figures.\r\n\r\n\n","end_year":1738,"genre":"painting","materials":"Oil on canvas, 450 x 517 cm","museum_name":"Sant'Alvise, Venice","name":"Christ Carrying the Cross","start_year":1737,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/2_1730s/11alvise.jpg"},{"artworkid":37,"author":"GHIRLANDAIO, Domenico","description":"\r\nAt the front right, Pope Clement is kneeling. He has laid down his papal tiara in front of him and appears to be urging the observer to take part in a humble worship of the Madonna. St Dominic, the founder of the order of the Dominicans, is kneeling next to him, and on the right the Church Father St Thomas Aquinas is holding out a valuable book.\r\n\r\n\n","end_year":1486,"genre":"painting","materials":"Tempera on wood,168 x 197 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Madonna and Child Enthroned between Angels and Saints","start_year":1486,"type":"religious","url":"https://www.wga.hu/detail/g/ghirland/domenico/7panel/05madon.jpg"},{"artworkid":41,"author":"PISANO, Giovanni","description":"\r\nThis fragment comes from the tomb of Margaret of Luxembourg.\r\n\r\n\n","end_year":1313,"genre":"sculpture","materials":"Marble","museum_name":"Museo di Sant'Agostino, Genoa","name":"Head of Fortitude","start_year":1311,"type":"religious","url":"https://www.wga.hu/detail/p/pisano/giovanni/various/tomblux2.jpg"},{"artworkid":45,"author":"MAGNASCO, Alessandro","description":"\r\nThis painting of the Genoese painter is imbued with a disquieting atmosphere.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 193 x 142 cm","museum_name":"Museo del Prado, Madrid","name":"Christ Served by the Angels","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/m/magnasco/christse.jpg"},{"artworkid":49,"author":"REYMOND, Pierre","description":"\r\nThis piece is of copper decorated with polychrome enamels and gilding with a female head on the top, a male head on the base, and on one side Cupid holding an arrow, and on each of the other sides a putto.\r\n\r\n\n","end_year":1545,"genre":"metalwork","materials":"Painted enamel, 5 x 7,5 cm","museum_name":"Fitzwilliam Museum, Cambridge","name":"Hexagonal Salt","start_year":1540,"type":"other","url":"https://www.wga.hu/detail/r/reymond/hexasalt.jpg"},{"artworkid":53,"author":"VERKOLJE, Johannes I","description":"\r\nIn large part self-taught, Verkolje drew in various media and styles and was influenced a range of artists, including Caspar Netscher, the highly successful genre painter and portraitist in The Hague. This drawing is reminiscent of Netscher's compositions of elegant companies.\r\n\r\n\n","end_year":1680,"genre":"graphics","materials":"Graphite, pen and brown ink, brush and gray ink, 222 x 205 mm","museum_name":"Rijksmuseum, Amsterdam","name":"Elegant Company on a Terrace","start_year":1680,"type":"genre","url":"https://www.wga.hu/detail/v/verkolje/johann1/zcompany.jpg"},{"artworkid":57,"author":"MILDERT, Johannes van","description":"\r\nThe sculpture on the façade of the Jesuit church in Antwerp representing the Virgin Enthroned is ascribed to Van Mildert on stylistic ground.\r\n\r\n\n","end_year":1620,"genre":"sculpture","materials":"Stone","museum_name":"Sint-Carolus-Borromeuskerk, Antwerp","name":"Virgin Enthroned","start_year":1620,"type":"religious","url":"https://www.wga.hu/detail/m/mildert/carolus.jpg"},{"artworkid":61,"author":"SALVIATI, Cecchino del","description":"\r\nSalviati painted the figure of St Andrew to the left of Jacopino del Conte's altarpiece in the oratory. At the time he painted the two figures flanking the altarpiece, Salviati was above all interested in bulky individual figures reflecting his admiration for Michelangelo.\r\n\r\n\n","end_year":1550,"genre":"painting","materials":"Fresco","museum_name":"Oratorio di San Giovanni Decollato, Rome","name":"St Andrew","start_year":1550,"type":"religious","url":"https://www.wga.hu/detail/s/salviati/2/4andrew.jpg"},{"artworkid":65,"author":"BERLAGE, Hendrik Petrus","description":"\r\nThe main hall is where the Amsterdam Insurance Exchange took place. The niches for underwriters are still visible along the side. On the floor, benches were placed where brokers and underwriters held office.\r\n\r\n\n","end_year":1903,"genre":"architecture","materials":"Photo","museum_name":"Damrak, Amsterdam","name":"Stock Exchange: Main Hall","start_year":1898,"type":"interior","url":"https://www.wga.hu/detail/b/berlage/exchang7.jpg"},{"artworkid":69,"author":"DONATELLO","description":"\r\nFour roundels show the evangelists realistically robed and seated at their desks. They are three-quarter length and in profile, and in the bold perspective and foreshortening of the figures Donatello repeats his dynamic concept of representation.\r\nIn contrast to the more colourful episodes from the life of St John, Donatello restricted himself when portraying the evangelists to a contrast between the blue relief background and the figures, which are left white. There is a discreet use of ornamental gilding to pick out some details. Compared to the rather small figures in the St John scenes, the four evangelists are portrayed in monumental size. There is no identifiable model for the idea of placing the evangelists' symbols (angel, ox, lion and eagle) on the writing desk in front of them, almost as if they were small decorative sculptural pieces. Each of the four evangelists is occupied with a different task, and they are depicted in contemplative isolation.\r\n\r\n\n","end_year":1443,"genre":"sculpture","materials":"Polychrome stucco, diameter 215 cm","museum_name":"Old Sacristy, San Lorenzo, Florence","name":"Evangelist John","start_year":1428,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/2_mature/sacristy/1sacri12.jpg"},{"artworkid":73,"author":"ANGELI, Giuseppe","description":"\r\nIn 1754, three canvases (St Roch in Glory, Faith, Charity) were commissioned from Giuseppe Angeli by Antonio Bianchi, the Guardian Grande of the Scuola di San Rocco. They decorate the ceiling of the Chancery.\r\n\r\n\n","end_year":1754,"genre":"painting","materials":"Oil on canvas, 155 x 150 cm","museum_name":"Scuola Grande di San Rocco, Venice","name":"Faith","start_year":1754,"type":"religious","url":"https://www.wga.hu/detail/a/angeli/rocco2.jpg"},{"artworkid":14,"author":"PISANELLO","description":"\r\nThis drawing is from the Vallardi Codex.\r\nThe cows which are lying in more or less similar positions are represented from three different angles. In Pisanello s studies of animals there is no single emphasized view, he looked at the animal from every side, observed the tension and relaxation of its muscles, the resilience or flabbiness of its skin or hide while it was moving and then depicted it. He did not construct his drawings by simply placing scrupulously observed details side by side, but threw light upon the various details while keeping in mind the whole structure. So profoundly could he pursue the smallest change in the animal's appearance that he had no need to take an inventory of its limbs, nor to regard the position of its head as a symbol of its body. All we can see represents the whole animal most expressively. This, of course, demands a very high and sophisticated level of draughtsmanship. Pisanello conveyed the animals' contours and interpreted the different shapes, masses and delicate effects of the surfaces by changing thickness of a single line, or by lines drawn closely side by side with a sure hand and an unbroken, enclosed line.\r\nIt is well worth noticing that even if it was only a sheet of studies the artist paid marked attention to the harmony of the composition. The contours of the two cows on the right, sloping towards each other, are symmetrical, and along these lines the same shading might suggest either mass or space.\r\n\r\n\n","end_year":1430,"genre":"graphics","materials":"Silver point, pencil and pen, 176 x 226 mm","museum_name":"Muse du Louvre, Paris","name":"Three Cows","start_year":1430,"type":"study","url":"https://www.wga.hu/detail/p/pisanell/3graphic/08cows.jpg"},{"artworkid":18,"author":"MILDERT, Johannes van","description":"\r\nThe Waterpoort (Water Gate) in Antwerp was originally part of the defensive wall encircling this city from the 14th until the 19th century. This early 17th century gate was reportedly designed by Rubens. It was constructed by Huybrecht van den Eynde and Hans van Mildert in 1624.\r\n\r\n\n","end_year":1624,"genre":"architecture","materials":"Photo","museum_name":"Waterpoort, Antwerp","name":"General view","start_year":1624,"type":"other","url":"https://www.wga.hu/detail/m/mildert/waterpor.jpg"},{"artworkid":22,"author":"ARALDI, Alessandro","description":"\r\nThe portrait of this unknown young woman, supposedly Barbara Pallavicino, has the cold, refined beauty of a cameo, and a certain stiffness in its position of clear profile.\r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on wood, 46,5 x 35 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Portrait of Barbara Pallavicino","start_year":1510,"type":"portrait","url":"https://www.wga.hu/detail/a/araldi/pallavic.jpg"},{"artworkid":26,"author":"TIZIANO Vecellio","description":"\r\nThe angel in from the left, the hand raised in the gesture of the annunciation. Under the classical portico the Virgin seems almost belittled behind the wooden lectern, in a pose of resigned submission to the will of God. The intimate character of the apparition is underlined by the presence of everyday objects and animals: the quail, the fruit placed on the steps of the lectern, the half-open work basket.\r\nThis painting was originally placed over one of the arches of the landing of the main staircase which joins the Ground Floor Hall to the Upper Hall  of the Scuola.\r\n\r\n\n","end_year":1535,"genre":"painting","materials":"Oil on canvas, 166 x 266 cm","museum_name":"Scuola Grande di San Rocco, Venice","name":"Annunciation","start_year":1535,"type":"religious","url":"https://www.wga.hu/detail/t/tiziano/03_1530s/6annunci.jpg"},{"artworkid":30,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nThe painting shows Lautrec's friend Viaud, who really was an admiral, and who allowed him to spend some time on his yacht in 1899, at Countess Adèle's request. Lautrec had just been released from hospital (an asylum) in Neuilly and his mother hoped that this ruse would prevent her son from succumbing to alcohol again.\r\nAll his life Lautrec was interested most of all in portraits. One of his very first works was a portrait of his father on horseback, and one of his last a significant portrait of his friend Paul Viaud as admiral.\r\n\r\n\n","end_year":1901,"genre":"painting","materials":"Oil on canvas, 139 x 153 cm","museum_name":"Museu de Arte, So Paulo","name":"Admiral Viaud","start_year":1901,"type":"portrait","url":"https://www.wga.hu/detail/t/toulouse/5/4late3.jpg"},{"artworkid":34,"author":"RUBENS, Peter Paul","description":"\r\nIn the early years of the seventeenth century painters of Madrid provided their patrons with eternal truths embodied in stable compositions, as if the confusion and mingling of forms would distract the viewer from the message. The paintings of Rubens offered a viable alternative by demonstrating that heightened colour and pictorial energy did not necessarily compromise the exposition of doctrine and dogma. The Eucharist tapestries in the Descalzas Reales were a convincing demonstration of the point. Although rich in symbols and complex in composition, they constitute a flawless, ringing exposition of a cardinal doctrine of the Catholic church, and the lesson was not lost on the guardians of religious life.\r\nThis picture shows an oil sketch for Eucharistic tapestry.\r\n\r\n\n","end_year":1628,"genre":"tapestry","materials":"Oil on panel, 86 x 91 cm","museum_name":"Museo del Prado, Madrid","name":"Triumph of Church over Fury, Discord, and Hate","start_year":1628,"type":"study","url":"https://www.wga.hu/detail/r/rubens/7graphic/08euchar.jpg"},{"artworkid":38,"author":"BORTOLONI, Mattia","description":"\r\nAfter the magnificent church cupola frescoes of the seventeenth century by Lanfranco, Pozzo, Baciccio, Pietro da Cortona, and others, the eighteenth century achieved its own spectacular effects with cupola frescoes enlivened by the infusion of natural light. Cupola painting was still the painter's greatest challenge. Conquering such tall spaces was made easier by a more modern scaffolding design widely employed following the building of the new Saint Peter's. The cupola fresco in the pilgrimage church of Regina Montis Regalis, erected on the site of an appearance of the Virgin  near Vicoforte, in Piedmont, serves as an example of how, thanks to technical and artistic innovations, architecture and decoration led to a solution virtually impossible to outdo in theatrical opulence.\r\nThe Venetian Mattia Bortolini and the virtually unknown quadratura painter Felice Biella painted the shell of the cupola, which rises above a tall, light-filled drum and presents a surface area of more than 6.000 sq.m in a mere three years, using the simulated coffering that had already been painted for an Assumption of the Virgin which they kept.\r\n\r\n\n","end_year":1748,"genre":"painting","materials":"Fresco","museum_name":"Regina Montis Regalis, Vicoforte","name":"Cupola vault","start_year":1745,"type":"religious","url":"https://www.wga.hu/detail/b/bortolin/vicafort.jpg"},{"artworkid":42,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 527, JH 1657.\r\n\r\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 60 x 49 cm","museum_name":"Courtauld Gallery, London","name":"Self-Portrait with Bandaged Ear","start_year":1889,"type":"portrait","url":"https://www.wga.hu/detail/g/gogh_van/16/selfpo31.jpg"},{"artworkid":46,"author":"RUBENS, Peter Paul","description":"\r\nTitian's career as a court painter-at-large provided a model for that of Rubens, who likewise travelled exceptionally widely in the service of an international cast of rulers. During his travels, Rubens not only studied but also made numerous copies of the Titians in the princely collections of Mantua, Madrid and London. Rubens turned to his predecessor for guidance when composing every kind of subject, while at the same time introducing variations on his compositional models. His own version of the Diana and Callisto story of c. 1639, for example,  clearly draws directly on his close study of Titian's Diana pictures when he visited the court of Madrid in 1628-29.\r\n\r\n\n","end_year":1639,"genre":"painting","materials":"Oil on canvas, 202 x 323 cm","museum_name":"Museo del Prado, Madrid","name":"Diana and Callisto","start_year":1639,"type":"mythological","url":"https://www.wga.hu/detail/r/rubens/23mythol/58mythol.jpg"},{"artworkid":50,"author":"QUARTI, Eugenio","description":"\r\nThis furniture is a sofa base in walnut with an opening seat inlaid with horn and pewter, embossed copper applications.\r\n\r\n\n","end_year":1894,"genre":"furniture","materials":"Walnut inlaid with horn and pewter","museum_name":"Private collection","name":"Sofa base","start_year":1894,"type":"other","url":"https://www.wga.hu/detail/q/quarti/sofabase.jpg"},{"artworkid":942,"author":"POELAERT, Joseph","description":"\r\nIn 1860 Poelaert became a member of the commission overseeing the competition for a new Palais de Justice, Brussels. None of the 28 designs submitted was awarded a prize; instead, a proposal made by Poelaert in 1862 was approved by the Minister of Justice, to whom he insisted on being personally and solely responsible for the execution of the building. He effectively ceased all other professional activities to concentrate on this project (built 1866-83), which was intended to comprise a structure of 20,000 sq. m costing three million Belgian francs but which ended up nearly 30% larger and costing some 50 million francs.\r\nThe gigantic scale and conspicuous site of the Palais de Justice - Poelaert's masterpiece - made him the best-known Belgian architect of the mid-19th century. The structure rises in a series of heavy colonnaded masses to a high cupola; it terminates the prestigious Rue de la Régence in Brussels, overlooks its working-class core and visually dominates the entire city. The building's political promoters conceived it as a monument that, by virtue of its size and position as well as its classicizing style and sculptural programme, would dramatize the triumph of secularism over the religious traditions embodied in the various Gothic and Gothic Revival monuments of the city.\r\nThe success of the building was due wholly to the crushing iconographic power of its shape and dramatic interior spaces. Its academicist plan, with multiple axes of long, often redundant corridors and staircases outlining immense empty volumes on many levels, proved almost dysfunctional. Sometimes categorized as Baroque Revival, the Palais de Justice is really an eclectic composition, with Néo-Grec, Neo-classical and Renaissance Revival elements disposed with great originality and always with an eye to scenographic rather than architectonic effect.\r\nThe photo shows the main façade.\r\n\r\n\n","end_year":1883,"genre":"architecture","materials":"Photo","museum_name":"Palace of Justice, Brussels","name":"Exterior view","start_year":1866,"type":"other","url":"https://www.wga.hu/detail/p/poelaert/justice3.jpg"},{"artworkid":15,"author":"PCHEUX, Laurent","description":"\r\nIn 1765 Laurent Pécheux was called to Parma to paint Princess Maria Luisa (1751–1819) who, although only thirteen, was already renowned for being spoiled and conceited. This portrait, whose commission is recorded in great detail in the artist's autobiography, was for the family of her fiancé, the Prince of Asturias, later King Charles IV of Spain (1748–1819).\r\n\r\n\n","end_year":1765,"genre":"painting","materials":"Oil on canvas, 231 x 165 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Portrait of Maria Luisa of Parma, Later Queen of Spain","start_year":1765,"type":"portrait","url":"https://www.wga.hu/detail/p/pecheux/portrait.jpg"},{"artworkid":19,"author":"CARRACCI, Agostino","description":"\r\nThe Three Graces are figures of Roman mythology who derive from the Greek Charites. They are the daughters of Zeus, and are called Euphrosyne, Thalia and Aglaia, meaning Joyfulness, Bloom, and Brightness. In antiquity, towards the end of the Middle Ages and in the Renaissance, they were most often depicted as naked young women, and part of the entourage of Venus.\r\nThe most common representation of the group depicts the three women in a row, the outer ones shown frontally and the middle one in back view, their hands laid on each other's shoulders. Raphael's small panel is the most famous post-Antique interpretation of this type.\r\nAt the end of the sixteenth century Agostino Carracci made popular in an engraving another type which shows the figures from left to right in back, front, and side view, possibly in order to display feminine beauty from all three angles.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Engraving","museum_name":"Stdelsches Kunstinstitut, Frankfurt","name":"The Three Graces","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/c/carracci/agostino/thregrac.jpg"},{"artworkid":23,"author":"UNKNOWN MASTER, Netherlandish","description":"\r\nThis bellows decorated with the scene of the Flight into Egypt was a luxury item not intended for daily use. The anonymous sculptor to whom this and two other carved bellows are attributed is referred to as Master of the Utrecht Stone Female Head.\r\n\r\n\n","end_year":1510,"genre":"sculpture","materials":"Oak, leather and copper, height 62 cm","museum_name":"Rijksmuseum, Amsterdam","name":"Bellows with the Fight into Egypt","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_du/2/utrecht.jpg"},{"artworkid":27,"author":"PENCZ, Georg","description":"\r\nCount Palatine Ottheinrich (1502-1559), Regent of the principality of Pfalz-Neuburg, later Elector in Heidelberg, was one of the most prominent German collectors of books. His name is linked to the richly illustrated, unusually large manuscript of a New Testament in German translation.\r\n\r\n\n","end_year":1550,"genre":"painting","materials":"Oil on panel, 94 x 73 cm","museum_name":"The Hermitage, St. Petersburg","name":"Portrait of Count Palatine Ottheinrich","start_year":1550,"type":"portrait","url":"https://www.wga.hu/detail/p/pencz/ottheinr.jpg"},{"artworkid":31,"author":"QUELLINUS, Jan-Erasmus","description":"\r\nErasmus Quellinus II was the model for his son Jan-Erasmus. From the start Jan-Erasmus enriched the characteristic classicism of his father with a sense for decorum derived mainly from Veronese whose work he copied during his stay in Venice. Imposing Palladian architectural motifs and a preference for varied and colourful detail are the most noticeable characteristics.\r\nSaint Francis Xavier (1506-1552) was a Navarrese Basque Roman Catholic missionary, and a co-founder of the Society of Jesus. He was a companion of Saint Ignatius of Loyola and one of the first seven Jesuits who took vows of poverty and chastity at Montmartre, Paris in 1534. He led an extensive mission into Asia, and was influential in evangelization work, most notably in India. He also was the first Christian missionary to venture into Japan, Borneo, the Maluku Islands, and other areas.\r\n\r\n\n","end_year":1702,"genre":"painting","materials":"Oil on canvas, 300 x 430 cm","museum_name":"Onze-Lieve-Vrouw Sint-Pieterskerk, Ghent","name":"Saint Francis Xavier in Dispute with the Emperor of Japan","start_year":1702,"type":"religious","url":"https://www.wga.hu/detail/q/quellin/jan/dispute.jpg"},{"artworkid":35,"author":"YEZ DE LA ALMEDINA, Fernando","description":"\r\nLegend has it that in the reign of the Emperor Maxentius there lived a girl known as Catherine of Alexandria who was as intelligent and wise in debate as she was beautiful to look upon. During the last years of pagan Rome she emerged victorious from every verbal encounter with the Roman sages and it was for this reason that, at the Emperor's order, on the 25th of November, in the year 307 A.D., she was broken on the wheel and then beheaded. Catherine's emblems are therefore the wheel, the sword, the palm-branch and the book, the first two representing her martyrdom, the others her wisdom.\r\nBoth her life and her death were favourite subjects for paintings in the Middle Ages, chosen even by the greatest artists of the Renaissance when it was only possible to paint a beautiful woman in the guise of a saint. Thus in this painting by Yáñez we are shown a gentle young girl with a Leonardo-like smile, colourfully dressed and posed against a richly detailed background. Yáñez was an artist of the Spanish Renaissance who, though influenced by Italian art, retained the vivid colouring and meticulous detail of the Flemish tradition.\r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on canvas, 212 x 112 cm","museum_name":"Museo del Prado, Madrid","name":"Saint Catherine","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/y/yanez/catherin.jpg"},{"artworkid":39,"author":"AGOSTINO DI DUCCIO","description":"\r\nIn the Tempio Malatestiano Agostino di Duccio created a highly individual style where the Quattrocento Renaissance types of figures are wedded to swinging linear masses of linear fold patterns, spreading out over the surface of the relief.\r\n\r\n\n","end_year":1455,"genre":"sculpture","materials":"Marble","museum_name":"Tempio Malatestiano, Rimini","name":"Musician angels","start_year":1450,"type":"religious","url":"https://www.wga.hu/detail/a/agostin/1rimini/3isotta1.jpg"},{"artworkid":43,"author":"VERONESE, Paolo","description":"\r\nOn the ceiling decoration of the Sala del Maggior Consiglio great importance was given to the victories of the Venetian army in conquering the mainland; along the wall to the dispute between Alexander III and Frederick Barbarossa, who reached an agreement in Venice with the political mediation of Doge Sebastiano Ziani; and to the events of the Fourth Crusade, led by Doge Enrico Dandolo in the early years of the 13th century.\r\nVeronese's Conquest of Smyrna is one of the thirty five panels on the ceiling of the Sala del Maggior Consiglio. It depicts Pietro Mocenigo leading the attack on Smyrna.\r\n\r\n\n","end_year":1585,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Ducale, Venice","name":"Conquest of Smyrna","start_year":1585,"type":"historical","url":"https://www.wga.hu/detail/v/veronese/08/maggior/1maggior5.jpg"},{"artworkid":47,"author":"RENOIR, Pierre-Auguste","description":"\r\nRenoir painted this nude at a pivotal moment in his career. In the 1870s, the artist experimented with Impressionist techniques, dissolving figures and forms in the atmospheric effects of light and shadow. By the 1880s, the figures in his paintings had become more solid and better defined. This shift in style is visible in the smooth texture of the woman's pearly skin and the crisp outline of the curves of her body set against a sketchy, vibrant background.\r\n\r\n\n","end_year":1885,"genre":"painting","materials":"Oil on canvas, 92 x 73 cm","museum_name":"The Clark Art Institute, Williamstown","name":"Bather Arranging her Hair","start_year":1885,"type":"genre","url":"https://www.wga.hu/detail/r/renoir/3/3renoi241.jpg"},{"artworkid":51,"author":"HAMESSE, Paul","description":"\r\nThe detail shows the elegant bow window and the balcony above it.\r\n\r\n\n","end_year":1904,"genre":"architecture","materials":"Photo","museum_name":"Rue Royal 316, Saint-Josse-ten-Noode, Brussels","name":"Htel Cohn-Donnay: faade (detail)","start_year":1904,"type":"other","url":"https://www.wga.hu/detail/h/hamesse/hotel-c2.jpg"},{"artworkid":55,"author":"TIZIANO Vecellio","description":"\r\nThis is another version of the extremely successful Venus and Cupid theme, the majority of which was probably produced by Titian's workshop.\r\n\r\n\n","end_year":1550,"genre":"painting","materials":"Oil on canvas, 139 x 195 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Venus and Cupid","start_year":1550,"type":"mythological","url":"https://www.wga.hu/detail/t/tiziano/09/09venus.jpg"},{"artworkid":871,"author":"LE SUEUR, Eustache","description":"\n\n","end_year":1648,"genre":"painting","materials":"Oil on canvas, 193 x 130 cm","museum_name":"Muse du Louvre, Paris","name":"St Bruno Teaching Theology in the Schools of Reims","start_year":1645,"type":"religious","url":"https://www.wga.hu/detail/l/le_sueur/st_bruno/bruno11.jpg"},{"artworkid":16,"author":"BOUCHER, Franois","description":"\r\nThe subject of the love of Apollo and the shepherdess Isse is taken from Ovid's metamorphoses. The painting was commissioned from Boucher in 1749 by the Direction des Bâtiments du Roi.\r\n\r\n\n","end_year":1750,"genre":"painting","materials":"Oil on canvas, 129 x 158 cm","museum_name":"Muse des Beaux-Arts, Tours","name":"Apollo Revealing his Divinity before the Shepherdess Isse","start_year":1750,"type":"mythological","url":"https://www.wga.hu/detail/b/boucher/2/revealin.jpg"},{"artworkid":20,"author":"BARTOLO DI FREDI","description":"\r\nThis panel was commissioned for the church of Sant'Agostino, San Gimignano. It is one of ten saints that would have formed the lateral pilasters of a vast and elaborate altarpiece, dismantled in the 19th century. \r\n\r\n\n","end_year":1388,"genre":"painting","materials":"Tempera on panel, gold ground, 47 x 20 cm","museum_name":"Private collection","name":"St Lawrence","start_year":1388,"type":"religious","url":"https://www.wga.hu/detail/b/bartolo/stlawren.jpg"},{"artworkid":24,"author":"PALLADIO, Andrea","description":"\r\nThis building was commissioned by Daniele and Marcantonio Barbaro as a rebuilding of a family estate, some of the foundations of which were incorporated into Palladio's design. Palladio seems to have become a member of the Barbaro household staff.\r\nThe Villa Barbaro was the modest main building for a small working farm, and the manner in which the flanking wings extend into the landscape has a practical rather than a theoretical basis. The main façade is based on an ancient temple façade; the arcaded wings to either side culminate in large sundials and structures that suggest dovecotes.\r\nThe interior was decorated by Veronese.\n\n","end_year":1550,"genre":"architecture","materials":"Photo","museum_name":"Villa Barbaro, Maser","name":"Exterior view","start_year":1550,"type":"other","url":"https://www.wga.hu/detail/p/palladio/3/maser.jpg"},{"artworkid":28,"author":"LAURANA, Luciano","description":"\n\n","end_year":1472,"genre":"architecture","materials":"Photo","museum_name":"Palazzo Ducale, Urbino","name":"Courtyard (detail)","start_year":1467,"type":"other","url":"https://www.wga.hu/detail/l/lauranal/urbino2.jpg"},{"artworkid":32,"author":"UNKNOWN GOLDSMITH, French","description":"\r\nThe Stavelot Triptych is a medieval reliquary intended to protect, honour and display pieces of the True Cross. It was created by Mosan goldsmiths (working in the valley of the Meuse River) around 1156 at Stavelot Abbey in present-day Belgium.\r\nThe Triptych is a three-part winged shrine. In such a triptych, the outer wings protect (when swung shut) the middle section, which contains two smaller triptychs, each containing pieces of the True Cross.\r\n\r\n\n","end_year":1158,"genre":"metalwork","materials":"Enamel, copper and silver gilt, 48 x 32 x 8 cm (closed)","museum_name":"The Morgan Library and Museum, New York","name":"Stavelot Triptych","start_year":1156,"type":"religious","url":"https://www.wga.hu/detail/zzdeco/1gold/12c/02f_1100.jpg"},{"artworkid":36,"author":"BANDINELLI, Baccio","description":"\r\nThe genesis of Hercules and Cacus dates to 1508 when a marble block was ordered for Michelangelo to carve as a counterpart to the David. However, the marble was not delivered until 1525 and was given to Bandinelli as Michelangelo was working on the Medici Chapel. His first model was incompatible with the block but he continued on the project through the 1527 expulsion of the Medici. In 1528, with the republicans in control, Michelangelo was given the block for a Samson and Philistine but after the Medici return in 1530 he was instructed to resume work in the chapel and Bandinelli to continue the Hercules and Cacus. After seeing it installed as a pendant to the David in the vast Piazza, Bandinelli concluded that the muscles were \"too sweet\" and further exaggerated it.\r\n\r\n\n","end_year":1534,"genre":"sculpture","materials":"Marble, height 505 cm","museum_name":"Piazza della Signoria, Florence","name":"Hercules and Cacus","start_year":1525,"type":"mythological","url":"https://www.wga.hu/detail/b/bandinel/1/hercule1.jpg"},{"artworkid":40,"author":"UNKNOWN MASTER, Italian","description":"\r\nFrom the 13th century, the Carmelite oratory in Florence housed the miracle-working image known as the \"Madonna del Popolo.\" Marian devotion in Santa Maria del Carmine was focused upon this image.\r\nThis monumental painting offered a full-length rendering of the Madonna and Child enthroned with angels, against a gold ground with Christ blessing in the gable above. Scholars consider it to be a thirteenth-century Florentine work by someone within the orbit of Coppo di Marcovaldo. The style is consistent with that found in paintings executed in Florence during the 1260s and 1270s, when a strong Byzantine influence prevailed in Tuscan art. In scale, the painting is comparable to the Maestà by Guido da Siena and a precursor of the larger Madonna and Child compositions that Duccio, Cimabue, and Giotto evolved.\r\n\r\n\n","end_year":1260,"genre":"painting","materials":"Wood","museum_name":"Brancacci Chapel, Santa Maria del Carmine, Florence","name":"Madonna del Popolo","start_year":1260,"type":"religious","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it0/043popol.jpg"},{"artworkid":44,"author":"GHEYN, Jacob de II","description":"\r\nJacob de Gheyn II, an engraver and painter, was Goltzius's pupil. He matches his teacher as a draughtsman and at times even surpasses him. like his teacher, de Gheyn was equally gifted with pen, metal-point and chalk, but he did not have Goltzius's compulsion to make an ostentatious display of his virtuosity. De Gheyn's pen line frequently resembles the technique of engraving in its swelling and diminution and extensive use of hatching and dots to model form, but his touch is more nervous and hence seems less impersonal. His choice of subject range from ghostly drawings of witches' sabbaths to tender domestic scenes such as his Woman and Child looking at a Picture Book at Berlin. If any of the early Dutch draughtsmen gives a foretaste of Rembrandt in spiritedness of line and vivacity of characterization, it is de Gheyn.\r\n\r\n\n","end_year":1600,"genre":"graphics","materials":"Pen and wash on paper","museum_name":"Staatliche Museen, Berlin","name":"Woman and Child looking at a Picture Book","start_year":1600,"type":"study","url":"https://www.wga.hu/detail/g/gheyn/woman_ch.jpg"},{"artworkid":48,"author":"WHEATLEY, Francis","description":"\r\nThis canvas is part of a a series of paintings, later engraved, called the Cries of London, showing itinerant merchants selling their wares or services. The fourteen original paintings were immensely popular when exhibited at the Royal Academy between 1792 and 1795.\r\n\r\n\n","end_year":1795,"genre":"painting","materials":"Oil on canvas, 88 x 113 cm","museum_name":"Private collection","name":"Fresh Gathered Peas","start_year":1792,"type":"still-life","url":"https://www.wga.hu/detail/w/wheatley/freshpea.jpg"},{"artworkid":52,"author":"GIOTTO di Bondone","description":"\r\nHaving been educated at the temple, the Virgin Mary was to become betrothed. However, since her parents had dedicated her to the Lord, her future husband was to be decided upon by a miracle. He whose rod brought forth blossom would marry the Virgin. The fresco shows the choir of a church, at whose altar the high priest stands, receiving the rods. Attentive and excited, the young men hand over their rods. Only Joseph stands somewhat hesitantly on the extreme left. The legend tells us that he considered himself too old for the Virgin.\r\nThe three scenes related to the marriage of Mary take place in the same church.\r\n\r\n\n","end_year":1306,"genre":"painting","materials":"Fresco, 200 x 185 cm","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"No. 9 Scenes from the Life of the Virgin: 3. The Bringing of the Rods to the Temple","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/2virgin/mary03.jpg"},{"artworkid":56,"author":"TIZIANO Vecellio","description":"\r\nEmperor Charles V described the painting in a codicil to his will, in which he ordered that a high altar should be erected containing this painting, as the Last Judgment. It depicts Charles V and members of his family together with angels and biblical figures worshipping the Holy Trinity. Charles V, his wife Isabella of Portugal and their son Philip II appear on the right side, wrapped in white shrouds and accompanied by angels.\r\n\r\n\n","end_year":1554,"genre":"painting","materials":"Oil on canvas, 346 x 240 cm","museum_name":"Museo del Prado, Madrid","name":"The Trinity in Glory","start_year":1552,"type":"religious","url":"https://www.wga.hu/detail/t/tiziano/05_1550s/02trinit.jpg"},{"artworkid":358,"author":"ROLLENHAGEN, Gabriel","description":"\r\nThis emblem is from Gabriel Rollenhagen's Nucleus emblematum selectissimorum, published in Arnhem and Utrecht, 1611-13. The female figure is the personification of temperance.\r\n\r\n\n","end_year":1613,"genre":"graphics","materials":"Engraving","museum_name":"Public Library, New York","name":"Emblem","start_year":1611,"type":"other","url":"https://www.wga.hu/detail/r/rollenha/emblem.jpg"},{"artworkid":54,"author":"PILON, Germain","description":"\r\nIn addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de' Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.\r\n\r\n\n","end_year":1583,"genre":"sculpture","materials":"Marble","museum_name":"Abbey Church, Saint-Denis","name":"Effigies of Henri II and Catherine de' Medici (detail)","start_year":1583,"type":"religious","url":"https://www.wga.hu/detail/p/pilon/henri2a4.jpg"},{"artworkid":58,"author":"RAINALDI, Girolamo","description":"\r\nThe Villa Farnese was built for Cardinal Alessandro Farnese (1520-1589) who was made cardinal by his grandfather Pope Paul III (1468-1549), and named vice chancellor of the Holy Roman Church a year later, according him the highest position after that of the pope in the ecclesiastical hierarchy. The architect of the construction was Giacomo da Vignola in the 1560s.\r\nThe upper gardens and casino were laid out by Giacomo del Duca in the 1580s. He incorporated into the design terraces, fountains and sculpture. They are remarkable for the synthesis of natural and manmade elements. The discovery of a new vein of water in 1616 led Cardinal Odoardo Farnese to expand the upper gardens by adding two lower pavilions, 24 herms surrounding the parterres in front of the casino, gardens and fountains at the rear of the casino, and ramps connecting the front and rear gardens. The architect was probably Girolamo Rainaldi. The programme of the upper gardens has never been worked out in detail, but the major elements include statues of Oblivion and Silence flanking the Lily Fountain, a dolphin water-chain flowing from the Fountain of the Chalice, which is in turn flanked by two river gods with cornucopias, and two unicorn and dolphin fountains.\r\nThe photo shows the water-chain with the fountain flanked by the river gods in front of the Casino.\r\n\r\n\n","end_year":1610,"genre":"architecture","materials":"Photo","museum_name":"Villa Farnese, Caprarola, near Viterbo","name":"View of the water-chain","start_year":1610,"type":"other","url":"https://www.wga.hu/detail/r/rainaldi/girolamo/farnese1.jpg"},{"artworkid":62,"author":"FLAMEN, Anselme","description":"\r\nSeveral sculptors were involved in creating the six large bronze angels, holding instruments of the Passion, which form part of the Vow of Louis XIII scheme on the high altar of Notre-Dame in Paris. The sculptors included Anselme Flamen who contributed the rather heavy if expressive Angel with the Lance, typical of his style, where a certain stockiness invests the proportions of his figures.\r\n\r\n\n","end_year":1713,"genre":"sculpture","materials":"Bronze","museum_name":"Notre-Dame Cathedral, Paris","name":"Angel with the Lance","start_year":1712,"type":"religious","url":"https://www.wga.hu/detail/f/flamen/angel_la.jpg"},{"artworkid":66,"author":"BALESTRA, Antonio","description":"\r\nThe the ceiling in the main hall of the villa, unfortunately damaged and repainted in certain areas, has a representation of The Triumph of Love, after Francesco Petrarch's poem. Cupid's ardent chariot burst through the clouds, drawn by majestic, impetuous steeds, headed toward Venus's beloved island of Cythera, where Cupid, the small but powerful god, will celebrate his triumph over man, who is vanquished by pleasure. On the gilded vehicle, Cupid is about to shoot his dart toward the throng he has subjugated.\r\nThe composition of the ceiling fresco, particularly the superb quartet of horses, might have made an impression on Giovanni Battista Tiepolo, who would return to this scheme on numerous occasions.\r\n\r\n\n","end_year":1738,"genre":"painting","materials":"Fresco","museum_name":"Villa Pompei Carlotti, Illasi","name":"View of the ceiling","start_year":1738,"type":"mythological","url":"https://www.wga.hu/detail/b/balestra/1illasi6.jpg"},{"artworkid":70,"author":"BONZI, Pietro Paolo","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 29 x 39 cm","museum_name":"Private collection","name":"Italianate River Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/b/bonzi/river_la.jpg"},{"artworkid":74,"author":"ARCHITECT, Italian","description":"\r\nThe photo shows a view of the west façade of the cathedral, the campanile and the baptistery.\r\nThis ensemble consisting of the cathedral, campanile and baptistery was not built at the same time. Construction work on the cathedral started c. 1090 and was completed by 1130. In 1170 it was vaulted. Benedetto Antelami directed the building of the baptistery between 1196 and 1216. Finally, the campanile was built between 1284 and 1296.\r\n\r\n\n","end_year":1130,"genre":"architecture","materials":"Photo","museum_name":"Piazza Duomo, Parma (Emilia-Romagna)","name":"View of the cathedral, campanile and baptistery","start_year":1090,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/3/05i_1101.jpg"},{"artworkid":78,"author":"LE NAIN brothers","description":"\n\n","end_year":1560,"genre":"painting","materials":"Oil on oak panel, 36 x 47 cm","museum_name":"Staatliche Kunsthalle, Karlsruhe","name":"Preparing for Dancing School","start_year":1560,"type":"genre","url":"https://www.wga.hu/detail/l/le_nain/dancing.jpg"},{"artworkid":82,"author":"HANSCHE, Jan Christiaen","description":"\r\nPark Abbey is a Premonstratensian abbey at Heverlee just south of Leuven. It was founded in 1129 by Duke Godfrey who possessed an immense park near Leuven and had invited the Premonstratensians to take possession of a small church he had built there. The abbey is one of the most complete surviving complexes among the great Flemish abbeys.\r\nThe remarkable stucco ceiling of the seventeenth-century library, sculpted by Jean Christian Hansche in 1672, was recently restored. The photo shows the ceiling during the restoration.\r\n\r\n\n","end_year":1679,"genre":"sculpture","materials":"Stucco","museum_name":"Library, Park Abbey, Heverlee","name":"Ceiling decoration","start_year":1672,"type":"religious","url":"https://www.wga.hu/detail/h/hansche/heverle1.jpg"},{"artworkid":86,"author":"GUIDO DA SIENA","description":"\r\nThis painting belonged to a polyptych depicting twelve scenes from the life of Christ. The polyptych was dismembered at the beginning of the nineteenth century and the panels are now dispersed to various collections. The scenes are the following:\r\n1. Annunciation (University Art Museum, Princeton)\r\n2. Nativity (Musée du Louvre, Paris)\r\n3. Massacre of the Innocents (Pinacoteca Nazionale, Siena)\r\n4. Adoration of the Magi (Lindenau-Museum, Altenburg)\r\n5. Flight into Egypt (Lindenau-Museum, Altenburg)\r\n6. Presentation of Jesus at the Temple (Musée du Louvre, Paris)\r\n7. Kiss of Judas (Pinacoteca Nazionale, Siena)\r\n8. Flagellation (Lindenau-Museum, Altenburg)\r\n9. Christ Crucified (Museum Catherijneconvent, Utrecht)\r\n10. Crucifixion (Pinacoteca Nazionale, Siena)\r\n11. Deposition (Pinacoteca Nazionale, Siena)\r\n12. Entombment (Pinacoteca Nazionale, Siena)\r\nIt is assumed that the Coronation of the Virgin in the Courtauld Galleries, London, formed also part of this polyptych.\r\n\r\n\n","end_year":1270,"genre":"painting","materials":"Tempera on wood","museum_name":"Pinacoteca Nazionale, Siena","name":"Deposition","start_year":1270,"type":"religious","url":"https://www.wga.hu/detail/g/guido/11poly.jpg"},{"artworkid":90,"author":"NARDO DI CIONE","description":"\r\nFollowing the bubonic plague outbreak in Florence in 1348, a renewed religious conservatism marked the general atmosphere and the next generation of artists. Nardo di Cione and his two brothers were among the leaders of this medievalizing style, which harked back to models of presentation antedating the naturalistic and humanistic innovations of Giotto. The enduring, iconic quality of Nardo's Virgin and Child is a product of his interpretation of the Virgin as the Queen of Heaven, set against an abstract and timeless gold background in the Byzantine tradition. The artist's own lyricism is evident in the delicate skin tones, rhythmic and ornamental draperies, and rich, saturated palette.\r\nThe painting likely served as the central panel of a small folding altarpiece.\r\n\r\n\n","end_year":1350,"genre":"painting","materials":"Tempera and gold leaf on panel, 75 x 48 cm","museum_name":"Milwaukee Art Museum, Milwaukee","name":"Virgin and Child","start_year":1350,"type":"religious","url":"https://www.wga.hu/detail/n/nardo/various/virgin3.jpg"},{"artworkid":243,"author":"NAVARRETE, Juan Fernndez de","description":"\r\nThis painting is a trial piece Navarrete executed for Philip II in 1565. The painting shows that he was familiar with the work of the later Michelangelo and his follower Daniele da Volterra. That is not surprising since in the mid-1550s Navarrete stayed in Rome.\r\n\r\n\n","end_year":1568,"genre":"painting","materials":"Oil on panel, 49 x 37 cm","museum_name":"Museo del Prado, Madrid","name":"Baptism of Christ","start_year":1568,"type":"religious","url":"https://www.wga.hu/detail/n/navarret/baptism.jpg"},{"artworkid":59,"author":"BUGATTI, Rembrandt","description":"\r\nThe famous Dancing Elephant is one of Rembrandt Bugatti's finest works, which became the mascot of the famous Bugatti Royale when Ettore Bugatti had it mounted on its radiator to pay homage to his brother's art. The figure was modelled in plaster in 1903 and reproduced by René Lalique for mounting on Ettore Bugatti's car.\r\n\r\n\n","end_year":1927,"genre":"sculpture","materials":"Cast silver, height 19 cm","museum_name":"Muse National de L'Automobile, Mulhouse","name":"Dancing Elephant","start_year":1927,"type":"other","url":"https://www.wga.hu/detail/b/bugatti/rembrandt/dancing1.jpg"},{"artworkid":63,"author":"CIMA da Conegliano","description":"\r\nThe subject of the painting is extremely unusual in Italian Renaissance painting. It was probably painted for a private patron with a special interest in the subject.\r\nJonathan was the son of Saul, king of Israel, of the tribe of Benjamin, and David was the son of Jesse of Bethlehem and Jonathan's presumed rival for the crown. David eventually becomes king. The friendship between David and Jonathan was a covenantal relationship. The traditional and mainstream religious interpretation of the relationship has been one of platonic love and an example of homosociality. Some later Medieval and Renaissance literature drew upon the story to underline strong personal friendships between men.\r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on panel, 41 x 39 cm","museum_name":"National Gallery, London","name":"David and Jonathan","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/c/cima/2/17david.jpg"},{"artworkid":67,"author":"RIEDINGER, Georg","description":"\r\nThe former official residence of the prince-bishops of Mainz, Schloss Johannisburg is one of the most splendid examples of German castle construction during the Renaissance and Baroque eras. The original medieval citadel (c. 1100-c. 1400) was almost completely destroyed in 1552 during the second Margrave war; only the 14th-century donjon survived. The new castle was built on the same site, and derived its name from the citadel chapel of St John the Baptist. In 1605 Johann Schweikart von Kronberg, Archbishop and Elector of Mainz (reg 1604-26), summoned Georg Riedinger to Aschaffenburg to plan and supervise the castle reconstruction. Work began in February 1614 and was completed nine years later at the enormous cost of one million guilders.\r\nRiedinger's scheme consists of four long ranges, each 51 m in length and three storeys high to the eaves, disposed around a square inner courtyard. In planning Schloss Johannisburg, Riedinger used as his basis the main dimensions of the medieval donjon, which he incorporated in the north range of his new building as a symbol of tradition and the continuity of power and dominion exercised by the prince-bishops.\r\nThe four corner towers on the exterior of Schloss Johannisburg have eight storeys and are 52 m high; the smaller stair-towers on the interior of the corners have four storeys and rise above a square ground floor into an octagon. With the exception of the stuccoed walls of the donjon, the elevations are faced in uniform courses of red sandstone ashlar. The quoins of the corps de logis are emphasized by diamond faceting. The three storeys, treated almost identically, are articulated horizontally by powerful string courses that also run round the towers, and vertically by axially located windows that have distinctive jambs and are capped by pediments that vary according to floor. Apart from the northern range with its towering donjon, the other three façades are richly ornamented, displaying decorative forms of the German Renaissance as well as Italian influences.\r\nIn the late 16th and early 17th centuries, influenced by French and Italian architectural theory, several other buildings with a similar plan were built in south-western Germany, especially in the Roman Catholic territories.\r\nSchloss Johannisburg was severely damaged in World War II, but between 1954 and 1964 the exterior and chapel were restored following the 17th-century model.\r\nThe photo shows the inner courtyard.\r\nView the ground plan of the castle.\r\n\r\n\n","end_year":1623,"genre":"architecture","materials":"Photo","museum_name":"Schloss Johannisburg, Aschaffenburg","name":"General view","start_year":1614,"type":"other","url":"https://www.wga.hu/detail/r/riedinge/aschaff3.jpg"},{"artworkid":71,"author":"CANOVA, Antonio","description":"\r\nTwo plaster reliefs in the Museo Correr, Teach the Ignorant and Feed the Hungry, are the originals of subjects often repeated by Canova and his assistants.The great sculptor here displays his nobility of line, serenity and complete mastery of space and light.\r\n\r\n\n","end_year":1796,"genre":"sculpture","materials":"Plaster, 115 x 127 cm","museum_name":"Museo Correr, Venice","name":"Feed the Hungry","start_year":1795,"type":"mythological","url":"https://www.wga.hu/detail/c/canova/1/51feed.jpg"},{"artworkid":75,"author":"UCCELLO, Paolo","description":"\r\nThe story of the Miracle of the Desecrated Host is told through the following six episodes:\r\n(1) a woman sells the Host to a Jewish merchant;\r\n(2) when the merchant tries to burn it, the Host begins to bleed;\r\n(3) religious procession to reconsecrate the Host;\r\n(4) the woman is punished and an angel descends from heaven;\r\n(5) the Jewish merchant and his family are burnt at the stake;\r\n(6) two angels and two devils fight over the woman's body.\r\nThe panels give us evidence of the artist's narrative ability, enhanced by lively colours and a charming fairytale mood.\r\n\r\n\n","end_year":1469,"genre":"painting","materials":"Panel, 43 x 58 cm","museum_name":"Galleria Nazionale delle Marche, Urbino","name":"Miracle of the Desecrated Host (Scene 1)","start_year":1465,"type":"religious","url":"https://www.wga.hu/detail/u/uccello/5miracle/miracle1.jpg"},{"artworkid":79,"author":"UNKNOWN MASTER, Netherlandish","description":"\r\nThese wings are the outside shutters of an altarpiece. They represent the St Elizabeth's Day floods of 1421 with the city of Dordrecht in the background.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Oil on panel, 127 x 110 cm (each)","museum_name":"Rijksmuseum, Amsterdam","name":"Two wings of an altarpiece","start_year":1500,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_du/1/twowings.jpg"},{"artworkid":83,"author":"ARCHITECT, Italian","description":"\r\nThis palace was built for two families belonging to the Bernardo house. The two water gates and the two main floors (one of which is less important than the other) of the homogeneous façade indicate that the interior is actually divided into two dwellings. The façade is framed with vertical bands of hewn stones alternating with small spiral columns and dominated by the big six-mullioned window on the second floor flanked by single light windows with interesting openwork and intertwined arches.\r\n\r\n\n","end_year":1442,"genre":"architecture","materials":"Photo","museum_name":"Canal Grande, Venice","name":"Palazzo Bernardo: Faade","start_year":1442,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/15c/3/1venic05.jpg"},{"artworkid":87,"author":"OCHTERVELT, Jacob","description":"\r\nThis painting depicts a child and nurse in the foyer of an elegant townhouse, the parents beyond. The subject matter and composition are related to a group of nine other 'entrance hall paintings' that Ochtervelt made over the course of about twenty years and which are universally considered to be among his most innovative and interesting pictures. All are set in the entrance hall of an elegant contemporary house and portray an encounter between the residents of the house and members of the outside world. Of the nine pictures, three depict street musicians at the doorway, three show fish sellers and there are three individual pictures of poultry, cherry and grape sellers. In the present work, which is the earliest dated painting of the group, the visitors are beggars.\r\n\r\n\n","end_year":1663,"genre":"painting","materials":"Oil on canvas, 82 x 67 cm","museum_name":"Private collection","name":"A Child and Nurse in the Foyer of a Townhouse","start_year":1663,"type":"genre","url":"https://www.wga.hu/detail/o/ochterve/childnur.jpg"},{"artworkid":91,"author":"UHDE, Fritz van","description":"\n\n","end_year":1882,"genre":"painting","materials":"Oil on canvas, 60 x 80 cm","museum_name":"Neue Galerie in der Stallburg, Vienna","name":"Fisher Children in Zandvoort","start_year":1882,"type":"genre","url":"https://www.wga.hu/detail/u/uhde/uhde1.jpg"},{"artworkid":95,"author":"MASOLINO da Panicale","description":"\r\nOn the right side, the Baptist's Sermon at the Jordan scene wraps around the corner into the window embrasure, where a group of John's listeners are depicted. Here we find three men with portrait-like features. One of these has been convincingly identified, owing to its similarities to other surviving portraits. as Leon Battista Alberti.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Fresco","museum_name":"Baptistery, Castiglione Olona","name":"The Baptist's Sermon at the Jordan (detail)","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/m/masolino/olona/05olona.jpg"},{"artworkid":247,"author":"UNKNOWN MASTER, German","description":"\r\nThis unpainted figure is from the Lower Rhine region. It belonged to an altarpiece in the middle of which probably stood a Madonna. It was executed by an artist from the circle of Ludwig Jupan of Marburg. This master's oeuvre are characterized by carefully balanced works that attest to excellent workshop practice.\r\n\r\n\n","end_year":1510,"genre":"sculpture","materials":"Wood, height 124 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"St Catherine","start_year":1500,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_ge/zunk_ge8/62cather.jpg"},{"artworkid":60,"author":"MEDIEVAL SCULPTOR, English","description":"\r\nThe portal of Ely demonstrate the special British love of rich decorative work. The Prior's Door of Ely Cathedral in Cambridgeshire is the most lavishly decorated of the three entrances from the church's Romanesque cloister. The tympanum depicts Christ in Majesty in a mandorla held by angels. One of the unusual features of English Romanesque portal sculpture is visible on this portal: countless small figures are given space in equally countless ornamental medallions which are actually vine scroll decorations, while the large-scale relief, in contrast, is afforded little room. The Prior's Door encapsulates this conflict between the native traditions and Continental influences.\r\n\r\n\n","end_year":1130,"genre":"sculpture","materials":"Stone","museum_name":"Cathedral, Ely","name":"The Prior's Door","start_year":1130,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/po-12c22/1e1_1134.jpg"},{"artworkid":64,"author":"BULGARINI, Bartolommeo","description":"\n\n","end_year":1335,"genre":"painting","materials":"Tempera on panel","museum_name":"Pinacoteca Nazionale, Siena","name":"Madonna and Child with Saints","start_year":1335,"type":"religious","url":"https://www.wga.hu/detail/b/bulgarin/madonn_c.jpg"},{"artworkid":68,"author":"RAFFAELLO Sanzio","description":"\r\nThe Justice wall in the Stanza della Segnatura includes a lunette containing three of the four Cardinal Virtues of Christianity (Fortitude, Prudence and Temperance). The fourth virtue, Justice, rules over earthly law from the roundel above (on the ceiling). Fortitude can be recognized by her attribute, the lion; Wisdom, who has two faces, by her mirror; and Temperance by the reins. Fortitude is holding an oak branch, a reference to the pope's family name, Rovere, meaning \"oak.\"\r\nThe great systems for civic and canon law are extolled, exemplified by the two scenes at the sides, Justinian Receiving the Pandects, and Gregory IX Approving the Decretals. The figure of Gregory bears the features of Julius II looking imposingly august, but also worn and aged. The pontiff is enthroned in great splendour, with his triple tiara and heavily brocaded cape. As a potentate, he is buttressed by the members of his court, based on the likenesses of courtier-clerics.\r\n\r\n\n","end_year":1511,"genre":"painting","materials":"Fresco","museum_name":"Stanza della Segnatura, Palazzi Pontifici, Vatican","name":"The Justice Wall","start_year":1511,"type":"religious","url":"https://www.wga.hu/detail/r/raphael/4stanze/1segnatu/4/4virtue1.jpg"},{"artworkid":72,"author":"SAMACCHINI, Orazio","description":"\r\nWith such paintings as painted tapestry, painting within a painting it became possible to use the flat surface of a ceiling vault for narrative depictions. Given a corresponding design of the fictive architecture of a vault structure it became possible to combine an illusory extension of the room upward with an outward extension. Raphael's ingenious idea in the Vatican loggias was applied by Samacchini in Sala Baganza.\r\n\r\n\n","end_year":1565,"genre":"painting","materials":"Fresco","museum_name":"Sala d'Ercole, Rocca Sanvitale, Sala Baganza","name":"Hercules and Antaeus","start_year":1564,"type":"mythological","url":"https://www.wga.hu/detail/s/samacchi/hercules.jpg"},{"artworkid":76,"author":"LIPPI, Fra Filippo","description":"\n\n","end_year":1465,"genre":"painting","materials":"Fresco","museum_name":"Duomo, Prato","name":"St John Taking Leave of his Parents (detail)","start_year":1452,"type":"religious","url":"https://www.wga.hu/detail/l/lippi/filippo/1450pr/22leave1.jpg"},{"artworkid":80,"author":"BAMBINI, Nicol","description":"\n\n","end_year":1715,"genre":"painting","materials":"Fresco","museum_name":"Ca' Dolfin in San Pantalon, Venice","name":"Ceiling fresco (detail)","start_year":1711,"type":"mythological","url":"https://www.wga.hu/detail/b/bambini/dolfin07.jpg"},{"artworkid":84,"author":"HONDECOETER, Melchior d'","description":"\r\nLike earlier still-life painters, Hondecoeter turned curiosities of nature into curiosities of art, and into elements of interior decoration. The peafowl, the crane, the monkey, the squirrel, and the swallow are repeated in other compositions by Hondecoeter. In his work as a whole one finds peacocks, peahens, turkeys,ducks and hens studied in various poses and from different angles.\r\n\r\n\n","end_year":1683,"genre":"painting","materials":"Oil on canvas, 190 x 135 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Peacocks","start_year":1683,"type":"still-life","url":"https://www.wga.hu/detail/h/hondecoe/melchior/peacock.jpg"},{"artworkid":88,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThis picture was painted c. 1756 for the high altar of the church of S. Agata in Lendinara. It must originally have been rounded at the top, for it appears in this form in an etching by Tiepolo's son, Giovanni Domenico. The part which is now missing showed a heart surrounded by the crown of thorns in a nimbus, at which the saint was gazing. The beautiful Agatha was a devout Christian who lived in Catania. She steadfastly refused to make sacrifice to the heathen gods. When she defied the threats of the Roman Governor of Sicily, Quintianus, he ordered her breasts to be cut off. We see her, half-naked, on a flight of steps; a maid kneels behind her, supporting her and holding her dress against the bleeding wounds. A page stands in front of a marble pillar, holding the severed breasts of the martyr on a silver platter and gazing down at her. The uncouth figure of the executioner, clad in red and holding a blood-stained sword, towers menacingly over the group.\r\nTiepolo is among the last of the great Venetian painters, a master of large-scale composition, who was commissioned by princes outside (Würzburg, Madrid) as well as inside Italy. Nor did he shrink from this particularly horrifying subject; once before, twenty years earlier, he had been required to treat the same subject for the church of S. Antonio in Padua. With astonishing self-assurance the painter succeeds in portraying this fearful episode in artistic terms without allowing it to degenerate into mere bloodshed and horror. At the same time, so strong is his desire for realism - and he had doubtless witnessed executions himself - that he exploits to the utmost the artistic possibilities open to him.\r\nIn colour and form the composition is extremely accomplished, almost too much so to do justice to the theme. Between the soaring pillar and the towering figure of the executioner, one glimpses the dark entrance of the dungeon and beneath it the pale face of the martyr, flanked on both sides - almost oppressively close - by the faces of the two witnesses. The compassion expressed in the attitude of the young woman on the right contrasts with the searching glance of the page on the left, in which merely the physical effect of the scene before him is reflected. The wide, pale-blue cloak of the saint serves to bind the group of three figures together and blends with the silver-white, the bright yellow and the orange to produce a colour-harmony that is characteristic of Tiepolo. Two of the artist's crayon studies for the saint's face are in the Kupferstichkabinett (Copper Engravings section) in the Berlin Museum.\r\n\r\n\n","end_year":1756,"genre":"painting","materials":"Oil on canvas, 184 x 131 cm","museum_name":"Staatliche Museen, Berlin","name":"The Martyrdom of St Agatha","start_year":1756,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/7_1760s/07agatha.jpg"},{"artworkid":92,"author":"ALGARDI, Alessandro","description":"\r\nThe Franzone family acquired a chapel, the Cappella del Crocefisso, in the Carmelite church of San Carlo (now Santi Vittore e Carlo) in Genoa. The principal sculptural decoration of the chapel, including the marble busts of the brothers Franzone, a bronze Crucifix and bronze busts of saints, has traditionally been attributed to Algardi. The quality of these works, as well as the death of Algardi in 1654, however, have led them to be partly reattributed to Domenico Guidi, who perhaps worked from terracotta models by Algardi.\r\nThe twelve bronze busts of saints were not cast until after Algardi's death, using a variety of models. The picture shows one of the Three Marys. The Three Marys are women mentioned in the canonical gospel's narratives of the crucifixion and resurrection of Jesus.\r\n\r\n\n","end_year":1650,"genre":"sculpture","materials":"Bronze","museum_name":"Santi Vittore e Carlo, Genoa","name":"Bust of a Saint","start_year":1650,"type":"portrait","url":"https://www.wga.hu/detail/a/algardi/2/franzon6.jpg"},{"artworkid":96,"author":"MINIATURIST, Greek","description":"\r\nThis book roll exists only as incomplete segments. They contain the Greek text of the Book of Joshua and illustrations relating to it. They show the triumphant conquest of the Promised Land by the Old Testament hero, the very epitome of a leader and the saviour of his people. The Joshua Roll is the only surviving example of a rotulus (book roll) illuminated throughout, across its entire breadth, with a continuous pictorial frieze.\r\nThe segment shown here (Segment XII) depicts the personification of the city of Gibeon, a woman with a crown of city walls. She is enthroned and seated at an angle to us, and to the left (her right) we see the men of Gibeon prostrated before Joshua, urging that he save them and assist them against their enemies.\r\n\r\n\n","end_year":-1,"genre":"illumination","materials":"Roll (Pal. gr. 431), 315 mm high, 10,64 m long","museum_name":"Biblioteca Apostolica, Vatican","name":"The Joshua Roll","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/0901-950/1greek2.jpg"},{"artworkid":100,"author":"CAJS, Eugenio","description":"\r\nCajes painted a similar scene, depicting the martyrdom of St Philip in 1630 as part of the Retablo de San Felipe in Torrelaguna. The present painting probably also represents the crucifixion of St Philip.\r\n\r\n\n","end_year":1627,"genre":"painting","materials":"Oil on canvas, 169 x 126 cm","museum_name":"Private collection","name":"The Crucifixion of a Male Saint","start_year":1627,"type":"religious","url":"https://www.wga.hu/detail/c/cajes/eugenio/crucmale.jpg"},{"artworkid":104,"author":"IXNARD, Pierre-Michel d'","description":"\r\nThanks to mainly to their belfries, church buildings were the most visible urban structures. During the process of urban improvement and the construction of new suburbs, they remained among the leading construction jobs of the 18th and 19th centuries. The Benedictine church of St. Blasien in the Black Forest, constructed by Pierre-Michel d'Ixnard in 1768-83, had a round central plan with a portico in front. It derives, like so many Neoclassical churches, from the Pantheon in Rome.  It features a huge dome rising behind a massive portico on Tuscan columns.\r\n\r\n\n","end_year":1783,"genre":"architecture","materials":"Photo","museum_name":"Abbey church, St. Blasien, Black Forest","name":"Exterior view","start_year":1768,"type":"other","url":"https://www.wga.hu/detail/i/ixnard/blasien1.jpg"},{"artworkid":108,"author":"EYCK, Jan van","description":"\r\nThe scene at top of the niche containing the figure of Adam depicts in grisaille the Offering of Abel and Cain. The scene prefigures both the sacrifice of Christ and the Eucharist.\r\n\r\n\n","end_year":1429,"genre":"painting","materials":"Oil on wood, width 37 cm","museum_name":"Cathedral of St Bavo, Ghent","name":"The Ghent Altarpiece: The Offering of Abel and Cain","start_year":1425,"type":"religious","url":"https://www.wga.hu/detail/e/eyck_van/jan/09ghent/1open1/u2cain.jpg"},{"artworkid":414,"author":"GIULIO ROMANO","description":"\n\n","end_year":1525,"genre":"painting","materials":"Oil on panel, transferred to canvas","museum_name":"The Hermitage, St. Petersburg","name":"The Lovers (detail)","start_year":1525,"type":"genre","url":"https://www.wga.hu/detail/g/giulio/various/lovers1.jpg"},{"artworkid":77,"author":"TINTORETTO","description":"\r\nTintoretto painted The Presentation of Christ in the Temple for the right-hand interior wall of the choir of the church of Santa Maria Assunta del Crociferi (today the Chiesa dei Gesuiti) in Venice. The pictorial ornamentation of Santa Maria Assunta dei Crociferi was in part commissioned and was tended by the minor lay confraternities of the vicinity who saw to the upkeep of the altars and tombs in the church. The Scuola dei Botteri (Confraternity of Coopers) commissioned The Presentation of Christ in the Temple. Their memorial slab in the Chiesa dei Gesuiti still shows the emblem, a small cask, that is visible on the steps of The Presentation of Christ in the Temple.\r\n\r\n\n","end_year":1555,"genre":"painting","materials":"Oil on canvas","museum_name":"Gallerie dell'Accademia, Venice","name":"The Presentation of Christ in the Temple (detail)","start_year":1550,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/2_1550s/07prese1.jpg"},{"artworkid":81,"author":"MICHELANGELO Buonarroti","description":"\r\nThe centre on the recto of the present sheet is occupied by a study of one of the flying angels carrying the Instruments of the Passion in the right lunette of the Last Judgment. Michelangelo painted this lunette after he had completed its left counterpart, which marked the beginning of his work on the monumental fresco in 1536. Probably drawn after a living model lying flat on his stomach, the drawing differs from the figure finally executed in the fresco in the posture of the head, the position of the left hand, and the fact that the lower part of the body is not turned toward the viewer.\r\nThe verso of the sheet includes two further studies of the floating angel of the recto as well as a sketch of his left arm.\r\nUnfortunately only a few preparatory drawings for the monumental Last Judgment fresco have been preserved. Like the present drawings, there must have been numerous other study sheets on which the master prepared individual figures with utmost precision, altering or rejecting them as the final design took shape.\r\n\r\n\n","end_year":1536,"genre":"graphics","materials":"Black chalk, 407 x 272 mm","museum_name":"British Museum, London","name":"Studies for a Flying Angel (verso)","start_year":1534,"type":"study","url":"https://www.wga.hu/detail/m/michelan/4drawing/04/63lastju.jpg"},{"artworkid":85,"author":"KILIAN, Philipp Andreas","description":"\r\nAugustus William, Duke of Brunswick-Bevern (1715-1781) was a colonel in the Prussian army. The print shows the sitter half length in an oval, wearing wig, armour and cloak over his right shoulder; coat of arms below. The print was executed after a painting by Thomas Huber.( 1700-1779).\r\n\r\n\n","end_year":1759,"genre":"graphics","materials":"Engraving, 377 x 253 mm","museum_name":"British Museum, London","name":"Portrait of: Augustus William, Duke of Brunswick-Bevern","start_year":1745,"type":"portrait","url":"https://www.wga.hu/detail/k/kilian/philippa/augustus.jpg"},{"artworkid":89,"author":"LAURANA, Francesco","description":"\r\nThis bust with a French provenance is not securely identified.  As the bust was discovered in Marseille, the work may date from after Laurana's return to France in 1477, and the sitter might be French. It is carved in one piece and has a deep hollow, projecting base with a tablet for an inscription. The sitter most often has been identified as Ippolita Maria Sforza, who married Alfonso, Duke of Calabria in 1465.\r\n\r\n\n","end_year":1470,"genre":"sculpture","materials":"Marble, traces of pigment, height 47 cm","museum_name":"Frick Collection, New York","name":"Portrait of a Woman","start_year":1470,"type":"portrait","url":"https://www.wga.hu/detail/l/laurana/portr_w.jpg"},{"artworkid":93,"author":"PORDENONE","description":"\r\nVenice's climate and environment were unfavourable to fresco paintings, which were easily damaged by damp. This powerful fresco, painted originally for the cloister of the church Santo Stefano, has faded badly.\r\n\r\n\n","end_year":1532,"genre":"painting","materials":"Detached fresco","museum_name":"Galleria Franchetti, Ca' d'Oro, Venice","name":"Christ and Mary Magdalen","start_year":1532,"type":"religious","url":"https://www.wga.hu/detail/p/pordenon/various/christ_m.jpg"},{"artworkid":97,"author":"PALMA GIOVANE","description":"\r\nThe future doge received notice of his election while attending mass here. The poetry of daily life, portrayed by the elderly women receiving host, their faces framed by black and white shawls, the bunches of flowers overflowing from Murano glass vases on the altar, renders this decorative cycle unique.\r\n\r\n\n","end_year":1587,"genre":"painting","materials":"Oil on canvas","museum_name":"Oratory, Ospedaletto dei Crociferi, Venice","name":"Pasquale Cicogna Hearing Mass Celebrated in the Oratory of the Crociferi (detail)","start_year":1568,"type":"historical","url":"https://www.wga.hu/detail/p/palma/giovane/1/1cicogn11.jpg"},{"artworkid":101,"author":"RODIN, Auguste","description":"\n\n","end_year":1889,"genre":"sculpture","materials":"Coated plaster","museum_name":"Muse Rodin, Paris","name":"The Burghers of Calais (detail)","start_year":1889,"type":"historical","url":"https://www.wga.hu/detail/r/rodin/2calais/calais7.jpg"},{"artworkid":105,"author":"DONATELLO","description":"\r\nThis relief is on the Passion Pulpit. The scene of the burial of Christ is flanked by two men who are standing on the right and left before the framing columns, but who here in relationship to the main event suggest the impression of spatial depth to a particular degree. In addition, they serve as starting points for the semi-circular composition that meets the central motif. The proportions between the individual figures are related to their spatial positions, and the three-dimensional accentuation of the modelling is reduced correspondingly.\r\nIt is probable that the work would not have been completed until after the death of Donatello, by his assistants Bellano and Bertoldo and according to his designs.\r\n\r\n\n","end_year":1465,"genre":"sculpture","materials":"Bronze","museum_name":"San Lorenzo, Florence","name":"Burial of Christ","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/3_late/lorenzo/pulpit28.jpg"},{"artworkid":109,"author":"UGO DA CAMPIONE","description":"\n\n","end_year":1320,"genre":"sculpture","materials":"Marble","museum_name":"Santa Maria Maggiore, Bergamo","name":"Tomb of Cardinal Guglielmo Longhi (detail)","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/u/ugo_c/tomb_lo4.jpg"},{"artworkid":113,"author":"MINIATURIST, Italian","description":"\r\nThis manuscript contains the second part of an Italian Bible which includes the books of Exodus, Leviticus, Numbers, Deuteronomy and Joshua. The first part is in the Biblioteca dell'Accademia del concordi, Rovigo.\r\nThe present miniature from this manuscript shows goldsmiths at work. They are making candlesticks, using a miniature anvil.\r\n\r\n\n","end_year":1400,"genre":"illumination","materials":"Manuscript (MS Add. 15277)","museum_name":"British Library, London","name":"Italian Bible, Part 2","start_year":1375,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1351-400/2italian/58italia.jpg"},{"artworkid":117,"author":"DYCK, Sir Anthony van","description":"\r\nThis portrait was painted in Brussels just a few months after Henrietta of Lorraine (1611–1660) was banished from France. She was forced to flee Nancy, dressed as a man, after being accused of being a collaborator to treason. Henrietta of Lorraine was daughter of Count François de Vaudémont, nephew of duc Henri of Lorraine. In 1632 her younger sister, Margaret, secretly married Gaston, duc d'Orléans, the younger brother of King Louis XIII of France.\r\nVan Dyck produced several portraits during his brief stay in the Southern Netherlands in 1634-35. In these he showed as much virtuosity and the same idiom as in the best of his English compositions.\r\n\r\n\n","end_year":1634,"genre":"painting","materials":"Oil on canvas, 213 x 127 cm","museum_name":"Iveagh Bequest, Kenwood House, London","name":"Princess Henrietta of Lorraine, Attended by a Page","start_year":1634,"type":"portrait","url":"https://www.wga.hu/detail/d/dyck_van/1portrax/henriet.jpg"},{"artworkid":230,"author":"GRECO, El","description":"\r\nOn 18 June 1603 El Greco signed a contract to make and decorate an altarpiece for a miraculous image of the Virgin of Charity belonging to the Hospital de la Caridad in the small town of Illescas halfway between Toledo and Madrid. According to the contract the main altarpiece and the decoration of the vault were to contain four canvases: The Madonna of Charity, The Coronation of the Virgin, The Annunciation and The Nativity. This project was executed in collaboration with the artist's son, Jorge Manual Theotokopoulos. Under a separate contract a further painting, St Ildefonso was made.\r\nPresently The Annunciation is located in the vestry of the church.\r\n\r\n\n","end_year":1605,"genre":"painting","materials":"Oil on canvas, diameter: 128 cm","museum_name":"Hospital de la Caridad, Illescas","name":"The Annunciation","start_year":1603,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/16/1601grec.jpg"},{"artworkid":94,"author":"BOTTICELLI, Sandro","description":"\r\nMasterwork of the young Botticelli, this painting takes name from the Florentine convent of Sant'Ambrogio, where it was placed in 1808 before the transfer to Accademia and Uffizi galleries. This panel is considered to be the first monumental piece commissioned from Botticelli, as well as one of his first altarpieces. \r\nThis type of altar painting is called a Sacra Conversazione, and it shows the enthroned Madonna surrounded by saints. To the left are Mary Magdalene with the ointment jar and St John the Baptist wearing furs, and to the right are St Francis of Assisi in the Franciscans' habit and Catherine of Alexandria with her wheel. The two kneeling saints, Cosmas and Damian, were patron saints of both the Medicis and doctors and pharmacists.\r\n\r\n\n","end_year":1470,"genre":"painting","materials":"Tempera on panel, 170 x 194 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Madonna and Child with Six Saints (Sant'Ambrogio Altarpiece)","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/b/botticel/1early/10ambrog.jpg"},{"artworkid":98,"author":"UNKNOWN MASTER, German","description":"\r\nThe left and right wings of the altarpiece depict scenes from the legend of St George.\r\n\r\n\n","end_year":1460,"genre":"painting","materials":"Oak, 124,5 x 77 cm (each wing)","museum_name":"Wallraf-Richartz-Museum, Cologne","name":"St George Altarpiece (detail)","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_ge/zunk_ge2/13george.jpg"},{"artworkid":102,"author":"EERTVELT, Andries van","description":"\n\n","end_year":1629,"genre":"painting","materials":"Oil on copper. 41 x 57 cm","museum_name":"Private collection","name":"Battle of Lepanto","start_year":1629,"type":"historical","url":"https://www.wga.hu/detail/e/eertvelt/lepanto.jpg"},{"artworkid":106,"author":"VELZQUEZ, Diego Rodriguez de Silva y","description":"\r\nThis picture is also connected with Arachne, like the famous Las Hilanderas. It presents something of a problem: what is the dark-haired young woman pointing to on the empty panel in front of her? She may be either Arachne seen as the personification of painting, or a Sibyl or prophetess pointing to the future.\r\n\r\n\n","end_year":1648,"genre":"painting","materials":"Oil on canvas, 64 x 58 cm","museum_name":"Meadows Museum, Dallas","name":"Arachne","start_year":1644,"type":"mythological","url":"https://www.wga.hu/detail/v/velazque/07/0706vela.jpg"},{"artworkid":110,"author":"BOL, Ferdinand","description":"\n\n","end_year":1650,"genre":"painting","materials":"Oil on canvas, 122 x 98 cm","museum_name":"The Hermitage, St. Petersburg","name":"Portrait of a Scholar","start_year":1650,"type":"portrait","url":"https://www.wga.hu/detail/b/bol/scholar.jpg"},{"artworkid":114,"author":"ROMANESQUE GLASS PAINTER, French","description":"\r\nThe earliest known French stained glass works are in the Le Mans Cathedral. Outstanding among the several groups of windows is that depicting the Ascension, with its four bands occupied by the witnessing figures of Mary and the Apostles. The upper, lost register must have contained the main figure, Christ himself, in the midst of angels.\r\nThe Le Mans windows were followed in France by the cycles in Poitiers, Saint-Denis, Chartres, Paris, Châlons-sur-Marne, Saint-Rémi in Reims, and other places, which, however, already marked the stylistic transition to early Gothic.\r\n\r\n\n","end_year":1158,"genre":"stained-glass","materials":"Stained glass window, 168 x 116 cm","museum_name":"Cathedral, Le Mans","name":"Ascension of Christ","start_year":1134,"type":"religious","url":"https://www.wga.hu/detail/zgothic/stained/12c/1/06f_1100.jpg"},{"artworkid":118,"author":"HUYSUM, Jan van","description":"\r\nDutch painters described the visible world with remarkable precision and one of the forms this description took was the still life. In the earliest years of the seventieth century still lifes often had a vanitas element. Among the apparently random accumulation of objects were clocks, snuffed-out candles, faded flowers and skulls, reminders of the passage of time and the inevitability of death and decay. As the century progressed these elements dropped away and still-lifes became simply displays of the rare, exotic, expensive and beautiful.\r\nJan van Huysum, whose career spanned the first half of the eighteenth century, was the heir to this great tradition of still-life painting and, as far as floral still lifes are concerned, its greatest exponent. This painting is undated but must belong to the first half of his career before about 1720, when he began to paint more elaborate and artificial flower pieces, which are light in tone on light backgrounds, in an almost pastel palette. It probably dates from about 1710.\r\nJan van Huysum lived and worked in Amsterdam. He was one of a dynasty of painters, having been trained by his father Justus van Huysum, also a still-life painter, and was later imitated by his younger brother, Jacob.\r\n\n\n\r\nSuggested listening (streaming mp3, 2 minutes):Franz Schubert: Blumenlied (Flower Song) D 431\n\n\n","end_year":1710,"genre":"painting","materials":"Oil on canvas, 62 x 52 cm","museum_name":"National Gallery, London","name":"Hollyhocks and Other Flowers in a Vase","start_year":1710,"type":"still-life","url":"https://www.wga.hu/detail/h/huysum/jan/hollyhoc.jpg"},{"artworkid":122,"author":"AST, Balthasar van der","description":"\r\nIn this horizontal still-life Van der Ast presents a variety of seashells, flowers, and  insects on a stone surface. At the centre is a horn-shaped shell holding an arrangement of flowers. The painter avoided any overlap or clustering of the shells so that each one can be scrutinized individually.\r\n\r\n\n","end_year":1635,"genre":"painting","materials":"Oil on panel, 24 x 35 cm","museum_name":"Private collection","name":"Still-Life of Flowers, Shells, and Insects","start_year":1635,"type":"still-life","url":"https://www.wga.hu/detail/a/ast/floshell.jpg"},{"artworkid":126,"author":"SMYTHSON, Robert","description":"\r\nHardwick Hall is an Elizabethan country house in England, a leading example of the Elizabethan prodigy house. Built between 1590 and 1597 for the formidable Bess of Hardwick, it was designed by the architect Robert Smythson, an exponent of the Renaissance style of architecture. Hardwick Hall is one of the earliest examples of the English interpretation of this style, which came into fashion having slowly spread from Florence. Its arrival in Britain coincided with the period when it was no longer necessary or legal to fortify a domestic dwelling.\r\nBess of Hardwick (c. 1527-1608) was the richest woman in England after Queen Elizabeth I, and her house was conceived to be a conspicuous statement of her wealth and power. The windows are exceptionally large and numerous at a time when glass was a luxury. The Hall's chimneys are built into the internal walls of the structure, in order to give more scope for huge windows without weakening the exterior walls.\r\nHardwick Hall was the culmination of Smythson's first stylistic phase, even though his responsibility for the house must have been less comprehensive than at Wollaton. The plan of Hardwick is clearly derived from that of Worksop Manor, but the forms are simpler: a rectangular block with six projecting towers that rise above the main roof. Externally the detail is pared to a minimum, and the uncompromising severity of the great windows makes them very reminiscent of Perpendicular Gothic fenestration. These windows increase in height towards the top of the house, expressing the disposition of the great rooms, the high great chamber and the gallery, on the second floor.\r\nThe ingenuity of the planning, particularly of the two meandering staircases contrived behind symmetrical façades, is characteristic of Smythson, while the position of the hall, placed across the house and entered axially at one end, may also have been suggested by him. This marks an advance over Wollaton but was not to be maintained in subsequent houses. With the possible exceptions of chimney-pieces derived from Serlio and Vredeman de Vries, the architectural decoration is unlikely to be of Smythson's choosing, for he did not oversee the building work.\r\nView the floor plans of Hardwick Hall.\r\n\r\n\n","end_year":1597,"genre":"architecture","materials":"Photo","museum_name":"Hardwick Hall, Derbyshire","name":"Aerial view","start_year":1590,"type":"other","url":"https://www.wga.hu/detail/s/smythson/3hardwi3.jpg"},{"artworkid":130,"author":"GAUGUIN, Paul","description":"\n\n","end_year":1896,"genre":"painting","materials":"Oil on canvas, 75 x 65 cm","museum_name":"Ordrupgaardsamlingen, Ordrupgaard","name":"Portrait of a Young Girl, Vat Goupil","start_year":1896,"type":"portrait","url":"https://www.wga.hu/detail/g/gauguin/06/tahiti58.jpg"},{"artworkid":134,"author":"MAN, Cornelis de","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 74 x 66 cm","museum_name":"Private collection","name":"The Reading Lesson","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/m/man/lesson.jpg"},{"artworkid":231,"author":"BRYULLOV, Aleksandr Pavlovich","description":"\r\nThis lithograph is part of a series \"Views of St Petersburg and its Environs\" published by the Society for the Promotion of the Arts from 1821 to 1826.\r\n\r\n\n","end_year":1822,"genre":"graphics","materials":"Lithograph, 493 x 620 mm","museum_name":"The Hermitage, St. Petersburg","name":"Sennaya Square","start_year":1822,"type":"landscape","url":"https://www.wga.hu/detail/b/bryullov/aleksand/sennaya.jpg"},{"artworkid":946,"author":"BASILE, Ernesto","description":"\n\n","end_year":1900,"genre":"architecture","materials":"Photo","museum_name":"Salita Belmonte, 43, Palermo","name":"Hotel Villa Igiea: view from the garden","start_year":1899,"type":"other","url":"https://www.wga.hu/detail/b/basile/igiea5.jpg"},{"artworkid":99,"author":"VELDE, Henry van de","description":"\r\nAt the last salon of Les Vingt, in 1893, van de Velde exhibited his tapestry Angels' Vigil, which marks his transition within artistic disciplines. With that, the circle of the specifically Belgian version of Art Nouveau closes.\r\nThe tapestry is a practical example of van de Velde's theories of the reciprocal influence of colours on each other and their relationship. In form, it exemplifies a modern insight into the rhythm of line. A contemporary critic remarked of the embroidery: \"The composition is at once naive and solemn; it reminds one of the illustrations for fairy stories by Maurice Maeterlinck.\"\r\n\r\n\n","end_year":1893,"genre":"tapestry","materials":"Appliqu work, wool and silk, 140 x 233 cm","museum_name":"Museum Bellerive, Zurich","name":"Angels' Vigil","start_year":1893,"type":"religious","url":"https://www.wga.hu/detail/v/velde3/7tapestr.jpg"},{"artworkid":103,"author":"BACHELIER, Nicolas","description":"\r\nThis magnificent mansion was built for a wealthy merchant, Pierre d'Assézat who made his fortune through the trade of pastel in the sixteenth century. He entrusted the construction to one of the most famous Toulouse architects, Nicolas Bachelier. There is no clear evidence about the authorship of the court of this hôtel, the most original work produced in Toulouse at this time (built between 1552 and 1562), the author was probably Bachelier. The only point that can  be established is that the architect was familiar with the treatise of Serlio, since the elevation is largely composed from plates of his book. Whoever the architect may be, however, he must rank with Lescot and Delorme as one of the creators of the classical style of the middle of the century, and his influence seems to have been wide among architects in Toulouse.\r\nThe exact extent of Bachelier's role in the construction of the courtyard is unclear: he seems to have provided only the sculptural decoration (1555–58), while the brick shell was entrusted to the master-mason Jean Castagné.\r\nThe photo shows the courtyard two sides of which have a three-level elevation superimposing the three classical orders (Ionic order, Doric order, Corinthian order); it takes up the hierarchy of orders established by the treatise of Serlio. The imposing stair tower on the corner rises high enough to be visible in the distance. With the loggia, we find all the elements that make up a mansion of the Renaissance period.\r\n\r\n\n","end_year":1555,"genre":"architecture","materials":"Photo","museum_name":"Htel d'Asszat, Toulouse","name":"Exterior view","start_year":1555,"type":"other","url":"https://www.wga.hu/detail/b/bachelie/assezat1.jpg"},{"artworkid":107,"author":"MICHELE DA FIRENZE","description":"\r\nMichele da Firenze's terracotta narrative scenes cover the walls of the Pellegrini family chapel in Sant'Anastasia, Verona. This is Michele's first independently documented work and is considered to be his masterpiece. The originally polychromed 24 individual panels depict scenes from the Life, Passion and Death of Christ.\r\nIn addition to the terracotta panels, the tomb of Tommaso Pellegrini is on the left wall and the Pellegrini-Bevilacqua tomb on the right wall. The former is the work of Antonio da Mestre (sculpture) and Martino da Verona (fresco), while the latter contains also a fresco by Martino.\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Photo","museum_name":"Sant'Anastasia, Verona","name":"View of Pellegrini Chapel","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/m/michele/firenze/pellegr1.jpg"},{"artworkid":111,"author":"ARCHITECT, English","description":"\r\nKing's College Chapel is the chapel to King's College of the University of Cambridge, and it is considered one of the finest examples of late Perpendicular Gothic English architecture. The chapel was built in phases by a succession of kings of England from 1446 to 1515, a period which spanned the Wars of the Roses. The chapel's large stained glass windows were not completed until 1531, and its early Renaissance rood screen was erected in 1532–36.\r\nThe photo shows the King's College Chapel (partially obscured by the Gibbs' Building), seen from the Backs (a picturesque area where several colleges of the University of Cambridge back on to the River Cam).\r\n\r\n\n","end_year":1515,"genre":"architecture","materials":"Photo","museum_name":"King's College Chapel, Cambridge","name":"Exterior view","start_year":1446,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/15c/4/1cambri1.jpg"},{"artworkid":115,"author":"UNKNOWN MASTER, French","description":"\r\nThe statue of the Virgin and Child stands on a golden reliquary decorated with pearls, precious stones and blue glass panels.\r\n\r\n\n","end_year":1339,"genre":"sculpture","materials":"Gilt silver, height 68 cm","museum_name":"Muse du Louvre, Paris","name":"Virgin and Child","start_year":1324,"type":"religious","url":"https://www.wga.hu/detail/m/master/yunk_fr/yunk_fr2/06virgix.jpg"},{"artworkid":119,"author":"KNOX, Archibald","description":"\r\nIn 1902, Knox designed some of the famous \"Tudric\" pewter series for Liberty & Co. in London. Tudric was a range of pewterware sold by the London Art Nouveau store of Liberty & Co. The Celtic name was chosen as a tribute to the Welsh ancestors of John Llewellyn, a director of Liberty. The Tudric series is very similar to the Jugendstil pewterware made in Germany.\r\nThis tobacco canister is from the Tudric series.\r\n\r\n\n","end_year":1902,"genre":"metalwork","materials":"Tin","museum_name":"Hessisches Landesmuseum, Darmstadt","name":"Tobacco canister","start_year":1902,"type":"other","url":"https://www.wga.hu/detail/k/knox/1metal1.jpg"},{"artworkid":123,"author":"ANGELICO, Fra","description":"\r\nThis panel, which probably originally belonged to the San Domenico altarpiece. It is assumed that it represents John Chrysostom (ca. 347-407), one of the early Greek Fathers of the Church, the archbishop of Constantinople.\r\n\r\n\n","end_year":1425,"genre":"painting","materials":"Tempera and gold on panel, diameter 15 cm","museum_name":"Metropolitan Museum of Art, New York","name":"A Bishop Saint","start_year":1425,"type":"religious","url":"https://www.wga.hu/detail/a/angelico/00/11fieso7.jpg"},{"artworkid":127,"author":"TIBALDI, Pellegrino","description":"\r\nGiovanni Poggi (1493-1556) was a papal diplomat and financier to the Curia under Clement VII and Paul III. He was named Bishop of Tropea in 1540 and cardinal in 1551. From 1549 he was responsible for the continuation of constructing and furbishing the family palace in Bologna.\r\nIn the palace, Poggi had the halls of the piano nobile painted by Niccolò dell'Abate, Prospero Fontana, and others. They painted friezes with landscapes and grotesques, as well as numerous episodes from the Old Testament. In the ground floor, the twenty-three-year-old Pellegrino Tibaldi created the Odysseus frescoes, a major work that he would never again equal, one which even Annibale Carracci would decisively fall back upon as a model at the end of the sixteenth century.\r\nTibaldi's frescoes, depicting the Adventures of Odysseus, were created in 1550-51. Poggi must have been satisfied with the decoration, since shortly thereafter he also commissioned the artist to paint his newly built family chapel in Bologna's San Giacomo Maggiore. Tibaldi adorned the chapel with scenes from the life of Poggi's name saint, John the Baptist.\r\nThe Odysseus frescoes adorn the vaults of two rooms. From the entry corridor of the palace one walks first into a large hall (Sala di Ulisse), where the cycle begins. One finds the continuation and conclusion in a smaller room directly adjoining the hall (Stanza di Ulisse). The ceiling articulation and the arrangement of the paintings in both rooms are oriented along the lines of a famous Roman model, Raphael's Logge in the Vatican Palace. The scenes are inserted as 'quadri riportati' (framed paintings that are seen in a normal perspective and painted into a fresco). Between the fields of the painted histories, illusionistic views open onto colonnades that seem to reach up to the heaven. The framings are executed in stucco.\r\nWith their various decorative systems, each of the two rooms achieves a wholly individual character, one corresponding to its respective size and position.\r\nThe ceiling in the Sala di Ulisse contains five scenes from the Adventures of Odysseus, namely\r\n1. Blinding of Polyphemus\r\n2. Polyphemus and the Flight of the Greeks\r\n3. Aelos Gives Odysseus the Bag of Winds\r\n4. Neptune and the Ship of Odysseus\r\n5. Odysseus and Circe\r\n\r\n\n","end_year":1551,"genre":"painting","materials":"Fresco","museum_name":"Sala di Ulisse, Palazzo Poggi, Bologna","name":"View of the ceiling vault","start_year":1550,"type":"mythological","url":"https://www.wga.hu/detail/t/tibaldi/1/1view.jpg"},{"artworkid":235,"author":"MICHELANGELO Buonarroti","description":"\r\nAbove the altar at the centre of the end wall is the distraught image of the prophet Jonah. In the corner pendentives, which correspond with those on the entrance wall, are other scenes based on the history of the Jews: the Punishment of Haman and the Brazen Serpent.\r\n\r\n\n","end_year":1512,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Frescoes above the altar wall","start_year":1508,"type":"religious","url":"https://www.wga.hu/detail/m/michelan/3sistina/0bays/10_0baya.jpg"},{"artworkid":112,"author":"MANTEGNA, Andrea","description":"\r\nOne the most remarkable portions of the decoration of the Camera degli Sposi is the fictive oculus, or opening to the sky, located on the room's low ceiling. Created with sharp foreshortenings, the oculus is ringed with figures looking down on the room below; a potted plant is precariously perched on its wooden support, seemingly ready to fall at any moment. It is a brilliant tour de force that invariably engages the spectator, who must join in the game by standing directly beneath the circular trellis.\r\nThe magnificent details of the ceiling and some of the busts and scenes stand among the most convincing trompe l'oeil passages of the entire Italian Renaissance.\r\n\r\n\n","end_year":1474,"genre":"painting","materials":"Fresco, diameter: 270 cm","museum_name":"Camera degli Sposi, Palazzo Ducale, Mantua","name":"Ceiling Oculus","start_year":1465,"type":"religious","url":"https://www.wga.hu/detail/m/mantegna/07/3sposi04.jpg"},{"artworkid":116,"author":"VELZQUEZ, Diego Rodriguez de Silva y","description":"\r\nAs a court painter, Velázquez was required to paint group portraits as well as these actual or fictional portraits of individual figures. He organized a workshop of competent artists, and in 1633 recruited the services of his son-in-law Juan Bautista Martínez del Mazo. Mazo probably did a good deal of work on the picture of around 1636 showing Prince Baltasar Carlos with the Count-Duke of Olivares at the Royal Mews. The Count-Duke stands in the middle ground to the right of the picture, with his master-at-arms; figures on the balcony above him include Philip IV, Queen Isabel and several courtiers who cannot be identified for certain.\r\nThe belly of the horse on which the little prince is mounted is disproportionately convex and in fact so coarsely depicted that one suspects the unskilful hand of an apprentice rather than a deliberate distortion.\r\n\r\n\n","end_year":1636,"genre":"painting","materials":"Oil on canvas, 144 x 96,5 cm","museum_name":"Collection of the Duke of Westminster, London","name":"Prince Baltasar Carlos with the Count-Duke of Olivares at the Royal Mews","start_year":1636,"type":"other","url":"https://www.wga.hu/detail/v/velazque/06/0601vela.jpg"},{"artworkid":120,"author":"DALLE MASEGNE, Jacobello","description":"\r\nThe Dalla Masegne brothers signed the central section of the iconostasis (choir screen) in San Marco, Venice, in 1394, which would suggest that they must have begun this large project c. 1392-933.\r\nThe iconostasis sculptures reveal two radically different styles. One group is formed by the twelve marble Apostles of the central section. These show marked similarities with mid-14th-century Lombard sculpture, particularly with works of Bonino da Campione, who was active in Verona. The strongly expressive physiognomy of the Apostles' faces is close to the angels' faces on the tomb (Padua, Eremitani) of Ubertino da Carrara (d 1345) by Andriolo de' Santi of Venice, to such mid-14th-century mosaics in San Marco as those in the baptistery and also to Paolo Veneziano's paintings. This would suggest that this sculptor's roots lay in northern Italy.\r\nThe marble female figures on the lateral sections facing the chapel of San Clemente and the chapel of San Pietro are in a different style. Their similarity to Tuscan sculpture, particularly to the work of artists in the circle of Nino Pisano, is so strong that it would suggest that the sculptor stayed for a considerable time in Tuscany and continued working in the Tuscan style on his return to Venice.\r\nGiven that Pierpaolo was absent from Venice c. 1394 and that Jacobello was absent c. 1397, the figures in the central section, which is dated 1394, can be attributed to Jacobello and the lateral sections, dated 1397, to Pierpaolo. Both sculptors used assistants, and the stylistic differences within their sections are due mainly to different qualities of execution, not to independent designs.\r\n\r\n\n","end_year":1394,"genre":"sculpture","materials":"Marble","museum_name":"Basilica di San Marco, Venice","name":"Iconostasis","start_year":1392,"type":"religious","url":"https://www.wga.hu/detail/d/dalle_ma/iconost3.jpg"},{"artworkid":124,"author":"FREUND, Hermann Ernst","description":"\n\n","end_year":1834,"genre":"sculpture","materials":"Marble, height 34,5 cm","museum_name":"Statens Museum for Kunst, Copenhagen","name":"Henriette Rawert","start_year":1834,"type":"portrait","url":"https://www.wga.hu/detail/f/freund/rawert.jpg"},{"artworkid":128,"author":"BONSI, Giovanni","description":"\n\n","end_year":1371,"genre":"painting","materials":"Tempera on panel","museum_name":"Pinacoteca, Vatican","name":"Polyptych of Madonna, Child and Four Saints","start_year":1371,"type":"religious","url":"https://www.wga.hu/detail/b/bonsi/polypty1.jpg"},{"artworkid":132,"author":"LOMBARDO, Tullio","description":"\r\nThis prewar photograph shows one of the two shield-bearer from the monument of Andrea Vendramin. These figures, unfortunately damaged during the Second World War, stood on the top cornice.\r\n\r\n\n","end_year":1490,"genre":"sculpture","materials":"Marble","museum_name":"Staatliche Museen, Berlin","name":"Young Shield-bearer","start_year":1490,"type":"other","url":"https://www.wga.hu/detail/l/lombardo/tullio/1vendra6.jpg"},{"artworkid":136,"author":"CAGNACCI, Guido","description":"\r\nCagnacci's familiarity with the work of Guido Reni and the masters of the Bolognese manner, and his stay in Rome and encounter with Caravaggio's painting, were a vital influence on his work. The Death of Cleopatra was painted during the period when the artist's broad figurative range was enriched by the Dutch pictures he had seen in Vienna. An outstanding example of Cagnacci's art, the painting is part of the long tradition of nudes that were painted under the pretext of representing mythological subjects. The sweet sensuality and languid amorous fatigue of the blond young woman contrast with the stiff and angular armchair. The entire composition is built up on an \"architectural\" system of regular units of form which does not allow for any ambiguity in the representation but rigorously supports the pictorial creation. Light and colour complete the definition of the figure.\r\nThe painting is signed in Latin on the left-hand upright of the chair: \"GUIDUS CAGNACCIUS.\"\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 120 x 158 cm","museum_name":"Pinacoteca di Brera, Milan","name":"The Death of Cleopatra","start_year":1660,"type":"mythological","url":"https://www.wga.hu/detail/c/cagnacci/death_c.jpg"},{"artworkid":140,"author":"GIAMBOLOGNA","description":"\r\nFollowing Vincenzo de' Rossi's example, Giambologna executed some of the scenes from the series of twelve labours of Hercules. However, by contrast to De' Rossi, he never had any intention of finishing a whole series. The first two scenes from the cycle he chose to treat those showing the hero's battle with the centaur and with the giant Antaeus.\r\n\r\n\n","end_year":1580,"genre":"sculpture","materials":"Bronze, height 51 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Hercules and Antaeus","start_year":1578,"type":"mythological","url":"https://www.wga.hu/detail/g/giambolo/1/381giamb.jpg"},{"artworkid":144,"author":"AMMANATI, Bartolomeo","description":"\r\nAmmanati took his original designs for the Ponte Santa Trinità to Michelangelo shortly before the latter's death, and the older artist criticized and corrected them. The soaring flight of the roadway over the river, the tension of the flattened arches, and the potent simplicity of the wedge-shaped pylons should be credited to Michelangelo.\r\nThe bridge was blown up by the Germans in 19443 and rebuilt after the war, using the original plans, and the same quarry, located in the Boboli Gardens behind Palazzo Pitti.\r\n\r\n\n","end_year":1566,"genre":"architecture","materials":"Photo","museum_name":"Florence","name":"Ponte Santa Trinit","start_year":1566,"type":"other","url":"https://www.wga.hu/detail/a/ammanati/4/ponte.jpg"},{"artworkid":179,"author":"DECAMPS, Alexandre Gabriel","description":"\r\nAlthough he studied briefly with Étienne Bouhot and then Alexandre-Denis Abel de Pojol, Decamps was largely self-taught. He made only one visit to the Middle East, in 1828 (visiting Turkey, Greece and North Africa), but in the 1830s he established a considerable reputation as a painter of Orientalist themes and of religious subjects set in convincing locations. Although his ambitions to be a history painter on a grand scale were never realized, many contemporary critics ranked him with Ingres and Delacroix among the leading French artists. He visited Italy in 1835. This watercolour is perhaps indebted to the oils and watercolours of sturdy carthorses by Gericault.\r\n\r\n\n","end_year":1830,"genre":"painting","materials":"Watercolour and bodycolour on paper, 222 x 315 mm","museum_name":"Wallace Collection, London","name":"Cart Horses","start_year":1830,"type":"other","url":"https://www.wga.hu/detail/d/decamps/carthors.jpg"},{"artworkid":121,"author":"VISCARDI, Girolamo","description":"\r\nIn 1502 Louis XII commissioned a tomb in honour of his ancestors, the Dukes of Orleans, which was originally set up in the church of the Celestins in Paris, but is now at St Denis. The contract of 1502 mentions the Genoese sculptors, Michele d'Aria and Gerolamo Viscardi, and the two Florentines, Donato di Battista Bend and Benedetto da Rovezzano, who had settled in Genoa. This tomb shows a compromise scheme which was to become common in the next decades, consisting of a purely Italian sarcophagus supporting a recumbent figure, or \"gisant\" in the traditional French manner. The novelty of this tomb, apart from the strictly classical arcade round the sarcophagus, lies in the introduction in this arcade of the figures of the twelve apostles, which replace the \"pleurants\" usual in French tombs.\r\n\r\n\n","end_year":1502,"genre":"sculpture","materials":"Marble","museum_name":"Abbey Church, Saint-Denis","name":"Tomb of the Dukes of Orleans","start_year":1502,"type":"religious","url":"https://www.wga.hu/detail/v/viscardi/tomborle.jpg"},{"artworkid":125,"author":"MEMLING, Hans","description":"\r\nThe picture shows a detail of the left wing.\r\n\r\n\n","end_year":1471,"genre":"painting","materials":"Oil on wood","museum_name":"Muzeum Narodowe, Gdansk","name":"Last Judgment Triptych (detail)","start_year":1467,"type":"religious","url":"https://www.wga.hu/detail/m/memling/1early3/02last10.jpg"},{"artworkid":129,"author":"TIZIANO Vecellio","description":"\r\nIn the background, St Mark's Square, and in front of it the lagoon and the numerous ships upon which the wealth and safety of Venice were founded emerge as from a haze of colour.\r\n\r\n\n","end_year":1576,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Ducale, Venice","name":"Doge Antonio Grimani Kneeling Before the Faith (detail)","start_year":1575,"type":"religious","url":"https://www.wga.hu/detail/t/tiziano/07_1570s/09grima2.jpg"},{"artworkid":133,"author":"ALBERTINELLI, Mariotto","description":"\r\nThe predella of the altarpiece with the Visitation shows three stories from the life of Christ: the Annunciation, the Birth of Christ and the Circumcision. Despite the small size of the three compartments, Albertinelli succeeds in constructing austere, essential spaces which display a great formal balance. The small, full figures are firmly and vigorously placed in scenes which respect the most rigorous perspective laws of the Florentine Quattrocento.\r\n\r\n\n","end_year":1503,"genre":"painting","materials":"Oil on wood, 23 x 50 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Annunciation","start_year":1503,"type":"religious","url":"https://www.wga.hu/detail/a/albertin/visitat1.jpg"},{"artworkid":137,"author":"SIMONE MARTINI","description":"\r\nThe most influential Sienese painter of the early 14th century was Simone Martini. His Gothic style, which combined extraordinary descriptive subtlety with decorative beauty, spread throughout Europe. This panel, one of five belonging to a portable altarpiece (two companion panels are in the Robert Lehman Collection), is an excellent example of the delicacy and richness of Simone's work. The drawing of the hands is remarkably sensitive, and the folds of the pink robe, modeled in green, are beautifully worked. Especially notable is the rich tooling of the gold background.\r\n\r\n\n","end_year":1326,"genre":"painting","materials":"Tempera on wood, gold ground, 57 x 38 cm","museum_name":"Metropolitan Museum of Art, New York","name":"St Andrew","start_year":1326,"type":"religious","url":"https://www.wga.hu/detail/s/simone/4altars/6other/4andrew1.jpg"},{"artworkid":141,"author":"GIOVANNI DI PAOLO","description":"\r\nThis small panel was once part of a diptych, now broken up and mounted in frames that are not original. The other half of the diptych (also in the Vatican) shows a Madonna and Child.\r\nThe figure of the archangel stands out against a gold background, wearing armor over a short, skirted garment and a cloak. He has wings and a halo, and his left hand rests on a shield bearing the emblem of a cross, while his right hand holds a spear, piercing the serpent that he tramples underfoot.\r\n\r\n\n","end_year":1440,"genre":"painting","materials":"Tempera and gold on wood, 19 x 8 cm","museum_name":"Pinacoteca, Vatican","name":"St Michael the Archangel","start_year":1440,"type":"religious","url":"https://www.wga.hu/detail/g/giovanni/paolo/1/michael.jpg"},{"artworkid":145,"author":"GRECO, El","description":"\r\nThis painting is among the most beautiful devotional paintings of El Greco. It was very successful: there are seven closely related versions of this image for private meditation.\r\n\r\n\n","end_year":1580,"genre":"painting","materials":"Oil on canvas, 105 x 79 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Christ Carrying the Cross","start_year":1580,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/08/0811grec.jpg"},{"artworkid":149,"author":"GIOVANNI and PACIO DA FIRENZE","description":"\r\nThis tomb has as its model the Mary of Hungary monument of Tino di Camaino, and it is from this work that the pigmented sarcophagus, with its seated figures beneath Gothic canopies and the angels drawing curtains derive.\r\n\r\n\n","end_year":1345,"genre":"sculpture","materials":"Marble, height of sarcophagus 170 cm","museum_name":"Santa Chiara, Naples","name":"Monument to Robert of Anjou, King of Sicily (detail)","start_year":1343,"type":"religious","url":"https://www.wga.hu/detail/g/giovanni/andpacio/tomb4.jpg"},{"artworkid":153,"author":"MASTER of the Isaac Stories","description":"\r\nThe detail shows the head of Isaac.\r\n\r\n\n","end_year":1290,"genre":"painting","materials":"Fresco","museum_name":"Upper Church, San Francesco, Assisi","name":"Scenes from the Old Testament: Isaac Rejecting Esau (detail)","start_year":1290,"type":"religious","url":"https://www.wga.hu/detail/m/master/isaac/isaac22.jpg"},{"artworkid":157,"author":"ALBANI, Francesco","description":"\r\nThe composition and figural types of this Holy Family or The Rest on the Flight into Egypt, especially the statuesque Madonna, owe much to Annibale Carracci, while the soft modeling and freshness of colour, emphasized by the luminosity of the copper support, is highly characteristic of Albani.\r\n\r\n\n","end_year":1610,"genre":"painting","materials":"Oil on copper, 37,5 x 28,5 cm","museum_name":"Private collection","name":"The Holy Family","start_year":1610,"type":"religious","url":"https://www.wga.hu/detail/a/albani/1/holy_fam.jpg"},{"artworkid":161,"author":"MARTINO DA VERONA","description":"\r\nThe pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.\r\nSts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.\r\n\r\n\n","end_year":1396,"genre":"painting","materials":"Marble and fresco","museum_name":"San Fermo Maggiore, Verona","name":"Decoration around the pulpit","start_year":1396,"type":"religious","url":"https://www.wga.hu/detail/m/martinov/pulpit1.jpg"},{"artworkid":165,"author":"ANGELICO, Fra","description":"\r\nThis painting was part of the predella which belonged to a triptych of the Madonna and Child with Four Saints (known as the Compagnia di San Francesco Altarpiece), commissioned for the convent of Santa Croce in Florence 1429. The five predella panels depicting scenes from the life of St Francis of Assisi are the following:\r\n1. Trial by Fire (Lindenau-Museum, Altenburg)\r\n2. Receiving the Stigmata (Pinacoteca Vaticana, Rome)\r\n3. Meeting of St Francis and St Dominic (Staatliche Museen, Berlin)\r\n4. Apparition of St Francis at Arles (Staatliche Museen, Berlin)\r\n5. Lamentation over St Francis (Staatliche Museen, Berlin)\r\nAmong the predella panels, the Apparition of St Francis at Arles is especially remarkable for its deep architectural setting, its luminary effects and its atmospheric perspective.\r\n\r\n\n","end_year":1429,"genre":"painting","materials":"Poplar, 26 x 31 cm","museum_name":"Staatliche Museen, Berlin","name":"Apparition of St Francis at Arles","start_year":1429,"type":"religious","url":"https://www.wga.hu/detail/a/angelico/12/02compa4.jpg"},{"artworkid":188,"author":"HERREYNS, Willem","description":"\r\nThe painting replaced Otto van Veen's Last Supper in the Venerable Chapel of the Antwerp Cathedral at the beginning of the 19th century. The artist donated this painting to the confraternity so that it could be incorporated in the new monumental altar. It is an attractive work, with its serene and classical structure, and catches the eye with the powerful, Rubensian expression of the figures.\r\n\r\n\n","end_year":1808,"genre":"painting","materials":"Oil on canvas, 310 x 240 cm","museum_name":"O.-L. Vrouwekathedraal, Antwerp","name":"Supper at Emmaus","start_year":1808,"type":"religious","url":"https://www.wga.hu/detail/h/herreyns/emmaus.jpg"},{"artworkid":131,"author":"STRBL, Alajos","description":"\r\n\"Our Mother\" by Alajos Stróbl was awarded the Grand Prix at the Paris World Exhibition of 1900. He worked on it for three years and completed it in the year of the Millennium, 1896. Although it is doubtlessly one of the most intimate work of Hungarian sculpture, it had only moderate success in Hungary, despite the fact that the Museum of Fine Arts bought it year it was completed. The artist chose the subject himself, inspired by an inner drive. The chosen subject clearly determined the style of representation, the sensitive modelling and the emotional content. The expressiveness and its human warmth make it one of the outstanding pieces of Hungarian sculpture from the turn of the century.\r\n\"Our Mother\" shows an old woman sitting in a high-backed armchair, resting her hands on an open book but glancing up from her reading. In the beautiful features of his mother, the artist has managed to express the understanding and wisdom acquired over a long lifetime. Her distant look and the faint smile are reflections of her soul.\r\n\r\n\n","end_year":1896,"genre":"painting","materials":"Marble, height 161 cm","museum_name":"Magyar Nemzeti Galria, Budapest","name":"Our Mother","start_year":1896,"type":"portrait","url":"https://www.wga.hu/detail/s/strobl/3mother.jpg"},{"artworkid":135,"author":"LA TOUR, Georges de","description":"\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas","museum_name":"J. Paul Getty Museum, Los Angeles","name":"The Musicians' Brawl (detail)","start_year":1625,"type":"genre","url":"https://www.wga.hu/detail/l/la_tour/georges/1/02quarrx.jpg"},{"artworkid":139,"author":"ARCHITECT, German","description":"\r\nLichtenberg Castle north of Stuttgart is among the few medieval German castles to have been preserved complete. Stonemasons' marks indicate a construction date of around 1220.\r\nThe Lichtenberg family was among those families who gained influence and prestige through the flowering of the Hohenstaufen Empire. It may also be assumed that there was a connection between the Lords of Lichtenberg and Oberstenfeld at the foot of their castle. The lords of Lichtenberg have produced a politically influential man in almost every generation of the two centuries they have built and lived in the castle, which is perhaps one of the reasons why the castle was never attacked during this period.\r\n\r\n\n","end_year":1220,"genre":"architecture","materials":"Photo","museum_name":"Burg Lichtenberg, Oberstenfeld","name":"General view","start_year":1220,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/13c/1/02g_1212.jpg"},{"artworkid":143,"author":"ANGUIER, Michel","description":"\r\nThis group, now in the St Roch, was originally executed for the high altar in the Val-de-Grâce, Paris. The mood which this Baroque group expresses is not the ecstasy of the Roman Baroque but a sort of pathos which is purely French and, like Le Sueur's religious sentiment, seems to prepare the way for the eighteenth century.\r\n\r\n\n","end_year":1668,"genre":"sculpture","materials":"Marble, height 160 cm","museum_name":"St Roch, Paris","name":"Nativity","start_year":1665,"type":"religious","url":"https://www.wga.hu/detail/a/anguier/michel/nativit.jpg"},{"artworkid":147,"author":"TIEPOLO, Giovanni Battista","description":"\r\nTiepolo painted this altarpiece during his stay in Germany. Because if the damp climate, he could only work on the frescoes in the Würzburg Residenz in the spring and summer. So in the fall and winter he had to concentrate on painting in oil on canvas. He produced some fantastic and exotically beautiful works in which the religious subject seems merely a pretext for eye-catching, showy images, but he himself was genuinely religious. The style of the age, however, meant that even religious topics often became theatrical.\r\n\r\n\n","end_year":1753,"genre":"painting","materials":"Oil on canvas, 408 x 210 cm","museum_name":"Alte Pinakothek, Munich","name":"Adoration of the Magi","start_year":1753,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/7_1760s/03adorat.jpg"},{"artworkid":151,"author":"MALOMBRA, Pietro","description":"\r\nPietro Malombra is thought to have trained with Giuseppe Salviati but his dramatic compositions and fluid handling of paint show the marked influence of Tintoretto.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 126 x 173 cm","museum_name":"Private collection","name":"Samson and Delilah","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/m/malombra/samsonde.jpg"},{"artworkid":155,"author":"MINIATURIST, Italian","description":"\r\nThis manuscript contains a collection of over 70 religious and secular texts in Hebrew, including a haggadah, accompanied by glosses and commentaries. With 408 illuminated folios, this is the most richly ornamented Hebrew manuscript. The miniatures stem from a workshop of some significance, either in or around Ferrara, recalling certain features of the art of Taddeo Crivelli.\r\nThe opulently illustrated miniature with Hebrew text on folio 64v depicts Job with his seven sons and three daughters. He sits enthroned in a Renaissance palace.\r\n\r\n\n","end_year":1479,"genre":"illumination","materials":"Manuscript (Ms. 180/51), 210 x 156 mm","museum_name":"Israel Museum, Jerusalem","name":"Rothschild Miscellany","start_year":1479,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/1451-500/2italia4/20variou.jpg"},{"artworkid":159,"author":"STORY, William Wetmore","description":"\r\nThe sculptor intended to convey the extreme emotions that tormented the literary characters popular in his time. Ha represented the mythical Medea about to exact a terrible revenge on her adulterous husband Jason. The figure is imbued with the classical beauty and mastery of marble that runs throughout Story's work.\r\nThere are several versions of this statue, the present one, made 10 years after the first version was completed, seems to be the only version under life size. It is signed and dated in cypher: W S / ROMA 1876, and entitled: MEDEA.\r\n\r\n\n","end_year":1876,"genre":"sculpture","materials":"White marble, height 119 cm","museum_name":"Private collection","name":"Medea","start_year":1876,"type":"mythological","url":"https://www.wga.hu/detail/s/story/medea1.jpg"},{"artworkid":163,"author":"LUCA DI TOMM","description":"\r\n\"Behold the Lamb of God, which taketh [away the sin of the world]\". These words, inscribed in Latin on the scroll held by St John the Baptist, announce the coming of Christ. Standing against a gold background and enclosed in a Gothic trefoil frame, St John wears a hair shirt that represents his ascetic life of prayer and penance. Using carefully curved brushstrokes, Luca di Tommè described the woolly texture of St John's shirt and the unruly curliness of his hair and beard. Patterned punch marks form the decorative halo around the saint's head. The Old Testament prophets Elijah and David, who predicted the coming of the Messiah, occupy the upper corners of the frame.\r\nThis panel was once part of an altarpiece, possibly for a church in Siena.\r\n\r\n\n","end_year":1380,"genre":"painting","materials":"Tempera and gold leaf on panel, 100 x 49 cm","museum_name":"J. Paul Getty Museum, Los Angeles","name":"St John the Baptist","start_year":1380,"type":"religious","url":"https://www.wga.hu/detail/l/luca/st_john.jpg"},{"artworkid":167,"author":"FASOLO, Giovanni Antonio","description":"\r\nThe picture shows a detail of the scene Scipio Returning Lucius's Betrothed.\r\n\r\n\n","end_year":1565,"genre":"painting","materials":"Fresco","museum_name":"Villa Da Porto Colleoni, Thiene","name":"West wall of the camerone (detail)","start_year":1565,"type":"other","url":"https://www.wga.hu/detail/f/fasolo_g/1/2west5.jpg"},{"artworkid":171,"author":"FONTEBASSO, Francesco","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 72 x 56 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"The Ecstasy of St Therese","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/f/fontebas/therese.jpg"},{"artworkid":175,"author":"NATOIRE, Charles-Joseph","description":"\r\nThis picture must have been intended by Natoire as a tribute to François Lemoyne. It was a pendant to a painting by Lemoyne, depicting Adam receiving the forbidden fruit from Eve in the Garden of Eden (private collection). Around 1721, both Natoire and Lemoyne were in the studio of the academician Lemoyne.\r\n\r\n\n","end_year":1740,"genre":"painting","materials":"Oil on copper, 68 x 50 cm","museum_name":"Metropolitan Museum of Art, New York","name":"The Expulsion from Paradise","start_year":1740,"type":"religious","url":"https://www.wga.hu/detail/n/natoire/expulsio.jpg"},{"artworkid":462,"author":"CRANACH, Hans","description":"\r\nOn this folio sketches of five meerkats surround a self-portrait by the artist, identified by the inscription 'Hans maller von Crannach'.\r\n\r\n\n","end_year":1537,"genre":"graphics","materials":"Paper, 203 x 160 mm","museum_name":"Niederschsisches Landesmuseum, Hannover","name":"Travel sketchbook (folio 5r)","start_year":1536,"type":"study","url":"https://www.wga.hu/detail/c/cranach/hans/sketch3.jpg"},{"artworkid":138,"author":"FERRARI, Defendente","description":"\r\nMary is sitting in front of a red curtain, on which a few decorative elements are just visible at the top. In her arms she is cradling the infant Jesus, who is moving aside the white cloth he is lying on, in search of his mother's breast. The painting depicts a spontaneous gesture, perhaps inspired by the work of German painter, Albrecht Dürer, which accentuates the sense of intimacy between Virgin and Child. This iconography was widely acclaimed in Piedmont.\r\nThe painting, now in the Uffizi, is distinctive because of the unique position of the Child. Instead of looking at the beholder, he is looking at his mother, a detail that accentuates the intimate, private mood of this holy image. The geometric folds of the robes and the painstaking attention to detail, such as the beautifully painted golden gallon and the pearls on the Virgin's mantle, reveal the influence of Flemish painting.\r\n\r\n\n","end_year":1511,"genre":"painting","materials":"Tempera and oil on panel, 75 x 48 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Nursing Madonna","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/f/ferrari/defenden/madonna.jpg"},{"artworkid":142,"author":"BREGNO, Antonio","description":"\r\nFrancesco Foscari was one of the Republic's greatest Doges. In the thirty-four years of his dogate (1423-57) he carried its boundaries as far as the River Adda and to Ravenna with the aid of the famous generals Carmagnola, Gattamelata and Colleoni. He was nonetheless deposed by the Council of Ten on 23 October 1457 and died on 30 October to the sounds of bells announcing the nomination of his successor. Musicians and writers immortalised his name. The Foscari Loggia in the Ducal Palace and in the Foscari Palace (Ca' Foscari) bear his coat of arms and his tomb in the Frari, his mortal remains.\r\nThe monument is a transitional work in which the splendour of the decorative Gothic is beautifully wed with the harmony of Renaissance. The sarcophagus on which the Doge rests is supported by four graceful corbels embellished with the three theological virtues of Faith, Hope and Charity. At the sides St Anthony of Padua and St Mark. At the corners of the sarcophagus the four cardinal virtues attend the Doge: Fortitude, Justice, Prudence and Temperance.\r\nTwo warriors bear the ducal shield and unfurl the canopy.\r\n\r\n\n","end_year":1466,"genre":"sculpture","materials":"Limestone","museum_name":"Santa Maria Gloriosa dei Frari, Venice","name":"Monument of Francesco Foscari (detail)","start_year":1466,"type":"other","url":"https://www.wga.hu/detail/b/bregno/antonio/foscari1.jpg"},{"artworkid":146,"author":"TINTORETTO","description":"\n\n","end_year":1580,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Ducale, Venice","name":"The Dead Christ Adored by Doges Pietro Lando and Marcantonio Trevisan (detail)","start_year":1580,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/4a/3senate3.jpg"},{"artworkid":150,"author":"ANGELICO, Fra","description":"\r\nThe picture shows the Perugia polyptych, without the complete predella.\r\n\r\n\n","end_year":1448,"genre":"painting","materials":"Tempera and gold on panel, 128 x 88 cm (central), 102 x 75 cm (each side)","museum_name":"Galleria Nazionale dell'Umbria, Perugia","name":"Perugia Altarpiece","start_year":1447,"type":"religious","url":"https://www.wga.hu/detail/a/angelico/06/perugia0.jpg"},{"artworkid":154,"author":"SCHADOW, Ridolfo","description":"\r\nThis almost life-size sculpture is one of the seven replicas which Schadow executed after his famous original made in 1813. This version was commissioned by Crown Prince Ludwig in 1817.\r\n\r\n\n","end_year":1817,"genre":"sculpture","materials":"Marble, height 119 cm","museum_name":"Neue Pinakothek, Munich","name":"Woman Tying Her Sandal","start_year":1817,"type":"genre","url":"https://www.wga.hu/detail/s/schadow/ridolfo/sandal.jpg"},{"artworkid":158,"author":"ARCHITECT, Italian","description":"\r\nSan Pietro a Majella is considered one of the most significant examples of Angevin architecture in Naples. It was built at the wishes of Giovanni Pippino da Barletta, one of the knights of Charles II of Anjou and the one responsible for destroying the last Saracen colony on the southern peninsula, in Lucera. It was built in the early 14th century and was named for and dedicated to Pietro Angeleri da Morone, a hermit monk from Majella (near Sulmona) who became Pope Celestine V in 1294.\r\nThe interior has three naves, separated by pillars supporting Gothic arches, with nine lateral chapels, plus four on each side of the chancel, and transept. The simple volume of the nave, with its telling interplay of plain arches and plane surfaces, is clearly demarcated. No less clear is its expansion into the richer darkness of the vaulted aisles and of the rectangular vaulted chapels beyond. The single detail that epitomizes the simple, balanced contrasts of the building and contains within itself the essence of the transition from the wall-dominated, planar spaces to the rib-dominated aisles is the fusion of columns and flat piers in the nave arcading.\r\n\r\n\n","end_year":-1,"genre":"architecture","materials":"Photo","museum_name":"San Pietro a Majella, Naples","name":"Interior view","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/14c/3/2/4naples2.jpg"},{"artworkid":162,"author":"MADERNO, Carlo","description":"\r\nThe façade designed by Maderno, is 115 metres wide and 46 metres high and is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by thirteen statues: Christ flanked by eleven of the Apostles (except Peter, whose statue is left of the stairs) and John the Baptist. The inscription below the cornice on the 1 metre tall frieze reads: \"IN HONOREM PRINCIPIS APOST PAVLVS V BVRGHESIVS ROMANVS PONT MAX AN MDCXII PONT VII\" (In honour of the Prince of Apostles, Paul V Borghese, a Roman, Supreme Pontiff, in the year 1612, the seventh of his pontificate).\r\nView the Maderno's design for St. Peter's.\n\n","end_year":1626,"genre":"architecture","materials":"Photo","museum_name":"Piazza San Pietro, Rome","name":"St. Peter's: Faade","start_year":1626,"type":"religious","url":"https://www.wga.hu/detail/m/maderno1/2pietro2.jpg"},{"artworkid":166,"author":"FAYDHERBE, Lucas","description":"\r\nBetween 1636 and 1640 Faydherbe was hired as an assistant in Rubens's studio to produce small ivory carvings to Rubens's design. The present ivory relief from Rubens's studio is monogrammed by Faydherbe. In this early work the explicitly pictorial arrangement stands out, a quality which would also be a striking feature of Faydherbe's later sculpture.\r\n\r\n\n","end_year":1640,"genre":"sculpture","materials":"Ivory relief","museum_name":"Museo del Prado, Madrid","name":"Cupids Dancing around a Piping Man","start_year":1636,"type":"mythological","url":"https://www.wga.hu/detail/f/faydherb/lucas/1/cupids.jpg"},{"artworkid":170,"author":"SIGNORELLI, Luca","description":"\r\nWe have to isolate the individual details in order to grasp the greatness of Signorelli the 'illustrator' and the 'inventor'. For example, in this detail, the demon attacking a young woman from behind, biting her ear, and she does not appaear to mind all that much.\r\nAnd Luca Signorelli has portrayed himself as a devil, too: with just one horn in the middle of his forehead, he is embracing a beautiful blonde who is trying to break away from his fiery assault.\r\nOne can't help imagining that this rather unusual self-portrait must be a reference to some episode in Signorelli's private life, something that we know nothing about, but which must have been public knowledge in both Cortona and Orvieto at the time. Probably the story of a woman who was unfaithful to the painter: and in fact, if we look carefully we can see that this is the same woman portrayed as the sinner being carried off by the flying demon, as the woman being grabbed from behind by the other demon, and even as the prostitute being paid by the old merchant in the scene of the Antichrist's Sermon.\r\n\r\n\n","end_year":1502,"genre":"painting","materials":"Fresco","museum_name":"Chapel of San Brizio, Duomo, Orvieto","name":"The Damned (detail)","start_year":1499,"type":"religious","url":"https://www.wga.hu/detail/s/signorel/brizio/3/4damned6.jpg"},{"artworkid":174,"author":"RICCIO, Andrea","description":"\r\nThis statuette is modeled after an antique marble statue. It could be made into useful desktop equipment for writing or lighting by placing containers for ink, sand, or oil in the satyr's arms. Like many early 16th-century bronzes, it was designed and balanced to stand on any surface with no help. The highly activated surfaces of the bronzes for which he was famed reflect Riccio's training as a goldsmith.\r\n\r\n\n","end_year":1510,"genre":"sculpture","materials":"Bronze, height 36 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Pan","start_year":1510,"type":"mythological","url":"https://www.wga.hu/detail/r/riccio/pan1.jpg"},{"artworkid":148,"author":"VIVARINI, Antonio","description":"\r\nIn 1444 Antonio Vivarini and his brother-in-law Giovanni d'Alemagna, who both lived on the island of Murano near Venice, signed and dated this large altarpiece Coronation of the Virgin. Here Gothic, Byzantine, and renaissance elements blend in a strange amalgam. Saints and prophets are seated in tiers like choir stalls, as if heaven were the apse of a gigantic church. Rows of angels bring the altarpiece to a dome-like top.\r\nThe entire centre of the structure, from the checkered marble pavement to the apex of the animated dome, is filled with a fantastic throne containing Late Gothic motifs and vaguely Byzantine columns with foliated capitals. Between the columns and around them, infants carry the symbols of Christ's Passion. Between the spiral columns of the upper stories of the throne, God the Father blesses Christ, who crowns his mother, while the dove of the Holy Spirit hovers between them.\r\n\r\n\n","end_year":1444,"genre":"painting","materials":"Tempera on panel, 230 x 180 cm","museum_name":"San Pantalon, Venice","name":"Coronation of the Virgin","start_year":1444,"type":"religious","url":"https://www.wga.hu/detail/v/vivarini/antonio/coronati.jpg"},{"artworkid":152,"author":"SCHEFFER, Ary","description":"\r\nFrédéric François Chopin (1810-1849) was a Polish pianist and composer. He is widely regarded as one of the most famous, influential and admired composers for the piano.\r\nHe was born Fryderyk Franciszek Chopin in the village of ¯elazowa Wola, Poland, to a Polish mother and French expatriate father. Hailed as a child prodigy in his homeland, Chopin left for Paris at the age of 20. In Paris, he made a career as a performer and teacher as well as a composer, and adopted the French variant of his name, \"Frédéric-François\". He had a turbulent 10-year relationship with the French writer George Sand from 1837 to 1847. Always in fragile health, he succumbed to pulmonary tuberculosis at the age of 39.\r\n\n\n\r\nSuggested listening (streaming mp3, 4 minutes):Fryderik Chopin: Waltz No 7 In C Sharp Minor Op 64, No 2\n\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Muse national du chteau et des Trianons, Versailles","name":"Portrait of Frdric Chopin","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/s/scheffer/chopin.jpg"},{"artworkid":156,"author":"BRAMANTINO","description":"\r\nThe fortified brick town and the misty lake seen in the background of this painting are typical of the landscape around Milan.\r\n\r\n\n","end_year":1490,"genre":"painting","materials":"Oil and tempera on wood, 46 x 35 cm","museum_name":"Museum of Fine Arts, Boston","name":"Madonna del Latte","start_year":1490,"type":"religious","url":"https://www.wga.hu/detail/b/bramanti/virgin_c.jpg"},{"artworkid":160,"author":"GRNEWALD, Matthias","description":"\r\nIsenheim Altarpiece, third view: detail of the right side panel.\r\n\r\n\n","end_year":1515,"genre":"painting","materials":"Oil on wood","museum_name":"Muse d'Unterlinden, Colmar","name":"The Temptation of St Anthony (detail)","start_year":1515,"type":"religious","url":"https://www.wga.hu/detail/g/grunewal/2isenhei/3view/3view2r4.jpg"},{"artworkid":164,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThis scene was painted in one of the narrow wall panels in the Gallery.\r\nAbraham kneels in prayer, awed by the appearance of the three angels, who float on a very solid-looking white cloud. The scene illustrates both the promise to make Abraham \"a father of many nations\" and the favour shown by God towards him, as described in the book of Genesis. Although the divine origin of the angels is made clear by their being placed in the upper portion of the picture, Tiepolo has portrayed them with very human features.\r\n\n\n\r\nSuggested listening (streaming mp3, 4 minutes):César Franck: Panis angelicus\n\n\n","end_year":1729,"genre":"painting","materials":"Fresco, 4000 x 2000 cm","museum_name":"Palazzo Patriarcale, Udine","name":"The Three Angels Appearing to Abraham","start_year":1724,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/1udine/06udine.jpg"},{"artworkid":168,"author":"FUSELI, John Henry","description":"\r\nOne of the most brilliant artistic figure of the time was the Swiss painter, Fuseli, who lived in England. He mixed Neoclassicist and Romantic elements in an art influenced by antique sculpture and the works of Michelangelo. Fuseli depicted contorted bodies order to generate tension and pathos, to captivate the viewer's emotions and convey the terrors of the sublime. The Inferno in Dante's Divine Comedy, which was \"rediscovered\" in the mid-18th century, was especially suited to his purpose. Dante was seen as the very embodiment of the creative individual. The pen and ink drawing Dante and Virgil on the Ice of Kocythos shows the poet standing amongst the heads of those who have been frozen into the sea of ice which fills the crater of hell.\r\n\n\n\r\nSuggested listening (streaming mp3, 16 minutes):Franz Liszt: Dante-sonata\n\n\n","end_year":1774,"genre":"graphics","materials":"Pen and sepia, watercolour, 390 x 274 mm","museum_name":"Kunsthaus, Zurich","name":"Dante and Virgil on the Ice of Kocythos","start_year":1774,"type":"other","url":"https://www.wga.hu/detail/f/fuseli/01dante.jpg"},{"artworkid":172,"author":"MEYTENS, Martin van, II","description":"\r\nMartin van Meytens as a court painter had the permanent task of painting the portraits of the Emperor and the Queen, as well as of the various members of the imperial family. Since the decoration of various residences and institutes, gifts to foreign sovereigns, aristocrats and diplomats and various festive occasions made necessary several copies of the imperial portraits, these courtly representations were made in series by the workshop, and Meytens himself played only a minor or greater part in their execution. He had no occasion to make more than a study of a head after the model the Queen had neither the time nor patience to sit for the artist for a long time. This original head  or bust sketch was copied with different poses, clothes and accessories for the different imperial portraits. The portrait of Maria Theresa exhibited here is very similar to her figure in the great family portrait made in 1754 (Vienna, Schönbrunn). Her pose, hairstyle, neckline, the piece of jewelry worn at the collar and the gesture of her right hand are all identical. The study which served for both pictures as a model, was copied several more times by Meytens and his workshop.\r\n\r\n\n","end_year":1750,"genre":"painting","materials":"Oil on canvas, 96 x 77 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Queen Maria Theresa","start_year":1750,"type":"portrait","url":"https://www.wga.hu/detail/m/mijtens/martin2/2maria_t.jpg"},{"artworkid":176,"author":"BEYEREN, Abraham van","description":"\r\nIn the midst of this sumptuous still-life showing a colourful collection of exclusive objects on a marble table top, most of which is covered by an Oriental rug, a mouse merrily climbs over the edge of a silver dish.\r\n\r\n\n","end_year":1667,"genre":"painting","materials":"Oil on canvas","museum_name":"Los Angeles County Museum of Art, Los Angeles","name":"Banquet Still-Life with a Mouse (detail)","start_year":1667,"type":"still-life","url":"https://www.wga.hu/detail/b/beyeren/stilmoux.jpg"},{"artworkid":180,"author":"GREUZE, Jean-Baptiste","description":"\r\nThe Hogarthian morality shows the consequences of thoughtlessness; everything is in disorder, and both the mirror and the girl's reputation are shattered.\r\n\r\n\n","end_year":1763,"genre":"painting","materials":"Oil on canvas, 56 x 46 cm","museum_name":"Wallace Collection, London","name":"The Broken Mirror","start_year":1763,"type":"genre","url":"https://www.wga.hu/detail/g/greuze/broken_m.jpg"},{"artworkid":184,"author":"DOMENICO DI MICHELINO","description":"\r\nThe artist named himself after his master, a certain Michelino. He had his painterly training under Fra Angelico whose assistant he also became. His style is similar to that of Filippo Lippi and Pesellino.\r\nIn this painting the three kingdoms are represented: the Purgatory in the centre background, the Hell at left, and the heavenly City at right. This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view of Florence in 1465, a Florence such as Dante himself could not have seen in his time.\r\n\n\n\r\nSuggested listening (streaming mp3, 16 minutes):Franz Liszt: Dante-sonata\n\n\n","end_year":1465,"genre":"painting","materials":"Oil on canvas","museum_name":"Museo dell'Opera del Duomo, Florence","name":"Dante and the Three Kingdoms","start_year":1465,"type":"landscape","url":"https://www.wga.hu/detail/d/domenico/michelin/dante.jpg"},{"artworkid":466,"author":"NANNI DI BARTOLO","description":"\r\nThe detail shows the figure of the Rising Christ.\r\n\r\n\n","end_year":1426,"genre":"sculpture","materials":"Marble","museum_name":"San Fermo Maggiore, Verona","name":"Brenzoni Monument (detail)","start_year":1426,"type":"religious","url":"https://www.wga.hu/detail/n/nanni/bartolo/brenzono.jpg"},{"artworkid":169,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 818, JH 1848.\r\nVan Gogh entered the Saint-Paul-de-Mausole asylum at Saint-Rémy in May 1889 as a third-class voluntary patient. In the first weeks of his treatment he did not leave the area of the asylum and he only started to paint outside the walls in June 1889. During the rest of the summer the worsening of his condition did not make it possible for him to work outside, thus in July and August he painted mostly portraits and he copied pictures of his favourite artists, Millet and Delacroix.\r\nFollowing the hardships of the summer months spent in the asylum, van Gogh continued his series of paintings of olive orchards. He painted about thirty canvases of the subject where he wanted to express the rural, close-to-nature character of the motif by using orange and bluish tones. He experimented on a personal, impressionistic style while painting olive orchards and developed it further on landscapes painted during the autumn; the present painting is an example of it.\r\n\r\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 50 x 65 cm","museum_name":"Baltimore Museum of Art, Baltimore","name":"Landscape with Trees and Figures","start_year":1889,"type":"landscape","url":"https://www.wga.hu/detail/g/gogh_van/12/olive10.jpg"},{"artworkid":173,"author":"MAGNASCO, Alessandro","description":"\r\nIn addition to his bizarre genre scenes, Magnasco and his studio also produced many series of small-scale devotional images, like the present painting.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 57 x 37 cm","museum_name":"Akademie der bildenden Knste, Vienna","name":"Raising of the Cross","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/m/magnasco/cross.jpg"},{"artworkid":177,"author":"PISANELLO","description":"\n\n","end_year":1430,"genre":"graphics","materials":"Pen drawing","museum_name":"Staatliche Museen, Berlin","name":"Nude Men and St Peter","start_year":1430,"type":"study","url":"https://www.wga.hu/detail/p/pisanell/3graphic/03nude_men.jpg"},{"artworkid":181,"author":"MEDIEVAL SCULPTOR, French","description":"\r\nAs a masterpiece of French art, Reims Cathedral, the coronation church of the French kings, together with the cathedrals of Chartres and Amiens, is considered a classic cathedral of France. Its sculpture, too, which here extends to the interior of the west portal, is among the outstanding work of French High Gothic.\r\n\r\n\n","end_year":1275,"genre":"sculpture","materials":"Stone","museum_name":"Cathedral, Reims (Marne)","name":"Central doorway of west portal (interior)","start_year":1252,"type":"other","url":"https://www.wga.hu/detail/zgothic/1romanes/po-13c/0f1_1202.jpg"},{"artworkid":185,"author":"MASTER of AB Monogram","description":"\r\nThere exists a series of six panels (five in Dresden and one in Moscow) which depicts Scenes from the Childhood  of Jesus: The Annunciation, The Visitation, The Birth of Jesus, The Adoration of the Magi, The Circumcision and The Flight into Egypt. The sequence is regarded as a Life of the Virgin, although only the story of Jesus's childhood is told, while specific events in the life of Mary, such as the birth of the Mother of God, her death, ascension and coronation, are missing. Three of the Dresden panels are signed with the monogram AB, similar to Dürer's famous monogram. The painter of these panels is referred to as the Monogrammist AB, a painter of Swabian origin, active in Saxony with close connections with Lucas Cranach's workshop.\r\nThe monogram is in the keystone of the arch.\r\n\r\n\n","end_year":1530,"genre":"painting","materials":"Oil on lime wood panel, 42 x 40 cm","museum_name":"Gemldegalerie, Dresden","name":"The Birth of Jesus","start_year":1530,"type":"religious","url":"https://www.wga.hu/detail/m/master/ab/panel3.jpg"},{"artworkid":189,"author":"CAPORALI, Bartolomeo","description":"\r\nThese two panels originate from the church of San Domenico in Perugia. They were clearly the pinnacles of a polyptych, probably an altarpiece dedicated to St Vincent Ferrer.\r\n\r\n\n","end_year":1468,"genre":"painting","materials":"Tempera, oil and gold on panel, 50 x 48 cm (each)","museum_name":"Galleria Nazionale dell'Umbria, Perugia","name":"Annunciation","start_year":1467,"type":"religious","url":"https://www.wga.hu/detail/c/caporali/annuncia.jpg"},{"artworkid":193,"author":"TINTORETTO","description":"\r\nIn 1577 a serious fire in the Palazzo Ducale destroyed the Sala del Maggior Consiglio, originally the meeting place for the Venetian legislature. The ruined fresco by Guariento was replaced in 1594 by the immense canvas (reputedly the world's largest painting on canvas) planned and painted by Tintoretto and his workshop. Hung above the gilded throne, it depicts the image of Paradise with hundreds of figures placed according to a series of curved lines in concentric perspective with the representations of angels and saints. The movement builds up towards a brilliant central point on high dominated by the figures of Christ and the Virgin.\r\n\r\n\n","end_year":1588,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Ducale, Venice","name":"Paradise","start_year":1588,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/4a/5parad2.jpg"},{"artworkid":197,"author":"BARBARI, Jacopo de'","description":"\r\nBarbari was the first Italian Renaissance artist of note to travel to the German and Netherlandish courts. He probably received training with Alvise Vivarini in Venice in the 1490s. His best-known painting is the Still Life with a Dead Partridge of 1504, a trompe l'oeil probably made for one of the palaces of the Saxon dukes.\r\nThis Still-Life with Partridge, Gauntlet and Bolt of a Crossbow is the earliest independent still-life in the European painting. It is one of those paintings that mislead the unprepared viewer by displaying the wall on which these objects have been hung. It is likely that the painting was cleverly integrated into the room of a hunting lodge where it was intended to provide amusement to the hunting party. Nowadays we would hardly be deceived by such a painting technique. At the time, however, it was radically new and people's habits of perception had been formed by less illusionist paintings. Barbari's still-life is akin to extremely precise studies of nature by contemporary German artists such as Dürer and Lucas Cranach the Elder. It has therefore been suggested that the Italian artist was influenced by Dürer.\r\n\r\n\n","end_year":1504,"genre":"painting","materials":"Wood, 52 x 42,5 cm","museum_name":"Alte Pinakothek, Munich","name":"Still-Life with Partridge and Gauntlet","start_year":1504,"type":"still-life","url":"https://www.wga.hu/detail/b/barbari/stillife.jpg"},{"artworkid":201,"author":"COSTA E SILVA, Jos da","description":"\r\nLisbon's new opera house was erected in just six months in 1793 due to the generous donations from the city's merchants. The coherently Neoclassical structure replaced the famous opera house of Giovanni Carlo Bibbiena on the bank of Tejo, which had been destroyed in the earthquake of 1755.\r\nCosta e Silva looked to Italian models. For the exterior he chose the austere but dignified forms of the Scala in Milan -  a rusticated ground floor with dramatically projecting portico - while the interior recalls the opera house in Naples, which also bore the name of San Carlo.\r\nThe Teatro de São Carlos signaled the arrival of Neoclassicism as the legitimate architectural style for buildings representing the interests of the middle classes.\r\n\r\n\n","end_year":1793,"genre":"architecture","materials":"Photo","museum_name":"Teatro So Carlos, Lisbon","name":"Exterior view","start_year":1793,"type":"other","url":"https://www.wga.hu/detail/c/costa_e/2teatro.jpg"},{"artworkid":205,"author":"RAFFAELLO Sanzio","description":"\r\nThis silverpoint study of an apprentice was made for the angels playing music in the Oddi Altarpiece. Drawing figure and motion studies of workshop apprentices (garzoni) became a common practice among Florentine artists from the end of the fifteenth century, and reached Urbino through Perugia's example.\r\nThe rebec is a bowed stringed instrument of the Medieval era and Renaissance era. In its most common form, it has a narrow boat-shaped body and 1-5 strings. It was definitely an instrument of the lower classes, not the court.\r\n\r\n\n","end_year":1504,"genre":"graphics","materials":"Silverpoint, heightened with white, on grey ground, 191 x 127 mm","museum_name":"Ashmolean Museum, Oxford","name":"Angel Playing a Rebec","start_year":1503,"type":"study","url":"https://www.wga.hu/detail/r/raphael/7drawing/1/33study.jpg"},{"artworkid":470,"author":"ZELOTTI, Giovanni Battista","description":"\r\nThis detail shows Bacchus and other gods.\r\n\r\n\n","end_year":1565,"genre":"painting","materials":"Fresco","museum_name":"Villa Godi Malinverni, Lonedo di Lugo Vicentino","name":"Frescoes in the Hall of Olympus (detail)","start_year":1561,"type":"mythological","url":"https://www.wga.hu/detail/z/zelotti/1/3olympu4.jpg"},{"artworkid":178,"author":"WILDENS, Jan","description":"\r\nAfter his return to Antwerp from Italy around 1616-17, the eclectically oriented Jan Wildens played a great role as a painter of backgrounds in the work of other artists. His production would until his death continue to be based to an important extent on filling in the backgrounds of history pictures by leading Antwerp masters. Besides Rubens, these included Abraham Janssens, Cornelis de Vos, Gerard Seghers and Theodoor Rombouts. In addition he often provided the background decor for animal pictures by Frans Snyders and Paul de Vos, with whom he was connected by marriage.\r\nFrom about 1620 Wildens's landscapes were marked by a clearer and at the same time more realistic composition. The viewpoint is lower, and what might be called a classical harmony is apparent in the composition, created by clumps of trees used as structural features. In a few cases, such as the two versions (in Dresden and St. Petersburg) of the Winter Landscape with Hunter and Dogs, monumental an sculpturally accentuated figures also support these well-balanced compositions. In others, such as the Landscape with Shepherds Dancing, the figures are well integrated into the space.\r\n\n\n\r\nSuggested listening (streaming mp3, 15 minutes):Joseph Haydn: The Seasons, Part 4 Winter, excerpts\n\n\n","end_year":1624,"genre":"painting","materials":"Oil on canvas, 194 x 292 cm","museum_name":"Gemldegalerie, Dresden","name":"Winter Landscape with Hunter and Dogs","start_year":1624,"type":"landscape","url":"https://www.wga.hu/detail/w/wildens/winter_l.jpg"},{"artworkid":182,"author":"YKENS, Frans","description":"\n\n","end_year":1649,"genre":"painting","materials":"Oil on canvas","museum_name":"Private collection","name":"Still-Life (detail)","start_year":1649,"type":"still-life","url":"https://www.wga.hu/detail/y/ykens/stillif6.jpg"},{"artworkid":186,"author":"BOUTS, Dieric the Elder","description":"\r\nIn the second panel, the Emperor is giving an audience to the widow. She kneels before him to ask for reparation. In one hand she holds the livid head of her dead husband, and in the other a bar of red hot iron. The bar does not burn her, thus proving the innocence of her dead husband.\r\n\r\n\n","end_year":1460,"genre":"painting","materials":"Oil on wood","museum_name":"Muses Royaux des Beaux-Arts, Brussels","name":"The Ordeal by Fire (detail)","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/b/bouts/dirk_e/altar1/4empero1.jpg"},{"artworkid":190,"author":"SPITZWEG, Carl","description":"\n\n","end_year":1860,"genre":"painting","materials":"Oil on canvas, 32 x 54 cm","museum_name":"Neue Pinakothek, Munich","name":"The Convent-School Outing","start_year":1860,"type":"landscape","url":"https://www.wga.hu/detail/s/spitzweg/outing.jpg"},{"artworkid":194,"author":"MINIATURIST, French","description":"\r\nThis miniature depicting Moses is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.\r\n\r\n\n","end_year":1320,"genre":"illumination","materials":"Manuscript","museum_name":"Episcopal Library, Pcs","name":"French Bible of Hainburg","start_year":1300,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1301-350/2french/73french.jpg"},{"artworkid":198,"author":"VERONESE, Paolo","description":"\r\nThis painting once belonged to the decorations of the organ in the church of San Geminiano in Venice, destroyed by Napoleon in 1807. In keeping with its function, it was once split down the middle. When closed, the two wings covered the pipes of the organ. When opened, they revealed St John on the left and St Mennas on the right.\r\n\r\n\n","end_year":1560,"genre":"painting","materials":"Oil on canvas, 341 x 240 cm","museum_name":"Galleria Estense, Modena","name":"Sts Geminianus and Severus","start_year":1560,"type":"religious","url":"https://www.wga.hu/detail/v/veronese/03_1560s/1gemini1.jpg"},{"artworkid":202,"author":"OSTADE, Adriaen Jansz. van","description":"\n\n","end_year":1637,"genre":"painting","materials":"Oil on panel, 25 x 34 cm","museum_name":"The Hermitage, St. Petersburg","name":"A Fight","start_year":1637,"type":"genre","url":"https://www.wga.hu/detail/o/ostade/adriaen/1/fight.jpg"},{"artworkid":206,"author":"QUADAL, Martin Ferdinand","description":"\r\nCount Anton Lamberg-Sprinzenstein (1740-1822) was the Austrian diplomatic ambassador to Turin and Naples and later protector of the Academy of Fine Arts in Vienna. He left his highly important holdings of international and Austrian art to this institution, making it the third important public collection in Vienna.\r\nThis signed and dated portrait of Count Anton Lamberg was painted by Quadal in Naples. It is a lively portrait capturing the sitter as a private person with his hunting dog in an unposed attitude.\r\n\r\n\n","end_year":1784,"genre":"painting","materials":"Oil on canvas, 101 x 77 cm","museum_name":"Akademie der bildenden Knste, Vienna","name":"Portrait of Count Anton Lamberg-Sprinzenstein","start_year":1784,"type":"portrait","url":"https://www.wga.hu/detail/q/quadal/lamberg.jpg"},{"artworkid":210,"author":"CARAVAGGIO","description":"\r\nThe picture shows the head of the elderly maid.\r\n\r\n\n","end_year":1606,"genre":"painting","materials":"Oil on canvas, width of detail: 20 cm","museum_name":"Pinacoteca di Brera, Milan","name":"Supper at Emmaus (detail)","start_year":1606,"type":"religious","url":"https://www.wga.hu/detail/c/caravagg/08/47emmau3.jpg"},{"artworkid":214,"author":"SPADINO, Giovanni Paolo","description":"\r\nThis painting has a pendant, another Still-Life of Fruit with identical dimensions, in the same private collection.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 29 x 21 cm","museum_name":"Private collection","name":"Still-Life of Fruit","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/s/spadino/giovanni/stillif1.jpg"},{"artworkid":218,"author":"GHIRLANDAIO, Domenico","description":"\r\nGhirlandaio painted the scene of the Last Supper on several occasions within the space of a few years. In all three works of his that still remain, the basic arrangement is the same as that in the fresco by Andrea del Castagno in the Florentine Cenacolo di Sant'Apollonia dating from about 1450. The disciples are sitting at a long table in front of a rear wall that runs parallel to the picture plan. Christ is sitting in the centre, and His favourite disciple John is leaning sadly against Him. To the right of Christ, in the place of honour, is the chief Apostle, Peter. Judas the traitor is the only one to be separated from the others: he is seated in front of the table.\r\nThe earliest example of the Last Supper was painted in 1476 by Ghirlandaio in the abbey of San Michele Arcangelo a Passignano (in Tavernelle Val di Pesa, near Florence). This is strongly influenced by Andrea del Castagno. The Apostles and Christ are sitting together in a room with a flat ceiling that appears to be too low. Judas is sitting opposite Christ on a three-legged stool in front of the laid table. The figures are set back some distance from us, to a depth of three large floor tiles. The various emotions of the Apostles are indicated by stiff hand movements that scarcely seem alive and express little of the character of the individuals.\r\n\r\n\n","end_year":1476,"genre":"painting","materials":"Fresco","museum_name":"Abbazia di San Michele Arcangelo a Passignano, Tavernelle Val di Pesa","name":"Last Supper","start_year":1476,"type":"religious","url":"https://www.wga.hu/detail/g/ghirland/domenico/4lastsup/1passign.jpg"},{"artworkid":222,"author":"CAROLUS-DURAN","description":"\r\nCarolus-Duran, a fashionable society portraitist, arrived in Russia in 1876 at the invitation of Alexander Polovtsov, a senator and secretary of state under Alexander III. While there, he painted several family members, including Polovtsov's daughter Anna, who married Prince Alexei Obolensky, a high-ranking state official.\r\n\r\n\n","end_year":1887,"genre":"painting","materials":"Oil on canvas, 120 x 78 cm","museum_name":"The Hermitage, St. Petersburg","name":"Portrait of Anna Alexandrovna Obolenskaya","start_year":1887,"type":"portrait","url":"https://www.wga.hu/detail/c/carolus/portrait.jpg"},{"artworkid":226,"author":"MINIATURIST, Flemish","description":"\r\nThe illumination on this folio of a breviary depicts the Crucifixion.\r\n\r\n\n","end_year":1490,"genre":"illumination","materials":"Manuscript","museum_name":"Koninklijke Bibliotheek, The Hague","name":"Breviary","start_year":1490,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1451-500/3flemis3/20brevia.jpg"},{"artworkid":474,"author":"CAVALLINI, Pietro","description":"\r\nThe detail shows St Anne with a maid holding a pitcher and watching attentively. The figure of the maid was borrowed from a fresco in the upper church of San Francesco in Assisi.\r\n\r\n\n","end_year":1300,"genre":"mosaic","materials":"Mosaic","museum_name":"Santa Maria in Trastevere, Rome","name":"Nativity of the Virgin (detail)","start_year":1296,"type":"religious","url":"https://www.wga.hu/detail/c/cavallin/mosaic/1scene1.jpg"},{"artworkid":183,"author":"SANSOVINO, Jacopo","description":"\r\nThe Library of San Marco was commenced in 1537 to shelter the manuscripts left to the Republic by Cardinal Bessarion, the Greek humanist and patriarch of Constantinople. Sansovino was apparently inspired by the ancient author Pausanias's description of the marble library of the Roman Emperor Hadrian. The ground story arcade is in the Roman Doric order, based on that of the Colosseum, but with keystones carved into alternating masks and lion's heads and with recumbent figures in the spandrels. The second story is taller with Ionic order. The verticals are accented at the corners by piers articulated by pilasters. The balustrade crowning the structure is divided by bases that support statues and obelisks. No walls are apparent on either story, only clusters of columns and piers.\r\nIn 1554 the construction of the library was interrupted, only to be resumed after the master's death in 1570 by his pupil Vincenzo Scamozzi. Nonetheless, the work was continued with fidelity to Jacopo's design, and the library stands as a unified monument.\r\nThe adjacent Zecca (the Mint of the Republic, far left in the picture), was commissioned by the Council of Ten. It was originally erected with two stories, but Sansovino had to add a protective third story required by the heat of the foundries.\r\n\r\n\n","end_year":1588,"genre":"architecture","materials":"Photo","museum_name":"Piazza San Marco, Venice","name":"Library of San Marco and Zecca","start_year":1537,"type":"other","url":"https://www.wga.hu/detail/s/sansovin/jacopo/1/bibliot3.jpg"},{"artworkid":187,"author":"CLEVE, Joos van","description":"\r\nTogether with Gossaert and Heemskerck, Joos van Cleve was a leading figure among the Romanists - the artists who introduced Italian classicism to the Netherlands, contributing to the final demise of lingering Gothic tendencies.\r\n\r\n\n","end_year":1535,"genre":"painting","materials":"Wood, 75,5 x 54,5 cm","museum_name":"Landesmuseum, Oldenburg","name":"Virgin and Child","start_year":1535,"type":"religious","url":"https://www.wga.hu/detail/c/cleve/joos/virgin2.jpg"},{"artworkid":191,"author":"FOUQUET, Jean","description":"\r\nThis sheet comes from an exemplar of the \"Histoire Ancienne jusqu'á César\" and the \"Faits des Romans\", thirteenth-century historical compilations that were still highly popular in the fifteenth century. The miniature shows Caesar Crossing the Rubicon.\r\nThe river Rubicon is notable as Roman law prohibited the Rubicon from being crossed by any Roman Army legion. The river was considered to mark the boundary between the Roman province of Cisalpine Gaul to the north and Italy proper to the south; the law thus protected the republic from internal military threat. When Julius Caesar crossed the Rubicon with his army in 49 BC, supposedly on January 10 of the Roman calendar, to make his way to Rome, he broke that law and made armed conflict inevitable. According to historian Suetonius, Caesar uttered the famous phrase \"alea iacta est\" (the die is cast).\r\n\r\n\n","end_year":1460,"genre":"illumination","materials":"Manuscript, 450 x 325 mm","museum_name":"Bibliothque Nationale, Paris","name":"Histoire Ancienne jusqu' Csar","start_year":1460,"type":"historical","url":"https://www.wga.hu/detail/f/fouquet/other/3caesar1.jpg"},{"artworkid":195,"author":"VITTORIA, Alessandro","description":"\r\nThis palace is situated at the bend of the Canal Grande between the Accademia and the Ponte di Rialto, in a picturesque position which inspired artists such as Canaletto and Marieschi.\r\nThe architectural features of this building demonstrates the transition to the early Baroque era. Vittoria, who was a pupil of Sansovino, made use of architectural and decorative elements such as the central mullioned-widow balustrade, the mixtilinear tympanums, the sinuous frames of the windows. The magnificence of the palace was imitated in the city for a long time.\r\n\r\n\n","end_year":1590,"genre":"architecture","materials":"Photo","museum_name":"Canal Grande, Venice","name":"Palazzo Balbi: Faade","start_year":1582,"type":"other","url":"https://www.wga.hu/detail/v/vittoria/3/zbalbi1.jpg"},{"artworkid":199,"author":"PUGIN, Augustus Charles","description":"\r\nThis engraving is based on Pugin's drawing of a doorway to Henry VII's Chapel in Westminster Abbey, London. Early interest in things Gothic was stimulated by their destruction and the efforts of men like Augustus Charles Pugin and his more famous son, Augustus Welby Northmore Pugin, to create a \"Gothic Revival\" in contemporary building.\r\n\r\n\n","end_year":1823,"genre":"graphics","materials":"Engraving, 240 x 180 mm","museum_name":"Private collection","name":"Specimens of Gothic Architecture (frontispiece)","start_year":1821,"type":"other","url":"https://www.wga.hu/detail/p/pugin/augustus/gothic_a.jpg"},{"artworkid":203,"author":"DAVID, Jacques-Louis","description":"\r\nDavid exhibited at the Salon of 1789 The Loves of Paris and Helen, an important private work for the Count d'Artois, the king's dissolute brother. David had begun work on the painting in 1786, but, due to a long illness it was not completed until 1788. The Loves of Paris and Helen was a work on a new theme, and to express the amorous nature of the subject, David greatly modified the uncompromising and severe style of his previous paintings: the two figures are smooth and sculptural and are bathed in subtle light. David took great trouble over the details in this painting of courtship and physical attraction. A statue of Venus, goddess of love, is placed on a column at the left, and we also see two wreaths of myrtle, an evergreen sacred to Venus and an emblem of conjugal fidelity. For added, although incorrect, detail in the background, David included four caryatids copied from the Salle des Cent-Suisses in the Louvre.\r\n\n\n\r\nSuggested listening (streaming mp3, 3 minutes):Cristoph Willibald Gluck: Paride ed Elena, Paris' aria\n\n\n","end_year":1788,"genre":"painting","materials":"Oil on canvas, 144 x 180 cm","museum_name":"Muse du Louvre, Paris","name":"The Loves of Paris and Helen","start_year":1788,"type":"mythological","url":"https://www.wga.hu/detail/d/david_j/2/204david.jpg"},{"artworkid":207,"author":"CRANACH, Lucas the Elder","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on wood, 30,5 x 23 cm","museum_name":"Staatliches Museum, Schwerin","name":"Portrait of a Young Man","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/c/cranach/lucas_e/12/03young4.jpg"},{"artworkid":211,"author":"GAUD, Antoni","description":"\n\n","end_year":1914,"genre":"architecture","materials":"Photo","museum_name":"Santa Coloma de Cervell, Barcelona","name":"Cripta de la Colnia Gell: Crypt portion of the church","start_year":1898,"type":"religious","url":"https://www.wga.hu/detail/g/gaudi/1guell/cripta_guell33.jpg"},{"artworkid":215,"author":"RIGAUD, Jacques","description":"\r\nThe Château d'Anet was built in 1548-50. After the French Revolution a large part of the château was demolished. Jacques Rigaud's engraving shows the château in its original state.\r\n\r\n\n","end_year":1720,"genre":"graphics","materials":"Engraving","museum_name":"Bibliothque Nationale, Paris","name":"Chteau d'Anet","start_year":1720,"type":"other","url":"https://www.wga.hu/detail/r/rigaud1/anet.jpg"},{"artworkid":219,"author":"GENGA, Girolamo","description":"\r\nIn the foreground are Christ's three favourite disciples who had accompany him to important events: Peter, James, and John. They became the pillars of the Early Church: Peter, the head of the church; James, the first to be martyred; and John, the guardian of theology.\r\n\r\n\n","end_year":1515,"genre":"painting","materials":"Oil on wood","museum_name":"Museo dell'Opera Metropolitana, Siena","name":"Transfiguration","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/g/genga/transfig.jpg"},{"artworkid":223,"author":"MEDIEVAL SCULPTOR, French","description":"\r\nThe church of Saint-Nectaire (Auvergne) exhibits a very massive, majestic, graphic and decorative sculpture. The picture shows a capital in the ambulatory which depicts St Nectarius bringing Bradulus back to life.\r\n\r\n\n","end_year":1175,"genre":"sculpture","materials":"Stone","museum_name":"Church of Saint-Nectaire, Saint-Nectaire","name":"Capital","start_year":1150,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/cap-12c3/18f_1167.jpg"},{"artworkid":227,"author":"MINIATURIST, French","description":"\r\nFolio 214v of this manuscript contains a miniature depicting the Judgment of Paris. The three goddesses Venus, Juno and Pallas Athene are shown to approach the sleeping Paris.\r\n\r\n\n","end_year":-1,"genre":"illumination","materials":"Manuscript (Ms. Fr. 22552)","museum_name":"Bibliothque Nationale, Paris","name":"Histoire de Troyes by Raoul Lefvre","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/1451-500/1french1/48secula.jpg"},{"artworkid":875,"author":"WOLFERS, Philippe","description":"\r\nThis sterling silver planter has a floral cutout border.\r\n\r\n\n","end_year":1894,"genre":"metalwork","materials":"Sterling silver, 41 x 30 x 37 cm","museum_name":"Muses Royaux des Beaux-Arts, Brussels","name":"Planter","start_year":1894,"type":"other","url":"https://www.wga.hu/detail/w/wolfers/3metal1.jpg"},{"artworkid":192,"author":"ZIMMERMANN, Dominikus","description":"\r\nMost \"Bavarian\" of all the stucco-workers from Wessobrunn, the architect and sculptor Zimmermann spent his whole life building rural churches, and died in Wies. This pilgrimage church and the one at Steinhausen are his masterpieces, achieving a poetic rendering of space and responding to a popular demand for enchantment and religious euphoria. The pulpit, executed with the collaboration of J. and F. Steinhauser, is one of the most striking manifestations of Bavarian fantasy and illustrates the metamorphosis of the weightier religious Baroque style into the lilting, musical forms of the Rococo.\r\n\n\n\r\nSuggested listening (streaming mp3, 19 minutes):Piotr Ilyich Tchaikovsky: Variations on a Rococo Theme\n\n\n","end_year":1756,"genre":"sculpture","materials":"Stucco and wood","museum_name":"Pilgrimage church, Wies","name":"Pulpit","start_year":1746,"type":"religious","url":"https://www.wga.hu/detail/z/zimmerma/dominiku/pulpit.jpg"},{"artworkid":196,"author":"PISANO, Giovanni","description":"\r\nThe third of the five panels shows the Massacre of the Innocents.\r\nThe expressive power of Giovanni's art reaches a feverish pathos in the Massacre of the Innocents. We witness infants yanked between soldiers and protective mothers, while other mothers, with swollen breasts, mourn their slain babes or plead for clemency from Herod. The anguish of suffering at the hands of brutal butchers and a cruel tyrant transcends the specific incident to become a universal polemic against injustice.\r\n\r\n\n","end_year":1301,"genre":"sculpture","materials":"Marble","museum_name":"Sant'Andrea, Pistoia","name":"Pulpit reliefs: 3. Massacre of the Innocents","start_year":1301,"type":"religious","url":"https://www.wga.hu/detail/p/pisano/giovanni/pulpit_a/1panel3.jpg"},{"artworkid":200,"author":"BOUCHER, Franois","description":"\r\nThis compositional sketch shows the care Boucher took in working out his design before beginning to paint. The drawing demonstrates that Boucher at first contemplated a more vertical format with the top and bottom shaped as scallops.\r\n\r\n\n","end_year":1751,"genre":"graphics","materials":"Chalk on paper","museum_name":"The Hermitage, St. Petersburg","name":"Study for The Bath of Venus","start_year":1751,"type":"study","url":"https://www.wga.hu/detail/b/boucher/2/venus_bc.jpg"},{"artworkid":204,"author":"MAES, Nicolaes","description":"\r\nPaintings of women peeling apples, scraping parsnips, and otherwise preparing simple foods were one of several ways in which the Dutch endorsed an ideal of womanhood in middle-class society. The image of a homemaker, content with her modest and diligent life, had moral and religious overtones. This theme can be found, for example, in paintings by Gabriel Metsu, Pieter de Hooch, and Cornelis Bisschop.From the 1650s the motif and similar domestic subjects became fairly commonplace.\r\n\r\n\n","end_year":1655,"genre":"painting","materials":"Oil on wood, 55 x 46 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Young Woman Peeling Apples","start_year":1655,"type":"genre","url":"https://www.wga.hu/detail/m/maes/peelin.jpg"},{"artworkid":208,"author":"TIEPOLO, Giovanni Battista","description":"\r\nIn 1667 Filippo Bon commissioned the construction of his new residence from Baldassare Longhena on the site of several demolished building. At the death of Longhena in 1682 the palace was incomplete. The building was sold to the Rezzonico family who entrusted the construction to Giorgio Massari. The building was completed in 1756 with the decoration of the façade, the stairway from the canal and the area to the rear with the airy large staircase leading to the huge ballroom.\r\nThe palace contains significant fresco series. Giovanni Battista Crosato, working with the Lombard quadraturist Pietro Visconti, created the decoration for the grand ballroom c. 1753-56. In 1757, three different artists, Giovanni Battista Tiepolo, Jacopo Guarana, and Gaspare Diziani, were called upon to paint the ceilings of the four rooms on the first piano nobile overlooking the Rio di San Barbaba. Tiepolo's frescoes appear on the ceilings of the first and last rooms in this series of spaces, the Room of the Nuptial Allegory and the Room of the Throne, respectively.\r\n\r\n\n","end_year":1757,"genre":"painting","materials":"Fresco","museum_name":"Ca' Rezzonico, Venice","name":"View of the Room of the Throne","start_year":1757,"type":"interior","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/7_1760s/07rezzo5.jpg"},{"artworkid":212,"author":"PHILIPSEN, Theodor Esbern","description":"\r\nThis work recalls a journey to Tunisia in 1882. Along a shady, cool lane between high white walls, a herd of camels are approaching us, raising dust and thus obscuring the animals to the rear. A rider on an ass, making slow progress and having to move aside, is casting a long shadow on the wall. The distinctive movement of camels is precisely captured in economical browns. The sun is gilding a white tower, and the sky is yellowish green.\r\n\r\n\n","end_year":1882,"genre":"painting","materials":"Oil on oilcloth, 40 x 47 cm","museum_name":"Statens Museum for Kunst, Copenhagen","name":"Street in Tunis","start_year":1882,"type":"landscape","url":"https://www.wga.hu/detail/p/philipse/tunis.jpg"},{"artworkid":216,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 671, JH 1891.\r\nVan Gogh especially liked to paint blossoming trees to celebrate the birth of his loved ones. He commemorated the birth of his nephew with the present Blossoming Almond Tree.\r\nNever before had van Gogh viewed the bright buds in such a close-up, never before had he lavished such colour on the glorious blossoms.\r\n\r\n\n","end_year":1890,"genre":"painting","materials":"Oil on canvas, 74 x 92 cm","museum_name":"Van Gogh Museum, Amsterdam","name":"Blossoming Almond Tree","start_year":1890,"type":"landscape","url":"https://www.wga.hu/detail/g/gogh_van/14/6still1.jpg"},{"artworkid":220,"author":"BACKER, Jacob de","description":"\r\nThis highly finished Garden of Eden is attributed to Jacob de Backer, one of the region's most orthodox interpreters of the Italian maniera.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on oak panel, 77,5 x 107,5 cm","museum_name":"Groeninge Museum, Bruges","name":"Garden of Eden","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/b/backerde/gar_eden.jpg"},{"artworkid":224,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nLautrec was fascinated to discover that many of the girls in the brothels were deeply in love with each other, and he frequently made these couples the subjects of his paintings. He thereby succeeded in portraying the genuine depth of these lesbian relationships without exposing the girls' tenderness and helplessness to voyeurism.\r\nThe figure with her back to us in the foreground acts as a barrier between the viewer and the intimate scene that is taking place between the two girlfriends, blocking the voyeur's view of titillating detail. The composition of this picture may have been inspired by a Japanese woodcut.\r\n\r\n\n","end_year":1895,"genre":"painting","materials":"Oil on cardboard, 46 x 68 cm","museum_name":"Private collection","name":"The Two Girlfriends (Abandon)","start_year":1895,"type":"genre","url":"https://www.wga.hu/detail/t/toulouse/4/brothe17.jpg"},{"artworkid":228,"author":"DRER, Albrecht","description":"\n\n","end_year":1508,"genre":"painting","materials":"Oil on canvas transferred from panel","museum_name":"Kunsthistorisches Museum, Vienna","name":"The Martyrdom of the Ten Thousand (detail)","start_year":1508,"type":"religious","url":"https://www.wga.hu/detail/d/durer/1/06/6martyr3.jpg"},{"artworkid":232,"author":"BRUYN, Barthel the Elder","description":"\r\nThe painter executed six different portraits of the sitter, a scholar in law. The style of this naturalistic portrait - in an original frame - shows the influence of Netherlandish portrait painting.\r\n\r\n\n","end_year":1528,"genre":"painting","materials":"Wood, 37 x 26 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Portrait of Scholar Petrus von Clapis","start_year":1528,"type":"portrait","url":"https://www.wga.hu/detail/b/bruyn/elder/clapis.jpg"},{"artworkid":239,"author":"VELZQUEZ, Diego Rodriguez de Silva y","description":"\r\nVelázquez painted the queen between 1631 and 1632. She was the daughter of King Henry IV of France and Marie de Medici, and had married Philip IV in 1615, before he came to the throne. The artist devoted the utmost ingenuity to painting the queen's robes. Besides depicting all the material splendour shown in this picture, he was interested, as so often in later paintings, in the wealth of nuances to be conveyed by the play of light on black fabrics, which he often exaggerated to produce glittering reflections.\r\nVelázquez painted this portrait over an older picture of the queen that he had executed towards the end of the 1620s.\r\n\r\n\n","end_year":1632,"genre":"painting","materials":"Oil on canvas, 207 x 119 cm","museum_name":"Private collection","name":"Queen Isabel, Standing","start_year":1631,"type":"portrait","url":"https://www.wga.hu/detail/v/velazque/03/0303vela.jpg"},{"artworkid":209,"author":"ARCHITECT, French","description":"\r\nNotre-Dame de Reims (Our Lady of Reims) is the seat of the Archdiocese of Reims, where the kings of France were crowned. The cathedral replaced an older church, destroyed by fire in 1211, that was built on the site of the basilica where Clovis was baptized by Saint Remi, bishop of Reims, in AD 496. That original structure had itself been erected on the site of some Roman baths.\r\nWith its Radiant Gothic façade of unequalled dimensions, its interior characterized by soaring vertical heights, the richness of its sculpture and the technical quality of its construction, the Cathedral of Reims remains one of the most beautiful examples of Gothic art.\r\nUnusually the names of the cathedral's original architects are known. A labyrinth built into floor of the nave at the time of construction or shortly after included the names of four master masons (Jean d'Orbais, Jean-Le-Loup, Gaucher de Reims and Bernard de Soissons).\r\nThe photo shows the west façade of the cathedral. here everything is subordinated to aesthetic unity and upward movement, including window tracery and sculpture. Work on the west façade took place in several phases, which is reflected in the very different styles of some of the sculptures. The upper parts of the façade were completed in the 14th century, but apparently following 13th century designs, giving Reims an unusual unity of style.\r\nView the ground plan of Reims Cathedral.\r\n\r\n\n","end_year":1275,"genre":"architecture","materials":"Photo","museum_name":"Cathedral, Reims (Marne)","name":"Exterior view","start_year":1211,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/13c/2/1/02f_1201.jpg"},{"artworkid":213,"author":"BOSCH, Hieronymus","description":"\r\nThe picture shows a detail of the left wing, representing Christ with Adam and Eve.\r\nTaking Eve by the hand, God presents her to the newly awakened Adam who gazes at this creation from his rib with a mixture, it seems, of surprise and anticipation.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Oil on panel","museum_name":"Museo del Prado, Madrid","name":"Triptych of Garden of Earthly Delights (detail)","start_year":1500,"type":"religious","url":"https://www.wga.hu/detail/b/bosch/3garden/wings/11left.jpg"},{"artworkid":217,"author":"GHEERAERTS, Marcus the Younger","description":"\r\nEllen Maurice (1578-1626) is depicted  three-quarter-length, in a white lace ruff and white dress embellished with pearls.\r\n\r\n\n","end_year":1597,"genre":"painting","materials":"Oil on panel, 91 x 74 cm","museum_name":"Private collection","name":"Portrait of Ellen Maurice","start_year":1597,"type":"portrait","url":"https://www.wga.hu/detail/g/gheeraer/maurice.jpg"},{"artworkid":221,"author":"ROMANINO, Girolamo","description":"\r\nThe subject of this enigmatic drawing is not known. Proposals to identify the subject as an allegory or a mythological scene are speculative. It is possible that Romanino simply have undertaken to produce  an amusing drawing of two unabashedly immodest beings engaged in primal, animalistic behaviour. The verso of the sheet contains a caricatural profile, it seems also to point to the artist's humorous intentions.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Pen and brown ink with brown wash on yellowed paper, 263 x 207 mm","museum_name":"Galleria degli Uffizi, Florence","name":"Two Nude Men","start_year":-1,"type":"study","url":"https://www.wga.hu/detail/r/romanino/z_study1.jpg"},{"artworkid":225,"author":"BARTOLINI, Lorenzo","description":"\n\n","end_year":1835,"genre":"sculpture","materials":"Marble","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"Charity (detail)","start_year":1817,"type":"religious","url":"https://www.wga.hu/detail/b/bartolin/charity1.jpg"},{"artworkid":229,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 208, JH 1195.\r\n\r\n\n","end_year":1886,"genre":"painting","materials":"Oil on canvas, 27 x 19 cm","museum_name":"Van Gogh Museum, Amsterdam","name":"Self-Portrait with Pipe","start_year":1886,"type":"portrait","url":"https://www.wga.hu/detail/g/gogh_van/16/selfpo02.jpg"},{"artworkid":233,"author":"MAGNASCO, Alessandro","description":"\r\nThe painting was executed with the contribution of Antonio Perruzzini.\r\n\r\n\n","end_year":1720,"genre":"painting","materials":"Oil on canvas, 158 x 211 cm","museum_name":"The Hermitage, St. Petersburg","name":"Mountainous Landscape","start_year":1720,"type":"landscape","url":"https://www.wga.hu/detail/m/magnasco/mountain.jpg"},{"artworkid":237,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThe picture shows the entrance wall of the main hall. It is divided into two parts by the doors that lead into the hall from the monumental staircase. The right portion of the wall contains the scene of The Fall of Phaethon, in which he plunges into the Po River, the left part shows the Heliads, sisters of Phaethon, whose enormous grief at the loss of their beloved brother would prompt the gods to transform them into poplar.\r\n\r\n\n","end_year":1719,"genre":"painting","materials":"Fresco","museum_name":"Villa Baglioni, Massanzago","name":"View of the entrance wall","start_year":1719,"type":"interior","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/2_1730s/00bagli5.jpg"},{"artworkid":241,"author":"HALS, Frans","description":"\n\n","end_year":1622,"genre":"painting","materials":"Oil on canvas, 106 x 80,3 cm","museum_name":"Kimbell Art Museum, Fort Worth","name":"The Rommel Pot Player","start_year":1618,"type":"genre","url":"https://www.wga.hu/detail/h/hals/frans/00-1620/08romme.jpg"},{"artworkid":245,"author":"VERSTRAELEN, Anthonie","description":"\r\nVerstraelen's work was much indebted to that of Hendrick and Barend Avercamp, to whom his better work has often been ascribed. His winter landscapes were typically composed with figures of skaters and everyday folk arranged across the foreground plane, while behind them a frozen river or canal stretches through a village into the distance. The banks of the river are typically occupied by humble country dwellings and Verstraelen's distinctive gnarled trees.\r\n\r\n\n","end_year":1633,"genre":"painting","materials":"Oil on panel, 41 x 71 cm","museum_name":"Private collection","name":"Winter Scene","start_year":1633,"type":"landscape","url":"https://www.wga.hu/detail/v/verstrae/winter1.jpg"},{"artworkid":249,"author":"FLORIS, Frans","description":"\r\nIn this drawing the artist strove for a highly emphatic decorativity which is manifested in the antique style clothes, the hair and the headdress. The boldly rendered, elongated figures are markedly stylised, resulting in almost caricature-like exaggerations.\r\n\r\n\n","end_year":1545,"genre":"graphics","materials":"Pen and brown ink on brown paper, 202 x 312 mm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Apollo and the Muses","start_year":1545,"type":"mythological","url":"https://www.wga.hu/detail/f/floris/frans/zapollo.jpg"},{"artworkid":253,"author":"AMMAN, Jost","description":"\r\nDas Ständebuch (Book of Trades) wasa published in 1568 in Frankfurt am Main with text by Hans Sachs (1494–1576) and illustrations by Jost Amman. It features detailed woodcut illustrations of various professions, each accompanied by a short poem in rhyming couplets and provides a fascinating insight into the diverse trades and crafts practised in 16th-century Nuremberg.\r\n\r\n\n","end_year":1568,"genre":"graphics","materials":"Woodcut","museum_name":"Victoria and Albert Museum, London","name":"Cutting a woodblock (from the Book of Trades)","start_year":1568,"type":"other","url":"https://www.wga.hu/detail/a/amman/amman4.jpg"},{"artworkid":257,"author":"CARAVAGGIO","description":"\r\nThe painting is on an extended loan to the Metropolitan Museum of Art from a private collection.\r\nTwo pictures (one in The Hermitage, St. Petersburg, and the other in the Metropolitan Museum of Art, New York) of almost the same dimensions depict a boy with soft facial features and unusually thick brown hair, pouting lips, a half-open mouth and a pensive expression beneath sharply-drawn broad eyebrows. His white shirt is open at the front, revealing the artist's intention to paint a nude. This figure has the same dimensions in both pictures, which suggests that Caravaggio traced one on to oil-paper. In this case only one picture was completed from a fresh study of a model.\r\nA sort of ribbon woven into the figure's hair emphasizes its almost androgynous features. The same applies - in the New York version - to a broad yoke which divides his shirt under his chest like a woman's dress. This is undoubtedly why Bellori saw this as a female lute-player, although recently it has been suggested that the model was a castrato. Light falls from a high window above left, creating a narrow triangle of brightness in the upper right-hand corner. That said, the brightly illuminated figure stands out boldly against the shadowy background.\r\nThe strongly foreshortened lute with its bent key-board demonstrates Caravaggio's virtuoso handling of perspective. Tactile elements project towards the viewer more successfully than in the New York Concert. As in the Uffizi Bacchus, the artist places a broad table-top in front of the figure - in the St. Petersburg version it is made of marble, and in the New York version covered with an oriental carpet.\r\nThe objects in the picture include an open book of music lying on another which bears the inscription \"Bassus\" in Gothic script, whilst the body of a violin serves to hold the book open at the right page. In both versions Caravaggio has painted the scores of older compositions clearly enough for us to read them. The music in question is the base voice-part of a popular collection, the \"libro primo\" of Jacques Arcadelt, which contains other compositions as well as works by this composer. Although the artist has cut off one row of notes, he has reproduced the initial notes so exactly that in the St. Petersburg example we can recognize the Roman printer, Valerio Dorica, whereas in the second version we can see that the book was published in Venice by Antonio Gardane.\r\nIn the St. Petersburg version, the violin bow lies across the strings and the open book of music - a prominent object for the observation of light and shade. In the New York version it is handled in a much less interesting way. Placed underneath the violin scroll, the bow can scarcely be distinguished from the brownish pattern of the carpet. In this version, a stout recorder and a triangular keyboard instrument are the other objects we see. The X-ray picture shows that they were painted over a still-life. The bird-cage motif in the left-hand corner (barely visible on the photo) shows what unusual motifs Caravaggio liked to select - motifs similar to those preferred by Caravaggesque painters in the Netherlands.\r\nThe St. Petersburg version, on the other hand, plays with the motifs of Caravaggio's other early arrangements of still-life and individual figures. Pieces of fruit lie on the marble slab, extremely brightly colored and brilliantly painted. A crystal vase contains a bunch of flowers, which would have made even Jan Bruegel the Elder jealous. The colors are applied uninhibitedly with a loaded brush - with a richness and precision we do not see elsewhere in Caravaggio's work.\r\n\n\n\r\nSuggested listening (streaming mp3, 2 minutes):Francesco da Milano: Tre fantasie for lute\n\n\n","end_year":1600,"genre":"painting","materials":"Oil on canvas, 102 x 130 cm","museum_name":"Metropolitan Museum of Art, New York","name":"The Lute Player","start_year":1600,"type":"genre","url":"https://www.wga.hu/detail/c/caravagg/01/091lute.jpg"},{"artworkid":261,"author":"TINTORETTO","description":"\r\nThe central oval canvas on the ceiling of the Sala dell'Albergo is surrounded by 16 allegories of various size. In the four corners are located the round allegories of the four seasons. The seasons are represented by cherubs vivaciously set out in a flowing agility of poses in the middle of varying vegetation.\r\n\r\n\n","end_year":1564,"genre":"painting","materials":"Oil on canvas, diameter 90 cm","museum_name":"Scuola Grande di San Rocco, Venice","name":"Summer","start_year":1564,"type":"mythological","url":"https://www.wga.hu/detail/t/tintoret/3b/1albergo/1/03ceilin.jpg"},{"artworkid":299,"author":"BOTTICELLI, Sandro","description":"\r\nBotticelli structures the dramatic scene, in which Virginia is stabbed to death by her father Virginius, by means of a lively grouping of vehement gestures. The sorrowful faces of the mourning women are typical of Botticelli's late style. Virginius is turning his head to the right, creating a link to the next scene, and this is a characteristic trick of Botticelli's which he frequently used to connect various episodes with one another.\r\n\r\n\n","end_year":1504,"genre":"painting","materials":"Tempera on panel","museum_name":"Accademia Carrara, Bergamo","name":"The Story of Virginia (detail)","start_year":1496,"type":"historical","url":"https://www.wga.hu/detail/b/botticel/90scenic/21virgin.jpg"},{"artworkid":303,"author":"CERUTI, Giacomo","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"Boy with a Basket of Fish","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/c/ceruti/boybaske.jpg"},{"artworkid":234,"author":"SOMMARUGA, Giuseppe","description":"\r\nThe gate from the main entrance to Palazzo Castiglioni, by Giuseppe Sommaruga, was built by the firm Ghiand e Magnoni on a drawing by Sommaruga. The palace ranks as a sort of \"manifesto\" of the Art Nouveau style in Milan. The door was originally flanked by two half-nude, sensuous caryatids by Ernesto Bazzaro, which caused a stir in town because of their \"outrageous\" eroticism. Eventually, the offending statues were removed, putting at their place the current decoration by Ambrogio Pirovano, who collaborated with Sommaruga on other projects, too.\r\nThe archive photo from 1905 shows the entrance with the original statues by Ernesto Bazzaro (1859-1937). \r\n\r\n\n","end_year":1904,"genre":"architecture","materials":"Photo","museum_name":"Corso Venezia 47-49, Milan","name":"Palazzo Castiglioni: main entrance","start_year":1904,"type":"other","url":"https://www.wga.hu/detail/s/sommarug/castigl3.jpg"},{"artworkid":238,"author":"ARNOLFO DI CAMBIO","description":"\r\nThe detail represents the three Magi.\r\n\r\n\n","end_year":1280,"genre":"sculpture","materials":"Marble","museum_name":"Santa Maria Maggiore, Rome","name":"Presepio (detail)","start_year":1280,"type":"religious","url":"https://www.wga.hu/detail/a/arnolfo/4/02presep.jpg"},{"artworkid":242,"author":"GRNEWALD, Matthias","description":"\r\nThe detail shows the flowers in a bottle at the lower right corner of the painting.\r\n\r\n\n","end_year":1519,"genre":"painting","materials":"Oil on canvas mounted on wood","museum_name":"Parish Church, Stuppach","name":"Stuppach Madonna (detail)","start_year":1517,"type":"religious","url":"https://www.wga.hu/detail/g/grunewal/3/02stupp2.jpg"},{"artworkid":246,"author":"BRUEGEL, Pieter the Elder","description":"\n\n","end_year":1563,"genre":"painting","materials":"Oil on oak panel, width of detail 7 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"The Tower of Babel (detail)","start_year":1563,"type":"historical","url":"https://www.wga.hu/detail/b/bruegel/pieter_e/06/09babel.jpg"},{"artworkid":250,"author":"MACKINTOSH, Charles Rennie","description":"\r\nThe case of the clock is of oak, with a veneer of black stencilled chequer-board decoration. The face is made up of squares of mother-of-pearl with four squares of ivory at the corners; the numbers are of wood, inset into the face, and the hands are metal painted blue. At the back are two doors, to the clock above and the pendulum below; the movement is French late nineteenth century. Above the 12 on the dial is a small brass crescent to adjust the speed of the movement.\r\nThe clock was designed for the guest bedroom of Wenman Joseph Bassett-Lowke's house at 78 Derngate, Northampton. Mackintosh's transformation of a nineteenth-century terraced house in Northampton for the engineering-model manufacturer Bassett-Lowke was his last major commission in Northampton.\r\nThe guest bedroom at Derngate was designed in 1919; Bassett-Lowke described it as 'perhaps the most daring in the house', with its striking black-and-white striped wallpaper carried up onto the ceiling. There were matching curtains and bedspread, and the furniture was edged with blue and black chequerboard decoration.\r\nThis was the largest clock designed by Mackintosh for Bassett-Lowke (designs for several others are in the University of Glasgow Mackintosh Collection). \r\n\r\n\n","end_year":1919,"genre":"furniture","materials":"Oak, height 37 cm","museum_name":"British Museum, London","name":"Clock","start_year":1919,"type":"other","url":"https://www.wga.hu/detail/m/mackinto/7furnit3.jpg"},{"artworkid":254,"author":"CANAL, Bernardo","description":"\r\nThis painting shows a view of the church of Santa Maria in Aracoeli and the Campidoglio. The composition derives from Canaletto's drawing from 1719/20 which he took back to Venice after his Roman sojourn.\r\n\r\n\n","end_year":1720,"genre":"painting","materials":"Oil on canvas, 73 x 112 cm","museum_name":"Private collection","name":"View of Rome","start_year":1720,"type":"landscape","url":"https://www.wga.hu/detail/c/canal/viewrome.jpg"},{"artworkid":258,"author":"MINIATURIST, Byzantine","description":"\r\nFrom amongst the rich variety of scientific manuscripts of late antiquity, the Vienna Dioscorides, which survived only in part, stands out by virtue of its artistic quality and the number of illustrations. Written in Greek, it is a compendium of six pharmacological and scientific works; an herbarium, minor medicinal works, a book of birds. It consists of 392 full page miniatures, 66 pictures of venomous animals, 47 pictures of birds.\r\nThe manuscript, named after one of the authors, Pedanius Dioscorides (1st century AD), was made for Princess Anicia Juliana of Byzantium (462-527).\r\nFolio 6 verso represents the oldest dedication picture known in book painting. It depicts Princess Anicia Juliana, flanked to the left by the personification of magnanimity and to the right by a figure representing knowledge, while at her feet is a personification of the gratitude of the arts.\r\n\r\n\n","end_year":-1,"genre":"illumination","materials":"Manuscript (Codex Vindobonensis Med. gr. 1), 380 x 310 mm","museum_name":"sterreichische Nationalbibliothek, Vienna","name":"Vienna Dioscorides","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/zgothic/miniatur/0501-550/dioscor4.jpg"},{"artworkid":262,"author":"MILLET, Aim","description":"\r\nThe group of Apollo, Poetry, and Music is atop the Opéra Garnier  in Paris.\r\n\r\n\n","end_year":1869,"genre":"sculpture","materials":"Bronze","museum_name":"Opra Garnier, Paris","name":"Apollo, Poetry, and Music","start_year":1869,"type":"mythological","url":"https://www.wga.hu/detail/m/millet_a/opera.jpg"},{"artworkid":266,"author":"DRER, Albrecht","description":"\r\nThe detail shows the head of St Mark.\r\n\r\n\n","end_year":1526,"genre":"painting","materials":"Oil on panel, width of detail 28 cm","museum_name":"Alte Pinakothek, Munich","name":"The Four Holy Men (detail)","start_year":1526,"type":"religious","url":"https://www.wga.hu/detail/d/durer/1/10/5_4holy4.jpg"},{"artworkid":270,"author":"SCHICKHARDT, Heinrich II","description":"\r\nSchickhardt designed an ideal town on a grid plan, with the streets intersecting like the lines on a nine men's morris board-game. In the centre he designed the Stadtkirche, an Evangelical church with an L-shape ground plan. It was an experiment to create a church suitable for Protestant services.\r\nFreudenstadt was severely damaged by fire during World War II. The central city, including the Renaissance arcades in the marketplace and the Evangelical church, was rebuilt in its original form.\r\nThe photo shows a view towards the church.\r\nView d drawing of the original state of the church and its plan for two levels.\r\n\r\n\n","end_year":1615,"genre":"architecture","materials":"Photo","museum_name":"Stadtkirche, Freudenstadt","name":"Exterior view","start_year":1599,"type":"other","url":"https://www.wga.hu/detail/s/schickha/freuden3.jpg"},{"artworkid":274,"author":"ARCHITECT, French","description":"\r\nIn the 12th century the Abbot Suger (1081-1151) rebuilt portions of the earlier abbey church using innovative structural and decorative features. In doing so, he is said to have created the first truly Gothic building. The basilica's 13th-century nave is also the prototype for the Rayonnant Gothic style, and provided an architectural model for cathedrals and abbeys of northern France, England and other countries.\r\nSuger did not rebuild the whole of his abbey church at once. He started with the westwork. Though this suffered considerably in the 18th and 19th centuries (the north tower had to be demolished after being unsuccessfully restored), it still bears witness to the feeling of the 1130s.\r\nThe Basilica of St Denis ranks as an architectural landmark — as the first major structure of which a substantial part was designed and built in the Gothic style. Both stylistically and structurally, it heralded the change from Romanesque architecture to Gothic architecture.\r\nHistorically the church is important because it is the abbey where the kings of France and their families were buried for centuries and is therefore often referred to as the \"royal necropolis of France\".\r\nThe photo shows the westwork of the former Benedictine abbey church.\r\nView the ground plan of the Benedictine Abbey Church, Saint-Denis.\r\n\r\n\n","end_year":1130,"genre":"architecture","materials":"Photo","museum_name":"Benedictine Abbey Church, Saint-Denis (Seine-Saint-Denis)","name":"Exterior view","start_year":1130,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/2/1/12f_1101.jpg"},{"artworkid":491,"author":"UNKNOWN MASTER, Italian","description":"\r\nThis detached fresco is a scene from the cycle on the life of St Benedict. This fresco cycle was partly damaged by the devastating flooding of Florence on the 4th of November, 1966.\r\n\r\n\n","end_year":1450,"genre":"painting","materials":"Detached fresco","museum_name":"Chiostro degli Aranci, Badia Fiorentina, Florence","name":"Life of St Benedict","start_year":1450,"type":"religious","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it3/benedict.jpg"},{"artworkid":236,"author":"TINTORETTO","description":"\r\nThe church of San Giorgio Maggiore was built on the San Giorgio Island between 1566 and 1600 using the design of Palladio. After 1590 the workshop of Tintoretto was commissioned to paint big canvases for decorating it. Due the large number of commissions, Tintoretto in his late years increasingly relied on his coworkers. However, three surviving paintings placed in a chapel consacrated in 1592 - The Jews in the Desert, The Last Supper and The Entombment - were certainly painted by Tintoretto himself.\r\nThe unusual iconography of this painting is still not entirely explained. There is much to suggest that Tintoretto was depicting the Israelites' scorning of the manna that led to the plague of fiery serpents and finally the setting up of the bronze serpent. Or the picture may combine different themes: the camp of the Israelites in the oasis of Elim, the washing of their clothes at the foot of Mount Sinai, the making of the copper basin for the sanctuary, the cooking of the manna, etc. The figure of Moses right foreground, shown in conversation with Aaron, is intentionally made to resemble Christ. Moses forms a typological link with the painting opposite, The Last Supper. As so often in Tintoretto, a certain scriptural meaning is concealed behind details that appear to be merely those of genre painting: the donkey driver top right could be Balaam who beat his animal because it was afraid of the angel of the Lord, whom Balaam himself did not see.\r\n\r\n\n","end_year":1593,"genre":"painting","materials":"Oil on canvas, 377 x 576 cm","museum_name":"San Giorgio Maggiore, Venice","name":"The Jews in the Desert","start_year":1593,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/5_1580s/2desert.jpg"},{"artworkid":240,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThis painting in the Sala delle Quattro Porte is one of the last public works commissioned by the Venetian Republic. As its thousand years of history drew to a close, the city commissioned this painting of Neptune pouring out the treasures of the sea and the riches of commerce before Venice. It was commissioned from Tiepolo to replace a lost painting by Tintoretto. The dating is controversial because of the painting's stylistic anomalies. In homage to the context, the work takes up motifs typical of the golden age of Venetian art.\r\n\r\n\n","end_year":1740,"genre":"painting","materials":"Oil on canvas, 135 x 275 cm","museum_name":"Palazzo Ducale, Venice","name":"Neptune Offering Gifts to Venice","start_year":1740,"type":"mythological","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/3_1740s/13neptun.jpg"},{"artworkid":244,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 1544, JH 1741.\r\nTo escape harassment from local inhabitants van Gogh left Arles in May 1889 and moved into a sanatorium, Saint-Paul-de-Mausole, in the nearby village of Saint-Rémy. There he hoped he would be able to work quietly and have medical supervision in case of a recurrence of his epilepsy. Saint-Rémy lay beside the Provençal hills known as the Alpilles, which are extraordinary geological formations, low-lying, rocky crags, weathered into grotesque shapes and pitted by ravines and waterchannels which have cut their way through the rocks. In the plains beneath them are fertile olive groves. Van Gogh was fascinated by this novel landscape. He was often able to go out from the hospital and paint and draw these unusual surroundings. He developed a more sinuous, linear style in drawing and a more flowing manner in painting in order to represent their special shapes and features.\r\n\r\n\n","end_year":1889,"genre":"graphics","materials":"Pencil, reed pen and ink on paper, 470 x 625 mm","museum_name":"Museum of Modern Art, new York","name":"Olive Groves in the Alpilles","start_year":1889,"type":"landscape","url":"https://www.wga.hu/detail/g/gogh_van/19/1remy04.jpg"},{"artworkid":248,"author":"LANDI, Gaspare","description":"\r\nThis canvas is an autograph replica of the painting in the Museo Civico, Piacenza. The title could read \"The Departure of Hector from Andromache\", or \"The Departure of Hector from Andromache, from Cassandra, and from Astyanax.\"\r\n\r\n\n","end_year":1794,"genre":"painting","materials":"Oil on canvas, 150 x 205 cm","museum_name":"Private collection","name":"Meeting of Hector and Andromache","start_year":1794,"type":"mythological","url":"https://www.wga.hu/detail/l/landi/meeting.jpg"},{"artworkid":252,"author":"POSI, Paolo","description":"\r\nThe most important eighteenth-century additions to the Palazzo Colonna in Rome were completed under Cardinal Girolamo II Colonna (1708-1763). He commissioned Paolo Posi to build a gallery in the highly theatrical style of the eighteenth century. The present design is for the so-called Salone Turco in this new wing. The actual decoration was executed by the cardinal's favourite painter Stefano Pozzi, who worked together with his brother Giuseppe (1723-1765) and the landscape painter Giovanni Angeloni (1740-1788).\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Ink and watercolour, 283 x 313 mm","museum_name":"Collezione Vittorio Cini, Venice","name":"Design for wall arrangement","start_year":-1,"type":"study","url":"https://www.wga.hu/detail/p/posi/design.jpg"},{"artworkid":256,"author":"MINIATURIST, English","description":"\r\nThe picture shows part of the marginal drawings on folio 195v of the Luttrell Psalter. It depicts a hybrid monster.\r\n\r\n\n","end_year":1340,"genre":"illumination","materials":"Manuscript (Add. MS 42130)","museum_name":"British Library, London","name":"Luttrell Psalter","start_year":1325,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1301-350/1english/762engli.jpg"},{"artworkid":260,"author":"RUYSDAEL, Salomon van","description":"\r\nIn this panel the painter depicts a river landscape near the city of Haarlem with cattle and fishing boats. During the 1640s Ruysdael painted many variations on the river scene, a subject he had treated as early as 1631, and by 1650 had made his personal specialty.\r\n\r\n\n","end_year":1647,"genre":"painting","materials":"Oil on panel, 51 x 69 cm","museum_name":"Private collection","name":"River Landscape","start_year":1647,"type":"landscape","url":"https://www.wga.hu/detail/r/ruysdael/salomon/1/river_l4.jpg"},{"artworkid":264,"author":"WEYDEN, Rogier van der","description":"\r\nThe earliest painting that can be ascribed to Rogier van der Weyden with any certainty is also the artist's greatest and most influential extant work: the great Deposition. It cannot have been painted very long after 1435, the year established by dendrochronological dating methods, which would also fit the circumstances of Rogier's life at the time. On the other hand, it must have been painted before 1443, the date of the earliest copy (in the Sint-Pieterskerk, Leuven). \r\nThe Deposition was an altarpiece, intended for the chapel of the Confraternity of the Archers of Leuven, who commissioned it. (The two small crossbows in the lower spandrels of the tracery in the picture refer to the Confraternity.). Mary of Hungary (1505-1558), Regent of the Netherlands, acquired the painting from the Archers of Leuven before 1548. Later it came into the possession of her nephew King Philip II of Spain (1527-1598; king from 1556), who finally placed it in the monastery fortress of the Escorial he had founded near Madrid. At that time the Deposition formed the centre of a triptych, but there is no indication that the side wings were originally part of the work, it is more likely that the Deposition was originally a single panel.\r\nAt about 2.2 meters high and 2.6 meters wide, the painting is very large by the usual standards of Early Netherlandish pictures; in terms of concept it is truly monumental. Ten figures in all cover the painted surface almost entirely, with their heads close to the upper edge of the panel. The body of Jesus has already been removed from the Cross, and is received by two elderly men, the bearded Joseph of Arimathaea and Nicodemus. Surrounded by Jesus's mourning friends they are holding His dead body for a moment before setting it down. Mary is sinking to the ground in a faint beside her son, and is supported by John, the favourite disciple of Jesus, and by one of the holy women. On the extreme right, the despairing Mary Magdalene seems on the brink of collapse.\r\nThe scene shown would have lasted for only a moment, but there is nothing momentary about its depiction, which is quite detached from the historical event. Rogier achieves this effect principally by placing the group in a painted niche like an altar shrine; the hill of Golgotha, the Place of Skulls where the Cross stood, is suggested only by skulls and arm bones on the narrow strip of stone floor. A connection is thus established with those gilded shrines holding painted statues that were a particularly costly and lavish form of retable. However, Rogier was not imitating a carved altar. He shows \"live\" figures rather than statues, and the life-like effect is emphasized by their appearance, almost life-size, in the place where mere wooden statues would be expected in an altar. Using such methods, Rogier gives them the three-dimensionality of statues but the look of a painting, which is much more life-like than sculpture.\r\nHowever, such considerations would have played only a minor part in Rogier's decision to set the scene in the painted altar niche. His primary concern was to emphasize the forcefulness of the depiction. Rogier even departs deliberately from what can be rationally imagined, and so breaks with the manner of realistic spatial depiction that had only recently been achieved in painting. The niche he paints is deep enough at the bottom of the picture to accommodate several figures, the upright of the Cross, and the ladder leaning against it; but in some areas at the top it seems to come close to the surface of the picture - the helper on the ladder is pressed tightly into the shallow upper space of the shrine, while the head of the bearded Joseph of Arimathaea just below seems to protrude from the picture. All the figures are brought forward by the golden back wall so that the space surrounds them closely: convincing as their actions may look individually, there would never really have been room for them all. The result is a sense of timelessness and an almost oppressive intensity.\r\nThe painted niche offered Rogier another advantage: he could retain the gold background usual in medieval painting without offending against the demands of naturalistic depiction. The background of the painting is, in fact, a real gilded surface and also a pictorial representation of one - the back of the shrine.\r\nRogier relates the figures to each other in a masterly composition, yet he emphasizes a number of different accents. The limp body of Christ is at the centre, and appears to be held quite naturally by the two men so that it is almost facing the observer, with hardly anything else encroaching on it. This is the part of the picture intended to inspire the greatest reverence, referring to the sacrament in which, in the Catholic faith, the host and the wine become the body and blood of Christ. During divine service the bread and wine would have stood on the altar below this picture, and when the priest raised the host above his head during the ceremony, the congregation would have seen him doing so directly in front of the painted body of Christ.\r\nThe almost radiant body is immaculate and beautiful, undisfigured by the marks of scourging, and its delicate but almost swelling form has a distinctly sensuous softness. Only the marks of the five wounds are ugly gashes running with blood. However, the long trickle from the wound in Christ's side passes over the body like a delicate line that traces the curve of the stomach.\r\nThe other main character in the picture is Mary. The Mother of God, sinking to the ground as if dead, forms a parallel to Christ, allowing the artist to create a link between the two main groups in a bold effect of composition, since they are moving in different directions: Christ is being carried away to the right, while Mary is falling to the left. At the same time, the correspondence between the figures illustrates an important theological idea of the time Mary's own compassionate suffering and her part in Christ's act of redemption. On the right of the picture not directly involved in the action, stands Mary Magdalene. Her magnificent, worldly garments, with the low-necked dress showing her full, sensuous breasts, indicate that she is the \"great sinner\" who has abandoned her depraved way of life and turned to Christ in repentance. In terms of composition, the Magdalene's figure closes off the picture on the right like a large bracket, matching the similarly bowed figure of John on the left. The curve of Mary Magdalene's cloak, sweeping forward into the picture, is echoed by the hem of the brocade robe worn by Nicodemus, and is continued in the left half of the picture by the folds in the Virgin Mary's blue dress. Such overlapping forms and lines determine the structure of the whole picture: the curve of Christ's body is continued in the Magdalene's left arm, and is crossed by the diagonal running in the opposite direction from the eyes of Nicodemus, through the hands of Christ and Mary, to the eye sockets of the skull. Christ's left arm too echoes the movements that seem to curve and turn on each other at the centre of the picture.\r\nThe Deposition is among the outstanding masterpieces of Netherlandish art, and one of the mainstays of Rogier's fame. As the work of a painter aged 35 to 40, it can hardly be described as a youthful production, yet only with this painting can we begin to see Rogier more clearly as an artistic personality. Most important of all, the picture shows unmistakable similarities with some of the major works of the Master of Flémalle.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Oil on oak panel, 220 x 262 cm","museum_name":"Museo del Prado, Madrid","name":"Deposition","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/w/weyden/rogier/01deposi/1deposi1.jpg"},{"artworkid":268,"author":"DRER, Albrecht","description":"\r\nDuring his journey to Zeeland, Dürer contracted a malaria-like infection from which he would never recover. This is the context within which this small drawing, a self-portrait, was presumably created, for the artist is pointing to a painful spot. The inscribed comment, \"Do der gelb fleck ist und mit dem finger drawff do ist mir we\" (This is the yellow spot and when I press my finger on it, it hurts) suggests that the sketch was intended to be sent to a non-local doctor for his diagnosis.\r\n\r\n\n","end_year":1521,"genre":"graphics","materials":"Coloured pen drawing, 127 x 117 mm","museum_name":"Kunsthalle, Bremen","name":"Self-Portrait","start_year":1521,"type":"portrait","url":"https://www.wga.hu/detail/d/durer/2/11/6/06self.jpg"},{"artworkid":304,"author":"PIGALLE, Jean-Baptiste","description":"\r\nThis bust was commissioned by the superintendent of royal buildings and gardens, Charles-Francoi Le Normand de Tournehem, who was also the uncle of Madame de Pompadour. It was intended for her residence, the Château de Bellevue, which was completed shortly before the bust was finished.\r\nThe bust is a delicate portrait; the lace at the marquise's bodice, the petals of the flowers crowning her hair, and the wisps that curl into the locks of her elaborate coiffure demanded the most subtle kind of work. Pigalle aimed for accuracy, and the sculptural portrait accord with painted ones of the period by Jean-Marc Nattier or Maurice Quentin de La Tour.\n\n","end_year":1751,"genre":"sculpture","materials":"Marble, height 76 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Bust of Madame de Pompadour","start_year":1748,"type":"portrait","url":"https://www.wga.hu/detail/p/pigalle/pompado1.jpg"},{"artworkid":308,"author":"MOSAIC ARTIST, Italian","description":"\r\nThe mosaics in the south side apse of the cathedral of Torcello, portraying an enthroned Christ between two archangels and below the bishop saints Gregory, Martin, Augustine, and Ambrose, date from the end of the eleventh or the beginning of the twelfth century.\r\n\r\n\n","end_year":1100,"genre":"mosaic","materials":"Mosaic","museum_name":"Santa Maria Assunta, Torcello","name":"South side apse","start_year":1100,"type":"religious","url":"https://www.wga.hu/detail/zgothic/mosaics/8/1torcel2.jpg"},{"artworkid":312,"author":"TROYE, Edward","description":"\n\n","end_year":1830,"genre":"painting","materials":"Oil on canvas, 64 x 77 cm","museum_name":"Private collection","name":"Bertrand, by Sir Archy","start_year":1830,"type":"other","url":"https://www.wga.hu/detail/t/troye/bertrand.jpg"},{"artworkid":251,"author":"BLAKE, William","description":"\r\nWilliam Blake is the only artist of his rank who is even better known as a poet, and some of his most pleasing works are those he called \"illuminated printing,\" which fuse picture and word to form a completely integrated and completely personal result. Songs of Innocence, published in 1789, comprises 31 illuminated poems; the book was republished in 1794 with Songs of Experience, with 54 plates in all. Blake's books are similar to 15th-century blockbooks, so called because for each page the letters were, like the images, carved from the block rather than printed from movable type. Blake printed his plates in one colour only, here a bright red-brown. The pages were then painted, perhaps by Blake himself, in watercolours and gold, so every copy of the book is unique. The colours and gold are especially brilliant in this copy. Blake kept the plates and produced these books over a long period of time, probably according to demand. The watermark on 12 leaves of the Metropolitan's copy includes the date 1825, indicating that it was made in or after that year.\r\n\r\n\n","end_year":1825,"genre":"graphics","materials":"Relief etching, handpainted with watercolour and gold, 152 x 140 mm","museum_name":"Metropolitan Museum of Art, New York","name":"Songs of Innocence (Title page)","start_year":1825,"type":"other","url":"https://www.wga.hu/detail/b/blake/12songs.jpg"},{"artworkid":255,"author":"BROWN, Mather","description":"\r\nThis head and shoulders sketch portrays John Williams (a.k.a. Anthony Pasquin, \"The Irish Vasari\", 1754-1818). He was a satirist and historian of Irish art.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 43 x 34 cm","museum_name":"Private collection","name":"Portrait of John Williams","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/b/brown_ma/williams.jpg"},{"artworkid":259,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThe detail represents St Anne, who holds out her arms while gazing up to heaven.\r\n\r\n\n","end_year":1759,"genre":"painting","materials":"Oil on canvas","museum_name":"Gemldegalerie, Dresden","name":"The Vision of St Anne (detail)","start_year":1759,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/7_1760s/082visio.jpg"},{"artworkid":263,"author":"GOUDT, Hendrick","description":"\r\nGoudt produced the present engraving after a painting by Adam Elsheimer.\n\n","end_year":1613,"genre":"graphics","materials":"Engraving","museum_name":"Hunterian Art Gallery, University of Glasgow, Glasgow","name":"Jupiter and Mercury in the House of Philemon and Baucis","start_year":1613,"type":"mythological","url":"https://www.wga.hu/detail/g/goudt/p_baucis.jpg"},{"artworkid":267,"author":"POURBUS, Frans the Younger","description":"\r\nIn France, portraiture during the reign of Henry IV and the regency of Marie de' Medici was emtirely dominated by the Flemish artist, Frans Pourbus the Younger. He brought to France the tradition of portraiture of which Anthonis Mor van Dashorst was had been the founder and greatest exponent in the Low Countries, but which evolved since his death towards a greater degree of formalism, with more emphasis on outward show and on the depiction of rich dresses and jewels. By the turn of the century this manner had become almost universal and is to be found as much in Spanish painters such as Alonso Sanchez Coello and Pantoja de la Cruz, as in the earliest works of Rubens.\r\n\r\n\n","end_year":1610,"genre":"painting","materials":"Oil on canvas, 198 x 123 cm","museum_name":"Althorp House, Northamptonshire","name":"Portrait of Claude de Lorrain, Prince of Chevreuse","start_year":1610,"type":"portrait","url":"https://www.wga.hu/detail/p/pourbus/frans_y/lorrain.jpg"},{"artworkid":271,"author":"BRONZINO, Agnolo","description":"\r\nThe Miracle of the Spring and the Gathering of Manna show women and mothers offering life-giving water to their children, while Moses as ruler provides for his people as they gather and preserve food. The woman's tasks for her family are defined visually.\r\n\r\n\n","end_year":1543,"genre":"painting","materials":"Fresco","museum_name":"Cappella di Eleonora, Palazzo Vecchio, Florence","name":"Gathering of the Manna","start_year":1543,"type":"religious","url":"https://www.wga.hu/detail/b/bronzino/3a/06eleono.jpg"},{"artworkid":275,"author":"RICCI, Sebastiano","description":"\r\nInspired by Ovid's Metamorphoses, the subject - Diana discovering Callisto's pregnancy - gave Ricci the opportunity to linger gracefully and sensuously on the female nude. THe painting is a graceful reinterpretation of the painting of the same subject by Titian.\n\n","end_year":1716,"genre":"painting","materials":"Oil on canvas, 64 x 76 cm","museum_name":"Gallerie dell'Accademia, Venice","name":"Diana and Callisto","start_year":1712,"type":"mythological","url":"https://www.wga.hu/detail/r/ricci/sebastia/1/diana_ca.jpg"},{"artworkid":279,"author":"SEBASTIANO DEL PIOMBO","description":"\r\nIn this portrait of Clement VII, the illegitimate son of Lorenzo il Magnifico's brother and patron of both Michelangelo and Sebastiano, greater attention is given to the figure and less to the space around him. In Sebastiano's portrait, the not altogether handsome Medici pope is rendered dignified and monumentalised. While the portrait type itself derives from Raphael's Julius II, other elements reveal his debt to Michelangelo, such as the enlarged hand dangling from the chair. The elegant treatment of material and the placement of light that flickers over the entire figure produce ample visual excitement.\r\n\r\n\n","end_year":1526,"genre":"painting","materials":"Oil on canvas, 145 x 110 cm","museum_name":"Museo e Gallerie Nazionali di Capodimonte, Naples","name":"Pope Clement VII","start_year":1526,"type":"portrait","url":"https://www.wga.hu/detail/s/sebastia/clement7.jpg"},{"artworkid":283,"author":"KEY, Lieven de","description":"\r\nThe Vleeshal (Meat Hall) is a historical building on the Grote Markt in Haarlem. The building was used for selling fresh meat, salted meat was sold in the Warmoesstraat, the street next to the building. The Vleeshal is Lieven de Key's most important work.\r\nThe hall is a right-angled brick building, liberally decorated with boldly cut blocks of sandstone and scrollwork ornament. On the short sides are stepped gables with projecting blocks at the angles and stone scrolls. Some of the steps are crowned with obelisks. The entire façade is horizontally articulated by a series of cornices and impost mouldings, while the interior is defined by a row of columns down the central bay, starting from just inside the entrance.\r\nThe photo shows the façade on the Grote Markt.\r\n\r\n\n","end_year":1603,"genre":"architecture","materials":"Photo","museum_name":"Vleeshal, Haarlem","name":"Exterior view","start_year":1603,"type":"other","url":"https://www.wga.hu/detail/k/key1/vleesha1.jpg"},{"artworkid":287,"author":"EARLY CHRISTIAN SCULPTOR, Byzantine","description":"\r\nThe Throne of Maximianus was made for Archbishop Maximianus of Ravenna (499-556), a protegé of Justinian I. It was carved in the Byzantine Empire (in Alexandria or Constantinople) and shipped to Ravenna.\r\nThe style of the throne is a mixture of Early Christian and Byzantine art. It is made of carved ivory panels, with frames of winding vines and grapevines, on a wooden frame. The ivory carvings are done in relief. \r\nOn the front of the throne are the Four Evangelists around John the Baptist, who is holding a medallion with the Lamb of God and Maximianus's name above him. The back of the throne contains 24 panels depicting the Life of Christ and apocryphal scenes from the Life of the Virgin. The sides include ten panels from the Story of Joseph in the Book of Genesis.\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Ivory, 150 x 60 cm","museum_name":"Museo Arcivescovile, Ravenna","name":"Throne of Maximianus","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zearly/1/1sculptu/various/6throne1.jpg"},{"artworkid":291,"author":"PISANO, Giovanni","description":"\r\nThe two figures on the pulpit represent Justice and Temperance.\r\n\r\n\n","end_year":1310,"genre":"sculpture","materials":"Marble","museum_name":"Cathedral, Pisa","name":"Pulpit detail: Virtues","start_year":1302,"type":"religious","url":"https://www.wga.hu/detail/p/pisano/giovanni/pulpit_p/3column5c.jpg"},{"artworkid":295,"author":"LANFRANCO, Giovanni","description":"\n\n","end_year":1639,"genre":"painting","materials":"Fresco","museum_name":"Certosa di San Martino, Naples","name":"Crucifixion (detail)","start_year":1637,"type":"religious","url":"https://www.wga.hu/detail/l/lanfranc/2/certosa5.jpg"},{"artworkid":313,"author":"CRANACH, Lucas the Elder","description":"\r\nThe landscape plays an important role in this scene of joyful spirit in which the angel announces to Joachim that Anne, his wife, will conceive and that the child will be the mother of Jesus.\r\n\r\n\n","end_year":1518,"genre":"painting","materials":"Oil on panel, 61 x 51 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"The Annunciation to Joachim","start_year":1516,"type":"religious","url":"https://www.wga.hu/detail/c/cranach/lucas_e/05/44religi.jpg"},{"artworkid":265,"author":"STAMMEL, Josef Thaddus","description":"\r\nAdmont Abbey is a Benedictine monastery located in the town of Admont, Austria. It is the oldest remaining monastery in Styria and contains the largest monastic library in the world. \r\nWhile the abbey itself was completed in 1074 the library (late Baroque) was not completed until 1776. It was commissioned by Abbot Matthäus Offner (reigned 1751-1779) and built by the Graz Master Builder Josef Hueber (1715-1787).\r\nAdorning the ceilings are seven frescoes by Bartolomeo Altomonte. The sculptures were made by master Baroque sculptor Josef Stammel. Particularly famous is The Four Last Things, a group of four oversized presentations of Death, the Last Judgement, Heaven and Hell.\r\nThe library collection comprises some 200,000 volumes. The most valuable treasures are the more than 1,400 manuscripts (the earliest from the 8th century) and the 530 incunabula (early printed books before 1500).\r\n\r\n\n","end_year":1760,"genre":"sculpture","materials":"Photo","museum_name":"Collegiate Library, Admont","name":"Interior view","start_year":1760,"type":"interior","url":"https://www.wga.hu/detail/s/stammel/admont3.jpg"},{"artworkid":269,"author":"OSTENDORFER, Michael","description":"\r\nThe figure of the Madonna stands in front of a wooden church being adored by crowds of ecstatic pilgrims. The image is that of the supposedly wonder-working cultic statue of the \"Fair Virgin\" in Regensburg, which was visited by large crowds of pilgrims in the 1520s after the Pope granted indulgences for such pilgrimages. Ostendorfer's woodcut was on sale as a souvenir. This particular print belonged to Albrecht Dürer, who in a comment in his own hand, dated 1523, criticised the growth of the pilgrimage industry.\r\n\r\n\n","end_year":1520,"genre":"graphics","materials":"Woodcut, 555 x 390 mm","museum_name":"Kunstsammlung der Veste Coburg, Coburg","name":"The Pilgrimage to the \"Fair Virgin\" in Regensburg","start_year":1520,"type":"religious","url":"https://www.wga.hu/detail/o/ostendor/pilgrima.jpg"},{"artworkid":273,"author":"FRANGIPANE, Niccol","description":"\r\nThe painting depicts the Holy Family with the Infant St John in a landscape. It is signed and dated lower left: Nicolaus Frangipanis f. 1585.\r\n\r\n\n","end_year":1585,"genre":"painting","materials":"Oil on canvas, 102 x 121 cm","museum_name":"Private collection","name":"The Holy Family with the Infant St John","start_year":1585,"type":"religious","url":"https://www.wga.hu/detail/f/frangipa/holyfami.jpg"},{"artworkid":277,"author":"ROMANESQUE PAINTER, Italian","description":"\r\nThe Sant'Angelo in Formis, near Capua, is a nearly completely intact church building from the early Middle Ages whose entire interior is decorated with frescoes. This fresco ensemble, the most extensive and artistically important to have survived from the second half of the eleventh century in Italy, demonstrates the extent to which the early Christian decorative scheme known from San Paolo fuori le Mura in Rome continued to be valid into the High Middle Ages.\r\nIn the apse of the church the major motif is the Maiestas Domini, Christ enthroned in a sovereign pose between the symbols of the evangelists.\r\n\r\n\n","end_year":1080,"genre":"painting","materials":"Fresco","museum_name":"Sant'Angelo in Formis, Capua","name":"View of the nave, looking east","start_year":1080,"type":"religious","url":"https://www.wga.hu/detail/zgothic/mural/11c2/02formi.jpg"},{"artworkid":281,"author":"CRAESBEECK, Josse van","description":"\r\nIn this and other related paintings by Van Craesbeeck after 1640 there is a certain theatricality. Compared with his earlier work, the colouring has become clearer and more descriptive and the smoky Brouwerian tonality has given way to a more uniform and brighter lighting which makes the figures look more emphatically modelled.\r\nThe painting is also known as Quarrel in a Pub.\r\n\r\n\n","end_year":1640,"genre":"painting","materials":"Oil on panel, 73 x 102 cm","museum_name":"Koninklijk Museum voor Schone Kunsten, Antwerp","name":"Death is Violent and Fast","start_year":1640,"type":"other","url":"https://www.wga.hu/detail/c/craesbee/deathvio.jpg"},{"artworkid":285,"author":"UNKNOWN WEAVER, Coptic","description":"\n\n","end_year":-1,"genre":"tapestry","materials":"Tapestry weave","museum_name":"Centre de Documentaci i Museu Textil, Terrassa (Barcelona)","name":"Nereid","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zearly/1/5coptic/textile/textil03.jpg"},{"artworkid":289,"author":"RUBENS, Peter Paul","description":"\r\nPalazzi di Genova is a 1622 book written and illustrated by Peter Paul Rubens, depicting and describing the palaces of Genoa, Italy in 72 plates. A second volume with 67 further plates was added the same year, and they are usually found (and reprinted) together. The illustrations of the second part are usually considered not to be by Rubens though. It is the only book Rubens published himself (he provided illustrations for a number of other books).\r\nThe first volume contained plans, façades and additional views of 12 of the palaces of Genoa; the second book contained a further 19 palaces and 4 churches. Included are many of the Palazzi dei Rolli. They were seen by Rubens during his trips to Italy (probably late 1605 and early 1606).\r\nRubens was an admirer of the architecture of Italy, as evidenced in his own house, the Rubenshuis in Antwerp. The Genoese style, developed by architects like Galeazzo Alessi, became very popular, and their distribution in Northern Europe was at least partially due to the book by Rubens.\r\nThe picture shows plate 30 from the book.\r\n\r\n\n","end_year":1622,"genre":"architecture","materials":"Engraving","museum_name":"Library Royal Conservatoire, Antwerp","name":"Page from the \"Palazzi di Genova\"","start_year":1622,"type":"study","url":"https://www.wga.hu/detail/r/rubens/8archite/palazzi2.jpg"},{"artworkid":293,"author":"FRANCESCO DI GIORGIO MARTINI","description":"\n\n","end_year":1495,"genre":"painting","materials":"Wood","museum_name":"San Domenico, Siena","name":"Nativity (detail)","start_year":1490,"type":"religious","url":"https://www.wga.hu/detail/f/francesc/3paintin/2nativi2.jpg"},{"artworkid":297,"author":"ARCHITECT, Italian","description":"\r\nThe Baptistery in Florence, dedicated to St John the Baptist, the patron saint of the city, is generally considered to be a Romanesque building dating back to the eleventh century. However, recently it was hypothesized that this construction was erected in the fifth century to commemorate the unexpected victory of Flavius Stilicho over the Vandal, Radagaisus, who was halted in AD 406 at the gates of Florentia. The octagon with its pyramidal-shaped roof would therefore be a Late Roman construction.\r\nThe preciousness of the two-coloured cladding materials, in geometric divisions, revealing the desire for differentiation from the usual stone or brick masonry, is the distinctive characteristic of the Baptistery façades.\r\nIn Florence, the Baptistery is the most representative building in terms of its essential form and the quality of its structure, which epitomizes the unchangeable features of what was to be the best subsequent Florentine architecture.\r\nView the cross-section of the Baptistery, Florence.\r\n\r\n\n","end_year":-1,"genre":"architecture","materials":"Marble faade","museum_name":"Baptistery, Florence","name":"Overall view of the Baptistery","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/11c/3/11i_1001.jpg"},{"artworkid":301,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nAround 1880 Montmartre became the centre for the lesbians of Paris. No one protested when two women waltzed together, as in Lautrec's painting. Lesbians are depicted also in A Corner of the Moulin de la Galette.\r\n\r\n\n","end_year":1892,"genre":"painting","materials":"Oil on cardboard, 100 x 89 cm","museum_name":"National Gallery of Art, Washington","name":"A Corner of the Moulin de la Galette","start_year":1892,"type":"genre","url":"https://www.wga.hu/detail/t/toulouse/3/2mouli07.jpg"},{"artworkid":305,"author":"ROENTGEN, David","description":"\n\n","end_year":1785,"genre":"furniture","materials":"Various woods","museum_name":"Carnegie Museum of Art, Pittsburgh","name":"Cylinder desk","start_year":1785,"type":"other","url":"https://www.wga.hu/detail/r/roentgen/david/desk3.jpg"},{"artworkid":309,"author":"HENNINGSEN, Frants Peter Diderik","description":"\r\nThe painting depicts a burial among the poor, conducted at the Assistens graveyard in the Nørrebro area of Copenhagen. A pregnant woman and her two small children are following their husband/father to his grave. A thoroughly tragic situation that Henningsen has chosen to accentuate with gloomy winter weather, a meagre gathering, and the woman's greyish-white complexion.\r\n\r\n\n","end_year":1883,"genre":"painting","materials":"Oil on canvas, 95 x 142 cm","museum_name":"Statens Museum for Kunst, Copenhagen","name":"A Funeral","start_year":1883,"type":"genre","url":"https://www.wga.hu/detail/h/hennings/funeral.jpg"},{"artworkid":879,"author":"UYTTENBROECK, Moyses Matheusz van","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 48 x 71 cm","museum_name":"Private collection","name":"Landscape with Dancing Bacchantes","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/u/uyttenbr/bacchant.jpg"},{"artworkid":272,"author":"SIGNORELLI, Luca","description":"\r\nThe picture shows the frescoes on the altar wall of the chapel: The Elect Being Called to Paradise (left) and The Damned Being Plunged into Hell (right). In the window embrasures are angels and Sts Brizio and Constantius, while in the tondi of the side window embrasures, the archangel Michael and a demon (left) and the archangel Raphael with Tobias (right).\r\nThere is no doubt that Luca's portrayal of the Elect is far less convincing than his fresco of the Damned. Despite his extremely accurate studies of the human body, his depiction of Paradise is no more than a conventional catalogue of good sentiments and the overall effect is one of unmitigated dullness. The same is true of the pair of frescoes depicting the Elect being called to Paradise and the Damned being plunged into Hell.\r\nAlthough each covers a half wall interrupted by an arch, the scene of the blessed being summoned to heaven is unimaginative and common-place, with its pretty musician angels and chocolate-box portrayals of the Elect. Whereas the scene of the Damned is constructed around the visionary, almost surrealistic, idea of these crowds of naked figures jostling for space along the banks of the Acheron, and the splendid group in the foreground of the devil whipping a terrified, screaming sinner (reminiscent of a Pollaiolo figure). Michelangelo was clearly fascinated by this powerful scene of cruelty and did a drawing of it.\r\n\r\n\n","end_year":1502,"genre":"painting","materials":"Fresco","museum_name":"Chapel of San Brizio, Duomo, Orvieto","name":"The Elect Being Called to Paradise and The Damned Being Plunged into Hell","start_year":1499,"type":"religious","url":"https://www.wga.hu/detail/s/signorel/brizio/4/60parhel.jpg"},{"artworkid":276,"author":"VICTORS, Jan","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 38 x 47 cm","museum_name":"Private collection","name":"Peasants' Meal at the Stables","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/v/victors/peasants.jpg"},{"artworkid":280,"author":"CARRACCI, Annibale","description":"\r\nThe picture shows the ceiling vault of the Galleria Farnese with fictive stucco and Triumph of Bacchus and Ariadne, painted by Annibale Carracci.\r\nA narrative scene painted on a wall as a framed picture was referred to as a \"quadro riportato,\" which to seventeenth-century thinking suggested that a framed panel painting had been translated into the medium of fresco. If a picture with the perspective of a panel painting is shifted to the ceiling, it is called a \"quadro finto\" (fictitious picture). In such a case the painted architectural framing is replaced by a painted or three-dimensional picture frame; Guido Reni's Aurora in the Casino Pallavicini-Rospiglioso is a clear example of this approach. Here the monumentality of the figures, meant to be seen up close, largely eliminates the picture space, which is only suggested as a horizon. In this Reni was following Annibale Carracci, who for the ceiling of the Galleria Farnese invented a complicated, layered framing system with which to make believable the pictures on and in front of the ceiling. It can be referred to as quadro riportato with respect to the subject matter, but quadro finto owing to the painted stuccowork framing.\r\n\r\n\n","end_year":1602,"genre":"painting","materials":"Fresco","museum_name":"Galleria Farnese, Palazzo Farnese, Rome","name":"Ceiling fresco","start_year":1597,"type":"mythological","url":"https://www.wga.hu/detail/c/carracci/annibale/farnese/farnes06.jpg"},{"artworkid":284,"author":"PIETRO DI GIOVANNI D'AMBROGIO","description":"\r\nThe Assumption was a very frequent subject in Sienese painting. The cult of Mary was very intensive in Siena. Pietro di Giovanni's picture follows the compositional scheme in which Mary, enthroned on clouds in full frontal representation, is surrounded by cherubs, and she is received in the heaven by Christ and the prophets.\r\nNoteworthy motif is the landscape below where St Thomas is standing beside the empty tomb. St. Thomas asks a proof from the Virgin for her miraculous assumption. In answer to this request, Mary unfastens and drops her belt to the doubtful apostle. The belt became the most famous Marian relic; it is now a treasure of the Cathedral in Prato.\r\n\r\n\n","end_year":1430,"genre":"painting","materials":"Tempera on wood, 86 x 51 cm","museum_name":"Christian Museum, Esztergom","name":"Assumption of the Virgin","start_year":1430,"type":"religious","url":"https://www.wga.hu/detail/p/pietro/giovanni/assumpti.jpg"},{"artworkid":288,"author":"FYT, Jan","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Private collection","name":"Diana, Goddess of the Hunt (detail)","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/f/fyt/diana_d.jpg"},{"artworkid":292,"author":"MICHELOZZO DI BARTOLOMEO","description":"\r\nThe surviving fragments of the dismembered Aragazzi monument at Montepulciano are almost exclusively the work of Michelozzo.\r\nThe two reliefs that decorated the sarcophagus (still in the church, now Montepulciano Cathedral) are closely based on Roman processional reliefs. More dynamic are two reliefs of angels (Victoria and Albert Museum, London) once flanking a full-length male figure, perhaps the risen Christ in Montepulciano Cathedral. The antiquarianism can be related to the cultural background of the patron, Bartolomeo Aragazzi (whose effigy by Michelozzo is also in the cathedral), who, as secretary and then chancellor to Pope Martin V, was a pioneering researcher of Classical texts.\r\nThe Aragazzi monument anticipates Bernardo Rossellino's Bruni monument (1444; Santa Croce, Florence) and Desiderio da Settignano's Marsuppini monument (c. 1453; Santa Croce, Florence) in associating sculptural antiquarianism with the humanist avant-garde.\r\nThe picture shows one of the two reliefs, in which Bartolomeo Aragazzi Bidding Farewell to his Family. The scene was executed in the manner of a classical sarcophagus. The two reliefs are so rigorously classical that in one the religious content is not immediately discernible, and in the other there is no religious content to discern.\r\n\r\n\n","end_year":1437,"genre":"sculpture","materials":"Marble","museum_name":"Cathedral, Montepulciano","name":"Monument to Bartolomeo Aragazzi: Relief","start_year":1427,"type":"religious","url":"https://www.wga.hu/detail/m/micheloz/2/aragazz6.jpg"},{"artworkid":296,"author":"BEERT, Osias the Elder","description":"\r\nJan Brueghel the Elder was the most important flower painter of his time, and the first to make a painting of a vase of flowers a genre in its own right. Many fellow artists in Antwerp followed him and also took up flower painting, including Osias Beert, whose Bouquet in a Niche is composed of a host of flowers from different seasons painted with refined taste but without much attention to the perspective of the setting and without the baroque sense of movement. In this respect, he could be called a master of the immobile.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 74 x 52 cm","museum_name":"Rockox House, Antwerp","name":"Bouquet in a Niche","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/b/beert/elder/bouquet.jpg"},{"artworkid":300,"author":"TINTORETTO","description":"\r\nTintoretto's Crucifixion in the Sala dell'Albergo presents a panorama of Golgotha populated by a crowd of soldiers, executioners, horsemen, and apostles. At the left the cross of the penitent thief is being partly lifted, partly tugged into place by ropes; at the right the impenitent thief is about to be tied to his cross. A soldier on a ladder behind Christ reaches  down to take the reed with the sponge soaked in vinegar from another soldier on the ground. The tumult of the crowd, the grief of the apostles, and the yearning of the penitent thief seem to come to a focus in the head of Christ.\r\nOwing to Tintoretto's light-on-dark technique, his figures sometimes have a tendency to look a bit ghostly, but the foreground figures in the Crucifixion, grouped in a massive pyramid at the base of the cross, are defined by vigorous contours and are modelled to create a strong sculptural effect. The little group, huddled as if for protection against the hostile crowds, form the base of the composition.\r\n\n\n\r\nSuggested listening (streaming mp3, 48 minutes):Johann Sebastian Bach: Easter Oratorio, BWV 249\n\n\n","end_year":1565,"genre":"painting","materials":"Oil on canvas, 536 x 1224 cm","museum_name":"Scuola Grande di San Rocco, Venice","name":"Crucifixion","start_year":1565,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/3b/1albergo/2/4cruci.jpg"},{"artworkid":278,"author":"CLAUDE LORRAIN","description":"\r\nThe picture, painted for a Parisian collector, is one of the rare works of Claude's maturity that depict and identifiable site.\r\nThe best example of Claude's direct response to nature, although not topographically accurate, is the Landscape with Shepherds - the Ponte Molle of 1645 in the City Museum and Art Gallery, Birmingham. Each element in the picture is perfectly observed from nature; nothing is obviously artificial, but Claude arranged these elements - cabbage-like plants on the ground, classical ruins, a large pine tree - in a way which later generations came to regard as picturesque. To those unfamiliar with the actual landscape he painted, Claude's pictures seem even more artificial than they are. The Roman Campagna has changed little since the seventeenth century, especially the area around Tivoli; the terrain is dotted with the ruins of classical antiquity and there are numerous scattered pine trees which seem, especially when one is walking through them, to take on a `Claudian' aspect when juxtaposed with ruins. The light is marvelously clear, with the sky changing from blue to yellow in the morning and evening. Claude achieved a near perfect depiction of this atmosphere in the Birmingham picture : instead of the brilliant sunshine of the St Ursula there is a soft glow, in which the artist produces an almost milky light. He manages to capture atmosphere not by blurring the edges of each object depicted but by juxtaposing infinitesimal gradations of tone without losing the slightest detail. In all Claude's mature landscapes, and signally in this one, there is a sense of infinite distance in which the spectator can wander at will.\r\nThe painting is included in Liber Veritatis (LV 90).\r\n\r\n\n","end_year":1645,"genre":"painting","materials":"Oil on canvas, 74 x 97 cm","museum_name":"City Art Gallery, Birmingham","name":"Landscape with Shepherds - The Pont Molle","start_year":1645,"type":"landscape","url":"https://www.wga.hu/detail/c/claude/2/02pontmo.jpg"},{"artworkid":282,"author":"SODOMA, Il","description":"\r\nThe painting is signed, inscribed and dated on a cartellino lower right: EX PIETATE/BER.DE SYE/ SODONA EQVES/FACIEBAT SEN/MDXXXIII. Sodoma identifies himself as knight (EQVES), a title conferred on him by Pope Leo X some time between 1513 and 1517. The present painting dates from the 1530s, at a time that Sodoma was at the height of his career, when he was receiving numerous important public commissions such as those for the Palazzo Pubblico and for the Spanish Chapel in the church of Santo Spirito in Siena. This Pietà, like other altarpieces by Sodoma painted during the fourth decade of the 16th century, is characterised by a dense composition and monumental figure style.\r\n\r\n\n","end_year":1533,"genre":"painting","materials":"Oil on panel, transferred to canvas, 111 x 86 cm","museum_name":"Private collection","name":"Piet","start_year":1533,"type":"religious","url":"https://www.wga.hu/detail/s/sodoma/1/pieta1.jpg"},{"artworkid":286,"author":"MOLYN, Pieter de","description":"\r\nPictures of peasant cottages flourished in the Netherlands during the early seventeenth century, especially in Haarlem, Amsterdam, and Utrecht. The present panel from De Molyn's early period is a rolling dune landscape west of Haarlem, where trees and bushes stubbornly survive in the sandy soil.\r\n\r\n\n","end_year":1629,"genre":"painting","materials":"Oil on wood, 38 x 55 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Landscape with a Cottage","start_year":1629,"type":"landscape","url":"https://www.wga.hu/detail/m/molyn/landcott.jpg"},{"artworkid":290,"author":"COSSA, Francesco del","description":"\r\nThis signed and dated painting was commissioned by justice Alberto de' Cattanei and notary Domenico degli Amorini for the Palazzo della Mercanzia nel Foro dei Mercanti in Bologna where it remained until 1785.\r\nThe saints on the painting are St Petronio and St John the Evangelist. The kneeling figure in profile is Alberto de' Cattanei.\r\n\r\n\n","end_year":1474,"genre":"painting","materials":"Tempera on canvas, 227 x 166 cm","museum_name":"Pinacoteca Nazionale, Bologna","name":"Madonna with the Child and Saints","start_year":1474,"type":"religious","url":"https://www.wga.hu/detail/c/cossa/madonna.jpg"},{"artworkid":294,"author":"MEDIEVAL SCULPTOR, Netherlandish","description":"\r\nThis tympanum came from the Benedictine abbey of Sts Peter and Adalbert at Egmond-Binnen where it served as a relief over the main portal of the former church. It was once a trapeziform lid of a sarcophagus that a stonemason refashioned into a tympanum.\r\nThe relief represents St Peter in the middle with a huge key and the crosier. He is flanked by Petronella, Countess of Holland, and her son, the later Count Dirk VI, for whom she acted as regent after the death of count Floris II in 1121.\r\n\r\n\n","end_year":1132,"genre":"sculpture","materials":"Sandstone, 88 x 275 cm","museum_name":"Rijksmuseum, Amsterdam","name":"The Egmond Tympanum","start_year":1112,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/po-12c12/3n1_1101.jpg"},{"artworkid":298,"author":"BERNINI, Pietro","description":"\n\n","end_year":1617,"genre":"sculpture","materials":"Marble","museum_name":"Metropolitan Museum of Art, New York","name":"Autumn in the Guise of Priapus (detail)","start_year":1616,"type":"mythological","url":"https://www.wga.hu/detail/b/bernini/pietro/garden1a.jpg"},{"artworkid":302,"author":"HUYSUM, Jan van","description":"\r\nMost of van Huysum's 241 known still-lifes consist of luxuriantly composed flowers in a classicizing vase, standing on a stone plinth or a stone table, often with a bird's nest. However, the present still-life from the painter's latter period contains grapes and a peach on a table-top.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas, 40 x 32 cm","museum_name":"Private collection","name":"Still-Life","start_year":1630,"type":"still-life","url":"https://www.wga.hu/detail/h/huysum/jan/stil_fru.jpg"},{"artworkid":306,"author":"SONNIN, Ernst Georg","description":"\r\nSt. Michael's Church is one of Hamburg's five Lutheran main churches and the most famous church in the city. St. Michael's is a landmark of the city and it is considered to be one of the finest Hanseatic Protestant Baroque churches. The church was purposely built Protestant unlike many other Hamburg churches which were originally built by Roman Catholics and were converted to Protestantism during the Reformation. It is dedicated to the Archangel Michael.\r\nThe reconstruction of St. Michael's, which had succumbed to fire in 1750, was the main work and masterpiece of Ernst Georg Sonnin. In 1750 he, and the Thuringian-born Johann Leonard Prey (1700-1757) submitted proposals for the reconstruction of the church. The foundation stone was laid a year later, and the finishing ceremony was carried out in December 1757, although with a tower base barely covered over. It was only twenty years later that funds were made available for the construction of the tower.\r\nAlong with the Frauenkirche in Dresden, Sankt Michaelis is considered the most splendid example of a Protestant Baroque church. Protestant in conception but Catholic in execution might be a reasonable description of a first impression on entering the building. The spatial proportions and dimensions of the centralized hall are remarkable, especially when viewed from the gallery. The four piers that mark out the cruciform ground plan support broad coffered transverse arches bearing a lofty trough-shaped vault lined with a broad projecting ledge and an encircling balustrade.\r\nThe composer Johannes Brahms was baptized on May 26, 1833 in this church and confirmed at the age of fifteen.\r\n\n\n\r\nSuggested listening (streaming mp3, 22 minutes):Johannes Brahms: Sonata for cello and piano No. 1 E minor op. 38\n\n\n","end_year":1757,"genre":"architecture","materials":"Photo","museum_name":"Sankt Michaelis, Hamburg","name":"Interior view","start_year":1750,"type":"interior","url":"https://www.wga.hu/detail/s/sonnin/hamburg2.jpg"},{"artworkid":316,"author":"MORETTO da Brescia","description":"\r\nIn this altarpiece, commissioned by the Confraternity of the Holy Cross for their chapel in Brescia Cathedral, Moretto placed the Cross and the pathetic figure of Christ accusingly before the worshipper, the weeping angel in the background demonstrating an appropriately repentant and grieving response. Very limited in its palette and chilled by a gray, sepulchral light, the altarpiece was probably inspired by contemporary devotional books.\r\n\r\n\n","end_year":1554,"genre":"painting","materials":"Oil on canvas, 215 x 0125 cm","museum_name":"Pinacoteca Tosio Martinengo, Brescia","name":"Ecce Homo","start_year":1550,"type":"religious","url":"https://www.wga.hu/detail/m/moretto/eccehomo.jpg"},{"artworkid":307,"author":"WEISWEILER, Adam","description":"\r\nThe cabinet, rectangular in shape, has incurving splayed sides lined in glass and divided by a shelf. It is supported on four fluted tulipwood peg-top feet. The single door in the front is flanked by ebony panels fitted with matching candelabrum mounts. The frieze on the front and ends is chased with foliate arabesques, some scrolls terminating in eagle heads, incorporating clusters of grapes and birds. The arabesques are centred at the front on a bacchic head flanked by cornucopias and goats and at either end on a musical trophy between two addorsed putto satyrs. The Sèvres porcelain plaque fitted to the door is painted in polychrome with a basket of flowers.\r\n\r\n\n","end_year":1795,"genre":"furniture","materials":"Oak veneered with ebony and tulipwood, bronze chased and gilt mounts, soft-paste porcelain plaque, brocatello marble shelves, 97 x 139 x 50 cm","museum_name":"Royal collection, Windsor","name":"Cabinet","start_year":1785,"type":"other","url":"https://www.wga.hu/detail/w/weisweil/cabinet.jpg"},{"artworkid":311,"author":"HOBBEMA, Meyndert","description":"\r\nHobbema's favoured motifs are sunny forest scenes opened by roads and glistening ponds, fairly flat landscapes with scattered tree groups, and water mills. He had a special love for the last named subject; almost three dozen paintings of his water mills are known.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 80 x 66 cm","museum_name":"Muse du Louvre, Paris","name":"The Water Mill","start_year":1660,"type":"landscape","url":"https://www.wga.hu/detail/h/hobbema/wat_mily.jpg"},{"artworkid":315,"author":"BOTTICELLI, Sandro","description":"\r\nThe Adoration of the Magi demonstrates Botticelli's continued progression in his handling of this subject. The main event is no longer located to one side, as was the case in the earlier painting, but has been moved into the centre of the picture. In portraying such a detailed wealth of variation, Botticelli was following Leon Battista Alberti, the artist and scholar, who had recommended in his treatise on painting that a picture be so executed as to embrace the greatest possible diversity, for the edification of the observer. Botticelli thus not only painted his figures clothed in highly imaginative robes such as present a wealth of variation, but also captured them in the most varied of postures, gestures and facial expressions. The relationship between the various figures here, and between these figures and the action that is taking place, also appears tighter than in the earlier Adoration, nevertheless, they still do not yet constitute a dramatic unity.\r\nThere is such a wealth of figures in this composition that the overall effect can seem quite confusing, but in the centre is the child sitting on Mary's lap. The scene is a ruined, pseudoclassical temple building. It was considered to be the symbol of the destruction of the heathen world by Christ's arrival, for according to mediaeval legend an ancient temple of peace collapsed in Rome when Christ was born.\r\n\n\n\r\nSuggested listening (streaming mp3, 8 minutes):Ottorino Respighi: Trittico Botticelliano - L'adorazione dei Magi\n\n\n","end_year":1475,"genre":"painting","materials":"Tempera on panel, diameter 131,5 cm","museum_name":"National Gallery, London","name":"Adoration of the Magi","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/b/botticel/21/10adorat.jpg"},{"artworkid":319,"author":"COURBET, Gustave","description":"\r\nIn 1858 Courbet stayed in Frankfurt where a studio was placed at his disposal in which young painters could watch him at work. Three major pictures date from his stay in  Frankfurt: The German Huntsman, The Hunters' Meal and the Woman of Frankfurt. The last of these constituted a new kind of painting for Courbet, a society portrait, staged with all the trappings this kind of commission required. It shows the wife of a Frankfurt notability in a sort of timeless state of incompletion relieved only by the features of the young woman savouring the late afternoon light from her terrace.\r\n\r\n\n","end_year":1858,"genre":"painting","materials":"Oil on canvas, 104 x 140 cm","museum_name":"Wallraf-Richartz-Museum, Cologne","name":"Woman of Frankfurt","start_year":1858,"type":"genre","url":"https://www.wga.hu/detail/c/courbet/1/courb115.jpg"},{"artworkid":323,"author":"BRAMANTE, Donato","description":"\r\nThe prestigious project for a new eastern end (tribuna) to the church of Santa Maria delle Grazie, Milan, was commissioned by the Duke as a mausoleum; work began on 29 March 1492. The basic design, attached to Guiniforte Solari's Late Gothic nave (1463), seems to have been Bramante's, although this has not been proved conclusively. The layout consists of an enormous square crossing crowned with a hemispherical dome, vast apses to left and right and a square chancel covered by a remarkable umbrella vault and with a further apse beyond. Bramante's fascination with apsidal design, which characterizes virtually all his church designs from Pavia Cathedral onwards, may here have had specific funerary associations, among them Brunelleschi's Old Sacristy, which served as a Medici mausoleum.\r\nThe overall coherence of the interior, which was executed largely in terracotta and stucco, nevertheless points to Bramante as the designer, as does the handling of such details as the raising of the pilasters on to pedestals and the placing of panels in the frieze, both of which recall the rear façade of S Maria presso S Satiro. The less coherent and more ornamental exterior, which was conceived as a series of superimposed storeys, seems much less characteristic of Bramante, and he may have played little part in its design.\r\nView the ground plan and section of Santa Maria delle Grazie, Milan.\r\n\r\n\n","end_year":1493,"genre":"architecture","materials":"Photo","museum_name":"Santa Maria delle Grazie, Milan","name":"Exterior view","start_year":1493,"type":"other","url":"https://www.wga.hu/detail/b/bramante/1archite/1/grazie1.jpg"},{"artworkid":327,"author":"LE NAIN brothers","description":"\r\nA series of small pictures, mainly on copper, depicting groups of diminutive figures, painted in strong and rich colours, and naively placed  with no great care of calculated composition, is attributed to Antoine Le Nain. Most of these groups are portraits of bourgeois families shown in the surroundings of their own houses.\r\n\n\n\r\nSuggested listening (streaming mp3, 6 minutes):François Couperin: Pieces de clavicen (excerpts)\n\n\n","end_year":1642,"genre":"painting","materials":"Oil on copper, 32 x 40 cm","museum_name":"Muse du Louvre, Paris","name":"The Musical Reunion","start_year":1642,"type":"genre","url":"https://www.wga.hu/detail/l/le_nain/musical.jpg"},{"artworkid":331,"author":"SWEERTS, Michiel","description":"\r\nThe artist's portraits of children date from his activity in Brussels from 1656-1659.\r\n\r\n\n","end_year":1658,"genre":"painting","materials":"Oil on panel transferred to canvas, 29 x 22 cm","museum_name":"Private collection","name":"Portrait of a Boy","start_year":1658,"type":"portrait","url":"https://www.wga.hu/detail/s/sweerts/portrait.jpg"},{"artworkid":335,"author":"GALILEI, Alessandro","description":"\r\nIn 1632 Pope Clement XII decreed that a competition should be held for the façade of San Giovanni in Laterano. Twenty-six architects from Rome and elsewhere took part. The competition became infamous, not least for the intrigue surrounding it. Apart from all this, the ultimate selection of Galilei's design proved to be of historic significance since it served to promote classical architecture during a time that did not generally favour the style.\r\nGalilei created a façade for San Giovanni in Laterano based on the Roman tradition of Carlo Maderno and Michelangelo.  The relationship between closed and open façade sections was new and produced strongly contrasting light and dark planes which emphasized the orders. A sense of classical discipline pervades the whole design and the large-scale features are directly in the Roman tradition.\r\nThe picture shows the main façade of the church.\r\n\r\n\n","end_year":1735,"genre":"architecture","materials":"Photo","museum_name":"San Giovanni in Laterano, Rome","name":"Exterior view","start_year":1733,"type":"other","url":"https://www.wga.hu/detail/g/galilei/lateran1.jpg"},{"artworkid":339,"author":"BRONZINO, Agnolo","description":"\r\nThis is probably a portrait by the workshop.\r\n\r\n\n","end_year":1553,"genre":"painting","materials":"Oil on wood","museum_name":"Nationalmuseum, Stockholm","name":"Isabella de Medici","start_year":1552,"type":"portrait","url":"https://www.wga.hu/detail/b/bronzino/1/isabella.jpg"},{"artworkid":950,"author":"PIERO DELLA FRANCESCA","description":"\n\n","end_year":1466,"genre":"painting","materials":"Fresco","museum_name":"San Francesco, Arezzo","name":"8. Battle between Heraclius and Chosroes (detail)","start_year":1452,"type":"religious","url":"https://www.wga.hu/detail/p/piero/2/8/8herac15.jpg"},{"artworkid":310,"author":"ARCHITECT, French","description":"\r\nThe Church of the Holy Sepulchre is one of the most Holy sites in the Christian world, the site of the burial place of Jesus. The 12th-century structure is located on the traditional site of Golgotha, the crucifixion and burial site of Jesus. It had been built by Constantine in the 4th century and it was he who founded the rotunda that contained the tomb of Christ. In 1099 the Crusaders take the city and hold it until 1187. They restored the church and enlarged it between 1100 and 1140 and inaugurated it in 1149 as St. Sepulchre. The entrance seen in the present picture, is their work. Godfrey of Bouillon and his brother Baldwin I are buried here.\r\n\r\n\n","end_year":1140,"genre":"architecture","materials":"Photo","museum_name":"Church of the Holy Sepulchre, Jerusalem","name":"Exterior view","start_year":1100,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/2/1/24f_1101.jpg"},{"artworkid":314,"author":"VASARI, Giorgio","description":"\r\nThis composition is a typical example of a painting for private worship, a genre that was popular with Vasari. The subject is a scene from the life of the Prophet Elisha, who during famine saved his people making edible wild herbs. Elisha is one of the biblical prophets whose miracles prefigured those of Christ. A man in the middle ground carries a basket, because Elisha miraculously multiplied the available food.\r\nIn spite of the modest size of the work, the artist insists on elaborating a composition of great complexity and refinement, characteristics which would reappear in the profane paintings of the Studiolo executed thirty years later.\r\n\r\n\n","end_year":1566,"genre":"painting","materials":"Oil on wood, 40 x 29 cm","museum_name":"Galleria degli Uffizi, Florence","name":"The Prophet Elisha","start_year":1566,"type":"religious","url":"https://www.wga.hu/detail/v/vasari/1/13elisha.jpg"},{"artworkid":318,"author":"CHAMPAIGNE, Philippe de","description":"\r\nBorn in Brussels, Philippe de Champaigne settled in Paris in 1621 and became one of the city's leading artists, painting portraits and religious compositions for the Queen Mother, Marie de' Medici, the court of Louis XIII, the city administration, fashionable congregations and private individuals. Trained in Flanders and influenced by his compatriots Rubens and Van Dyck, he gradually rejected the flamboyance of their style for a more severe and naturalistic idiom. The change is particularly noticeable after 1645 when he became sympathetic to the rigorous doctrines of the Dutch Catholic theologian Cornelis Jansen, practised at the Paris convent of Port Royal where Champaigne sent both his daughters to school.\r\nThe sitter for this grandiose portrait, however, is obviously not one of the artist's Jansenist patrons: where they wear sober black, he wears crimson; where they appear against a plain grey background, he stands in a palatial gallery against a great Baroque swathe of curtain, a glimpse of his château gardens behind him. He is Armand-Jean du Plessis, Duc de Richelieu (1585-1642), cardinal, Chief Minister to the King and virtual ruler of France from 1624 until his death. Richelieu consolidated the central powers of the crown and put down the Huguenot rebellion. He created the French merchant navy and effective fighting fleets in both the Atlantic and the Mediterranean. On land, he challenged the might of the Habsburg Empire. To readers of Alexandre Dumas, he will always be the haughty antagonist and sometime patron of the (four) Three Musketeers - but then, Dumas had Champaigne's portraits of Richelieu on which to base his unforgettable character.\r\nUnable to have himself portrayed as ruler, Richelieu stands in the pose traditionally associated with French monarchs. (It was pointed out how rare it is for a cardinal to be shown standing - 'Like women, they sat'.) Richelieu wears the chivalric Order of the Saint-Esprit, its blue moiré ribbon contrasting with the starched white linen and the crimson satin of his collar and cloak. Instead of a baton or cane, he holds a scarlet biretta in his stiffly extended right hand. This extraordinary object seems to float up to the surface of the canvas in defiance of spatial logic; as it hypnotically draws our glance we become aware of its tacit message. Champaigne has carefully shown its inner lining catching the light, thus drawing attention to our viewpoint from below - an optical fact underscored by the low horizon line beyond. We are gazing upwards at Richelieu, his face the distant apex of an elongated pyramid down which lustrous drapery flows like lava. Although diminished in scale by the distance between us, the face is undistorted by foreshortening like the majestic images of Christ the Ruler in the apses of Byzantine churches. But where these spiritual icons look deep into our eyes, the King's Minister stares haughtily out, allowing us to look at him...as a cat may look at a king.\r\n\r\n\n","end_year":1637,"genre":"painting","materials":"OiI on canvas, 260 x 178 cm","museum_name":"National Gallery, London","name":"Cardinal Richelieu","start_year":1637,"type":"portrait","url":"https://www.wga.hu/detail/c/champaig/philippe/richeli.jpg"},{"artworkid":322,"author":"MONET, Claude","description":"\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 73 x 70 cm","museum_name":"Muse d'Unterlinden, Colmar","name":"Creuse, Sunset","start_year":1889,"type":"landscape","url":"https://www.wga.hu/detail/m/monet/07/1vario17.jpg"},{"artworkid":326,"author":"VERONESE, Paolo","description":"\r\nWhen opened, the painted wings of the organ of San Sebastiano show an interior court surrounded by Corinthian colonnades. The latter allude to the mention of five porches around the pool in Jerusalem in the story as told in St. John 5:1-8. In it \"lay a great multitude of sick folk, of blind, halt and withered\", waiting for the angel who \"went down at a certain season into the pool and troubled the water\". The first person to enter the water after the \"stirring\" was cured. The depiction is among the miracles of Christ: with the words, \"Rise, take up thy bed and walk\", he heals a lame man who is always too late to reach the water. Veronese's accommodation of the throng of moving figures to the architecture from the depth to the foreground is masterly.\r\n\r\n\n","end_year":1560,"genre":"painting","materials":"Oil on canvas, 490 x 190 cm","museum_name":"San Sebastiano, Venice","name":"Healing of the Lame Man at the Pool of Bethesda","start_year":1560,"type":"religious","url":"https://www.wga.hu/detail/v/veronese/02a/2nave/4organ2.jpg"},{"artworkid":330,"author":"DAVID, Gerard","description":"\r\nAlthough it has no basis in scripture, the depiction of the Lamentation had been established in western art since the 13th century. David treated the subject and the closely related Deposition on a number of occasions.\r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on panel, 58 x 48 cm","museum_name":"Private collection","name":"Lamentation","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/d/david/1/lamentax.jpg"},{"artworkid":334,"author":"GRME, Jean-Lon","description":"\r\nThis unfinished painting was made as a study for the final version of the same title in the Albright-Knox Gallery, Buffalo.\r\n\r\n\n","end_year":1885,"genre":"painting","materials":"Oil on canvas, 29 x 41 cm","museum_name":"Private collection","name":"Lion Drinking from a Desert Stream","start_year":1885,"type":"other","url":"https://www.wga.hu/detail/g/gerome/liondrin.jpg"},{"artworkid":338,"author":"MASTER of the Annunciation to the Shepherds","description":"\n\n","end_year":1650,"genre":"painting","materials":"Oil on canvas, 76 x 63 cm","museum_name":"Private collection","name":"A Man Playing the Guitar","start_year":1630,"type":"genre","url":"https://www.wga.hu/detail/m/master/annuncia/guitar.jpg"},{"artworkid":342,"author":"DRER, Albrecht","description":"\r\nThe unusual depiction of a quarry, a masterpiece in watercolour, is generally dated to 1506. Dürer captured this section of a rock formation, and placed it centrally and independently on the sheet. The artist's main interest here was not merely to depict the subject of the picture and its bizarre appearance, but to put the possibilities of the watercolour technique to the test. Starting with precise miniature painting, via the glazes of light brushstrokes to broad sweeps of the brush, Dürer made virtuoso use of the entire spectrum of techniques offered by watercolour in this study sheet. The colour range is based on brown tones with an incredible range of nuances, creating the impression that Dürer wanted to try out the entire scope of his ability in this small masterpiece.\r\n\r\n\n","end_year":1506,"genre":"graphics","materials":"Watercolour and gouache on paper, 225 x 287 mm","museum_name":"British Museum, London","name":"Quarry","start_year":1506,"type":"landscape","url":"https://www.wga.hu/detail/d/durer/2/16/2/05quarry.jpg"},{"artworkid":346,"author":"MICHELANGELO Buonarroti","description":"\r\nIn 1517, Cardinal Alessandro Farnese acquired a palace in the centre of Rome and decided to rebuild it from the designs of Antonio da Sangallo the Younger, an imaginative architect, the nephew of Giuliano and Antonio the Elder. That it is the most majestic and influential of all Roman Renaissance palaces is due to the combined efforts of Antonio and Michelangelo who completed the building after the death of Antonio in 1546.\r\nAntonio's courtyard of the Palazzo Farnese would have been conventional - a grand reproduction of the superimposed orders of the Colosseum, but Michelangelo redesigned the third story to create a different effect. He carried out Antonio's second, Ionic story with only minor changes. In the third story he abandoned engaged columns, substituting pilasters on lofty bases. Each pilaster is flanked by half-pilasters, and these clustered pilasters introduce a new organic richness to the static architectural elements designed by Antonio.\r\nIn the disposition of architectural orders in the courtyard, inspired by the external ambulatory of the theatre of Marcellus, Antonio demonstrated his maturity, sensitivity and originality as an architect.\r\nView the ground plan of Palazzo Farnese, Rome.\r\n\r\n\n","end_year":1550,"genre":"architecture","materials":"Photo","museum_name":"Piazza Farnese, Rome","name":"Palazzo Farnese: Courtyard","start_year":1517,"type":"other","url":"https://www.wga.hu/detail/m/michelan/5archite/late/2farnesf.jpg"},{"artworkid":350,"author":"VOUET, Simon","description":"\r\nIn this painting Mary Magdalen is shown contemplating the cross with her symbols, the jar of ointment (with which she anointed Christ's feet) and a skull, close at hand.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas, 131 x 104 cm","museum_name":"Museum of Art, Cleveland","name":"The Penitent Magdalen","start_year":1630,"type":"religious","url":"https://www.wga.hu/detail/v/vouet/2/02magdal.jpg"},{"artworkid":354,"author":"LEONARDO da Vinci","description":"\r\nMary and her child are naturally engrossed in their game, and their gazes make them appear lifelike to a degree that can be found in no contemporary Italian painting of the Madonna. Leonardo achieved this quality by means of nature studies. In 1478, he noted that he was working on two Madonnas. The Benois Madonna can be dated to that period. The painting has in its present condition been overpainted in some places and has lost some of the paint layer.\r\nThe painting was also called the Madonna Benois because of the family who owned it. This canvas demonstrates the newly developed  method of chiaroscuro - a lighting/shading technique that made the figures appear three dimensional. It entered the Hermitage in 1914.\r\n\r\n\n","end_year":1478,"genre":"painting","materials":"Oil on canvas transferred from wood, 50 x 32 cm","museum_name":"The Hermitage, St. Petersburg","name":"Madonna with a Flower (Madonna Benois)","start_year":1478,"type":"religious","url":"https://www.wga.hu/detail/l/leonardo/01/5benois1.jpg"},{"artworkid":317,"author":"BRONZINO, Agnolo","description":"\r\nAppearing to be full-size, this painting demonstrates the skill of the Mannerist painter in fitting a brilliant body-study into a small pictorial space. Artistically, all interest is on the nude, with the nakedness concealed more by the way the figure holds his body than the way he plays with the drapery and the hide mantle. The only symbol in the picture is the Jacob's staff, in the dark. This is cleverly foreshortened, and thus not the real message of the painting.\r\n\r\n\n","end_year":1555,"genre":"painting","materials":"Oil on wood, 120 x 92 cm","museum_name":"Galleria Borghese, Rome","name":"St John the Baptist","start_year":1550,"type":"religious","url":"https://www.wga.hu/detail/b/bronzino/3/baptist.jpg"},{"artworkid":321,"author":"BOTTICELLI, Sandro","description":"\r\nIn front of an astonished crowd, St Zenobius raises a young man already lying on his bier from the dead. He also saves a man who fell from his horse while transporting the relics of saints. The scene in the interior shows St Zenobius healing his sick deacon. The latter gets up immediately in order to use the water St Zenobius has blessed to bring a dead relative back to life.\r\n\r\n\n","end_year":1505,"genre":"painting","materials":"Tempera on panel, 67,3 x 150,5 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Three Miracles of St Zenobius","start_year":1500,"type":"historical","url":"https://www.wga.hu/detail/b/botticel/90scenic/430zenob.jpg"},{"artworkid":325,"author":"TURNER, Joseph Mallord William","description":"\r\nWhile the Suffolk-born Constable wished to become a natural painter, Turner, son of a modest barber in Covent Garden, yearned for sublimity. Trained as a topographical draughtsman, he achieved his ambition through mastering the idioms of Claude and of the grander Dutch seventeenth-century marine and landscape painters as well as the melodramatic effects of the scene designer Jacques Philippe de Loutherbourg. Now nearly forgotten, this Alsatian-born member of the French Academy delighted the London public, and influenced artists from Gainsborough to Turner and Joseph Wright of Derby, by staging panoramic peepshows in which painted landscapes, theatrical lighting and sound were combined to simulate natural phenomena and tragic catastrophes.\r\nIn search of the Sublime, Turner travelled widely, sketching grandiose scenery and extreme weather conditions, which he translated into canvases exhibited with poetic quotations. He considered Dido building Carthage, or the Rise of the Carthaginian Empire (1815) his masterpiece, bequeathing it together with the Sun rising through Vapour to the National Gallery on condition that they be hung beside Claude's Seaport with the Embarkation of the Queen of Sheba and Landscape with the Marriage of Isaac and Rebekah. (This bequest is now honoured.)\r\nTurner's emulation of Baroque painting, however, did not exclude modern references, rather transmuting them into 'high' art. In this way he competed with both historic and contemporary masters. The 'Fighting Temeraire' was exhibited at the Royal Academy in 1839 with a quotation from Thomas Campbell's poem Ye Manners of England: The flag which braved the battle and the breeze/No longer owns her'. The Temeraire had distinguished herself at the Battle of Trafalgar in 1805, but by the 1830s the veteran warships of the Napoleonic wars were being replaced by steamships. Turner, on an excursion on the Thames, encountered the old ship, sold out of the service, being towed from Sheerness to Rotherhithe to be scrapped. In his painting topography and shipbuilding alike are manipulated to symbolic and pictorial ends. Turner conceives the scene as a modern Claude: a ghostly Temeraire and the squat black tug, belching fire and soot, against a lurid sunset. His technique is very different from Claude's, as thick impastoed rays and reflections contrast with thinly painted areas, and colours swoop abruptly from light to dark. A heroic and graceful age is passing, a petty age of steam and money bustles to hasten its demise. The dying sun signals the end of the one, a pale reflecting moon the rise of the other. But just as Claude's sunrises and sunsets enlist the viewer's own sense of journey, so does the last berth of the 'Fighting Temeraire' recall the breaking up of every human life.\r\n\r\n\n","end_year":1839,"genre":"painting","materials":"Oil on canvas, 91 x 122 cm","museum_name":"National Gallery, London","name":"The 'Fighting Temeraire' tugged to her Last Berth to be broken up","start_year":1838,"type":"landscape","url":"https://www.wga.hu/detail/t/turner/2/201turne.jpg"},{"artworkid":329,"author":"SEGNA DI BUONAVENTURE","description":"\r\nThe detail shows the mourning Virgin on the left terminal.\r\n\r\n\n","end_year":1315,"genre":"painting","materials":"Egg tempera on wood","museum_name":"National Gallery, London","name":"Crucifix (detail)","start_year":1310,"type":"religious","url":"https://www.wga.hu/detail/s/segna/crucifi1.jpg"},{"artworkid":333,"author":"BOUCHER, Franois","description":"\r\nIn Virgil's epic Aeneid, Venus seduces Vulcan and persuades him to forge weapons for her son Aeneas. Boucher's painting shows Vulcan offering the goddess a sword; at his feet are two putti playing with a plumed helmet, and behind him are a shield and armour.\r\nThis work was a preliminary sketch for a tapestry design - one of a set commissioned from four different artists by the marquis de Marigny, an influential arts administrator under King Louis XV.\r\n\r\n\n","end_year":1756,"genre":"painting","materials":"Oil on canvas, 56 x 60 cm","museum_name":"The Clark Art Institute, Williamstown","name":"Vulcan Presenting Arms to Venus for Aeneas","start_year":1756,"type":"mythological","url":"https://www.wga.hu/detail/b/boucher/2/vulcan1.jpg"},{"artworkid":337,"author":"ARCHITECT, Byzantine","description":"\r\nWhen Byzantium, renamed Constantinople, became the main imperial residence in the Roman Empire, it soon had more inhabitants than it could supply with the water of its wells. So, large cisterns were built to store water that would otherwise flow to the sea. One of these was the Basilica Cistern or, as it is called today, Yerebatan Sarayi. It was rebuilt by the emperor Justinian (r. 527-565) after the Nika revolt (532).\r\nThe Basilica Cistern is a large, vaulted space; its roof rests on twelve rows of twenty-eight marble columns, which are about nine meters high. As the total surface measures 65 x 138 meters, the maximum capacity is almost 85,000 cubic meters, which was brought to this cistern from a well about twenty kilometer away through a new aqueduct, also built by Justinian. The water was used in the imperial palace (hence the name, \"imperial cistern\").\r\nThe 336 columns - 246 are still visible - were brought to the Basilica Cistern from older buildings.\r\n\r\n\n","end_year":-1,"genre":"architecture","materials":"Photo","museum_name":"Basilica Cistern, Istanbul","name":"Interior view","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/06c/6/3cister3.jpg"},{"artworkid":341,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nThe model is sitting in a garden or small park-like area below Montmartre's cemetery. The owner of this half-wild, half-cultivated garden was Père Forest, an enthusiastic archer. The garden was open to the public, thus Lautrec, whose studio was nearby, often came here to paint in the open air.\r\n\r\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 55 x 46 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Woman in Monsieur Forest's Garden","start_year":1889,"type":"genre","url":"https://www.wga.hu/detail/t/toulouse/2/2forest2.jpg"},{"artworkid":345,"author":"HACKERT, Jacob Philipp","description":"\n\n","end_year":1795,"genre":"painting","materials":"Oil on canvas, 65 x 96 cm","museum_name":"The Hermitage, St. Petersburg","name":"Italian Landscape","start_year":1795,"type":"landscape","url":"https://www.wga.hu/detail/h/hackert/philipp/italian.jpg"},{"artworkid":349,"author":"LATROBE, Benjamin Henry","description":"\r\nCompetition for building the office of the president of the United States had been held in 1792. An effort had been made to ensure contributions were received from American architects. Their proposals failed to convince the judges, however, and the commission was eventually awarded to the Irishman James Hoban. His project borrowed heavily from a design for a country house by the English architect James Gibbs. The office of the president of the United States  was therefore built in a very traditional, even old-fashioned manner - and, of course, in the style of the country's former colonial masters.\r\nThe White House owes its characteristic portico, shown in the photo, to Benjamin Latrobe.\r\n\r\n\n","end_year":1815,"genre":"architecture","materials":"Photo","museum_name":"White House, Washington D.C.","name":"Exterior view","start_year":1815,"type":"other","url":"https://www.wga.hu/detail/l/latrobe/whiteho5.jpg"},{"artworkid":353,"author":"CZANNE, Paul","description":"\r\nThe sitter of this portrait is probably the painter's housekeeper, Madame Brémont, who was recalled as having \"loyally and respectfully taken care of her master.\" The portrait is marked by a lyricism untypical of Cézanne's late works.\r\n\r\n\n","end_year":1900,"genre":"painting","materials":"Oil on canvas, 90 x 74 cm","museum_name":"The Hermitage, St. Petersburg","name":"Lady in Blue","start_year":1900,"type":"portrait","url":"https://www.wga.hu/detail/c/cezanne/5/5portra2.jpg"},{"artworkid":357,"author":"GOZZOLI, Benozzo","description":"\r\nThis is a detail of The Mocking of Christ, a fresco on the wall of Cell 7 of the Convento di San Marco in Florence painted by Fra Angelico with the collaboration of Benozzo Gozzoli who was an apprentice in Fra Angelico's workshop.\r\nFra Angelico and his assistants were painting a small devotional fresco in each cell. The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures.\r\n\r\n\n","end_year":1441,"genre":"painting","materials":"Fresco","museum_name":"Convento di San Marco, Florence","name":"The Mocking of Christ (detail)","start_year":1440,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/1early/01marco2.jpg"},{"artworkid":361,"author":"ARCHITECT, Portuguese","description":"\r\nThe Cistercian abbey church in Alcobaça had been founded in 1153 by the first Portuguese king, Alfonso I Henriques (1139-1185). The original church was replaced from 1178 by the present new building. Construction, however, progressed slowly as the monks had to abandon Alcobaça again temporarily because of an attack by the Moors. consequently several building phases can be easily distinguished. The final consecration occurred in 1252.\r\nThe church is based on several French Cistercian models. The church and monastery were the first Gothic buildings in Portugal.\r\nThe photo shows the Royal Pantheon in the transept.\r\nView the ground plan of the Cistercian abbey church, Alcobaça.\r\n\r\n\n","end_year":1178,"genre":"architecture","materials":"Photo","museum_name":"Cistercian abbey church, Alcobaa (Portugal)","name":"Interior view","start_year":1178,"type":"interior","url":"https://www.wga.hu/detail/zzzarchi/12c/5/44p_1155.jpg"},{"artworkid":365,"author":"TENIERS, David the Younger","description":"\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas, 55 x 90 cm","museum_name":"Museo del Prado, Madrid","name":"The Old Man and the Maid","start_year":1630,"type":"genre","url":"https://www.wga.hu/detail/t/teniers/jan2/1/old_maid.jpg"},{"artworkid":883,"author":"MINIATURIST, French","description":"\r\nFolio 7r of the manuscript shows in the lower two registers the treatment of various wounds.\r\n\r\n\n","end_year":1325,"genre":"illumination","materials":"Manuscript (MS Sloane 1977)","museum_name":"British Library, London","name":"Roger Frugard: Chirurgia","start_year":1300,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/1301-350/2french/842frenc.jpg"},{"artworkid":320,"author":"GOZZOLI, Benozzo","description":"\r\nThe panel painting, complete with side pillars and predella, was commissioned by the bishop of Recanati, Benedetto Guidalotti, who came from Perugia, for the Chapel of St Jerome in Perugia. The Sacra Conversazione combined old and new means of expression: the saints, arranged as mirror images with the Madonna and Christ Child at their centre, are arranged in front of a Gothic-style embossed gold background.\r\nThe altarpiece maintains close ties with the Gothic tradition in the stately splendour of the gold background, but the figures bathed in strong light, set firmly in space by virtue of their forceful drapery, are contemporary in style, with the intriguing result that we can now see to be typical of Benozzo's work in this period.\r\n\r\n\n","end_year":1456,"genre":"painting","materials":"Tempera on panel, 122 x 212 cm","museum_name":"Galleria Nazionale dell'Umbria, Perugia","name":"Madonna and Child with Sts John the Baptist, Peter, Jerome, and Paul","start_year":1456,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/1early/11madonn.jpg"},{"artworkid":324,"author":"MARTSZEN, Jan the Younger","description":"\r\nThis drawing depicts Maria de' Medici riding past a theatre arch at the Varkenssluis on the Oude Zijds Voorburgwal. The route is flanked by civic guardsmen with muskets and pikes.\r\n\r\n\n","end_year":1638,"genre":"graphics","materials":"Brown ink, 280 x 388 mm","museum_name":"Rijksmuseum, Amsterdam","name":"The Entry of Maria de' Medici to Amsterdam","start_year":1638,"type":"historical","url":"https://www.wga.hu/detail/m/martszen/medici.jpg"},{"artworkid":328,"author":"RUYSDAEL, Salomon van","description":"\r\nThe entire foreground is devoted to vignettes of local travel. Two boats have pulled up at a steep bank, which is provided with a ladder. In the boat with two large fishing baskets astern, the owner gestures with hat to heart. At the inn, a rider addresses local folk at the door. The rendering of the architecture in the area of the mills and ramparts in the right background, seems to be faithful to judge from contemporary panoramic drawings of Gorinchem by other artists.\r\n\r\n\n","end_year":1646,"genre":"painting","materials":"Oil on canvas","museum_name":"Metropolitan Museum of Art, New York","name":"Ferry near Gorinchem (detail)","start_year":1646,"type":"landscape","url":"https://www.wga.hu/detail/r/ruysdael/salomon/1/ferrygo2.jpg"},{"artworkid":332,"author":"DRER, Albrecht","description":"\r\nIn the portrait drawing of Willibald Pirckheimer, seen in profile looking to the left, Dürer was making use of a silver point drawing and \"refined his friend's features without flattering him,\" as Panofsky stated. The famous humanist was a close friend and intimate of Dürer's. It is possible that Dürer was stimulated to produce this profile portrait by ancient imperial coins, though it is also possible that the drawing was used as a pattern by a medal maker.\r\n\r\n\n","end_year":1503,"genre":"graphics","materials":"Charcoal drawing, 282 x 208 mm","museum_name":"Staatliche Museen, Berlin","name":"Willibald Pirckheimer","start_year":1503,"type":"portrait","url":"https://www.wga.hu/detail/d/durer/2/11/2/04pirckh.jpg"},{"artworkid":336,"author":"TILBORGH, Gillis van","description":"\r\nVan Tilborgh executed several other paintings with this subject.\r\n\r\n\n","end_year":1657,"genre":"painting","materials":"Oil on canvas, 60 x 80 cm","museum_name":"Private collection","name":"Boors Eating Drinking and Smoking outside a Cottage","start_year":1657,"type":"genre","url":"https://www.wga.hu/detail/t/tilborgh/boorseat.jpg"},{"artworkid":340,"author":"VIVIEN, Joseph","description":"\r\nThis portrait is one of the two admission pieces that Vivien presented in 1701 to the Académie Royal de Peinture et de Sculpture in Paris. Utilising either paint or pastel, candidates for portraiture were required to depict two former members occupying a high position in the hierarchy of the Académie, and were admitted or refused on the strength of these two pieces.\r\n\r\n\n","end_year":1701,"genre":"painting","materials":"Pastel on blue paper, 70 x 80 cm","museum_name":"Muse du Louvre, Paris","name":"The Sculptor Franois Girardon","start_year":1701,"type":"portrait","url":"https://www.wga.hu/detail/v/vivien/girardon.jpg"},{"artworkid":344,"author":"BASSANO, Jacopo","description":"\r\nThe contrast between light and dark is almost obsessive in all Bassano's later oeuvre, along with a Titianesque nonfinished effect. This is evident in the Adoration of the Shepherds in San Giorgio Maggiore, since the theme was traditionally one that lent itself to the quest for symbolic enlightenment. When he tackled this last, prestigious and unexpected commission, complicated by the need to adapt a normally horizontal subject to the dimensions of a tall, narrow altarpiece, the aging Jacopo avoided to fill up the spaces with his usual repertoire of objects and animals. Instead, he invented an empty, rarified, interrogative atmosphere, resolving his structural problems with a three-level hierarchy of lighting. Low down, he swathes the now revealed and adored Child in divine light, in the Flemish style; halfway up, the shepherd with the torch provides a superfluous source of natural light; and at the top, the dark is rent by a narrow, angelic glory and a final shaft of supernatural light that filters weakly across the countryside and lopsided shelter.\r\n\r\n\n","end_year":1591,"genre":"painting","materials":"Oil on canvas, 421 x 219 cm","museum_name":"San Giorgio Maggiore, Venice","name":"Adoration of the Shepherds","start_year":1590,"type":"religious","url":"https://www.wga.hu/detail/b/bassano/jacopo/2/15adorat.jpg"},{"artworkid":348,"author":"RICHTER, Franz Ferdinand","description":"\r\nFerdinand Richter was a German painter, active in Italy. He worked for a time at the Medici court in Florence.\r\nGian Gastone was the last of the Medici grand dukes. He is portrayed in the year of his death, with his beloved Florence - symbolized by Brunelleschi's miraculous dome - in the background. Until his unexpected succession, he had quietly studied plants in the Boboli gardens or enjoyed his collection of decorative arts. He attempted to be an enlightened ruler, but succumbed to depression and alcoholism.\r\n\r\n\n","end_year":1737,"genre":"painting","materials":"Oil on canvas, 320 x 240 cm","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"Portrait of Gian Gastone de' Medici, Grand Duke of Tuscany","start_year":1737,"type":"portrait","url":"https://www.wga.hu/detail/r/richterf/gastone.jpg"},{"artworkid":352,"author":"VELDE, Willem van de, the Younger","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 58 x 44 cm","museum_name":"Private collection","name":"An Indiaman in a Gale off a Rocky Coast","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/v/velde/willem/indiaman.jpg"},{"artworkid":356,"author":"RUBENS, Peter Paul","description":"\r\nThis huge painting was commissioned for the high altar of the Carthusian church in Brussels. Rubens addressed the subject of the Assumption several times before, the painting in the Liechtenstein Museum is the last version from the painter's late period.\r\n\r\n\n","end_year":1637,"genre":"painting","materials":"Oil on canvas, 501 x 351 cm","museum_name":"Liechtenstein Museum, Vienna","name":"Assumption of the Virgin","start_year":1637,"type":"religious","url":"https://www.wga.hu/detail/r/rubens/14religi/79relig.jpg"},{"artworkid":360,"author":"AVELINE, Pierre-Alexandre","description":"\r\nThe etching was made after the masterpiece by Watteau: L'Enseigne de Gersaint.\n\n","end_year":1732,"genre":"graphics","materials":"Etching with line engraving, 587 x 865 mm","museum_name":"The Hermitage, St. Petersburg","name":"The Signboard of the Gersaint Gallery","start_year":1732,"type":"genre","url":"https://www.wga.hu/detail/a/aveline/pierre/gersaint.jpg"},{"artworkid":364,"author":"UNKNOWN MASTER, Italian","description":"\r\nThe picture shows the upper zone of the east wall. The representation is divided into two fields which is unusual, but it can be explained here by the window located in the centre of the wall. The figures are characterized by rigid contours and modeling of their bodies and attire. Their faces are strongly standardized, following a fixed canon.\r\n\r\n\n","end_year":1279,"genre":"painting","materials":"Fresco","museum_name":"Sancta Sanctorum, Lateran Palace, Rome","name":"Pope Nicholas III Presented to Christ by Sts Peter and Paul (east wall)","start_year":1278,"type":"religious","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it1/02sancta.jpg"},{"artworkid":478,"author":"MINIATURIST, Bohemian","description":"\r\nThe manuscript served as a Missal for masses during travels. On folio 69v, the name of the owner (Johann von Neumarkt) can be read in Latin below the frame at the bottom. The initial G represents the scene of Annunciation. At the upper right corner of the initial Prophet Isaias, at the upper left corner King David and a bird can be seen.\r\n\r\n\n","end_year":1364,"genre":"illumination","materials":"Manuscript (Ms. XIII. A. 12)","museum_name":"Knihovna Nrodniho Muzea, Prague","name":"Traveller's Missal","start_year":1360,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1351-400/3other/12_1351.jpg"},{"artworkid":343,"author":"LE NAIN brothers","description":"\r\nNot all the Le Nain genre scenes depict peasants. Some of them show middle-class sitters, even rarer in art than the depiction of the poor. It is one of these larger 'bourgeois compositions' which admits the Le Nain brothers into that small group of painters capable of creating a masterpiece. This is the Smokers in an Interior in the Louvre, dated 1643. Its technique must have been learned during the painting of the Forge, but the brushwork is far more precise. The composition is much less original, being closer to the type familiar from the Dutch. The figures are grouped round a table illuminated by a solitary candle, and the figure on the left has fallen asleep at the table.\r\nIn this painting it seems that the depiction of low life - here middle-class men smoking in an interior - has risen beyond its normal pictorial limitations to create a masterpiece which is, perforce, unexpected. While Nicolas Poussin was obsessed with the concept of beauty and with the need to be able to paint exactly what he thought, here the painter's desire arises from an opposite need, the need to observe. Each of the models appears to be a portrait, although it is difficult to explain why the sitters should have chosen to be depicted with such casualness. There is no clue to the possibility of a confraternity, although the curious emblems on the carpet on the table could be symbols of some secret society. The eerie quality of the picture is emphasized by the fall of the shadows on the faces and by the way in which the figures stare into space just like the peasants in other pictures and the seated figure on the right has all the appearance of being under the influence of some drug.\r\nThere is no satisfactory explanation for such a picture; it is as if this trio of painters, observers of a small fragment of their times, never intended the meanings of their pictures to be divined.\r\n\r\n\n","end_year":1643,"genre":"painting","materials":"Oil on canvas, 117 x 137 cm","museum_name":"Muse du Louvre, Paris","name":"Smokers in an Interior","start_year":1643,"type":"interior","url":"https://www.wga.hu/detail/l/le_nain/smokers.jpg"},{"artworkid":347,"author":"CARPACCIO, Vittore","description":"\r\nTo the right of the elaborate candelabrum, with marble and bright metal decorations, a sophisticated ornamentation that is reminiscent of the work of Ferrarese artists, the English ambassadors are received by King Maurus; they are portrayed in attitudes of deference and respect, in keeping with the rigid protocol governing public audiences granted by the Venetian Republican institutions at the time. The King sits, like the Doge, amidst his counsellors on a judgment seat against a wall covered in precious ornamented leather hangings, placed at an angle to the light and opening out onto a view of the city dominated by a round domed temple-like construction, reminiscent of Perugino and almost anticipating Baldassarre Longhena's Santa Maria della Salute.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Tempera on canvas","museum_name":"Gallerie dell'Accademia, Venice","name":"Arrival of the English Ambassadors (detail)","start_year":1495,"type":"religious","url":"https://www.wga.hu/detail/c/carpacci/1ursula/1/13ambass.jpg"},{"artworkid":351,"author":"COLLIER, Edwart","description":"\r\nThis is an early work by Collier, painted during a period when he produced some of his finest work. He produced vanitas still-lifes throughout his career. The present version includes a candlestick, musical instruments, Dutch books, a writing set, an astrological and a terrestrial globe and an hourglass, all on a draped table. The objects signify that wealth, knowledge and power are all earthly, temporary and ultimately meaningless. The burning candle, pocket watch and hourglass denote the passage of time and brevity of life; the violin with a broken string indicates the transient pleasure of music; the money bag denotes the worldly riches, the scholarly books and globes the vanity of learning, and the military flag the worldly power. On a piece of paper at far right one can read: Vanitas/Vanitatu(m)/Et Omnia/Vanitas [Vanity of Vanities, All is Vanity], (Ecclesiastes 1:2).\r\nSimilar vanitas still-lifes by Collier dated 1662 can be found in the collections of The Metropolitan Museum of Art, New York and the Rijksmuseum, Amsterdam.\r\n\r\n\n","end_year":1662,"genre":"painting","materials":"Oil on canvas, 98 x 130 cm","museum_name":"Private collection","name":"Vanitas Still-Life","start_year":1662,"type":"still-life","url":"https://www.wga.hu/detail/c/collier/vanitas6.jpg"},{"artworkid":355,"author":"MICHELANGELO Buonarroti","description":"\r\nThe final agreement for the Julius tomb specifies that the two statues flanking the Moses were to be carved by Raffaello da Montelupo. Condivi and Vasari, however, clearly attributed them to Michelangelo himself, a view that is generally accepted, although it has been suggested that they were conceived at different times. They also show inconsistencies: Rachel is noticeably shorter than Leah and has a rectangular rather than a rounded base. It is clear, however, that they represent allegories of the Contemplative Life and the Active Life respectively.\r\n\r\n\n","end_year":1515,"genre":"sculpture","materials":"Marble","museum_name":"San Pietro in Vincoli, Rome","name":"Moses","start_year":1515,"type":"religious","url":"https://www.wga.hu/detail/m/michelan/1sculptu/giulio_2/moses4.jpg"},{"artworkid":359,"author":"ROSSELLINO, Antonio","description":"\r\nFour payments to Antonio Rossellino in 1476 relate to the monument of Lorenzo Roverella in San Giorgio at Ferrara; these are concerned with isolated sculptures on the monument, which was designed and in part executed by Ambrogio da Milano in 1475.\r\n\r\n\n","end_year":1475,"genre":"sculpture","materials":"Marble","museum_name":"San Giorgio fuori le Mura, Ferrara","name":"Tomb of Bishop Lorenzo Roverella (detail)","start_year":1475,"type":"religious","url":"https://www.wga.hu/detail/r/rosselin/antonio/tombrov5.jpg"},{"artworkid":363,"author":"DECKER, Coenraet","description":"\r\nThe engraving was published in Beschryvinge der stadt Delft by Dirck van Bleyswijk in Delft in 1667-80.\r\nDelfshaven was the harbour where the ships returning from the East were unloaded into the small 'damrunners' that carried the goods to warehouses in Delft.\r\n\r\n\n","end_year":1680,"genre":"graphics","materials":"Engraving, 180 x 271 mm","museum_name":"Private collection","name":"The Stadhuis of Delfshaven","start_year":1667,"type":"landscape","url":"https://www.wga.hu/detail/d/decker/beschr4.jpg"},{"artworkid":367,"author":"PEREDA, Antonio de","description":"\r\nThe painting was originally larger and it was probably the crowning section of a large altarpiece.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 143 x 230,5 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"The Holy Trinity","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/p/pereda/trinity.jpg"},{"artworkid":371,"author":"CRANACH, Lucas the Elder","description":"\r\nJohann Friedrich I, the Magnanimous (r. 1532-1547) commissioned from Lucas Cranach in 1532 sixty portrait pairs. The commission coincided with Johann Friedrich's assumption of electoral office after the death of his father Johann I, the Constant. Cranach and his workshop completed the series in 1533.\r\nThe present pair, small posthumous portraits, depict the brothers and Saxon electors Friedrich III, the Wise (1463-1525), and Johann I, the Constant (1468-1532), in bust length against a light blue background. The name of the sitters and laudatory poems are printed (not painted) on pieces of paper that have been pasted down on the panels.\r\n\r\n\n","end_year":1533,"genre":"painting","materials":"Oil on beech panel with letterpress-printed paper label, 21 x 15 cm (each)","museum_name":"Metropolitan Museum of Art, New York","name":"Friedrich III, the Wise, and Johann I, the Constant, Electors of Saxony","start_year":1533,"type":"portrait","url":"https://www.wga.hu/detail/c/cranach/lucas_e/13/09elect5.jpg"},{"artworkid":375,"author":"BIAGIO D'ANTONIO","description":"\r\nThe picture shows a detail of the Last Supper, a fresco painted by Cosimo Rosselli in the Sistine Chapel in Rome. There are three \"window\" paintings in the background of the fresco, two of them, the Arrest of Christ and the Crucifixion were executed by Biagio d'Antonio Tucci who assisted Cosimo Rosselli in the execution of this fresco.\r\n\r\n\n","end_year":1482,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Arrest of Christ","start_year":1482,"type":"religious","url":"https://www.wga.hu/detail/b/biagio/arrest.jpg"},{"artworkid":431,"author":"DONATELLO","description":"\r\nThe prophet is wrapped in a heavy garment that falls, like a Roman toga, in voluminous folds around his naked body. The way in which the garment was reproduced is so unusual for Donatello, who normally preferred vertical folds, that the possibility must be considered that the Jeremiah was a work produced in collaboration with another artist, such as Michelozzo.\r\n\n\n\r\nSuggested listening (streaming mp3, 19 minutes):Thomas Tallis: The Lamentations of Jeremiah\n\n\n","end_year":1426,"genre":"sculpture","materials":"Marble, height 191 cm","museum_name":"Museo dell'Opera del Duomo, Florence","name":"Prophet Jeremiah","start_year":1423,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/1_early/duomo/7jerem_1.jpg"},{"artworkid":362,"author":"WEYDEN, Rogier van der","description":"\r\nThe subject of this triptych is the Seven Sacraments. Of the Christian sacraments - acts conferring grace - Protestants generally recognize two, Baptism and Communion, and the Catholics seven, which comprise, in addition, Confirmation, Penance (Confession), Extreme Unction, Holy Orders and Matrimony, the last two still being mutually exclusive. They are seen on medieval fonts and as altarpiece cycles in early Netherlandish painting, where the subject seems to have had greater appeal, at least until the 17th century. The triptych of Rogier van der Weyden is a good example of these altarpieces.\r\nWe see an acuteness of observation in the Altar of the Sacraments. The Calvary sequence takes place in the interior of a light, spacious church, whose carefully executed details immediately catch the viewer's eye. The seven sacraments are presented around the central crucifixion group accompanied by an angel with a banderole. The importance of the action in the central panel is emphasised by the size of the depicted personages compared to the figures in the side panels. The emotion of the central characters - Saint John and the three Marys - who are overcome with grief, is a characteristic feature of Van der Weyden's art. It is thought that the triptych was commissioned in 1441 by the Bishop of Tournai, Jean Chevrot, for the altar of his private chapel. Van der Weyden portrays him on the left of the painting, as the bishop administering Confirmation.\r\nVan der Weyden was probably helped by his assistants during the execution of the Altar of the Sacraments.\r\n\r\n\n","end_year":1450,"genre":"painting","materials":"Oil on oak panel, 200 x 97 cm (central panel), 119 x 63 cm (side panel, each)","museum_name":"Koninklijk Museum voor Schone Kunsten, Antwerp","name":"Seven Sacraments Altarpiece","start_year":1445,"type":"religious","url":"https://www.wga.hu/detail/w/weyden/rogier/05sevens/0sevens.jpg"},{"artworkid":366,"author":"GRECO, El","description":"\r\nThere is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series.\r\n\r\n\n","end_year":1604,"genre":"painting","materials":"Oil on canvas, 90 x 77 cm","museum_name":"Museo del Prado, Madrid","name":"St John the Evangelist","start_year":1595,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/11/1103grec.jpg"},{"artworkid":370,"author":"RUBENS, Peter Paul","description":"\r\nThis painting is referred to as the Madonna of the Basket.\r\n\r\n\n","end_year":1615,"genre":"painting","materials":"Oil on wood, 114 x 80 cm","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"The Holy Family with St Elizabeth","start_year":1614,"type":"religious","url":"https://www.wga.hu/detail/r/rubens/10religi/16religi.jpg"},{"artworkid":374,"author":"GOZZOLI, Benozzo","description":"\r\nMembers of the Medici family are portrayed in the youngest king's retinue. For example, the man riding on a brown mule has been identified as Cosimo de' Medici (1389-1464). Benozzo Gozzoli placed his own self-portrait  among the Medicis. His red cap bears the inscription BENOTII. He is standing behind two youths, who, it is now believed, portray Lorenzo and Giuliano de' Medici.\r\n\r\n\n","end_year":1460,"genre":"painting","materials":"Fresco","museum_name":"Chapel, Palazzo Medici Riccardi, Florence","name":"Procession of the Youngest King (detail)","start_year":1459,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/3magi/1/11young.jpg"},{"artworkid":378,"author":"FRANCESCO D'ANTONIO DI BARTOLOMMEO","description":"\r\nThis is one of the predella panels of the Rinieri Altarpiece.\r\n\r\n\n","end_year":1431,"genre":"painting","materials":"Oil on poplar panel","museum_name":"Muse du Petit Palais, Avignon","name":"St Jerome","start_year":1431,"type":"religious","url":"https://www.wga.hu/detail/f/franceso/01/rinieri2.jpg"},{"artworkid":382,"author":"VIGNOLA, Giacomo da","description":"\r\nThe façade, which ingeniously recalls the Pantheon in Rome, has Corinthian pilasters, disposed outwardly in diminishing intervals in order to accentuate the centre, carrying a pediment set into a flat wall of brick before an oval drum capped by a stepped dome.\r\nThe photo shows the façade.\r\n\r\n\n","end_year":1553,"genre":"architecture","materials":"Photo","museum_name":"Sant'Andrea in Via Flaminia, Rome","name":"Exterior view","start_year":1553,"type":"other","url":"https://www.wga.hu/detail/v/vignola/andrea3.jpg"},{"artworkid":386,"author":"CRAYER, Gaspard de","description":"\r\nOf the examples of 'filial piety' in the literature of antiquity, that of Cimon and Pero was one of the ones that appealed most to artists of the 16th to 18th centuries in Italy and the Netherlands. Valerius Maximus tells of a certain Cimon, an aged man, who was in prison awaiting execution and who was therefore given no food. The jailer allowed Cimon's daughter Pero to visit him. She nourished him by giving him her breast. The scene is a prison cell; the white-haired prisoner, manacled, reclines in the lap of a young woman who is suckling him.\r\n\r\n\n","end_year":1620,"genre":"painting","materials":"Oil on canvas, 198 x 144 cm","museum_name":"Museo del Prado, Madrid","name":"Caritas Romana (Roman Charity)","start_year":1620,"type":"genre","url":"https://www.wga.hu/detail/c/crayer/caritas.jpg"},{"artworkid":390,"author":"ARCHITECT, English","description":"\r\nThe most remarkable of the few central-plan buildings in England is the round church of the Holy Sepulchre in Cambridge, which was begun around 1120. It is a copy of the Church of the Holy Sepulchre in Jerusalem. Eight round pillars surround a central space which is roofed, via unvaulted galleries and round arch windows, by an eight-section dome.\r\nThe photo shows the interior of the church.\r\nView the ground plan and cross-section of the Holy Sepulchre, Cambridge.\r\n\r\n\n","end_year":1120,"genre":"architecture","materials":"Photo","museum_name":"Holy Sepulchre, Cambridge","name":"Interior view","start_year":1120,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/4/01e_1102.jpg"},{"artworkid":394,"author":"BENVENUTI, Pietro","description":"\r\nThe decoration of the Hercules Room is subdivided into four large framed paintings on the walls - with Hercules at the crossroads, Hercules strangles the serpents, Hercules leading Alcesti to Admeto and the Battle of Hercules and the Centaurs - and ten monochrome frescoes below the vault featuring the Marriage of Hercules and Hebe fresco.\r\n\r\n\n","end_year":1829,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Pitti, Florence","name":"Hercules leading Alcesti to Admeto","start_year":1817,"type":"mythological","url":"https://www.wga.hu/detail/b/benvenu/hercule2.jpg"},{"artworkid":398,"author":"ARCHITECT, English","description":"\r\nThe present building was complete by about 1400, and has several notable features, including an early set of misericords, an astronomical clock and the longest uninterrupted vaulted ceiling in England.\r\nDuring the 14th and 15th centuries Gothic architecture ceased to be international and split into definable regional styles. In England, the first Gothic style (Early English) was succeeded by Decorated and Perpendicular styles. The nave of Exeter Cathedral, shown here, exemplifies the English Decorated style, the piers formed of thick clusters of shafts, the vaulting-ribs multiplied so that eleven spring from one point.\r\n\r\n\n","end_year":1310,"genre":"architecture","materials":"Photo","museum_name":"Cathedral, Exeter, Devon","name":"Interior view","start_year":1310,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/14c/4/1exeter2.jpg"},{"artworkid":402,"author":"MANGLARD, Adrien","description":"\r\nIn this harbour scene Manglard emulated Claude Lorrain's light-flooded vistas of ports.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 87 x 117 cm","museum_name":"Akademie der bildenden Knste, Vienna","name":"View of a Southern Port","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/m/manglard/viewport.jpg"},{"artworkid":406,"author":"FRIEDRICH, Caspar David","description":"\n\n","end_year":1802,"genre":"graphics","materials":"Black chalk","museum_name":"Pommersches Landesmuseum, Greifswald","name":"Mother Heiden","start_year":1798,"type":"portrait","url":"https://www.wga.hu/detail/f/friedric/5/503fried.jpg"},{"artworkid":410,"author":"REICHLICH, Marx","description":"\r\nReichlich was a Tirolian artist, who worked together with Michael Pacher in Salzburg from 1485. He used very expressive colours and by this he exerted great influence on contemporary painters. In his paintings - usually pictures of donors or altarpieces - contemporary details and Tirolian landscapes can be observed.\r\nThe picture shown is one of the four panels of an altarpiece.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Wood, 100,5 x 81,2 cm","museum_name":"Alte Pinakothek, Munich","name":"Meeting of Mary and Elisabeth","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/r/reichlic/meeting.jpg"},{"artworkid":368,"author":"RUISDAEL, Jacob Isaackszon van","description":"\r\nBeneath an overcast sky at dusk Ruisdael presents a typical stormy landscape filled with twisted trees, the leaves of which sway in the wind. It is a solitary landscape, devoid of human presence. Ruisdael captures the dramatic quality of nature in all its might, enveloped in surprising light effects, thanks to which he can be regarded a forerunner of Romantic landscape painting. This work was inspired by a landscape painted by Rubens in 1635, A Forest at Dawn with a Deer Hunt, kept at the Metropolitan Museum in New York, that Ruisdael had discovered in a print by Schelte a Bolswert.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 78 x 92 cm","museum_name":"Museo de Bellas Artes, Bilbao","name":"A Marsh in a Forest at Dusk","start_year":1660,"type":"landscape","url":"https://www.wga.hu/detail/r/ruysdael/jacob/2/marsh1.jpg"},{"artworkid":372,"author":"WEYDEN, Rogier van der","description":"\r\nAccording to legend, St Luke the Evangelist was also the first Christian painter, and had painted the Virgin Mary from life. As a consequence he was the patron saint of painters, and in many towns and cities was regarded as patron of their guilds. As a result, most of the major pictures of St Luke were destined for the altars of these communities; Rogier's painting was probably an altarpiece for the Brussels guild. The depiction of the saintly artist was of course also likely to be a self portrait of the contemporary painter, particularly when the panel was for so prominent a place as the altar of the guild. It expresses the artist's sense of his professional and personal dignity, and it is no coincidence that Rogier's St Luke resembles those portraits of the painter himself that have come down to us, though with idealized features.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas transferred from wood","museum_name":"The Hermitage, St. Petersburg","name":"St Luke Drawing a Portrait of the Madonna (detail)","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/w/weyden/rogier/02stluke/2luke1.jpg"},{"artworkid":376,"author":"CRIVELLI, Carlo","description":"\r\nThis panel belonged to a dismembered polyptych which was made for a Dominican church.\r\n\r\n\n","end_year":1472,"genre":"painting","materials":"Tempera on panel, 97 x 34 cm","museum_name":"Metropolitan Museum of Art, New York","name":"St George","start_year":1472,"type":"religious","url":"https://www.wga.hu/detail/c/crivelli/carlo/stgeorge.jpg"},{"artworkid":380,"author":"DAVID, Gerard","description":"\r\nThis painting is based on a lost composition of Hugo van der Goes. The kings approach the newborn and his mother in adoration keeping their distance. The composition is thus divided into two halves, which are connected by the sheaf of cereals in the foreground, symbolizing the sacrament of the Eucharist, which mediates between God and man.\r\n\r\n\n","end_year":1505,"genre":"painting","materials":"Panel, 124 x 166 cm","museum_name":"Alte Pinakothek, Munich","name":"Adoration of the Magi","start_year":1495,"type":"religious","url":"https://www.wga.hu/detail/d/david/1/adorati.jpg"},{"artworkid":384,"author":"SISLEY, Alfred","description":"\r\nSisley painted the waters of the Seine at Bougival or Marly as sensitively as the nuances of snow colour in Pissarro's beloved lanes and gardens of Louveciennes.\r\n\r\n\n","end_year":1876,"genre":"painting","materials":"Oil on canvas, 50 x 61 cm","museum_name":"Private collection","name":"Snow Effect at Louveciennes","start_year":1876,"type":"landscape","url":"https://www.wga.hu/detail/s/sisley/1winter/winter08.jpg"},{"artworkid":388,"author":"TIZIANO Vecellio","description":"\r\nTitian worked on this painting in the summer of 1576, when Venice was devastated by a terrible plague which was to kill his favourite son Orazio. The iconography derives from a Giulio Romano fresco of the same subject in the Palazzo Te in Mantua, but Titian accentuates the terrifying savagery of the mythological scene through the churning background of ruddy browns, and the gloomy colours fitfully lit by sudden flashes of light.\r\nThe meaning of the painting has been variously interpreted. It has been interpreted as the triumph of the divine art of Apollo and the stringed instrument over the rustic flute-playing satyr, or alternatively as representative of the spiritual cleansing brought about by the shedding of the Dionysian self. However, the presence of Titian himself, in the guise of King Midas, has favoured a reading of the painting as the painter's meditation on his own life.\r\n\r\n\n","end_year":1576,"genre":"painting","materials":"Oil on canvas, 212 x 207 cm","museum_name":"State Museum, Kromeriz","name":"The Flaying of Marsyas","start_year":1576,"type":"mythological","url":"https://www.wga.hu/detail/t/tiziano/09/14marsya.jpg"},{"artworkid":392,"author":"VLIEGER, Simon de","description":"\r\nThe painting represents the late style of Simon de Vlieger. There are two other versions of the subject by the artist in the Szépmûvészeti Múzeum, Budapest, and in the Fitzwilliam Museum, Cambridge.\r\n\r\n\n","end_year":1649,"genre":"painting","materials":"Oil on wood, 71 x 92 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Visit of Frederick Hendriks II to Dordrecht in 1646","start_year":1649,"type":"landscape","url":"https://www.wga.hu/detail/v/vlieger/visit.jpg"},{"artworkid":396,"author":"ROCCATAGLIATA, Nicol","description":"\r\nNumerous small bronzes of vastly varying quality have been attributed to Roccatagliata; if only a fraction of the music-making angels attributed to him actually came from his shop, it must have been a flourishing enterprise. Certainly by him are a seated Virgin and Child (Metropolitan Museum of Art, New York), as well as Adam and Eve and two music-making putti (Kunsthistorisches Museum, Vienna).\r\n\r\n\n","end_year":1630,"genre":"sculpture","materials":"Bronze, height 28 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Eve","start_year":1625,"type":"religious","url":"https://www.wga.hu/detail/r/roccatag/adameve.jpg"},{"artworkid":400,"author":"TORRITI, Jacopo","description":"\r\nFive scenes from the life of Mary are beneath the Coronation of the Virgin at window level: the Annunciation, the Nativity, the Adoration of the Kings, the Presentation in the Temple, and the Dormition.\r\nThe picture shows the Nativity.\r\n\r\n\n","end_year":1296,"genre":"mosaic","materials":"Mosaic","museum_name":"Santa Maria Maggiore, Rome","name":"Apse mosaic, window level: 2. Nativity","start_year":1296,"type":"religious","url":"https://www.wga.hu/detail/t/torriti/mosaic/5scene2.jpg"},{"artworkid":404,"author":"SAENREDAM, Pieter Jansz","description":"\r\nGenre painting in Holland embraced all areas of life: scenes from daily life, domestic interiors, still-lifes, seascapes, landscapes, architectural views and urban scenes. The Dutch were proud of their nation and its many different faces, and genre paintings were in great demand amongst the middle and upper classes. Like many artists, Saenredam chose to specialize - in his case, in paintings of architecture ranging from urban views and famous buildings to church interiors.\r\n\r\n\n","end_year":1657,"genre":"painting","materials":"Oil on panel, 65 x 85 cm","museum_name":"Rijksmuseum, Amsterdam","name":"The Old Town Hall in Amsterdam","start_year":1657,"type":"landscape","url":"https://www.wga.hu/detail/s/saenreda/pieter/4amster1.jpg"},{"artworkid":408,"author":"GOYA Y LUCIENTES, Francisco de","description":"\r\nThis painting (Dos frailes) was originally in the ground floor room of the Quinta del Sordo.\r\n\r\n\n","end_year":1823,"genre":"painting","materials":"Oil on plaster mounted on canvas, 144 x 66 cm","museum_name":"Museo del Prado, Madrid","name":"Two Monks","start_year":1821,"type":"other","url":"https://www.wga.hu/detail/g/goya/9/blac637.jpg"},{"artworkid":412,"author":"CRANACH, Lucas the Elder","description":"\r\nThe jollifications at the festive table, the dancing, music and lovemaking, all take place in a lush flowering landscape.\r\n\r\n\n","end_year":1546,"genre":"painting","materials":"Lime panel","museum_name":"Staatliche Museen, Berlin","name":"The Fountain of Youth (detail)","start_year":1546,"type":"mythological","url":"https://www.wga.hu/detail/c/cranach/lucas_e/10/1founta8.jpg"},{"artworkid":416,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Benesch 82.\r\n\r\n\n","end_year":1633,"genre":"graphics","materials":"Black and some white chalk, 251 x 189 mm","museum_name":"Stdelsches Kunstinstitut, Frankfurt","name":"Study of a drunk","start_year":1633,"type":"study","url":"https://www.wga.hu/detail/r/rembrand/53drawin/5/116stud.jpg"},{"artworkid":435,"author":"OOSTEN, Izaac van","description":"\r\nThis panel, depicting a summer landscape  with a horse and cart and other figures on a path, is signed lower left: J.V.Oosten fecit.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on oak panel, 25 x 35 cm","museum_name":"Private collection","name":"Summer Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/o/oosten/summer.jpg"},{"artworkid":439,"author":"JOURDAIN, Frantz","description":"\r\nThe photo shows the staircase.\r\n\r\n\n","end_year":1910,"genre":"architecture","materials":"Photo","museum_name":"La Samaritaine, Paris","name":")nterior view","start_year":1905,"type":"interior","url":"https://www.wga.hu/detail/j/jourdain/samarit5.jpg"},{"artworkid":369,"author":"ARCHITECT, French","description":"\r\nThe roads and rivers of medieval Europe were crowded with travellers: royal households on the move, government couriers on diplomatic missions, ecclesiastics going to Rome and back, pilgrims on journeys to Jerusalem or Compostela which could take months or even years. This in spite of the fact that maps were rudimentary, carriages uncomfortable and the dangers of robbery real.\r\nThe Pont Valentré is a 14th-century six-span fortified stone arch bridge crossing the Lot River to the west of Cahors, in France. It has become a symbol of the city. It was built between 1308 and 1378 with six Gothic arches and three square bridge towers. It opened for use in 1350. It was originally fortified at both ends, but the western tower has not survived.\r\n\r\n\n","end_year":1378,"genre":"architecture","materials":"Photo","museum_name":"Cahors (Lot)","name":"Pont Valentr","start_year":1308,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/14c/2/13f_1352.jpg"},{"artworkid":373,"author":"ARCHITECT, English","description":"\r\nThe bishopric of East Anglia dates back to a see that was founded in Dunwich, Suffolk around 630. In 1094, Bishop Herbert de Losinga (1091-1119) moved the see to Norwich, which was safer. Losinga had a part of the Saxon city torn down and started work on a mighty new building in 1096. He lived long enough to see the east sections (a three-storey choir with ambulatory and three chapels, aisleless transept, and first double bay of the nave) completed. Bishop Everardus (1121-1145) completed the nave, fourteen bays long, and finished if off with a simple cross-section façade.\r\nThe photo shows a view of the choir towards the east. The late Gothic rib vaulting was probably preceded by a wooden vault.\r\nView the ground plan of Norwich Cathedral (Herbert de Losinga's building).\r\n\r\n\n","end_year":1145,"genre":"architecture","materials":"Photo","museum_name":"Cathedral, Norwich, Norfolk","name":"Interior view","start_year":1096,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/4/14e_1103.jpg"},{"artworkid":377,"author":"MINIATURIST, English","description":"\r\nThis manuscript containing the life of St Alban was created in the St Albans Abbey in England. The calligraphy of the main text and also the coloured drawings are by Matthew Paris, one of the most important book artists of his time. His markedly individual style is displayed through gentle contours and lively features.\r\nThe picture shows a detail from folio 38v depicting the governor and his retinue.\r\n\r\n\n","end_year":1240,"genre":"illumination","materials":"Manuscript (Ms. E.I. 40), 240 x 165 mm","museum_name":"Trinity College Library, Dublin","name":"Life of St Alban","start_year":1240,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1201-250/2english/46englis.jpg"},{"artworkid":381,"author":"SIMONE MARTINI","description":"\n\n","end_year":1325,"genre":"painting","materials":"Fresco","museum_name":"Cappella di San Martino, Lower Church, San Francesco, Assisi","name":"Saint Martin Renounces his Weapons (detail)","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/s/simone/3assisi/scenes/43renoun.jpg"},{"artworkid":385,"author":"AELST, Willem van","description":"\r\nThis painting depicts a still-life of roses, a carnation and a sunflower in a glass vase, on a marble ledge.\r\n\r\n\n","end_year":1675,"genre":"painting","materials":"Oil on canvas, 40 x 32 cm","museum_name":"Private collection","name":"Still-Life","start_year":1675,"type":"still-life","url":"https://www.wga.hu/detail/a/aelst/stilflow.jpg"},{"artworkid":389,"author":"BERGOGNONE, Ambrogio","description":"\r\nThe intersection of styles characterizes this small panel, in which Northern elements traceable to Rogier van der Weyden are conspicuously present, but so are certain Vincenzo Foppa influences, mainly in the physiognomy of some figures in the middleground, in the facial types and some solutions in the drawing that were to remain unaltered in Bergognone's works of subsequent years.\r\n\r\n\n","end_year":1485,"genre":"painting","materials":"Tempera and oil on panel, 65 x 49 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Lamentation of Christ","start_year":1485,"type":"religious","url":"https://www.wga.hu/detail/b/bergogno/lamentat.jpg"},{"artworkid":393,"author":"PUCELLE, Jean","description":"\r\nThe tradition of Master Honoré was probably continued by his son-in-law Richard of Verdun who is known to have been employed by the Ste Chapelle in 1318. However, no books have survived which can be attributed to him. The next royal illuminator whose work is identifiable was Jean Pucelle. He is mentioned in documents between 1319 and 1327, however, books attributable to him (more than a dozen) exist up to the middle years of the century.\r\nThe Belleville Breviary comes from the workshop of Jean Pucelle. Pucelle's style is close to that of Honoré. The drapery has the same soft modelling and in Pucelle's presumed early work faces and hands are delicate and pallid. Nevertheless, a great many new features appear. The page from the Belleville Breviary reveals a wide range of decorative invention embracing naturalistic flowers, insects, birds and animals and grotesque little men playing musical instruments. But the whole effect is tightly controlled, associated as it is with a firm regular framework of narrow bars.\r\nThe influence of Italian painting is marked in Pucelle's work, demonstrated by his interest in pictorial space. This is possibly the most revolutionary feature of his work. The exploitation of various rudimentary forms of perspective was a completely new feature of late thirteenth-century Italian painting, and Pucelle incorporated something of these experiments into his manuscript illuminations.\r\nThe page (folio 24v) from the Belleville Breviary shows David and Saul enclosed within a small doll's-house-like construction, painted erratically but clearly in three dimensions. Below (on the bas-de-page) the scene of Cain murdering his brother is depicted.\r\n\r\n\n","end_year":1326,"genre":"illumination","materials":"Manuscript (Ms. lat. 10484, 2 volumes), 240 x 170 mm","museum_name":"Bibliothque Nationale, Paris","name":"Belleville Breviary","start_year":1323,"type":"religious","url":"https://www.wga.hu/detail/p/pucelle/bellevi1.jpg"},{"artworkid":397,"author":"CHRISTUS, Petrus","description":"\n\n","end_year":1445,"genre":"painting","materials":"Wood","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Madonna (detail)","start_year":1445,"type":"religious","url":"https://www.wga.hu/detail/c/christus/1/madonnz.jpg"},{"artworkid":401,"author":"CANDID, Peter","description":"\r\nThe crescent moon under the Madonna's feet is a traditional symbol which represents her chastity.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on copper, diameter 17 cm","museum_name":"Private collection","name":"Virgin and Child","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/c/candid/virgin_c.jpg"},{"artworkid":405,"author":"LE NAIN brothers","description":"\r\nThe Le Nain brothers are considered, above all, painters of peasant scenes. Nonetheless, secular compositions, such as the Bacchus and Ariadne, are painted in the full, solid style typical of the Le Nains.\r\n\r\n\n","end_year":1635,"genre":"painting","materials":"Oil on canvas, 102 x 152 cm","museum_name":"Muse des Beaux-Arts, Orlans","name":"Bacchus and Ariadne","start_year":1635,"type":"mythological","url":"https://www.wga.hu/detail/l/le_nain/bacchus.jpg"},{"artworkid":409,"author":"BANDINELLI, Baccio","description":"\r\nAccording to Giorgio Vasari, the sculpture was made by Baccio Bandinelli, in competition with his rival Benvenuto Cellini. The two sculptors were commissioned by Cosimo I to produce his portrait in bronze as proof of their respective abilities. For Baccio, this was his chance to regain the appraisal of the Grand Duke, who had not been happy with one of his previous portraits, commissioned for Palazzo Vecchio.\r\nEven though this was not the first time Baccio had reproduced the image of the Grand Duke, in this work in particular the physiognomy of the portrait is surpassed by the sculptor's attempt to place the figure in a precise historical and cultural context. He created the bust bearing in mind the ancient statuary tradition and it aims to show that the Medici family belonged to a historical past characterized by civil and politic virtues. Cosimo is presented as a leader with a firm and proud expression; he is wearing a piece of armor portraying two griffins facing one another, symbolizing protection, perhaps a reference to the protection guaranteed to the city of Florence by the Medici family.\r\n\r\n\n","end_year":1558,"genre":"sculpture","materials":"Bronze, height 79 cm","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"Bust of Cosimo I de' Medici","start_year":1554,"type":"portrait","url":"https://www.wga.hu/detail/b/bandinel/1/cosimo3.jpg"},{"artworkid":482,"author":"ASHTON, Julian Rossi","description":"\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 213 x 117 cm","museum_name":"Art Gallery of New South Wales, Sydney","name":"The Gold Washer","start_year":1889,"type":"genre","url":"https://www.wga.hu/detail/a/ashton/goldwash.jpg"},{"artworkid":379,"author":"LIPPI, Filippino","description":"\r\nThis idyllic, playful composition, which has been considered the allegory of music for a long time, intimates complicated relationships. Nothing seems to indicate, however, that it belongs to one of a series of paintings symbolizing the seven liberal arts. We have no certain data on its original purpose.\r\nThe painting probably shows the Muse Erato leading a swan by a golden leash. The swan, an attribute of Apollo, may be associated with Musica as well; its symbolic role is based on the fact that it miraculously sang before its death; thus the concept of the swan song.\r\nThere is a lyre of a peculiar form in the painting. Such a fantastic instrument more than likely would have been unsuitable for playing. Its frame is a head of a stag, and the strings are stretched across the cross-bands mounted on the antlers. The painter even placed a piece of bone next to it. The stag has been used by painters to represent Hearing because of its keen ears; thus it may be connected with the concept of music.\r\nIt is proposed that in the form of a winged putto even Zephyrus may have a role in the depiction of music, since the swans sing only when the mild western wind blows, while the musicians require a certain breath of personal glory to inspire them to play. The putti who play with the swan, on the other hand, may belong to a third female figure, Leda. Jupiter, in the form of a swan, seduced her, and their love bore two sets of twins, although in paintings usually only two children are depicted. This detail reveals that Leonardo da Vinci's painting - lost and only known from copies - influenced Lippi.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Tempera on panel. 61 x 51 cm","museum_name":"Staatliche Museen, Berlin","name":"Allegory of Music or Erato","start_year":1500,"type":"mythological","url":"https://www.wga.hu/detail/l/lippi/flippino/2/7erato.jpg"},{"artworkid":383,"author":"MEMLING, Hans","description":"\r\nThe portrait of this young man is a textbook example of the genre as developed by Memling. He is shown in three-quarter pose, to just beneath his shoulders. Pictured before a park-like landscape, his right hand resting on the edge of the painting in the left corner, his gaze is fixed on the horizon. The modelling of his features is evened out by the diffuse frontal lighting. His costume is sober and dark: the coat appears to be black but might actually be darkened purple-brown. The black collar that sticks out at the top is part of his waistcoat. The hairstyle would appear Italian, although no concrete evidence can be provided to support this.\r\nOriginally purchased as an Antonello da Messina, the painting has been definitively ascribed to Memling since 1896. \r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Oil on oak panel, 26 x 20 cm","museum_name":"Gallerie dell'Accademia, Venice","name":"Portrait of a Young Man before a Landscape","start_year":1480,"type":"portrait","url":"https://www.wga.hu/detail/m/memling/3mature1/20young.jpg"},{"artworkid":387,"author":"CONINXLOO, Gillis van","description":"\r\nThe subject of this landscape is a moralistic one with a reference to a passage from the Bible, more specifically the Old Testament book of Hosea. The drawing is believed to have been done in Frankenthal, a small town in the Pfalz mountains where an important artists' colony sprang up after the fall of Antwerp to the Spanish in 1585. Many of the artists who settled there were Flemings sympathetic to the Reformation, who had been forced into exile because of their Protestant faith. Some years later, a number of them, including Gillis van Coninxloo, moved to Amsterdam. Protestant artists worked in Frankenthal in a reformed environment, which was naturally reflected in the subjects they chose to paint. That is certainly the case with this drawing. The Prophet Hosea opposed what he saw as abuses in the field of worship, making him a symbolic precursor of early Protestant leaders.\r\nGillis van Coninxloo is viewed as an innovator in Flemish landscape painting. Above all, he represents the transition from the Mannerist to the Baroque landscape. The watercolour of the prophet Hosea is still done entirely in his early Mannerist style. Van Coninxloo went on to master and develop a variety of styles in his life. His influence on his contemporaries was crucial, and was felt by both Flemish and Dutch painters. In many ways, he helped Northern Netherlandish art embark on its search for a new, distinct identity.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Watercolour on parchment, 195 x 287 mm","museum_name":"Museum Mayer van den Bergh, Antwerp","name":"Mountain Landscape with River Valley and the Prophet Hosea","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/c/coninxlo/mountain.jpg"},{"artworkid":391,"author":"SEGHERS, Daniel","description":"\r\nIn the centre Jesus and the infant John the Baptist are represented.\r\n\r\n\n","end_year":1652,"genre":"painting","materials":"Oil on canvas, 129 x 97 cm","museum_name":"The Hermitage, St. Petersburg","name":"Garland of Flowers","start_year":1650,"type":"still-life","url":"https://www.wga.hu/detail/s/seghers/daniel/garland1.jpg"},{"artworkid":395,"author":"BACKER, Jacob Adriaensz.","description":"\r\nThis portrait is one of the many paintings formerly attributed to Rembrandt. The attribution to Jacob Backer is not certain, the painting could be a copy of a last portrait by Backer, or the work of a follower executed in the style of Backer.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on wood, 71 x 61 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Portrait of an Old Woman","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/b/backer/port_old.jpg"},{"artworkid":399,"author":"BALDUNG GRIEN, Hans","description":"\n\n","end_year":1515,"genre":"painting","materials":"Wood, 47 x 36 cm","museum_name":"Alte Pinakothek, Munich","name":"Count Christoph I of Baden","start_year":1515,"type":"portrait","url":"https://www.wga.hu/detail/b/baldung/3/2christo.jpg"},{"artworkid":403,"author":"MARREL, Jacob","description":"\r\nThis panel depicts a still-life of flowers in a glass vase within a niche, with cherries, shells and a lizard.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 42 x 34 cm","museum_name":"Private collection","name":"Still-Life","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/m/marrel/stillif2.jpg"},{"artworkid":407,"author":"LEDOUX, Claude-Nicolas","description":"\r\nLedoux was commissioned in 1784 to build more than 50 barrières or tollhouses, but only four have survived.\r\nThe photo shows a detail of the façade of the Barrière du Trône.\r\n\r\n\n","end_year":1784,"genre":"architecture","materials":"Photo","museum_name":"Barrire du Trne, Paris","name":"Exterior view","start_year":1784,"type":"other","url":"https://www.wga.hu/detail/l/ledoux/barrier2.jpg"},{"artworkid":411,"author":"ABAQUESNE, Massot","description":"\r\nThis composition is from a set of three narrating the story of the Flood. Its bright palette, of Italian inspiration, was already a feature of the first works by this potter from Rouen.\r\n\r\n\n","end_year":-1,"genre":"ceramics","materials":"Ceramic mural composition","museum_name":"Muse National de la Renaissance, couen","name":"The Flood","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/a/abaquesn/theflood.jpg"},{"artworkid":415,"author":"TEYLER, Johannes","description":"\n\n","end_year":1690,"genre":"graphics","materials":"Colour etching from a wooden block, painted in watercolour, 399 x 550 mm","museum_name":"The Hermitage, St. Petersburg","name":"View toward the Amstel River","start_year":1690,"type":"landscape","url":"https://www.wga.hu/detail/t/teyler/viewamst.jpg"},{"artworkid":419,"author":"VALENTIN DE BOULOGNE","description":"\r\nTwo paintings, David with the Head of Goliath (private collection) and its pendant, Samson (Museum of Art, Cleveland) were commissioned by Cardinal Francesco Barberini (1597-1679), nephew of Pope Urban VIII in 1627. Both paintings were later extended along the lower edge\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas, 136 x 103 cm","museum_name":"Museum of Art, Cleveland","name":"Samson","start_year":1630,"type":"mythological","url":"https://www.wga.hu/detail/v/valentin/pair1.jpg"},{"artworkid":423,"author":"ARCIMBOLDO, Giuseppe","description":"\r\nIn the upper part of the page there is a remark: \"Astrology, led by the Alexandrian Ptolemy and the Roman Julius Hyginus. White garment, bordered in red with golden stars\"\r\n\r\n\n","end_year":1585,"genre":"graphics","materials":"Pen, blue wash on white paper, 301 x 203 mm","museum_name":"Galleria degli Uffizi, Florence","name":"Costume of the allegorical figure \"Astrology\"","start_year":1585,"type":"mythological","url":"https://www.wga.hu/detail/a/arcimbol/6court/costum05.jpg"},{"artworkid":427,"author":"GHIRLANDAIO, Domenico","description":"\r\nGhirlandaio incorporated portraits of his contemporaries in many biblical scenes. It is probably for precisely that reason that he was so popular among the rich Florentines, who were particularly keen on self portrayal. This makes it all the more astonishing that so few secular portraits by Ghirlandaio have survived.\r\nThere are two paintings dating from about 1490, in the Paris Musée du Louvre and in Madrid, that are masterpieces of his art and yet fundamentally different: Giovanna Tornabuoni is idealized to the extent of becoming an \"icon\" of beauty for young Florentine girls, while the old man with the boy is painted with a pitiless degree of realism. Ghirlandaio does not shrink even from depicting his nose in all its disfigurement.\r\nThe painting in Madrid depicts Giovanna degli Albizzi in a magnificent garment made of gold brocade with tight, slitted silk sleeves. She came from one of the most important Florentine families and in 1486 married Lorenzo Tornabuoni. After her early death Ghirlandaio created two portraits, and it is possible that he was able to produce the cartoon for them while she was still alive.\r\nIn a fresco in the Tornabuoni Chapel, Giovanna is depicted as an entire figure witnessing the Visitation. The artist used that portrait in his panel painting with a new background, though he unfortunately cut the arms and hands off rather awkwardly. The delightful young woman now stands out, in a clear contrast of light against dark, from the black niche in the background. The reserved beauty of the young woman is fittingly expressed in the formal clarity of the composition.\r\nShe is wearing a valuable piece of jewelry, comprising a ruby in a gold setting with three silky shining pearls, hanging from her neck by a delicate cord. There is a very similar item of jewelry on the shelf behind her, and this, combined with red coral beads against the black background, gives the work a noble elegance. These beads are part of a rosary, and the section that is hanging straight down emphasizes the vertical line of her back, and also directs our gaze to the prayer book. Between these two \"pious\" objects is a little note alluding to the beautiful soul of the portrayed woman by means of an epigram written by the Roman poet Martial in the first century A.D.: Ars utinam mores animumque effigere posses pulchrior in terris nulla tabella foret. (Art, if only you could portray mores and spirit, there would be no more beautiful picture on earth).\r\nThis outstanding portrait, one of the most famous of the Quattrocento, makes it clear that portraits of women were one of Ghirlandaio's ideal subjects.\r\n\r\n\n","end_year":1488,"genre":"painting","materials":"Tempera on wood, 76 x 50 cm","museum_name":"Museo Thyssen-Bornemisza, Madrid","name":"Portrait of Giovanna Tornabuoni","start_year":1488,"type":"portrait","url":"https://www.wga.hu/detail/g/ghirland/domenico/7panel/07tornab.jpg"},{"artworkid":413,"author":"TEMPEL, Abraham van den","description":"\r\nJacquemijna Le Pla (1647-1696) was the wife Justus Ghys (1638-1680), a Leiden merchant and distant cousin of van den Tempel. The lost pendant of the painting represented the husband.\r\nAbraham van den Tempel was renowned for his depiction of the sumptuous materials and objects worn by the elegant and privileged sitters he painted. In the present painting the sitter poses with a smooth-haired brown and white spaniel before an extensive garden, a statue behind her to the right and a classical balustrade in the distance. Her garments are luxurious.\r\n\r\n\n","end_year":1666,"genre":"painting","materials":"Oil on canvas, 115 x 92 cm","museum_name":"Private collection","name":"Portrait of Jacquemijna Le Pla","start_year":1666,"type":"portrait","url":"https://www.wga.hu/detail/t/tempel/port_pla.jpg"},{"artworkid":417,"author":"DUSART, Cornelis","description":"\r\nSkittles is an old European lawn game, a variety of bowling from which several versions of bowling are descended. It was played for centuries in public houses or clubs.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 36 x 44 cm","museum_name":"Private collection","name":"Peasants Playing Skittles before an Inn","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/d/dusart/skittle.jpg"},{"artworkid":421,"author":"DARET, Jacques","description":"\r\nThe principal patron of Daret over a period of twenty years was the abbot of St Vaart, Jean de Clercq.\r\nOut of all of Daret's works that are recorded in Jean de Clercq's account books, only four panels have survived to the present day. They come from an Altarpiece of the Virgin (St Vaast Altarpiece) painted for the abbot between 1433 and 1435. Two of them, the Visitation and the Adoration of the Magi, are in the State Collections in Berlin; the third, the Nativity, is in the Thyssen-Bornemisza collection, and the fourth, the Presentation in the Temple, is in the Petit Palais museum, in Paris.\r\nOne of these four panels, The Visitation is reminiscent in its composition of paintings by Rogier Van der Weyden on the same theme. But the three others are closer - strikingly close to the art of Robert Campin, especially the Nativity which should be compared with Campin's Nativity in Dijon. The two compositions are essentially analogous: the Virgin kneels before the Infant who is lying on the ground, while Joseph holds up a lighted candle. They also share the small group of angels and the scene of the two midwives taken from an apocryphal Gospel, which Daret treats as a separate episode. Daret is less inventive than Campin, and his ambition seems limited to creating a simple tranquil atmosphere. The clothes worn by the midwives are less exotic, and the angels are holding a single phylactery. Above all, Daret's Nativity has been substantially simplified: it has fewer characters, and materials and textures are rendered with less attention than in Campin's. One has only to look at the ageing skeleton of the stable to measure the distance that separates the two artists. Certain elements have also been modified, so that, for instance, the ass and the ox in Daret's picture face towards the scene of the Birth, rather than turning their backs on it.\r\nThe other three panels show that Daret was a talented painter of the human figure and a sensitive landscape artist.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Oil on wood, 57,5 x 52 cm","museum_name":"Muse du Petit Palais, Paris","name":"Altarpiece of the Virgin","start_year":1433,"type":"religious","url":"https://www.wga.hu/detail/d/daret/stvaast4.jpg"},{"artworkid":425,"author":"SAGOT, mile","description":"\r\nThe Merveille (the marvelous) was built between 1210 and 1228 on Mont-Saint-Michel in Normandy. After the conquest of Normandy by the French king Philippe-Auguste, Mont-Saint-Michel was no longer merely an abbey situated in the middle  of the Anglo-Norman kingdom. It was now a French outpost on the border with England formed by the Channel. It was rebuilt at the time in an extravagant way.\r\nStorerooms, accommodation for the various guests to the abbey, and a cloister had to be integrated into one building, for which there was really no more space on the steep cliff alongside the church. Therefore strong superstructures were built, which lend a fortress-like appearance to the building. Behind this external view, a series of rooms are hidden away, increasing in elegance from the lower level to the top level.\r\n\r\n\n","end_year":1869,"genre":"graphics","materials":"Watercolour","museum_name":"Bibliothque Nationale, Paris","name":"Merveille from the south","start_year":1862,"type":"other","url":"https://www.wga.hu/detail/s/sagot/merveill.jpg"},{"artworkid":429,"author":"RUYSCH, Rachel","description":"\r\nRuysch's works at the end of the seventeenth century are characterised by their soft light, harmonious colours and gentle, elegant composition. This painting is signed lower right: Rachel Ruysch.\r\n\r\n\n","end_year":1690,"genre":"painting","materials":"Oil on canvas, 57 x 49 cm","museum_name":"Private collection","name":"Summer Flowers in a Vase","start_year":1690,"type":"still-life","url":"https://www.wga.hu/detail/r/ruysch/summerfl.jpg"},{"artworkid":433,"author":"REMBRANDT Harmenszoon van Rijn","description":"\r\nThis painting is not included in the Bredius catalogue.\r\nThis small study head was probably painted in Amsterdam during the 1630s by a minor pupil of Rembrandt, or by a less connected follower.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on wood, 21 x 18 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Study Head of an Old Man","start_year":1630,"type":"portrait","url":"https://www.wga.hu/detail/r/rembrand/91nonrem/05noremb.jpg"},{"artworkid":437,"author":"VALLIN, Eugne","description":"\r\nThis dining room was commissioned from Eugène Vallin by Charles Masson, Eugène Corbin's brother-in-law, for his apartment in Nancy. Emile Victor Prouvé collaborated with Vallin to execute the complete set of the room consisting of furniture, fireplace sculpture, leather panels decorated with rose bushes, and painted ceiling on mounted canvas.\r\n\r\n\n","end_year":1906,"genre":"furniture","materials":"Blond mahogany, repouss leather painted and gilded, blown-moulded glass, bronze","museum_name":"Muse de l'cole de Nancy, Nancy","name":"Art Nouveau dining room","start_year":1903,"type":"other","url":"https://www.wga.hu/detail/v/vallin_e/diningro.jpg"},{"artworkid":441,"author":"DYCK, Sir Anthony van","description":"\r\nGeneral Sir James Hamilton, 1st Duke of Hamilton (1606-1649) was a Scottish nobleman and influential Civil war military leader.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on canvas","museum_name":"Liechtenstein Museum, Vienna","name":"Portrait of James Hamilton","start_year":1630,"type":"portrait","url":"https://www.wga.hu/detail/d/dyck_van/1portrai/hamilton.jpg"},{"artworkid":445,"author":"MADARSZ, Viktor","description":"\r\nThe young Viktor Madarász fought throughout the entire War of Independence. After a short study-trip to Vienna, he lived in Paris for fourteen years, where he was influenced by his teachers, Léon Cogniet and Paul Delaroche. Yet, Dobozi, and His Spouse painted in 1868, two years before his return home, shows the impact of Delacroix's Romanticism.\r\nThe landscape and the horse - depicted as a magic steed - reveal the horror of the last moments of the couple running away in full gallop from the blood-thirsty Turks; on realizing that there is no escape, they commit suicide. The wide horizontal format and the horizontal line of the clouds at sun-set are used to emphasize the deadly speed of the race.\r\nIn different forms, the Dobozi theme was depicted repeatedly by Hungarian painters during the 19th century, for whom the suicide of the couple symbolized the idea of choosing death instead of slavery.\r\n\r\n\n","end_year":1868,"genre":"painting","materials":"Oil on canvas, 116 x 310 cm","museum_name":"Magyar Nemzeti Galria, Budapest","name":"Dobozi and his Spouse","start_year":1868,"type":"historical","url":"https://www.wga.hu/detail/m/madarasz/5dobozi.jpg"},{"artworkid":449,"author":"LOMAZZO, Giovan Paolo","description":"\r\nIn this rather unusual self-portrait the painter represents himself in the guise of \"abbot\" (president) of the Accademia della Val di Blenio (or Bregno). The Accademia della Val di Blenio (part of the present-day canton of Ticino in Switzerland) was founded in Milan in 1560. It is likely that Lomazzo's election in August 1568 to abbot, the highest rank within the brotherhood, provided the occasion for the execution of this curious self-portrait.\r\n\r\n\n","end_year":1568,"genre":"painting","materials":"Oil on canvas, 56 x 44 cm","museum_name":"Pinacoteca di Brera, Milan","name":"Self-Portrait as Abbot of the Accademia della Val di Blenio","start_year":1568,"type":"portrait","url":"https://www.wga.hu/detail/l/lomazzo/selfport.jpg"},{"artworkid":453,"author":"CLAEISSENS, Antoon","description":"\r\nIn 1574, Antoon Claeissens painted a Banquet of the civil servants at Bruges Town Hall. The metaphorical basis of the painting is the biblical banquet of King Ahasuerus. The opulent, somewhat naive setting with the richly dressed figures in pseudo-Roman and Oriental fashions and the fresh still life of cake, fruit and wine make this painting one of the most charming produced in Claeissens' workshop.\r\n\r\n\n","end_year":1574,"genre":"painting","materials":"Oil on oak panel, 130 x 155 cm","museum_name":"Groeninge Museum, Bruges","name":"Banquet","start_year":1574,"type":"mythological","url":"https://www.wga.hu/detail/c/claeisse/antoon/banquet.jpg"},{"artworkid":418,"author":"THORVALDSEN, Bertel","description":"\r\nThis marble relief belongs to a group of four depicting Cupid and Bacchus; Cupid Received by Anacreon; Pan Teaching a Child Satyr to Play Reed Pipe; Bacchante and Child Satyr. All of these subjects are taken from Greek mythology.\r\nThorvaldsen produced plaster models for the reliefs over the course of twenty-three years from about 1804 onward. The marble versions were executed between 1833 and 1837. The crisp precision of the carving and the skillful variation in surface texture, from the chalky, supple flesh to the smooth, polished objects surrounding the figures, indicate that these marbles were carved by the master himself or specifically under Thorvaldsen's supervision.\r\n\r\n\n","end_year":1838,"genre":"sculpture","materials":"Marble, 49 x 80 cm","museum_name":"Private collection","name":"Cupid Received by Anacreon","start_year":1833,"type":"mythological","url":"https://www.wga.hu/detail/t/thorvald/group3.jpg"},{"artworkid":422,"author":"NEUFCHATEL, Nicolas","description":"\r\nThe companion-piece of the portrait of her husband. It is signed at the bottom left as 'ANNO DOMINI 1561. - AETATIS SVAE 17'.\r\n\r\n\n","end_year":1561,"genre":"painting","materials":"Oil on canvas, 180 x 94 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Portrait of the Wife of Hendrik Pilgram","start_year":1561,"type":"portrait","url":"https://www.wga.hu/detail/n/neufchat/pilgram1.jpg"},{"artworkid":426,"author":"GHIRLANDAIO, Domenico","description":"\r\n\"... One of (the women) holds the Child in her arms and makes it laugh by smiling, with a feminine grace truly worthy of a work of this great genius, each figure being distinguished in its various expressions\" (Vasari).\r\nHere Ghirlandaio succeeds in convincingly continuing the rear wall of the real chapel, which has windows, into the depth of the picture, where there is also a painted window. As a result, part of the frieze of dancing putti playing instruments is in the light, and part in shadow. The figures of the nurses are also captivatingly vivid the joy of the lovely woman holding the child lights up her bright face. And the marvelous moving figure of the woman pouring water gives the picture a look of everyday life.\r\n\r\n\n","end_year":1490,"genre":"painting","materials":"Fresco","museum_name":"Cappella Tornabuoni, Santa Maria Novella, Florence","name":"Birth of Mary (detail)","start_year":1486,"type":"religious","url":"https://www.wga.hu/detail/g/ghirland/domenico/6tornab/61tornab/2birth1.jpg"},{"artworkid":430,"author":"ROSA, Salvator","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Galleria Chigi Saracini, Siena","name":"Warrior","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/r/rosa/warrior.jpg"},{"artworkid":434,"author":"CARNEVALE, Fra","description":"\n\n","end_year":1467,"genre":"painting","materials":"Tempera and oil on wood","museum_name":"Museum of Fine Arts, Boston","name":"The Presentation of the Virgin in the Temple (detail)","start_year":1467,"type":"religious","url":"https://www.wga.hu/detail/c/carneval/3presen3.jpg"},{"artworkid":438,"author":"KLODT, Pyotr Karlovich","description":"\r\nIvan Andreyevich Krylov (1769-1844) is Russia's best known fabulist. While many of his earlier fables were loosely based on Aesop and Jean de La Fontaine, later fables were original work.\r\n\r\n\n","end_year":1855,"genre":"sculpture","materials":"Bronze","museum_name":"Summer Garden, St. Petersburg","name":"Monument to Krylov","start_year":1848,"type":"other","url":"https://www.wga.hu/detail/k/klodt/pyotr/krylov1.jpg"},{"artworkid":442,"author":"LAURI, Filippo","description":"\r\nLauri's speciality was the ideal landscape with mythological subjects into which he introduced stylistic elements from Francesco Albani, Pier Francesco Mola and Gaspard Dughet. He painted small-scale Arcadian idylls executed with open brushwork in a light colour scheme. The present painting, belonging to a series of six copper panels, is a characteristic example.\r\n\r\n\n","end_year":1650,"genre":"painting","materials":"Oil on copper, 30 x 24 cm","museum_name":"Akademie der bildenden Knste, Vienna","name":"Endymion and Selene","start_year":1650,"type":"mythological","url":"https://www.wga.hu/detail/l/lauri/mytholo2.jpg"},{"artworkid":446,"author":"CIMABUE","description":"\r\nEither writing or absorbed in scripture, the evangelists occupy one half of each triangular field; a table writing desk is in the middle; and a view of a city is in the other half. In the pinnacle of each vault cell is a patch of cloud from which an angel descends and, as a visual sign of divine inspiration, touches the ear of the evangelist. The cities depicted represent, or once represented, the parts of the world to which each evangelist directed his message: YTALIA, ACCHAIA, ASIA, IUDEA.\r\nThe view of Rome opposite the evangelist Mark features prominent buildings in the city - e.g., the Castel Sant'Angelo, the Meta Romuili, Old St Peter's, the Pantheon, the Capitol with the Palazzo dei Senatori, the Torre delle Milizie, and apparently the church of Santi Apostoli - with a fidelity that was unusual for the time.\r\n\r\n\n","end_year":1280,"genre":"painting","materials":"Fresco","museum_name":"Upper Church, San Francesco, Assisi","name":"Crossing vault (detail of the south cell)","start_year":1277,"type":"religious","url":"https://www.wga.hu/detail/c/cimabue/assisi/vault1.jpg"},{"artworkid":450,"author":"CRANACH, Lucas the Elder","description":"\r\nSaint Maurice was an Egyptian, born in AD 250 in Thebes. He was the leader of the legendary Roman Theban Legion in the 3rd century, and one of the favourite and most widely venerated saints of that group. He was the patron saint of several professions, locales, and kingdoms. The cult of St Maurice, most widespread in the late Middle Ages, was first associated with the royal house of Burgundy and thereafter with Saxon and Ottonian kings. One of the main centres for the veneration of St Maurice was the eastern German city of Halle. From 1484 to 1503, during the rule of Archbishop Ernst of Wettin, the Moritzburg, the seat of the ruler, was built in Halle. Albrecht, Archbishop of Magdeburg, made the Moritzburg his main residence. He was a great patron of art, and from 1520 to 1525 he commissioned sixteen altarpieces from Lucas Cranach and his workshop; these exist today only in a fragmentary state.\r\nThis panel was probably part of a multipanel altarpiece which in closed state could comprise four very narrow panels with two each for the right and left wings. The remainder of this altarpiece has not been identified and may no longer exist.\r\nThe panel was executed with the contribution of the workshop. Its prototype was the Reliquary of St Maurice, known from an illustration in the Hallesches Heiltumsbuch.\n\n","end_year":1525,"genre":"painting","materials":"Oil on linden panel, 135 x 38 cm","museum_name":"Metropolitan Museum of Art, New York","name":"St Maurice","start_year":1520,"type":"religious","url":"https://www.wga.hu/detail/c/cranach/lucas_e/01/13altar3.jpg"},{"artworkid":454,"author":"UNKNOWN MASTER, Italian","description":"\r\nThe classic shape of the cooling vessel can be traced back to ancient examples. The ornamentation, as well as the figural frieze with its nereids, tritons and sea centaurs, was also inspired by antique sources.\r\n\r\n\n","end_year":1520,"genre":"sculpture","materials":"Bronze, height 33 cm, diameter 62 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Ornamental Bowl with Snakes","start_year":1520,"type":"other","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it7/06padua7.jpg"},{"artworkid":458,"author":"GAUGUIN, Paul","description":"\r\nIn the late summer of 1885 Gauguin travelled to London on business and this painting may have been produced during that trip. The work is quite unique in his oeuvre, and seems to represent a self conscious attempt at fusing the ingredients of different cultures, worked in an avant-garde style. The horse's head is borrowed from the Elgin Marbles, on display in the British Müseum, and coupled with Japanese fans and a puppet of the type that were popular in Paris at the time. Such plunderings from non-Western sources was later to become commonplace in Gauguin's work, when he used them deliberately to attempt to create a 'primitive' flavour. However, it is the handling of the work that makes it unique, for the loose brushwork of earlier Impressionist style paintings has been systematized into the pointillist technique used by Seurat and Signac at this time. Gauguin has rejected the methods of the Impressionists and attempted to paint in the manner of the most advanced Parisian artists.\r\n\r\n\n","end_year":1885,"genre":"painting","materials":"Oil on canvas, 49 x 39 cm","museum_name":"Bridgestone Museum of Art, Tokyo","name":"Still-Life with Horse's Head","start_year":1885,"type":"still-life","url":"https://www.wga.hu/detail/g/gauguin/01/early12.jpg"},{"artworkid":954,"author":"HALS, Frans","description":"\n\n","end_year":1664,"genre":"painting","materials":"Oil on canvas","museum_name":"Frans Halsmuseum, Haarlem","name":"Regentesses of the Old Men's Almshouse (detail)","start_year":1664,"type":"portrait","url":"https://www.wga.hu/detail/h/hals/frans/09-1666/86regen1.jpg"},{"artworkid":420,"author":"MACHUCA, Pedro","description":"\r\nConstructed on a plateau that overlooks the city of Granada, the Alhambra was built chiefly between 1238 and 1358, in the reigns of Ibn al-Ahmar, founder of the Nasrid dynasty, and his successors. After the expulsion of the Moors in 1492, much of the interior was effaced and the furniture was ruined or removed. Charles V, who ruled in Spain as Charles I (1516–56), rebuilt portions in the Renaissance style and destroyed part of the Alhambra in order to build an Italianate palace.\r\nThe photo shows the Palace of Charles V within the Alhambra.\r\nView the ground plan of the Palace of Charles V within the Alhambra complex, Granada.\r\n\r\n\n","end_year":1526,"genre":"architecture","materials":"Photo","museum_name":"Palace of Charles V, Granada","name":"Aerial view","start_year":1526,"type":"other","url":"https://www.wga.hu/detail/m/machuca/2archite/palace2.jpg"},{"artworkid":424,"author":"COURBET, Gustave","description":"\r\nIn addition to the many nudes, Courbet also painted simple figures of young women, such as the ones in The Poor Woman of the Village.\r\n\r\n\n","end_year":1866,"genre":"painting","materials":"Oil on canvas, 86 x 126 cm","museum_name":"Private collection","name":"Poor Woman of the Village","start_year":1866,"type":"landscape","url":"https://www.wga.hu/detail/c/courbet/1/courb118.jpg"},{"artworkid":428,"author":"SIRANI, Elisabetta","description":"\r\nSirani likely received her initial training from her father, Giovanni Andrea Sirani, who was principal assistant in the workshop of Guido Reni. By the age of twenty, however, she was head of her own workshop and was later the first woman to found an academy of design for female artists. Sirani enjoyed enormous success, forging a prolific career as a painter and draftsman and becoming one of the the most celebrated Bolognese artists of the mid-seventeenth century. After her early death in 1665, the entire city of Bologna went into mourning and arranged a magnificent funeral; as a final tribute, she was buried next to Guido Reni. \r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 102 x 84 cm","museum_name":"Private collection","name":"St. Jerome","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/s/sirani/elisabet/jerome.jpg"},{"artworkid":432,"author":"PACINO DI BONAGUIDA","description":"\r\nDispersed today among a number of collections are nearly two dozen leaves and cuttings from a single laudario, or book of hymns to be sung in Italian by the members of a lay confraternity. This illustrated hymnal was one of the most ambitious and lavish manuscripts created in Florence in the first half of the fourteenth century. All but five of the surviving illuminations from the laudario were painted by Pacino di Bonaguida, the most prolific manuscript painter in Florence in that period. The remaining leaves are by the Master of the Dominican Effigies.\r\nThe large miniature depicts the final moments of the martyrdom of the apostle Bartholomew.\r\n\r\n\n","end_year":1320,"genre":"illumination","materials":"Tempera and gold on parchment, 470 x 350 mm","museum_name":"Private collection","name":"Laudario of the Compagnia di Sant'Agnese","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/p/pacino/laudari9.jpg"},{"artworkid":436,"author":"PIAZZETTA, Giovanni Battista","description":"\r\nPiazzetta adopted an elegiac tone for this, his last work on a theme he had taken up many times. His unusually hesitant Judith is enchanted by Holofernes.\r\n\n\n\r\nSuggested listening (streaming mp3, 17 minutes):Alessandro Scarlatti: La Giuditta, oratorio, Part I (excerpts)\n\n\n","end_year":1745,"genre":"painting","materials":"Oil on canvas, 197 x 186 cm","museum_name":"Scuola Grande dei Carmini, Venice","name":"Judith and Holofernes","start_year":1745,"type":"religious","url":"https://www.wga.hu/detail/p/piazzett/giovanni/judithol.jpg"},{"artworkid":440,"author":"BENDZ, Wilhelm","description":"\r\nWilhelm Bendz was keenly interested in the new role emerging for artists in the early 19th century; they were no longer regarded as specialist craftsmen, but as intellectual workers, as artists in the modern sense. In the 1820s, he painted a number of pictures of artists at work. The artist in this picture is Bendz's fellow student Ditlev Blunck (1799-1853) engaged in painting a portrait of Jorgen Sonne, a painter of battle scenes.\r\n\r\n\n","end_year":1826,"genre":"painting","materials":"Oil on canvas, 98 x 85 cm","museum_name":"Statens Museum for Kunst, Copenhagen","name":"A Young Artist Examining a Sketch in a Mirror","start_year":1826,"type":"genre","url":"https://www.wga.hu/detail/b/bendz/youngart.jpg"},{"artworkid":444,"author":"DOSSI, Dosso","description":"\r\nDossi's Diana and Calisto (a nymph who had taken the vow of chastity, but was abandoned by Diana when the goddess discovered she had responded to Jupiter's love) reflects Raphael's influence.\r\n\r\n\n","end_year":1528,"genre":"painting","materials":"Oil on canvas","museum_name":"Galleria Borghese, Rome","name":"Diana and Calisto","start_year":1528,"type":"mythological","url":"https://www.wga.hu/detail/d/dossi/dosso/diana.jpg"},{"artworkid":448,"author":"PERRONNEAU, Jean-Baptiste","description":"\r\nPerronneau studied engraving with Laurent Cars and then painting with Natoire. He was accepted by the Académie Royale in 1746 and became a full member 1753. But his rivalry with the pastellist Quentin de La Tour led him to seek a clientele outside Paris, especially it seems in Orléans. He painted mostly the senior officials, and the upper bourgeoisie, engineers, doctors and clergy. On the other hand he seems to have been particularly favoured and respected by his own colleagues, and painted portraits of Gilequian, Drouais and Oudry and of the engravers Cars and Huquier, the sculptor Adam the elder, the architects Chevotet and Soyer. His strong firm almost coarse (and maybe rather less flattering) style may have been appreciated better by these connoisseurs than the slightly slicker and more perfectionist style of La Tour, who seems to have gone out of his way to sabotage the career of this younger artist.\r\nThere is a group of thirteen portraits in the Musée des Beaux-Arts d'Orléans, among them the portrait of Daniel Jousse (1704-1781), a famous legal expert who published about twenty volumes on criminal law.\r\n\r\n\n","end_year":1767,"genre":"painting","materials":"Oil on canvas, 80 x 64 cm","museum_name":"Muse des Beaux-Arts, Orlans","name":"Portrait of the Lawyer Daniel Jousse","start_year":1765,"type":"portrait","url":"https://www.wga.hu/detail/p/perronne/jousse.jpg"},{"artworkid":452,"author":"BANDINELLI, Baccio","description":"\r\nThis sculpture, located in the left niche of the façade of Buontalenti Grotto in the Boboli Gardens, is paired with the statue of Ceres on the right, even though the two works were not created with the intent to display them together. The general layout is reminiscent of a recurring model in Bandinelli's production and the pose is clearly inspired by Michelangelo's David. In his left hand, Apollo appears to hold the remains of a bow, today considered a fragmented attribute; in his right hand, he holds a bandoleer, to which he would have attached the quiver.\r\n\r\n\n","end_year":1558,"genre":"sculpture","materials":"Marble","museum_name":"Boboli Gardens, Florence","name":"Apollo","start_year":1548,"type":"mythological","url":"https://www.wga.hu/detail/b/bandinel/1/boboli1.jpg"},{"artworkid":457,"author":"BOSSE, Abraham","description":"\r\nThe standard interior layout of the mid 17th century in France is known today through Abraham Bosse's engravings and to paintings based on his works, such as the cycle of the Five Senses. This picture shows a painting by an unknown painter after an engraving by Bosse.\n\n","end_year":1635,"genre":"painting","materials":"Oil on canvas, 104 x 137 cm","museum_name":"Muse des Beaux-Arts, Tours","name":"The Five Senses: Hearing","start_year":1635,"type":"mythological","url":"https://www.wga.hu/detail/b/bosse/mus_sox.jpg"},{"artworkid":461,"author":"GRARD, Marguerite","description":"\r\nThis signed canvas is one of the painter's genre scenes featuring upper class French women and their families in lavish interiors. By the late 1780s Marguerite Gérard established her reputation as one of the leading female artists in France.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 65 x 55 cm","museum_name":"Private collection","name":"A Family in an Interior Playing with a Dog","start_year":-1,"type":"interior","url":"https://www.wga.hu/detail/g/gerard_m/family.jpg"},{"artworkid":486,"author":"ROBUSTI, Marietta","description":"\r\nMaria Robusti Tintoretta was the daughter and pupil of Jacopo Tintoretto. She became a portrait painter of genuine merit and painted many of the most important figures of Venice. As a result of her reputation she was invited to the court of Vienna and that of Madrid but she declined these attractive offers out of affection for her father. Her early death at the age of 30 was a terrible blow to him.\r\nMarietta's skills in this specific type of portraiture are recorded by Raffaello Borghini (1584) and Claudio Ridolfi (1648) who stress the close relationship between the activity as a painter and musician of the young artist. The link between music and painting seems further strengthened by the statement that Marietta painted sketches of the gentlemen and ladies of Venice, entertaining them during their sittings with music and song.\r\nOn this canvas the young woman is shown in three-quarter figure, in a white dress in thick pleated fabric, where the colour and lines merge with those of the music sheet she holds in one hand, while the other brushes against the keys of a harpsichord. The depiction of the music in the foreground is extraordinarily accurate and possibly shows the part sung by the young woman, i.e. page 24, with the notes and text of the Cantus of the madrigal by Philippe Verdelot Madonna per voi ardo in the Primo Libro dei Madrigali, printed in Venice in 1533.  The sidelong glance and slightly turned body seem to indicate that the portrait was painted in front of a mirror and that it is indeed a self-portrait, as generally thought.\r\nMarietta does not appear to have received commissions for major religious paintings, and, like other women artists in this period, she worked primarily as a portrait painter. Apart from the present Self-Portrait (Corridoio Vasariano in the Galleria degli Uffizi), no work can be assigned to her with certainty.\r\n\n\n\r\nSuggested listening (streaming mp3, 3 minutes):Philippe Verdelot: Madonna per voi ardo, madrigal\n\n\n","end_year":1578,"genre":"painting","materials":"Oil on canvas, 94 x 92 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Self-Portrait with Madrigal","start_year":1578,"type":"portrait","url":"https://www.wga.hu/detail/r/robusti/marietta/selfport.jpg"},{"artworkid":991,"author":"DOLENDO, Zacharias","description":"\r\nThis engraving was made after a design by Karel van Mander.\r\n\r\n\n","end_year":1592,"genre":"graphics","materials":"Engraving, diameter 172 mm","museum_name":"British Museum, London","name":"The Rape of Europa","start_year":1592,"type":"mythological","url":"https://www.wga.hu/detail/d/dolendo/rape_eur.jpg"},{"artworkid":443,"author":"ARCHITECT, French","description":"\r\nIn the west of the Frankish empire, the region between the Loire and the Dordogne, two main group of Romanesque buildings can be distinguished: the hall churches and the domed churches. Notre-Dame at Cunault, built during the first half of the twelfth century, is one of the lightest and most imposing hall churches. The complexity of the layout of the building suggests that its design changed more than once.\r\nThe photo shows the façade, the hall type nave and the tower above the north aisle.\r\n\r\n\n","end_year":1180,"genre":"architecture","materials":"Photo","museum_name":"Notre-Dame, Cunault (Maine-et-Loire)","name":"Exterior view","start_year":1100,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/2/3/02f_1151.jpg"},{"artworkid":447,"author":"MANET, Edouard","description":"\r\nIn the final phase of his career, already partly paralysed, Manet painted a number of small still-lifes, such as the Bundle of Asparagus, which became well known in Germany because Liebermann, a great admirer of Manet, once owned it. He also painted endless variations on the theme of flowers in vases. It is moving to look at these enchanting impressions of the loveliness of the natural world, given what we know of the advanced state of Manet's illness when he painted them.\r\n\r\n\n","end_year":1880,"genre":"painting","materials":"Oil on canvas, 46 x 55 cm","museum_name":"Wallraf-Richartz-Museum, Cologne","name":"Bundle of Asparagus","start_year":1880,"type":"still-life","url":"https://www.wga.hu/detail/m/manet/5/5late05.jpg"},{"artworkid":451,"author":"LE NAIN brothers","description":"\r\nEach of the models appears to be a portrait, although it is difficult to explain why the sitters should have chosen to be depicted with such casualness. There is no clue to the possibility of a confraternity, although the curious emblems on the carpet on the table could be symbols of some secret society. The eerie quality of the picture is emphasized by the fall of the shadows on the faces and by the way in which the figures stare into space just like the peasants in other pictures and the seated figure on the right has all the appearance of being under the influence of some drug.\r\n\r\n\n","end_year":1643,"genre":"painting","materials":"Oil on canvas","museum_name":"Muse du Louvre, Paris","name":"Smokers in an Interior (detail)","start_year":1643,"type":"genre","url":"https://www.wga.hu/detail/l/le_nain/smokers1.jpg"},{"artworkid":455,"author":"ANTOLINEZ, Jos","description":"\n\n","end_year":1675,"genre":"painting","materials":"Oil on canvas, 203 x 153 cm","museum_name":"The Hermitage, St. Petersburg","name":"Annunciation","start_year":1665,"type":"religious","url":"https://www.wga.hu/detail/a/antoline/jose/annuncia.jpg"},{"artworkid":459,"author":"LEMOYNE, Franois","description":"\r\nThis is Lemoyne's last picture, on which he had been working within hours of taking his own life. It was enlarged c. 1760 to make up a set of four Lemoynes then owned by the financier Bouret.\r\n\r\n\n","end_year":1737,"genre":"painting","materials":"Oil on canvas, 149 x 114 cm, enlarged to 181 x 148 cm","museum_name":"Wallace Collection, London","name":"Time Saving Truth from Falsehood and Envy","start_year":1737,"type":"mythological","url":"https://www.wga.hu/detail/l/lemoyne1/timesave.jpg"},{"artworkid":463,"author":"BRUEGHEL, Pieter the Younger","description":"\r\nThe proverb illustrated: 'Jealous of the water if the sun shines on it' (= cupidity).\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Rockox House, Antwerp","name":"Proverbs (detail)","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/b/bruegel/pieter_y/3/proverb5.jpg"},{"artworkid":467,"author":"MELONE, Altobello","description":"\r\nThis panel was part of a large altar-piece, probably made for a church in Cremona in the early 1520s, of which the centre panel with The Virgin and Child and the predella with scenes from the life of St Helena are known.\r\nAltobello Melone, although Cremonese, looks forward in his enhanced naturalism to the School of Bologna in his Tobias and the Angel. A dishevelled, sleepy-eyed angel leads diminutive Tobias, with his small fish, by the hand.\r\n\r\n\n","end_year":1523,"genre":"painting","materials":"Oil on panel, 112 x 48 cm","museum_name":"Ashmolean Museum, Oxford","name":"Tobias and the Angel","start_year":1521,"type":"religious","url":"https://www.wga.hu/detail/m/melone/angeltob.jpg"},{"artworkid":471,"author":"MANTEGNA, Andrea","description":"\r\nIn one of the twelve side vaults of the ceiling in the Camera degli Sposi, the scene Hercules with a Bow is depicted.\r\n\r\n\n","end_year":1474,"genre":"painting","materials":"Walnut oil on plaster and fresco","museum_name":"Camera degli Sposi, Palazzo Ducale, Mantua","name":"Ceiling decoration (detail)","start_year":1465,"type":"religious","url":"https://www.wga.hu/detail/m/mantegna/07/3sposi09.jpg"},{"artworkid":475,"author":"UNKNOWN GOLDSMITH, German","description":"\r\nThe flat silver casket on paw-shaped feet is partitioned into four equal sections for the storage of writing utensils, an inkwell and a duster. The external surfaces feature a rich decor of embossed ornaments. The top of the lid is decorated with sea creatures. In the middle of the case Neptune, the god of the sea, is positioned. The small sculpture is carved out of a branch of deep red coral, created possibly in Italy, in Genoa.\r\n\r\n\n","end_year":1600,"genre":"metalwork","materials":"Silver, coral, 27 x 35 x 23 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Pen and Ink Casket","start_year":1550,"type":"other","url":"https://www.wga.hu/detail/zzdeco/1gold/16c/07g_1505.jpg"},{"artworkid":479,"author":"ARCHITECT, French","description":"\r\nA 14th-century church was destroyed by the English troops during the Hundred Years' War in 1428. The reconstruction of the church took place between 1449 and 1485 at the wish of the Dauphin, later Louis XI (1423-1483), victor against the English at Dieppe. Louis gave substantial financial support to the building, raised it to the status of a royal chapel, and chose it as his final resting place.\r\nThe ground plan, with ambulatory but without radiating chapels and triangular vault sections, was influenced by Notre-SDame in Paris. The elevation in the central nave, with vast empty wall surfaces between low arcades and a high clerestory, is that of a monumental parish church.\r\nThe photo shows the nave looking east.\r\n\r\n\n","end_year":1485,"genre":"architecture","materials":"Photo","museum_name":"Basilica of Notre-Dame, Clry-Saint-Andr (Loiret)","name":"Interior view","start_year":1449,"type":"interior","url":"https://www.wga.hu/detail/zzzarchi/15c/2/05f_1453.jpg"},{"artworkid":483,"author":"GEERTGEN tot Sint Jans","description":"\r\nBavo is the patron saint of Gent and Lauwe, Belgium and Haarlem, the Netherlands. He is most often shown in Christian art as a knight with a sword and falcon. He was a knight and landowner who at the end of his life distributed his wealth to the poor and took monastic vows.\r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Oil on canvas, 37 x 30 cm","museum_name":"The Hermitage, St. Petersburg","name":"St Bavo","start_year":1480,"type":"religious","url":"https://www.wga.hu/detail/g/geertgen/st_bavo.jpg"},{"artworkid":487,"author":"MASTER of the Joseph Sequence","description":"\r\nUnknown Flemish master, a follower of Rogier van der Weyden. He got his name from the six tondos representing scenes from the Joseph legend of the Old Testament.\r\nJoseph was the elder son of the Hebrew patriarch Jacob and of Rachel. His numerous older brothers were strictly only half-brothers, being the sons of Leah or of handmaidens. The events of his romantic life story have been depicted continuously in Christian art from the 6th century onwards. The medieval Church saw the episodes of his life as a prefiguration of the life of Christ, and it is to this that he owes his important place in Christian art.\r\nWhen in Egypt as a slave, Potiphar, captain of the Pharaoh's guard, bought Joseph from the Ishmaelites and made him steward of his household (Gen. 39:7-20). Potiphar's wife 'cast her eyes over him and said, \"Come and lie with me.\"' He refused her though she continued to press him. One day when they were alone together she clutched his robes, pleading with him to make love to her. At this, Joseph fled so precipitately that he left his cloak at her hands. When Potiphar came home she avenged her humiliation by accusing Joseph of trying to violate her, using the cloak as evidence. Joseph was promptly thrown into prison.\r\n\n\n\r\nSuggested listening (streaming mp3, 5 minutes):Étienne Nicolas Méhul: Joseph, aria\n\n\n","end_year":-1,"genre":"painting","materials":"Wood, 157 cm diameter","museum_name":"Alte Pinakothek, Munich","name":"Joseph and the Wife of Puthiphar","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/m/master/joseph/joseph.jpg"},{"artworkid":456,"author":"RAFFAELLO Sanzio","description":"\r\nThree compositions, executed in a delicate monochrome and showing the Theological Virtues (Faith, Hope and Charity), combine to form the predella of an altarpiece that Atalanta Baglioni commissioned from Raphael, possibly toward the middle of the year 1506, for the family chapel in the church of S. Francesco al Prato in Perugia. The noblewoman intended the work to commemorate her son, Grifonetto, who had been assassinated in July 1500 during the struggles between rival branches of her family to establish control over Perugia.\r\nThe altarpiece was originally composed of a large central panel showing the Deposition of Christ (now in the Borghese Gallery, Rome), a pinnacle with God the Father, Blessing between Angels (painted by a pupil, now in the National Gallery of Umbria, Perugia), and the predella. Both the main panel and the predella were carried from Perugia to Rome by Pope Paul V. They were replaced by copies in 1608.\r\nCharity, which dominates the predella from its central position, is the most complex of the three predella figures. The tondo with the personification of the virtue has clearly been influenced by Michelangelo's Pitti Madonna; on one side a putto holds a flaming torch on its shoulders, while on the other a putto tips coins out of a bowl. Hope, forming the right-hand section of the predella, has at its centre the allegorical figure. On either side are putti in confident attitudes. Faith, traditionally identified by the chalice and host, is flanked by two small angels holding plaques with the Greek inscriptions \"CPX\" and \"IHS,\" alluding to the presence of Christ in the Eucharist. \r\n\r\n\n","end_year":1507,"genre":"painting","materials":"Oil on wood, 16 x 44 cm","museum_name":"Pinacoteca, Vatican","name":"Theological Virtues (Faith)","start_year":1507,"type":"religious","url":"https://www.wga.hu/detail/r/raphael/3umbtrip/37entom4.jpg"},{"artworkid":460,"author":"BUGLIONI, Benedetto","description":"\r\nPandolfo di Urbano Cattani, prior of the church of Sant' Andrea a Camoggiano, Barberino di Mugello, commissioned in around 1505 a  hexagonal baptismal font constructed of six white glazed reliefs illustrating episodes from the life of St John the Baptist.\r\nThe relief of the Baptism of Christ was stolen from the church at some point before the 18th century. It is now in a private collection. The font, now with five panels, is preserved in the Museo d'Arte Sacra a Vicchio in Mugello.\r\n\r\n\n","end_year":1505,"genre":"sculpture","materials":"Glazed terracotta, with remainders of gilding, 66 x 31 cm","museum_name":"Private collection","name":"Baptism of Christ","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/b/buglioni/benedett/baptfon2.jpg"},{"artworkid":464,"author":"MELZI, Francesco","description":"\r\nThis painting is a fairly faithful copy of Leonardo's The Virgin and Child with St Anne in the Louvre. The picture in Florence differs from Leonardo's in the landscape, which is entirely reformulated here, and a few, yet significant, details, such as the foreground in which an alluvial riverbank is replaced by a sumptuous meadow. A possible explanation of the differences could be that the painter of the Florence version used as model not Leonardo's painting but his cartoon (now lost) which probably showed only the figures without Leonardo's final alterations, and no landscape at all.\r\nTraditionally the painting is attributed to Gian Giacomo Caprotti, called Salai, Leonardo's rakish and ill-reputed pupil. However, on basis of stylistic similarities with Melzi's signed Vertumnus and Pomona, it is now attributed to Francesco Melzi.\r\n\r\n\n","end_year":1525,"genre":"painting","materials":"Oil on panel, 99 x 72 cm","museum_name":"Galleria degli Uffizi, Florence","name":"St Anne with the Virgin and the Child Embracing a Lamb","start_year":1520,"type":"religious","url":"https://www.wga.hu/detail/m/melzi/st_anne.jpg"},{"artworkid":468,"author":"UNKNOWN MASTER, Spanish","description":"\r\nThe artist of this painting copied faithfully the most mature version of the many paintings of this subject painted by Jaume Huguet. The good copies were highly appreciated that time. The master of this copy is referred to as the Master of the Prelate Mur after his commissioner. He was a direct follower of Huguet.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Tempera on wood","museum_name":"Museum voor Schone Kunsten, Ghent","name":"Adoration of the Magi","start_year":1450,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_sp/zunk_sp2/06adorat.jpg"},{"artworkid":472,"author":"SADELER, Aegidius II","description":"\r\nThis version of the subject includes a group of putti releasing Sebastian after his ordeal.\r\n\r\n\n","end_year":1595,"genre":"graphics","materials":"Etching and engraving","museum_name":"Rijksmuseum, Amsterdam","name":"The Martyrdom of St Sebastian","start_year":1595,"type":"religious","url":"https://www.wga.hu/detail/s/sadeler/aegidiu2/sebasti2.jpg"},{"artworkid":476,"author":"CODUSSI, Mauro","description":"\r\nAt the close of the fifteenth century Codussi was busy on an important public commission, the Torre dell'Orologio (clock tower), which stands at the entrance to a long commercial street that leads off from San Marco and twists its way down to the merchant area of Rialto. Rather than build a simple bell tower, Codussi opted to use the idea of a triumphal arch: this one would have a single supporting arch topped by a square panel containing a clock face and a moving dial with the signs of the zodiac. The two upper orders are smaller in size but still on square bases. The first of these contains an aedicula with the Virgin, the other the lion of St Mark with Doge Barbarigo (destroyed). The attic is crowned by a balustrade which supports two bronze Moors who ring the hours. This was the earliest, basic structure of the Torre dell'Orologio.\r\nThe tower was, however, immediately enlarged in 1499 by the addition of two side wings, giving a total of four symmetrical spans. This modification helped to accentuate the aims set for the tower in terms of perspective and stage setting; it acts as a landmark both in the Piazza itself and for the visual line leading from the Molo (pier) to the start of the Mercerie, the busiest street in Venice, giving the impression of a truly theatrical backdrop.\r\n\r\n\n","end_year":1499,"genre":"architecture","materials":"Photo","museum_name":"Piazza San Marco, Venice","name":"Torre dell'Orologio","start_year":1496,"type":"other","url":"https://www.wga.hu/detail/c/codussi/orologi1.jpg"},{"artworkid":480,"author":"MINIATURIST, French","description":"\r\nThis manuscript was illuminated by a master (Master of the Harvard Hannibal, named after a miniature in a manuscript at Harvard University) who was perhaps a pupil of the Boucicaut Master, and seems to have headed a workshop in Paris between 1415 and 1420.\r\nThe miniature on folio 227r shows the owner kneeling before the Virgin and Child.\r\n\r\n\n","end_year":1420,"genre":"illumination","materials":"Manuscript","museum_name":"Private collection","name":"Book of Hours","start_year":1420,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1401-450/2french/16religi.jpg"},{"artworkid":484,"author":"AGOSTINO DI GIOVANNI","description":"\r\nThe monument was executed in collaboration with Agnolo di Ventura. It is many-tiered and soaring slab-like up the wall, to be topped by an airy, pedimented barrel vault. The main relief, containing the two halves of a funeral service or procession, and emotional intensity unmatched in the remainder of the tomb. attains a rhythmic unity.  It is the fourteenth-century counterpart of Trajan's Column, which in many ways it much resembles.\r\n\r\n\n","end_year":1330,"genre":"sculpture","materials":"Marble","museum_name":"Duomo, Arezzo","name":"Monument to Bishop Guido Tarlati (detail)","start_year":1330,"type":"religious","url":"https://www.wga.hu/detail/a/agostino/tarlati4.jpg"},{"artworkid":488,"author":"FREDIANI, Vincenzo di Antonio","description":"\r\nThe lunette shape of this painting suggests that it was originally intended as the upper section of an as-yet unknown altarpiece. The prominence accorded to the Magdalene, shown holding up the dead Christ, is unusual.\r\n\r\n\n","end_year":1482,"genre":"painting","materials":"Oil and tempera on panel, 45 x 101 cm","museum_name":"Private collection","name":"Lamentation","start_year":1480,"type":"religious","url":"https://www.wga.hu/detail/f/frediani/lamentat.jpg"},{"artworkid":492,"author":"FANTIN-LATOUR, Henri","description":"\n\n","end_year":1860,"genre":"painting","materials":"Oil on canvas, 41 x 32 cm","museum_name":"The Hermitage, St. Petersburg","name":"Still-Life of Flowers","start_year":1860,"type":"still-life","url":"https://www.wga.hu/detail/f/fantin/stillife.jpg"},{"artworkid":465,"author":"GOSSART, Jan","description":"\r\nThis scene draws elements from depictions of the Crowning with Thorns, in which a fool presents Christ with a mock sceptre, often a long reed, a cattail cut at the top, or, as here, a full cattail. The Man of Sorrows with a cattail, a symbol of salvation or the Resurrection, can be found in a number of northern European church sculptures as well.\r\nIn this work, Gossart typically melded both Northern and Italian sources (engravings by Dürer and Marcantonio Raimondi).\r\n\r\n\n","end_year":1525,"genre":"graphics","materials":"Etching on iron, second state, 200 x 148 mm","museum_name":"Museum of Fine Arts, Boston","name":"The Mocking of Christ or the Man of Sorrows","start_year":1525,"type":"religious","url":"https://www.wga.hu/detail/g/gossart/10print/08print.jpg"},{"artworkid":469,"author":"BERNINI, Gian Lorenzo","description":"\n\n","end_year":1655,"genre":"sculpture","materials":"Terracotta, height 52 cm","museum_name":"Museo Sacro, Musei Vaticani, Vatican","name":"Habakkuk and the Angel (detail)","start_year":1655,"type":"mythological","url":"https://www.wga.hu/detail/b/bernini/gianlore/sculptur/1650/habakuk2.jpg"},{"artworkid":473,"author":"MANTEGNA, Andrea","description":"\r\nThe Camera degli Sposi is lit by two windows; that on the north wall throws a ray of light onto the west wall, which is also lit directly by the east window. Mantegna took the actual lighting of the room into account when planning light and shade for his frescoes.\r\nThe presence of the fireplace was a major factor in the composition of the frescoes. Mantegna extended the painted scene by skillfully depicting a flight of steps leading up to the mantel of the fireplace.\r\n\r\n\n","end_year":1474,"genre":"painting","materials":"Walnut oil on plaster","museum_name":"Camera degli Sposi, Palazzo Ducale, Mantua","name":"View of the north wall","start_year":1465,"type":"historical","url":"https://www.wga.hu/detail/m/mantegna/07/0sposi5.jpg"},{"artworkid":477,"author":"MAZZONI, Sebastiano","description":"\r\nMazzoni returned to this subject once more in the late 1660s or even later, in a small canvas of altogether more Spartan and dramatic composition (private collection).\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on panel, 72 x 37 cm","museum_name":"Private collection","name":"Raising of the Cross","start_year":1660,"type":"religious","url":"https://www.wga.hu/detail/m/mazzoni/sebastia/raising.jpg"},{"artworkid":481,"author":"UCCELLO, Paolo","description":"\r\nThe picture shows the head at the lower left corner of the clock.\r\nWe can see the influence of Ghiberti and Donatello.\r\n\r\n\n","end_year":1443,"genre":"painting","materials":"Fresco","museum_name":"Duomo, Florence","name":"Head of Prophet","start_year":1443,"type":"mythological","url":"https://www.wga.hu/detail/u/uccello/3florenc/3clock3.jpg"},{"artworkid":485,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Bredius 531A.\r\nThis painting is probably the pendant of the so-called \"Leiden History Painting\" (now in Leiden).\r\n\r\n\n","end_year":1625,"genre":"painting","materials":"Oil on panel, 90 x 124 cm","museum_name":"Muse des Beaux-Arts, Lyon","name":"The Martyrdom of St Stephen","start_year":1625,"type":"religious","url":"https://www.wga.hu/detail/r/rembrand/11biblic/01newtes.jpg"},{"artworkid":489,"author":"MASTER M Z","description":"\n\n","end_year":1500,"genre":"graphics","materials":"Ink and brush drawing on paper with greyish green ground, 118 x 140 mm","museum_name":"Staatliche Graphische Sammlung, Munich","name":"Woman Kneeling and Leaning Forward","start_year":1500,"type":"study","url":"https://www.wga.hu/detail/m/master/mz/woman.jpg"},{"artworkid":493,"author":"DRER, Albrecht","description":"\r\nThe altarpiece depicts the legend of the ten thousand Christians who were martyred on Mount Ararat, in a massacre perpetrated by the Persian King Saporat on the command of the Roman Emperors Hadrian and Antonius. Dürer had depicted this massacre a decade earlier in a woodcut. The painting was commissioned by Frederick the Wise, who owned relics from the massacre, and it was placed in the relic chamber of his palace church in Wittenberg. Although Dürer had never before tackled a painting with so many figures, he succeeded in integrating them into a flowing composition using vibrant colour.\r\nDürer's gruesome scene depicts scores of Christians meeting a violent death in a rocky landscape, providing a veritable compendium of tortures and killings. The oriental potentate in the blue cloak and turban who is directing the action in the lower right corner of the picture, would in Dürer's time have been perceived as a reference to the threat of Turkish invasion, because of the seizure of Constantinople in 1453. In the centre of the painting is the rather incongruous figure of the artist, holding a staff with the inscription: 'This work was done in the year 1508 by Albrecht Dürer, German.' The man walking with him through this scene of carnage is probably the scholar Konrad Celtis, a friend of Dürer's who had died just before the painting was completed.\r\n\r\n\n","end_year":1508,"genre":"painting","materials":"Oil on canvas transferred from panel, 99 x 87 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"The Martyrdom of the Ten Thousand","start_year":1508,"type":"religious","url":"https://www.wga.hu/detail/d/durer/1/06/6martyr.jpg"},{"artworkid":497,"author":"FASOLO, Giovanni Antonio","description":"\r\nThe walls of the Central Hall are decorated with four scenes dedicated to villa life, separated by monochrome figures of giants standing on marble cubes. These giants support the frieze, where putti and heads of the Caesars appear. The four scenes are The Card Game and The Invitation to Dance to the right; The Concert and The Banquet to the left.\r\nDespite the damages wrought by time and those caused by repainting carried out during a nineteenth-century restoration, these images display the realistic charge that marks Fasolo's best work, and there is no doubt that the artist, who was also a talented portraitist, included among the protagonists of the frescoes likenesses of the owners and the people who frequented the villa.\r\n\r\n\n","end_year":1570,"genre":"painting","materials":"Fresco","museum_name":"Villa Caldogno, Caldogno","name":"The Concert","start_year":1565,"type":"other","url":"https://www.wga.hu/detail/f/fasolo_g/2/1concer1.jpg"},{"artworkid":501,"author":"PIETRO DI GIOVANNI D'AMBROGIO","description":"\n\n","end_year":1440,"genre":"painting","materials":"Tempera on wood","museum_name":"Lindenau-Museum, Altenburg","name":"St Augustin (detail)","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/p/pietro/giovanni/altar_21.jpg"},{"artworkid":505,"author":"LEBAS, Louis Hippolyte","description":"\r\nThe return of the Bourbons after Napoleon's fall triggered a return to earlier ways in architecture, as elsewhere. Church building, for example, resumed apace after years of suppression.\r\nThe small church of Notre-Dame-de-Lorette was constructed by Louis-Hyppolite Lebas between 1823 and 1836. Its portico of Corinthian columns develops the model of Saint-Philippe-du-Roule by Chalgrin with great verticality and depth. In the interior, however, the verticality and introduction of a clear story above the Ionic colonnade is closer to the early Christian model. The coffered ceiling recalls Roman ceilings of the Renaissance, such as the one in Lateran.\r\nThe photo shows the view of the interior towards the altar.\r\n\r\n\n","end_year":1836,"genre":"architecture","materials":"Photo","museum_name":"Notre-Dame-de-Lorette, Paris","name":"Interior view","start_year":1823,"type":"interior","url":"https://www.wga.hu/detail/l/lebas/lorette2.jpg"},{"artworkid":509,"author":"LICINIO, Bernardino","description":"\n\n","end_year":1520,"genre":"painting","materials":"Oil on canvas, 63 x 88 cm","museum_name":"The Hermitage, St. Petersburg","name":"Family Portrait","start_year":1520,"type":"portrait","url":"https://www.wga.hu/detail/l/licinio/family.jpg"},{"artworkid":513,"author":"MUCHA, Alphonse","description":"\r\nWhile working for Sarah Bernhardt, Mucha made posters for commercial firms, including those for Job (1898) and Moët et Chandon (1899). He also designed a large number of stamps, vignettes, calendars, illustrations, and 'decorative panels', a lithographic type developed for Mucha (e.g. Morning Awakening, 1899).\r\n\r\n\n","end_year":1899,"genre":"graphics","materials":"Lithograph, 61 x 23 cm","museum_name":"Private collection","name":"Mot & Chandon Crmant Imprial","start_year":1899,"type":"other","url":"https://www.wga.hu/detail/m/mucha/poster2.jpg"},{"artworkid":517,"author":"ARCHITECT, English","description":"\r\nThe photo shows the aerial view of te garden side of Audley End.\r\nView the ground floor plan of the building.\r\n\r\n\n","end_year":1616,"genre":"architecture","materials":"Photo","museum_name":"Audley End House, Essex","name":"Aerial view","start_year":1603,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/17c/4/audley1.jpg"},{"artworkid":521,"author":"BREKELENKAM, Quiringh van","description":"\n\n","end_year":1665,"genre":"painting","materials":"Oil on panel, 21 x 19 cm","museum_name":"Private collection","name":"Man Scaling Fish","start_year":1660,"type":"genre","url":"https://www.wga.hu/detail/b/brekelen/scaling.jpg"},{"artworkid":525,"author":"ZAIS, Giuseppe","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 95 x 130 cm","museum_name":"Private collection","name":"Italianate Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/z/zais/landsca1.jpg"},{"artworkid":490,"author":"VANBRUGH, John","description":"\r\nThe picture shows the view from the parkland landscaped by Lancelot Brown (1716-1783), more commonly known with the byname Capability Brown, England's greatest gardener.\r\nThe relationship of the building to the landscape was a crucial part of the design. Vanbrugh and Henry Wise created formal gardens and turned the surrounding forest into parkland to provide a more appropriate frame for the house; Vanbrugh also sought (unsuccessfully) to retain the nearby medieval ruins of Woodstock Manor. His triple-spanned Grand Bridge in front of the palace originally crossed three canals but now spans the lake created by 'Capability' Brown when he redesigned the landscaping.\r\nView the ground plan of Blenheim Palace, Oxfordshire.\r\n\r\n\n","end_year":1722,"genre":"architecture","materials":"Photo","museum_name":"Blenheim Palace, Oxfordshire","name":"Exterior view","start_year":1705,"type":"other","url":"https://www.wga.hu/detail/v/vanbrugh/blenhei42.jpg"},{"artworkid":494,"author":"WILT, Thomas van der","description":"\r\nThis painting portrays an unidentified lady with her lap dog, seated, three-quarter length, leaning with one arm on a table draped in a patterned carpet.\r\n\r\n\n","end_year":1691,"genre":"painting","materials":"Oil on canvas, 54 x 45 cm","museum_name":"Private collection","name":"Portrait of a Lady","start_year":1691,"type":"portrait","url":"https://www.wga.hu/detail/w/wilt/portlady.jpg"},{"artworkid":498,"author":"DONATELLO","description":"\r\nThis statue was executed for the High Altar of the Basilica.\r\nSt Daniel and St Justina on the Altare del Santo were probably related to each other like pendants by means of their gestures and the way they are holding their heads. The garments of the two figures, in contrast, are produced in a very different manner. While that of St Daniel, who according to tradition was also at work in Padua, falls down almost smoothly with few folds, the dress of St Justina is gathered at her hips and is arranged, each fold adapted to suit, to match her gentle contrapposto stance.\r\n\r\n\n","end_year":1450,"genre":"sculpture","materials":"Bronze, height 154 cm","museum_name":"Basilica di Sant'Antonio, Padua","name":"St Justina","start_year":1447,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/2_mature/padova/2altar05.jpg"},{"artworkid":502,"author":"MASACCIO","description":"\n\n","end_year":1427,"genre":"painting","materials":"Fresco","museum_name":"Cappella Brancacci, Santa Maria del Carmine, Florence","name":"The Distribution of Alms and the Death of Ananias (detail)","start_year":1426,"type":"religious","url":"https://www.wga.hu/detail/m/masaccio/brancacc/st_peter/distrib2.jpg"},{"artworkid":506,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThe picture shows an overall view of the ceiling, photographed from below.\r\nThe perspectival distortion at the edges of the overall view of the ceiling fresco tell us that this was never intended as a vantage point for the visitor. Instead, the fresco was to open out to the viewer as he ascended the staircase. Apollo is portrayed in the centre of the heavens, Venus and Mars rest on a cloud below him, while the zodiac appears on a band behind them with the four seasons to the left. The Horae can be recognized by their butterfly wings. The upper part of the fresco is meant to be viewed from the opposite angle and shows Mercury and, a little below him, the gods Diana, Jupiter and Saturn.\r\nThe composition of the ceiling fresco takes into account the many viewpoints available to the visitor, who changes direction several times during his climb up the stairs, and who cannot take in the whole fresco at a glance.\r\nTiepolo's achievements in composing this fresco are twofold: he takes into consideration the way in which only parts of the fresco are visible to the viewer as he climbs, and he presents independent pieces which nevertheless fuse into a harmonic whole. From the foot of the stairs the viewer first sees the continent of America, whose personification points with outstretched arm to a banner showing the mythical creature the griffin, a first allusion to the client. On entering the stairwell, a wider picture is revealed, giving a view of the dramatic cloud formations which push open the skies, and of the figure of Apollo, bathed in radiant light. Halfway up the first flight of stairs, more of the long sides of the fresco are revealed, with Africa on the right and Asia on the left. The groups of figures await the visitor almost like a court society. After this first flight, the viewer must change direction and now sees the portrayal of Europe for the first time on the short side opposite. The flourishing arts are symbolized here, partly personified by the artists involved in the construction of the Residence. Above them, the Prince-Bishop's portrait medallion is borne aloft through the heavens by geni and allegorical figures. Like Apollo, who cannot be seen from here, it too lets its light shine forth over the world.\r\nIn comparison to the other Continents, the Europa fresco is statically conceived. This, and the sometimes frontal arrangement of its figures, causes the viewer to pause and so constitutes a first high point on the way to the Imperial Hall. The fresco was, therefore, never laid out with an overall view in mind, and the criticisms of the largely empty areas of sky at its centre which were later to be frequently voiced, are thus unfounded. Instead we are captivated by the harmonic perfection through which both architecture and painted decoration serve the same purpose: the magnificent staging of the ceremonial path through the Residence.\r\n\r\n\n","end_year":1753,"genre":"painting","materials":"Fresco, 1900 x 3050 cm","museum_name":"Stairwell of the Residenz, Wrzburg","name":"Apollo and the Continents","start_year":1752,"type":"mythological","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/5wurzbur/3ceilin.jpg"},{"artworkid":510,"author":"DELAFOSSE, Jean-Charles","description":"\r\nJean-Charles Delafosse was an architect and a remarkable draftsman, who in 1786 published a significant book on what he called the new historical iconography. He built the Hôtel Titon in 1776 for Antoine-François Frémin, a lawyer in Parliament. In 1783 it was bought by Jean-Baptiste-Maximilien Titon, a councilor in Parliament.\r\nThe photo shows the Neo-classical façade of the Hôtel Titon at 58 rue du Faubourg-Poissonnière, Paris.\r\n\r\n\n","end_year":1776,"genre":"architecture","materials":"Photo","museum_name":"Htel Titon, Paris","name":"Exterior view","start_year":1776,"type":"other","url":"https://www.wga.hu/detail/d/delafoss/titon1.jpg"},{"artworkid":514,"author":"BARONCELLI, Niccol","description":"\r\nIn 1450 Baroncelli was commissioned to make life-size bronze statues of the Crucified Christ, the Virgin, St John the Evangelist, St George and St Maurelius to be placed on an architrave before the high altar in Ferrara Cathedral (now in the right arm of the transept). With his son Giovanni he completed the first three statues, St George and St Maurelius were completed by Domenico di Paris.\r\nThe picture shows the Virgin.\r\n\r\n\n","end_year":1453,"genre":"sculpture","materials":"Bronze","museum_name":"Cathedral, Ferrara","name":"Crucifix between the Virgin and Saints","start_year":1450,"type":"religious","url":"https://www.wga.hu/detail/b/baroncel/crucifi3.jpg"},{"artworkid":518,"author":"SARACENI, Carlo","description":"\r\nThere are indications of Caravaggio's influence in this painting, but Saraceni presents an original and innovative interpretation of Caravaggio's language through his choice of vivid colours and novel iconography.\r\nThe recorder, violin, tambourine and musical scores in the foreground refer to the saint's patronage of music.\r\n\r\n\n","end_year":1610,"genre":"painting","materials":"Oil on canvas, 136 x 99 cm","museum_name":"Los Angeles County Museum of Art, Los Angeles","name":"The Martyrdom of St Cecilia","start_year":1610,"type":"religious","url":"https://www.wga.hu/detail/s/saraceni/cecilia2.jpg"},{"artworkid":522,"author":"BEARDSLEY, Aubrey Vincent","description":"\r\nThis is an illustration to \"Salome\" by Oscar Wilde, published in \"The Studio,\" Vol. 1, No.1, 1893.\r\nIn 1907, John Lane issued a portfolio of designs that Aubrey Beardsley created in 1894 for the first British edition of Salome. Oscar Wilde's play had been written in French in 1891 then translated into English by Lord Alfred Douglas. Several of the images Beardsley submitted were judged to be too erotic to publish and either altered or omitted. All were, however, included in the 1907 set. The present image of Salomé preparing to kiss the severed head of John the Baptist appeared in the 1894 book opposite page 64.\r\nAubrey Beardsley's distinctive black and white drawings for Oscar Wilde's Salomé, published in 1894, brought him extraordinary notoriety whilst still in his early twenties. His work for the periodical The Yellow Book confirmed his position as the most innovative illustrator of the day, but as a result of the hostile moralistic outcry that followed the arrest and trial of Oscar Wilde in early 1895, John Lane and other publishers panicked and dropped Beardsley. After that, almost the only publisher who would use his drawings was Leonard Smithers.\r\n\r\n\n","end_year":1894,"genre":"graphics","materials":"Process print from line block, 227 x 164 mm","museum_name":"Metropolitan Museum of Art, New York","name":"The Climax","start_year":1894,"type":"other","url":"https://www.wga.hu/detail/b/beardsle/beards03.jpg"},{"artworkid":526,"author":"DUCCIO di Buoninsegna","description":"\r\nThis scene is on one of the back crowning panels of the Maestà.\r\nThe episodes Appearance Behind Locked Doors and Doubting St Thomas take place in the same surroundings, the house where the apostles took refuge for fear of the Jews. The door in the centre, firmly shut with a horizontal bar (a detail which emphasizes the miraculous nature of the event), frames and shows up the dominant figure of Christ, towards whom the two groups of apostles are converging.\r\n\r\n\n","end_year":1311,"genre":"painting","materials":"Tempera on wood, 40 x 52 cm","museum_name":"Museo dell'Opera del Duomo, Siena","name":"Appearance Behind Locked Doors (panel 1)","start_year":1308,"type":"religious","url":"https://www.wga.hu/detail/d/duccio/maesta/crown_v/cro_v_1.jpg"},{"artworkid":530,"author":"ANGUISSOLA, Sofonisba","description":"\r\nIn the painting the nun wears a lily-white habit which stands out against the dark background. The red and gold bound book of prayers offers the only source of detail. The sitter is usually identified as Elena Anguissola, Sofonisba's younger sister who had been a student of the painter Bernardino Campi along with Sofonisba, and later entered the monastery of San Vincenzo in Mantua assuming the name of Sister Minerva.\r\n\r\n\n","end_year":1551,"genre":"painting","materials":"Oil on canvas, 169 x 53 cm","museum_name":"City Art Gallery, Southampton","name":"Portrait of a Nun","start_year":1551,"type":"portrait","url":"https://www.wga.hu/detail/a/anguisso/sofonisb/port_nun.jpg"},{"artworkid":547,"author":"GIOTTO di Bondone","description":"\r\nThe decorative bands on the walls above contain several scenes from the Old Testament and busts of saints and prophets. The Old Testament scenes are of a very modest standard, and owe their presence in the chapel to the Gothic tradition of representing parallels between the Old and New Testament. Some of the figures of saints and prophets are of very high workmanship, and among the most impressive of Giotto's repertoire.\r\nThe two scenes on this wall detail are from the life of Christ: 8. Marriage at Cana and 23. Pentecost.\r\n\r\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"Scenes with decorative bands","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/decorati/wall2.jpg"},{"artworkid":495,"author":"JONSON VAN CEULEN, Cornelius the Elder","description":"\r\nThe present half-length portrait of the jeweler and goldsmith Thomas Cletcher (1598-1666) comprises part of the output originating from Cornelis Jonson van Ceulen's later Dutch period. His paintings from these decades are considered to be among his finest, characterised by an elegance reminiscent of Anthony van Dyck, coupled with an expert rendering of physiognomy and facial expression.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 80 x 64 cm","museum_name":"Private collection","name":"Portrait of Thomas Cletcher","start_year":1660,"type":"portrait","url":"https://www.wga.hu/detail/j/jonson/elder/cletcher.jpg"},{"artworkid":499,"author":"MONTORSOLI, Giovanni Angelo","description":"\r\nMontorsoli's last important work was the free-standing marble high altar of Santa Maria dei Servi in Bologna. Its many sculptures are set into a polychrome marble architectural setting with three niches separated by columns; Vasari particularly singled out for praise the central statue of the Risen Christ.\r\n\r\n\n","end_year":1561,"genre":"sculpture","materials":"Marble","museum_name":"Santa Maria dei Servi, Bologna","name":"High Altar","start_year":1558,"type":"religious","url":"https://www.wga.hu/detail/m/montorso/servi1.jpg"},{"artworkid":503,"author":"VREDEMAN DE VRIES, Hans","description":"\r\nVredeman de Vries was a painter, an architect and a designer of gardens, interiors and ephemeral architecture such as the triumphal arch for the entrance of Emperor Charles V in Antwerp in 1549. Between 1596 and 1598 he worked at the court in Prague, where he decorated several halls and designed fountains for the imperial palace of Rudolph II. A connoisseur of classic architecture thanks to the treatises drawn up by Vitruvius and Serlio, De Vries was also the author of significant writings on architecture and perspective which, alongside his prints, would exert a great influence on painters of architecture from the 16th to the 19th centuries.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 82 x 100 cm","museum_name":"The Hermitage, St. Petersburg","name":"Architectural Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/v/vredeman/father/archland.jpg"},{"artworkid":507,"author":"GONALVES, Nuno","description":"\r\nIn 1465 the judicial head of Portuguese Jewry, here seen holding a Hebrew book, was a valued member of the court of Henry the Navigator in Lisbon.\r\n\r\n\n","end_year":1460,"genre":"painting","materials":"Panel","museum_name":"Museu Nacional de Arte Antiga, Lisbon","name":"Altarpiece of Saint Vincent, the panel of the Relic (detail)","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/g/goncalve/n-reliqd.jpg"},{"artworkid":511,"author":"DURET, Francisque-Joseph","description":"\r\nThe statue was exhibited at the Salon of 1839. The original is in the Louvre, Paris, this replica was made by the Quesnel foundry c. 1850.\r\n\r\n\n","end_year":1839,"genre":"sculpture","materials":"Bronze, height 196 cm","museum_name":"Private collection","name":"Grape-picker Extemporizing","start_year":1839,"type":"other","url":"https://www.wga.hu/detail/d/duret/grapepic.jpg"},{"artworkid":515,"author":"RUBENS, Peter Paul","description":"\r\nPeter Paul Rubens, the genius of European Baroque, painted his Deposition during his first stay in Rome. Rubens provides us with an extraordinary interpretation of the theme of the incarnation of the divine and human nature of Christ, suspended between death and potential future life. All the shades of the spectrum of light are apparent in the flesh tones, with an opalescence that develops that mother of pearl quality first introduced by Federico Barrocci.\r\nThe impact made on Rubens by Roman statuary can be seen in the antique altar with sacrifice scenes, but above all in the strong sculptural high relief of the figures. The dense chromatic texture of the composition owes much Titian's later works, while the airy vibrato and gentle rhythms echo Correggio's achievements. The light unexpectedly bursting through the dark area of the painting provides evidence that Rubens competed in an original way with the chiaroscuro experiments of his contemporary Caravaggio.\r\n\r\n\n","end_year":1602,"genre":"painting","materials":"Oil on canvas, 180 x 137 cm","museum_name":"Galleria Borghese, Rome","name":"The Deposition","start_year":1602,"type":"religious","url":"https://www.wga.hu/detail/r/rubens/10religi/01religi.jpg"},{"artworkid":519,"author":"HOOCH, Pieter de","description":"\r\nPieter de Hooch produced some of his best genre paintings at the end of the 1550s, during his last years in Delft. A Woman Nursing an Infant with a Child and a Dog belongs to this group. In this tranquil interior a mother tenderly breastfeeds her infant. Her solicitous rectitude is imitated by the older child to her right. In an action that parallels that of her mother, the girl feeds the family dog from a dinner pot.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 68 x 56 cm","museum_name":"Fine Arts Museums of San Francisco, San Francisco","name":"A Woman Nursing an Infant with a Child and a Dog","start_year":1658,"type":"genre","url":"https://www.wga.hu/detail/h/hooch/2/24hooch.jpg"},{"artworkid":523,"author":"FEDERIGHI, Antonio","description":"\r\nThe figures contributed by Federighi to the Loggia della Mercanzia stem from the late work of Jacopo della Quercia. \r\nThe figure of St Ansanus is reminiscent of Jacopo della Quercia's Angel Gabriel (San Gimignano, Collegiata). The treatment of the massive tubular folds of St Ansanus's robe recalls della Quercia's handling of the garments of the saints in the Trenta Altarpiece (Lucca, San Frediano). In the St Victor the head is shown in profile, as it is in Quercia's prophets on the Baptismal Font.\n\n","end_year":1459,"genre":"sculpture","materials":"Marble","museum_name":"Loggia della Mercanzia, Siena","name":"Statues of St Ansanus and St Victor","start_year":1457,"type":"religious","url":"https://www.wga.hu/detail/f/federigh/loggia1.jpg"},{"artworkid":527,"author":"AGOSTINO DI DUCCIO","description":"\n\n","end_year":1477,"genre":"sculpture","materials":"Marble","museum_name":"San Francesco, Amelia","name":"Monument of Matteo and Elisabetta Geraldini (detail)","start_year":1477,"type":"religious","url":"https://www.wga.hu/detail/a/agostin/3various/geraldi4.jpg"},{"artworkid":531,"author":"MOCHI, Orazio","description":"\r\nThe two marble statues of Sts Simon and Jude by Orazio Mochi are in the church of Santi Simone and Giuda in Florence. The present church dates from 1243 but underwent a major renovation designed by Gherardo Silvani in 1630.\r\n\r\n\n","end_year":1600,"genre":"sculpture","materials":"Marble","museum_name":"Santi Simone e Giuda, Florence","name":"St Jude","start_year":1600,"type":"religious","url":"https://www.wga.hu/detail/m/mochi_o/jude1.jpg"},{"artworkid":535,"author":"MINIATURIST, French","description":"\r\nThe Hours of John the Fearless was an illuminated book of Hours produced in Flanders between 1406 and 1415 for John the Fearless. It contains 12 illustrated saints' calendars, 28 major miniatures and rectangular and acanthus-leaf borders, all following the Rome liturgy of the Hours.\r\nThe present miniature shows St Andrew crucified on an x-shaped cross.\r\n\r\n\n","end_year":1415,"genre":"illumination","materials":"Manuscript","museum_name":"Bibliothque Nationale, Paris","name":"Hours of John the Fearless","start_year":1406,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1401-450/2french/14religj.jpg"},{"artworkid":539,"author":"RIZZO, Antonio","description":"\r\nThe picture shows Charity, one of the two virtues flanking the figure of the doge on the funerary monument.\r\nTo his Charity Rizzo has given the same body as that of his Eve, but her face is idealized and impassive, more suited to an allegorical figure. The skill with which he conveys the feeling of finely pleated fabric revealing the body beneath was undoubtedly much appreciated by experts, many of whom was also collectors of classical works.\r\n\r\n\n","end_year":1476,"genre":"sculpture","materials":"Marble","museum_name":"Santa Maria Gloriosa dei Frari, Venice","name":"Monument of Niccol Tron (detail)","start_year":1476,"type":"other","url":"https://www.wga.hu/detail/r/rizzo/tron2.jpg"},{"artworkid":543,"author":"COURBET, Gustave","description":"\r\nCourbet's first dealer was one H. J. van Wisselingh, who visited him in\r\nhis studio to buy a self-portrait, The Sculptor, and commission a portrait\r\nof himself.\r\n\r\n\n","end_year":1846,"genre":"painting","materials":"Oil on canvas, 57 x 46 cm","museum_name":"Kimbell Art Museum, Fort Worth","name":"Portrait of H. J. van Wisselingh","start_year":1846,"type":"portrait","url":"https://www.wga.hu/detail/c/courbet/2/courb211.jpg"},{"artworkid":556,"author":"VOS, Simon de","description":"\n\n","end_year":1635,"genre":"painting","materials":"Oil on oak","museum_name":"Nrodn Galerie, Prague","name":"Allegorical Scene (detail)","start_year":1635,"type":"mythological","url":"https://www.wga.hu/detail/v/vos_s/allegorz.jpg"},{"artworkid":496,"author":"MINIATURIST, Spanish","description":"\r\nThe Golden Haggadah, written in Hebrew, is the earliest Spanish example to include a complete cycle of illustrations to the biblical books of Genesis and Exodus. The 14 pages of miniatures are all composed in the same way: there are four bordered scenes on each page that have to be followed from right to left, just as when reading Hebrew. The miniatures were executed by two anonymous northern Spanish illuminators.\r\nThis scene on folio 9r depicts the Pharaoh on the throne, surrounded by three advisors. The Princess stands before him with the infant Moses in her arms, accompanied by two servants.\r\n\r\n\n","end_year":1320,"genre":"illumination","materials":"Manuscript (Additional Ms. 27), 247 x 195 mm","museum_name":"British Library, London","name":"The Golden Haggadah","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1301-350/4other/19_1301.jpg"},{"artworkid":500,"author":"MENEGHELLO di Giovanni de' Canali","description":"\r\nThe central panel of the altarpiece represents The Virgin and Child.\r\n\r\n\n","end_year":1410,"genre":"painting","materials":"Tempera on wood, 75 x 47 cm","museum_name":"National Gallery, London","name":"Altarpiece of the Virgin Mary (central panel)","start_year":1410,"type":"religious","url":"https://www.wga.hu/detail/m/meneghel/1altar1.jpg"},{"artworkid":504,"author":"HOLBEIN, Hans the Younger","description":"\r\nThis drawing comes from a series of eight in the Basel Kupferstichkabinett (engravings collection). Holbein probably drew them as cartoons for four pairs of windows in a church in Basel, and they clearly illustrate his close involvement in the manufacture of stained glass. That this drawing was a study for stained glass is clearly shown by the drawing technique - dark strokes of the pen emphasize the contours, there is an absence of hatching, and the forms are modeled by washes. The lively play of the hems of the garments, and powerful, expressive wash are typical of the young Holbein.\r\n\r\n\n","end_year":1520,"genre":"graphics","materials":"Pen and black ink on a chalk sketch, with a gray wash, 549 x 377 mm","museum_name":"ffentliche Kunstsammlung, Basel","name":"St John the Baptist","start_year":1519,"type":"study","url":"https://www.wga.hu/detail/h/holbein/hans_y/2drawing/1530/04stjohn.jpg"},{"artworkid":508,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Bredius 397.\r\nThis painting of a woman with her hand on her heart is considered a Virgin of Sorrows with the usual attributes of that figure. In her bearing, which seems to express barely endurable pain, she resembles the Madonnas Rembrandt painted and drew in the 1630s.\r\n\r\n\n","end_year":1661,"genre":"painting","materials":"Oil on canvas, 107 x 81 cm","museum_name":"Muse Dpartemental d'Art Ancien et Contemporain, pinal","name":"Virgin of Sorrows","start_year":1661,"type":"religious","url":"https://www.wga.hu/detail/r/rembrand/14biblic/65newtes.jpg"},{"artworkid":512,"author":"CIMA da Conegliano","description":"\r\nThis painting is considered Cima's masterpiece and provided a model for Giovanni Bellini's painting, some years later, of the same subject for the church of Santa Corona in Vicenza. It was this painting that made Cima's reputation among painters and the general public in Venice.\r\nIn the background, groups of easterners appear to be making their way to the City of God on horseback or on foot. John waits in readiness on the plain.\r\n\r\n\n","end_year":1494,"genre":"painting","materials":"Oil on panel, 350 x 210 cm","museum_name":"San Giovanni in Bragora, Venice","name":"Baptism of Christ","start_year":1493,"type":"religious","url":"https://www.wga.hu/detail/c/cima/1/02baptis.jpg"},{"artworkid":516,"author":"GELDER, Aert de","description":"\n\n","end_year":1690,"genre":"painting","materials":"Oil on canvas, 139 x 99 cm","museum_name":"The Hermitage, St. Petersburg","name":"Wandering Musician","start_year":1690,"type":"genre","url":"https://www.wga.hu/detail/g/gelder/wanderin.jpg"},{"artworkid":520,"author":"DRER, Albrecht","description":"\r\nThe date top right is a later addition.\r\n\r\n\n","end_year":1503,"genre":"graphics","materials":"Watercolour on paper, 227 x 160 mm","museum_name":"Muse Bonnat, Bayonne","name":"Head of a Stag","start_year":1503,"type":"other","url":"https://www.wga.hu/detail/d/durer/2/16/2/04stag.jpg"},{"artworkid":524,"author":"COTES, Francis","description":"\r\nLaura Louisa Walpole (d. 1813) was one of the three illegitimate daughters of Sir Edward Walpole (1706-1784) and niece of the author, Horace Walpole (1717-1797). She married the Hon. Frederick Keppel, Bishop of Exeter (1728-1777).\r\nThis painting is one of a pair, the other depicting her sister, Charlotte Walpole, wife of Lionel Tollemache, the 5th Earl of Dysart.\r\n\r\n\n","end_year":1760,"genre":"painting","materials":"Oil on canvas, 76 x 34 cm","museum_name":"The Clark Art Institute, Williamstown","name":"Laura Louisa Walpole","start_year":1760,"type":"portrait","url":"https://www.wga.hu/detail/c/cotes/walpole2.jpg"},{"artworkid":528,"author":"RIGAUD, John Francis","description":"\r\nThis is a preliminary study for the larger canvas measuring 192 by 144 cm, painted by the young artist in Rome.\r\n\r\n\n","end_year":1770,"genre":"painting","materials":"Oil on canvas, 64 x 51 cm","museum_name":"Private collection","name":"Hope Nursing the Love of Glory","start_year":1768,"type":"mythological","url":"https://www.wga.hu/detail/r/rigaud_j/hopelove.jpg"},{"artworkid":532,"author":"STOSS, Veit","description":"\n\n","end_year":1523,"genre":"sculpture","materials":"Wood","museum_name":"Cathedral, Bamberg","name":"Winged Altarpiece (detail)","start_year":1523,"type":"religious","url":"https://www.wga.hu/detail/s/stoss/bamberg2.jpg"},{"artworkid":536,"author":"CEREZO, Mateo the Younger","description":"\r\nAfter his return to Madrid around 1660, Cerezo's development was rapid as a religious painter and as one of the most appealing still-life artist of the period. These abilities are already evident in his Mystic Marriage of St Catherine, where the bright colours, sparkling textures, and harmonious composition show his precocious talent.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 207 x 163 cm","museum_name":"Museo del Prado, Madrid","name":"The Mystic Marriage of St Catherine","start_year":1660,"type":"religious","url":"https://www.wga.hu/detail/c/cerezo/mystic_m.jpg"},{"artworkid":540,"author":"PERUGINO, Pietro","description":"\n\n","end_year":1482,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Moses's Journey into Egypt and the Circumcision of His Son Eliezer (detail)","start_year":1482,"type":"religious","url":"https://www.wga.hu/detail/p/perugino/sistina/egypt4.jpg"},{"artworkid":544,"author":"PIERO DELLA FRANCESCA","description":"\r\nIn 1454 Piero agreed to paint a polyptych for the Augustinians of Borgo San Sepolcro; the painting was to be finished within eight years and was intended for their monastery. As usual, the work was not completed until much later. The polyptych later dismembered and the panels were scattered. It was only in the twentieth century that scholars succeeded in reconstructing this work. Among the parts of the polyptych that have unfortunately not survived there is also the central panel which represented the Virgin Enthroned.\r\nSt Michael was one of the four side panels depicting four saints (St Augustine and St Michael at the left side and St John the Evangelist and St Nicholas of Tolentino at the right).\r\nArchangel Michael is portrayed as an ancient warrior, his athletic limbs made more elegant by his precious armour, by the graceful tunic and by his beautiful boots decorated by with tiny pearls. There is nothing violent nor dramatic in the killing of the dragon, who is shown as a snake, its decapitated body lying on the ground.\r\n\r\n\n","end_year":1470,"genre":"painting","materials":"Tempera on panel, 133 x 60 cm","museum_name":"National Gallery, London","name":"Polyptych of St Augustine: St Michael","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/p/piero/1/2august2.jpg"},{"artworkid":548,"author":"BEGAS, Reinhold","description":"\r\nThe German Reinhold Begas, a pupil of Gottfried Schadow and Christian Rauch, initially adhered to a graceful Neoclassicism. However, in 1856 he went to Italy, where he discovered the work of Michelangelo and Gianlorenzo Bernini, and from then on his style underwent a change.\r\n\r\n\n","end_year":1857,"genre":"sculpture","materials":"Marble","museum_name":"Staatliche Museen, Berlin","name":"Mercury and Psyche","start_year":1857,"type":"mythological","url":"https://www.wga.hu/detail/b/begas/reinhold/mercury.jpg"},{"artworkid":552,"author":"ARCHITECT, Italian","description":"\r\nThe Badia Fiesolana is an old monastery located in the town of San Domenico, in-between Fiesole and Florence. It was built between 1025-1028 on the location of a former chapel dedicated to St Peter and St Romulus. The much larger adjoining abbey was built in 1456-1467 under the patronage of Cosimo de' Medici the Elder, however, it remained unfinished because Cosimo the Elder died prior to its completion.\r\nThe photo shows the façade of the church.\r\n\r\n\n","end_year":1020,"genre":"architecture","materials":"Photo","museum_name":"Badia Fiesolana, San Domenico","name":"Exterior view","start_year":1020,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/11c/3/02i_1001.jpg"},{"artworkid":529,"author":"BEHAM, Barthel","description":"\r\nThis portrait intentionally minimizes the boundaries between sitter and viewer. Unlike most portrait sitters, this gentleman is rendered as active. Beham, who trained in Nuremberg before moving to the Bavarian court in Munich, presented him full face, attentively watching something or someone on the viewer's side of the picture plane. He writes numbers in chalk on the wooden table, perhaps tallying the changing scores of a game in progress. The picture's date is marked in the lower left. Beham opted for a frontal pose yet one that creates depth through its diagonal movement. The artist worked throughout to establish a realistic and highly tactile space. In the reflection in the eyes, in the glint of light on the sword handle and in the transparency of the wine glass, Beham recorded the presence of a window behind the viewer. Beham conscious manipulation of figure and space anticipates Jan Vermeer, Carel Fabritius and other Baroque masters.\r\n\r\n\n","end_year":1529,"genre":"painting","materials":"Oil on panel, 85 x 66 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Portrait of a Man","start_year":1529,"type":"portrait","url":"https://www.wga.hu/detail/b/beham/barthel/portrait.jpg"},{"artworkid":533,"author":"GIOVANNI DA MILANO","description":"\r\nTypical of Giovanni's style are the elegant forms of the present Crucifixion and the relative absence of extravagant decoration found in many of his contemporaries' work.\r\nIt has been proposed that the panel was not originally a stand-alone work but the pinnacle of a polyptych.\r\n\r\n\n","end_year":1355,"genre":"painting","materials":"Tempera on panel, gold ground, 47 x 33 cm","museum_name":"Private collection","name":"Crucifixion","start_year":1355,"type":"religious","url":"https://www.wga.hu/detail/g/giovanni/milano/panels/crucifiz.jpg"},{"artworkid":537,"author":"CRANACH, Lucas the Younger","description":"\n\n","end_year":1532,"genre":"painting","materials":"Oil on copper transferred from wood, 84 x 123 cm","museum_name":"The Hermitage, St. Petersburg","name":"Christ and the Woman Taken in Adultery","start_year":1532,"type":"religious","url":"https://www.wga.hu/detail/c/cranach/lucas_y/01fallen.jpg"},{"artworkid":541,"author":"DAVID, Gerard","description":"\r\nDavid's first paintings probably date from the years between 1480 and 1484. They reflect a Dutch influence in his early training. Soon after he arrived in Bruges, however, in 1487 and 1488, the municipal authorities requested him to paint a series of panels for the deputy burgomaster's room in the town hall. This major commission took the form of a large diptych that was first mentioned in the city archives as a Last Judgment, but which in fact depicts The Judgment of Cambyses. The subject is taken from Herodotus: the judge Sisamnes, who had been guilty of prevarication, was arrested and punished by Cambyses, the King of Persia. For his crimes, Sisamnes was condemned to be flayed alive. David represents this scene with a cold and exemplary cruelty. Like the paintings Dieric Bouts made for the town hall in Louvain, David's panels were intended as a stern warning to judges against the temptation of corruption.\r\n\r\n\n","end_year":1498,"genre":"painting","materials":"Oil on wood, 202 x 349,5 cm","museum_name":"Groeninge Museum, Bruges","name":"The Judgment of Cambyses","start_year":1498,"type":"historical","url":"https://www.wga.hu/detail/d/david/1/cambyse.jpg"},{"artworkid":545,"author":"BCKLIN, Arnold","description":"\n\n","end_year":1881,"genre":"painting","materials":"Oil on wood, 61 x 50 cm","museum_name":"Staatliche Kunstsammlungen, Dresden","name":"Summer","start_year":1881,"type":"landscape","url":"https://www.wga.hu/detail/b/bocklin/summer.jpg"},{"artworkid":549,"author":"GIOTTO di Bondone","description":"\r\nPoverty is a winged gaunt woman dressed only in rags, at whom children throw stones or brandish sticks. Christ himself marries this woman to St Francis. Numerous angels, as well as the personifications of Hope and Chastity, are present as witnesses. As offerings, two angels carry worldly goods heavenwards. The reactions of the world are depicted at either side: on the left a young man imitates Francis, and on the right the rich express ridicule.\r\n\r\n\n","end_year":1320,"genre":"painting","materials":"Fresco","museum_name":"Lower Church, San Francesco, Assisi","name":"Franciscan Allegories: Allegory of Poverty","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/assisi/lower/crossing/20allego.jpg"},{"artworkid":553,"author":"PIETRO DI GIOVANNI D'AMBROGIO","description":"\r\nThis panel belonged to an altarpiece, now dismembered. According to the reconstruction accepted by many scholars, the altarpiece consisted of a Virgin and Child in the centre (Brooklyn Museum, New York), St Augustin (Lindenau-Museum, Altenburg) at the left, and probably St Nicholas (lost) at the right. The three predella panels are the Departure of St Augustin (Staatliche Museen, Berlin), the Entry of Christ to Jerusalem (Pinacoteca Stuard, Parma), and the Birth of St Nicholas (Kunstmuseum, Basel).\r\n\r\n\n","end_year":1440,"genre":"painting","materials":"Tempera and tooled gold on poplar panel, 98 x 53 cm","museum_name":"Brooklyn Museum, New York","name":"Virgin and Child","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/p/pietro/giovanni/altar_1a.jpg"},{"artworkid":557,"author":"BECCAFUMI, Domenico","description":"\r\nThe picture shows the octagon with Scipio Appeals to the Honour of his Soldiers. The female figures are Claudia Quinta and Sulpicia.\r\n\r\n\n","end_year":1523,"genre":"painting","materials":"Fresco","museum_name":"Palazzo Venturi, Siena","name":"Scipio Appeals to the Honour of his Soldiers","start_year":1519,"type":"mythological","url":"https://www.wga.hu/detail/b/beccafum/1/09ventur.jpg"},{"artworkid":561,"author":"VERMEER, Johannes","description":"\r\nWe again encounter on the back wall the Standing Cupid Holding a Card Aloft, with which we are familiar from Girl Asleep at a Table at the Metropolitan Museum, New York. One now ascribes rather convincingly this painting to Caesar van Everdingen. The landscape to the left belongs to Jan Wynants, or his immediate entourage.\r\n\"Amor docet musicam\" - love teaches one to play music. In all probability the artist is making reference to this aphorism known from the literature of symbols. Above the head of the young woman who is preparing to play the already opened virginal, we see prominently displayed the picture of a curly blond Amor with a bow in his right hand and a love-letter held high in his left. This picture within a picture gives a didactic content to this still-life. Such purposefulness explains the somewhat unnatural attitude of the girl. She looks at the viewer before she begins to play: this is not a pose, however, but an invitation to the viewer to look for the hidden meaning. It is one of the traits of still-life paintings with a moral lesson that one of the figures glances out of the picture, sometimes even making a gesture to indicate that the others are conveying an intellectual or moral point.\r\nThe companion painting to this brilliantly lit and coloured Vermeer creation also expresses the connection between music and love. In that picture the girl is sitting at the virginal, and on the wall behind her the viewer sees a typical Utrecht bordello scene, with a woman playing the lute and being embraced by a man wearing a hat with a feather, while the procuress looks on.\r\nYoung Amor appears in the background of other Vermeer paintings as well and the image of a musical group is also used, in every case with erotic connotations (The Music Lesson, New York, Frick Collection; The Concert, Boston Museum).\r\n\r\n\n","end_year":1670,"genre":"painting","materials":"Oil on canvas","museum_name":"National Gallery, London","name":"Lady Standing at a Virginal (detail)","start_year":1670,"type":"genre","url":"https://www.wga.hu/detail/v/vermeer/04/36stand1.jpg"},{"artworkid":565,"author":"DELAROCHE, Paul","description":"\r\nThis portrait shows the artist's son at the age of fifteen, half length with a pile of books, having recently recovered from a severe illness.\r\n\r\n\n","end_year":1851,"genre":"painting","materials":"Oil on canvas, 63 x 41 cm","museum_name":"Private collection","name":"Portrait of Joseph-Carle-Paul-Horace Delaroche","start_year":1851,"type":"portrait","url":"https://www.wga.hu/detail/d/delaroch/8delarod.jpg"},{"artworkid":569,"author":"PALLADIO, Andrea","description":"\r\nIn 1548 Palladio received his first public commission from the town of Vicenza. The reconstruction of the original loggia surrounding the medieval town hall had collapsed in 1496, and after gathering proposals for its replacement from many of the well-known architects of the time, including Jacopo Sansovino, Sebastiano Serlio, Michele Sanmicheli and Giulio Romano, the town council decided in favour of the design by the local architect Palladio, thus firmly establishing his reputation.\r\nPalladio's solution for the loggia of the Palazzo della Ragione (also known as the Basilica) is brilliantly convincing, not least because of the use of the Serlian motif with which he concealed the irregularities of the inner structure, particularly the different widths of the bays, by varying the side openings while giving the building a harmonious general appearance. The idea of a double skin for the building derives from the structure of ancient Roman theatre walls, the vertical axes of which are articulated by equal-sized openings on the different floors and by engaged columns set in front of the walls. In addition, Palladio projected the Serliana - subsequently also called the Palladian motif - in the third dimension, since its columns are duplicated towards the interior of the loggia. The boundary between the building and the piazza was thus made permeable, as befitted the building's function as the seat of the town council.\r\nPalladio's design combines various elements derived from the same historical source, but without producing a sense of monotony. The model for the two-storey casing was the Palazzo della Ragione, Padua, which was surrounded by two-storey arcades in the first half of the 15th century. There, however, each arch on the ground floor is matched by two openings with slender marble columns on the upper floor. In the Basilica, instead of differentiating between the two levels, Palladio offered a uniform structure, albeit one that gives a general impression of variety despite its rigorous discipline. This effect results not least from the masons' virtuoso handling of the many details of the building, which was not completed until 1617.\r\nView the first floor plan of the Basilica, Vicenza.\r\n\r\n\n","end_year":1549,"genre":"architecture","materials":"Photo","museum_name":"Basilica, Vicenza","name":"Exterior view","start_year":1549,"type":"other","url":"https://www.wga.hu/detail/p/palladio/2/basilicb.jpg"},{"artworkid":573,"author":"BRONZINO, Agnolo","description":"\r\nThe young Ludovico Capponi (1534-1614) is depicted at the age of seventeen. His black and white clothes allude to the colours of his family's coat-of-arms.\r\n\r\n\n","end_year":1551,"genre":"painting","materials":"Oil on wood, 117 x 86 cm","museum_name":"Frick Collection, New York","name":"Portrait of Ludovico Capponi","start_year":1551,"type":"portrait","url":"https://www.wga.hu/detail/b/bronzino/2/capponi.jpg"},{"artworkid":599,"author":"MASOLINO da Panicale","description":"\n\n","end_year":1482,"genre":"painting","materials":"Fresco","museum_name":"Santa Maria del Carmine, Florence","name":"Healing of the Cripple (detail)","start_year":1426,"type":"religious","url":"https://www.wga.hu/detail/m/masolino/brancacc/healing1.jpg"},{"artworkid":534,"author":"SANGALLO, Antonio da, the Younger","description":"\r\nSanta Maria di Loreto is located just across the street from the Trajan's Column, near the Monument of Vittorio Emanuele II. The church was built atop an earlier 15th century chapel, which contained an icon of the Virgin of Loreto, hence the church retained the icon and acquired the title.\r\nThe church had been begun by Donato Bramante c. 1507 and continued by Antonio da Sangallo the Younger. Built on a restricted site, to a centralized plan, it has a square base and an octagonal drum with a prominent cupola; the small chancel projects at the rear. The lower parts of the church and the principal façade to the south were complete when work restarted under Giacomo del Duca, after 1573.\r\nThe powerful cupola with the complex lantern is the work by Giacomo del Duca.\r\n\r\n\n","end_year":1570,"genre":"architecture","materials":"Photo","museum_name":"Santa Maria di Loreto, Rome","name":"Exterior view","start_year":1570,"type":"other","url":"https://www.wga.hu/detail/s/sangallo/antonio2/loreto.jpg"},{"artworkid":538,"author":"FRAGONARD, Jean-Honor","description":"\r\nAt first sight, this painting describing the feminine resistance preceding abandon, might seem to belong to the same vein of light-hearted, erotic themes that Fragonard was fond of throughout his career. However, the intensity of the chiaroscuro effects and the dramatic power of the diagonal composition, lend a certain gravity to the scene.\r\nInterestingly, this painting has a pendant illustrating sacred love, an Adoration of the Shepherds, also in the Louvre.\r\n\r\n\n","end_year":1777,"genre":"painting","materials":"Oil on canvas, 73 x 93 cm","museum_name":"Muse du Louvre, Paris","name":"The Bolt","start_year":1777,"type":"genre","url":"https://www.wga.hu/detail/f/fragonar/father/2/08bolt.jpg"},{"artworkid":542,"author":"UNKNOWN POTTER, Dutch","description":"\r\nThis dish is from an ensemble of four which flanked two smaller and two larger trapeziform dishes so that their sides fitted, with an elongated octagonal dish  placed in the middle. The set was used as a table centrepiece holding numerous pickled or possibly sweet titbits accompanying a main course or dessert.\r\nThe dish was made in the Het Jonge Moriaenshooft faience factory in Delft which, together with the adjoining Het Oude Moriaenshooft, was run by the Hoppesteyn family from the mid-1660s. All the faience produced in Delft was decorated in blue until around 1670, because there was a demand for objects resembling the blue and white porcelain that was imported from China. Shortly after 1680, Het Moriaenshooft started experimenting with colour. The dishes of the set are multicoloured in the glaze and decorated in overglaze red and gold.\r\n\r\n\n","end_year":1690,"genre":"ceramics","materials":"Multicoloured faience, 27 x 34 cm","museum_name":"Rijksmuseum, Amsterdam","name":"Dish with Chinese Figures","start_year":1685,"type":"other","url":"https://www.wga.hu/detail/zzdeco/5ceramic/delft/1d_02dis.jpg"},{"artworkid":546,"author":"HOGHENZOON, Jan Geldolfs","description":"\r\nIn the 15th century, Breda came into the possession of the house of Nassau. As a fortified city, the city was of strategic military and political significance. Breda also had become a production centre for religious objects, such as monstrances, in the 15th century. The design of monstrances closely reflected the elaborate Gothic church architecture of the 15th and early 16th centuries. The glass section was for the host, the body of Christ, according to Roman Catholic doctrine. This sacred host was displayed in a monstrance to worshippers during processions and on religious feast days.\r\nA very homogenous series of early 16th-century monstrances is known, to which the monstrance shown in the picture belongs.\r\n\r\n\n","end_year":1520,"genre":"metalwork","materials":"Parcel-gilt silver and glass, height 64 cm","museum_name":"Rijksmuseum, Amsterdam","name":"Monstrance","start_year":1520,"type":"other","url":"https://www.wga.hu/detail/h/hoghenzo/monstran.jpg"},{"artworkid":550,"author":"HOECHLE, Johann Nepomuk","description":"\r\nThis drawing shows Beethoven's study in the Schwarzspanierhaus - his final residence. Hoechle's \"portrait\" of the room was made three days after the composer's death. The idea was to preserve, in visual form at least, the way Beethoven's last dwelling place had looked. In the drawing we can see one of the several versions of Beethoven's bust (all plaster casts) placed on the right window ledge, made by the young sculptor Anton Dietrich (1796-1872). No marble copy was ever realized of the plaster casts.\r\n\n\n\r\nSuggested listening (streaming mp3, 6 minutes):Ludwig van Beethoven: Die Geschöpfe des Prometheus (The Creatures of Prometheus), overture op. 43\n\n\n","end_year":1827,"genre":"graphics","materials":"Wash on paper, 258 x 210 mm","museum_name":"Museen der Stadt, Vienna","name":"Beethoven's Room","start_year":1827,"type":"interior","url":"https://www.wga.hu/detail/h/hoechle/beethove.jpg"},{"artworkid":554,"author":"MAGNASCO, Alessandro","description":"\r\nThe painting belongs to a series of four, two of which representing bacchanalian scenes, the other two brigands. In the 18th century all four was in the collection of the Russian Count Suvalov, then in the 20th century it was tranferred to the Hermitage. (One of the bacchanalian scenes is now in the Pushkin Museum, Moscow.)\r\nThe painting was executed in collaboration with Clemente Spera who painted the architectural background.\r\n\n\n\r\nSuggested listening (streaming mp3, 7 minutes):Camille Saint-Saëns: Samson et Delila, Act III, Scene 2, Bacchanal\n\n\n","end_year":1710,"genre":"painting","materials":"Oil on canvas, 110 x 167 cm","museum_name":"The Hermitage, St. Petersburg","name":"Bacchanalian Scene","start_year":1710,"type":"mythological","url":"https://www.wga.hu/detail/m/magnasco/1bacchan.jpg"},{"artworkid":558,"author":"GOZZOLI, Benozzo","description":"\r\nIn the apsidal chapel's umbrella vault, with angels on either side, St Francis is enthroned in glory with angels on either side. In the five spandrels, against a star-studded heaven with cirrus clouds, he is surrounded by the most important saints of the Franciscan order. During previous restoration work the names of the saints were repainted incorrectly: S(ANCTUA) A(N)TO(NIUS), St Anthony of Padua; S(AN)C(T)A CATARINA [sic], St Clare of Assisi; S(ANCTUS)BERNAR(INUS), St Bernadine of Siena; S(ANCTA) ROSA VIT(ERBENSI)S [sic], St Catherine of Siena; S(ANCTUS L)UDOVICU(S) R(E)X, St Louis of France.\r\nThe architectural structure of the polygonal apse on a pentagonal plan; covered by a ribbed umbrella vault, obliged Benozzo to make use of an extremely Gothic division of the cycle, which threatened to place limits on his expressiveness. And in fact, while the five Franciscan saints fit in nicely, one to each segment, with their backdrop of a starry sky and support of rose-coloured clouds, the solid St Francis seated in glory is almost squashed into the segment bordering on the underside of the arch, with a sculptural force that spills over into the blazing circle of seraphim, \"cut\" by the triangular field. The artist's secure grasp of the spatial layout is demonstrated by the foreshortening of the cross in the saint's hand.\r\n\r\n\n","end_year":1452,"genre":"painting","materials":"Vault fresco","museum_name":"Apsidal chapel, San Francesco, Montefalco","name":"St Francis in Glory and Saints","start_year":1452,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/2montefa/13vault.jpg"},{"artworkid":562,"author":"GOYA Y LUCIENTES, Francisco de","description":"\r\nThis painting (Saturno devorando a un hijo) was originally in the ground floor room of the Quinta del Sordo.\r\nSaturn Devouring One of his Children is perhaps the cruellest of the Black Paintings.The nightmare quality is combined with myth to make an epochal statement: this is the madness of truth. Whether this is a reflection of Goya's own mental state, or an allegory on the situation in a country that was consuming its own children in bloody wars and revolutions, or a statement on the human condition generally, may remain open. It could also be a reflection of the situation of the enlightened man who has lost his God and is able to experience only mercilessness on cosmic scale.\r\n\r\n\n","end_year":1823,"genre":"painting","materials":"Plaster mounted on canvas, 146 x 83 cm","museum_name":"Museo del Prado, Madrid","name":"Saturn Devouring One of his Children","start_year":1819,"type":"other","url":"https://www.wga.hu/detail/g/goya/9/blac633.jpg"},{"artworkid":551,"author":"ALTISSIMO, Cristofano dell'","description":"\r\nChristopher Columbus (c. 1451-1506) was a navigator, colonizer and explorer whose voyages across the Atlantic Ocean led to general European awareness of the American continents in the Western Hemisphere. This portrait was painted half a century after his death. There are no certain contemporary images of the navigator, who was only one among many when he first set out in ships funded in part by Medici money.\r\n\r\n\n","end_year":1556,"genre":"painting","materials":"Oil on canvas, 59 x 42 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Portrait of Christopher Columbus","start_year":1556,"type":"portrait","url":"https://www.wga.hu/detail/a/altissim/columbus.jpg"},{"artworkid":555,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nThere are very different types of woman in Lautrec's female gallery, with whom he had more or less lasting relationships. They tend to remain anonymous, known only by their first name, or by their portraits, which are rich in psychological, humorous human perceptions. Most of them are red-heads, for Lautrec had a passion for red hair. Between 1888 and 1891 he painted them all obsessively.\r\n\r\n\n","end_year":1889,"genre":"painting","materials":"Oil on canvas, 56 x 50 cm","museum_name":"Private collection","name":"Young Woman with Red Hair","start_year":1889,"type":"portrait","url":"https://www.wga.hu/detail/t/toulouse/2/3redhea2.jpg"},{"artworkid":559,"author":"MURILLO, Bartolom Esteban","description":"\r\nThis painting was painted at the beginning of Murillo's career. It is without doubt one of the first of the genre scenes in which he shows street urchins. Later his taste for the picturesque sometimes became merely anecdotal, but here the sincerity of his observation and the vigour of his technique place Murillo in the pure tradition of the Spanish 'tenebrismo' of the young Velázquez and of Zurbarán. It is not surprising that later painters like Courbet, Manet, and Monet admired such works.\r\n\r\n\n","end_year":1645,"genre":"painting","materials":"Oil on canvas, 134 x 100 cm","museum_name":"Muse du Louvre, Paris","name":"The Young Beggar","start_year":1645,"type":"genre","url":"https://www.wga.hu/detail/m/murillo/1/101muril.jpg"},{"artworkid":563,"author":"RENOIR, Pierre-Auguste","description":"\n\n","end_year":1885,"genre":"painting","materials":"Oil on canvas, 82 x 66 cm","museum_name":"Muse des Beaux-Arts, Rouen","name":"Bouquet of Chrysanthemums","start_year":1885,"type":"still-life","url":"https://www.wga.hu/detail/r/renoir/3/3renoi25.jpg"},{"artworkid":567,"author":"ARCIMBOLDO, Giuseppe","description":"\n\n","end_year":1585,"genre":"graphics","materials":"Pen, blue wash on white paper, 294 x 208 mm","museum_name":"Galleria degli Uffizi, Florence","name":"Costume drawing of a woman bearing a lance","start_year":1585,"type":"study","url":"https://www.wga.hu/detail/a/arcimbol/6court/costum09.jpg"},{"artworkid":571,"author":"BERGAMASCO, Il","description":"\n\n","end_year":-1,"genre":"painting","materials":"Fresco","museum_name":"San Matteo, Genoa","name":"Vault fresco","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/b/bergamas/2matteo2.jpg"},{"artworkid":575,"author":"TIZIANO Vecellio","description":"\n\n","end_year":1559,"genre":"painting","materials":"Oil on canvas","museum_name":"National Gallery of Scotland, Edinburgh","name":"Diana and Callisto (detail)","start_year":1556,"type":"mythological","url":"https://www.wga.hu/detail/t/tiziano/08b/4dian_c2.jpg"},{"artworkid":579,"author":"GONZLEZ VELZQUEZ, Isidro","description":"\r\nThe Bourbons expanded the extensive gardens and palace complex in Aranjuez on numerous occasions, adapting them to the needs of the court. In the eastern part of the park Charles IV had a pleasure palace built at a place where, in 1792, he had come across a modest farmhouse while out hunting. The building, the Casa del Labrador, is among the most beautiful works of Neoclassicism in Spain. In the hands of Isidro González Velázquez, who transformed designs prepared by Juan de Villanueva, the resulting structure was anything but a simple hut, becoming instead a Roman villa built to the most exacting standards.\r\nThe interior displays an interesting arrangement of space: at the front is a rotunda in which the lay brothers would gather for their devotions, while the rectangular section at the back was reserved for the monks of the Order of Nuestra Señora de le Esperanza. A common altar both connected and separated these two zones.\r\nThe photo shows a view into the statue gallery.\r\n\r\n\n","end_year":1803,"genre":"architecture","materials":"Photo","museum_name":"Casa del Labrador, Aranjuez","name":"Interior view","start_year":1803,"type":"interior","url":"https://www.wga.hu/detail/g/gonzvela/isidro/labrado3.jpg"},{"artworkid":583,"author":"MASTER of the Aix Annunciation","description":"\r\nThe effect of the altarpiece on the northern wall of this church is liable to bring spectators to a sudden stop. They will find themselves looking into the interior of a monumental Gothic church, painted in masterly perspective. Their glance will follow the long row of columns disappearing into the distance of the nave until it reaches the small figures at the very end. The capitals of the columns are splendidly carved; upon two of them stand statues of prophets below small canopies. The small figures stand out in gay colours against the grey tones of the architecture. The Virgin kneels before a Gothic lectern, her red velvet robe almost concealed by the spreading folds of a mantle of gold brocade; the purple dalmatic of the angel of the Annunciation is edged with a border adorned with figures. On the balcony of the church vestibule God the Father appears, accompanied by two angels, radiating a beam of light on to Mary.\r\n\r\n\n","end_year":1445,"genre":"painting","materials":"Oil on wood, 155 x 176 cm","museum_name":"Sainte-Marie-Madeleine, Aix-en-Provence","name":"Annunciation","start_year":1445,"type":"religious","url":"https://www.wga.hu/detail/m/master/aix_annu/annunci.jpg"},{"artworkid":587,"author":"BARRY, Sir Charles","description":"\r\nLike no other stylistic phase of English Gothic, Perpendicular could be considered an independent English creation, independent of France and the Continent. After the end of the Napoleonic wars, there was a great desire, as in other countries, to come up with a distinct national style. The culmination of these endeavours was the rebuilding of the Houses of Parliament in London, after the devastating fire in 1834. For the first time with such a major commission, the Gothic Revival was considered appropriate for a building of such national significance. The competition in 1835 was won by Sir Charles Barry, and his design realized in the Perpendicular style has become a national symbol.\r\nSir Charles Barry, assisted by Augustus Welby Northmore Pugin (1812-1852), designed the present buildings in the Gothic Revival style. Construction was begun in 1837, the cornerstone was laid in 1840, and work was finished in 1860. The Commons Chamber was burned out in one of the numerous air raids that targeted London during World War II, but it was restored and reopened in 1950.\r\nExternally, apart from the Gothic detail, it conforms to the requirements of both Classical and Picturesque architectural doctrines. The river façade of the building is largely symmetrical, but is enlivened by irregularly distributed tower structures. The narrow sides are distinguished by the Victoria Tower over the royal portal and, though not symmetrically placed, the famous clock tower of Big Ben.\r\nThe thoroughly rich details of the interiors of the Houses of Parliament (also called Palace of Westminster), the seat of the bicameral Parliament, including the House of Commons and the House of Lords, were designed by Pugin.\r\n\r\n\n","end_year":1860,"genre":"architecture","materials":"Photo","museum_name":"Houses of Parliament, Westminster, London","name":"General view","start_year":1839,"type":"other","url":"https://www.wga.hu/detail/b/barry/westmins.jpg"},{"artworkid":591,"author":"WITTEL, Caspar Andriaans van","description":"\r\nThere are four other known versions of this picture which is a topographically accurate representation of Verona. The painting is signed on the rock lower left: GASPAR/VAN WITEL.\r\n\r\n\n","end_year":1710,"genre":"painting","materials":"Oil on copper, 38 x 45 cm","museum_name":"Private collection","name":"Verona: A View of the River Adige at San Giorgio in Braida","start_year":1710,"type":"landscape","url":"https://www.wga.hu/detail/w/wittel/verona.jpg"},{"artworkid":595,"author":"MASTER of the Blue Crucifixes","description":"\r\nBoth sides of the Crucifix are painted with the identical image of Christ. The unknown master is referred to as the Master of the Borgo Crucifix (or the Master of the Franciscan Crucifixes, or the Master of the Blue Crucifixes).\r\n\n\n\r\nSuggested listening (streaming mp3, 2 minutes):Gregorian sequence\n\n\n","end_year":1250,"genre":"painting","materials":"Tempera on wood","museum_name":"Convent of San Francesco, Assisi","name":"Crucifix","start_year":1250,"type":"religious","url":"https://www.wga.hu/detail/m/master/bluecruc/crucifix.jpg"},{"artworkid":560,"author":"SPEECKAERT, Hans","description":"\r\nWhen during the early Renaissance Italian humanists raised the idea of reviving Roman triumphal processions in the spirit of ancient traditions, the representatives of the Church protested against such the glorification of mortals. Later, however, influenced by humanist ideals, they came to recognize its practical significance in fostering the popularity of the Church. After the Council of Trent, the activities of the Counter Reformation, in which art played a significant role, were designed to restore the authority and power of the Church, which had been eroded by the Reformation. The most typical manifestation of such activity in art was the depiction of triumphal processions glorifying the Church and the Catholic faith.\r\nHans Speeckaert devoted two large pen and ink drawings to depicting the triumph of the Church. Presumably, he made the drawings for tapestries. Both compositions are set in an impressive landscape, they are framed by trees with thick trunks and rich foliage and the background opens up onto a distant vista.\r\n\r\n\n","end_year":1574,"genre":"graphics","materials":"Pen and brown ink, wash on paper, 435 x 829 mm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"The Triumph of the Church I","start_year":1574,"type":"religious","url":"https://www.wga.hu/detail/s/speeckae/triump1.jpg"},{"artworkid":564,"author":"REGNAULT, Henri","description":"\n\n","end_year":1870,"genre":"painting","materials":"Oil on canvas, 160 x 103 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Salome","start_year":1870,"type":"religious","url":"https://www.wga.hu/detail/r/regnaul/salome.jpg"},{"artworkid":568,"author":"PERUGINO, Pietro","description":"\r\nEach of the two compartments (lunettes) on the left wall presents a row of six figures standing in front of a low landscape horizon. Above these, personifications of the four cardinal virtues sit enthroned on clouds, two in each lunette. Beside each of the Virtues is an ornamental inscription tablet flanked by putti and containing a Latin distich identifying her and celebrating the exemplars below. Each trio of figures is made up of two Romans and one Greek; their names appear on the ground beneath their feet.\r\nThe represented famous men in the second compartment are Lucius Sicinius, Leonidas, Horatius Cocles, Publius Scipio, Pericles, and Quintus Cincinnatus. Above them the Cardinal Virtues Fortitudo and Temperantia are depicted. Perugino's self-portrait is on the left.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Fresco, 291 x 400 cm","museum_name":"Collegio del Cambio, Perugia","name":"Famous Men of Antiquity (2)","start_year":1497,"type":"religious","url":"https://www.wga.hu/detail/p/perugino/cambio/3famous.jpg"},{"artworkid":572,"author":"PISSARRO, Camille","description":"\r\nTowards the end of 1870 Pissarro and his family took refuge in England from the Franco-Prussian war. He stayed in Upper Norwood, London until June 1871, and painted several views of Norwood.\r\n\r\n\n","end_year":1870,"genre":"painting","materials":"Oil on canvas, 35 x 46 cm","museum_name":"National Gallery, London","name":"Fox Hill, Upper Norwood","start_year":1870,"type":"landscape","url":"https://www.wga.hu/detail/p/pissarro/camille/3/winter04.jpg"},{"artworkid":576,"author":"SISLEY, Alfred","description":"\n\n","end_year":1872,"genre":"painting","materials":"Oil on canvas, 50 x 66 cm","museum_name":"Metropolitan Museum of Art, New York","name":"The Bridge at Villeneuve-la-Garenne","start_year":1872,"type":"landscape","url":"https://www.wga.hu/detail/s/sisley/2other/villene1.jpg"},{"artworkid":580,"author":"LIPPI, Filippino","description":"\r\nThe detail shows the books in the lower centre of the scene.\r\n\r\n\n","end_year":1491,"genre":"painting","materials":"Fresco","museum_name":"Santa Maria sopra Minerva, Rome","name":"Triumph of St Thomas Aquinas over the Heretics (detail)","start_year":1489,"type":"religious","url":"https://www.wga.hu/detail/l/lippi/flippino/carafa/1hereti4.jpg"},{"artworkid":584,"author":"MORISOT, Berthe","description":"\r\nBerthe Morisot enjoyed a lengthy and successful career. Free of material worries, though not of the duties of a wife and mother, she was able essentially as she pleased. Her paintings, which became increasingly unstrained in style, were predominantly impressions of happy family life or togetherness, or of the cultured, stylish life of her family and friends.\r\n\r\n\n","end_year":1874,"genre":"painting","materials":"Oil on canvas, 46 x 56 cm","museum_name":"Muse d'Orsay, Paris","name":"Chasing Butterflies","start_year":1874,"type":"genre","url":"https://www.wga.hu/detail/m/morisot/08moriso.jpg"},{"artworkid":588,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 74, JH 648.\r\nVan Gogh lived in Nuenen between December 1883 and November 1885. From here he made long excursions to the countryside, depicted the local peasants in a portrait series in order to execute The Potato Eaters, the main piece of the period.\r\n\r\n\n","end_year":1885,"genre":"painting","materials":"Oil on canvas, 38 x 29 cm","museum_name":"Rijksmuseum Krller-Mller, Otterlo","name":"Head of a Peasant Woman with Greenish Lace Cap","start_year":1885,"type":"portrait","url":"https://www.wga.hu/detail/g/gogh_van/03/nuenen31.jpg"},{"artworkid":592,"author":"VLIET, Hendrick Cornelisz. van","description":"\r\nThis is a characteristic example of Van Vliet's depictions of the Nieuwe Kerk in Delft in the 1660s. The funerary monument to Willem I ('the Silent' ), Stadholder and Prince of Orange (1533-1584), was commissioned by the States General in 1614, and was designed and largely executed by the Amsterdam architect and sculptor Hendrick de Keyser the Elder before being completed by his son Pieter in 1622-3. It was erected in the choir of the Nieuwe Kerk and became a national shrine, regarded both as a national mounument to the New Republic and a symbol of liberty and independence.\r\nThe painting is signed and dated lower right: H. van vliet/ Ao 1665.\r\n\r\n\n","end_year":1665,"genre":"painting","materials":"Oil on canvas, 80 x 65 cm","museum_name":"Private collection","name":"The Interior of The Nieuwe Kerk In Delft with the Tomb of William the Silent","start_year":1665,"type":"interior","url":"https://www.wga.hu/detail/v/vliet/nieuwe3.jpg"},{"artworkid":596,"author":"CANOVA, Antonio","description":"\r\nThe marble version of Perseus with the Head of Medusa (Metropolitan Museum of Art, New York) was carved by Canova for Countess Valeria Tarnowska. The sculptor wrote that he was also shipping a plaster of the Medusa head, lest the marble one add too much weight to the statue's outstretched arm. The countess could attach the lighter plaster to the arm instead, and, placing a lit candle inside the marble one, which is hollow, she could watch the eerie light effects. Like many other Neoclassical Medusa heads, Canova's is based on the ancient marble mask the Rondanini Medusa (Glyptothek, Munich).\r\n\r\n\n","end_year":1806,"genre":"sculpture","materials":"Plaster, height 31 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Head of Medusa","start_year":1804,"type":"mythological","url":"https://www.wga.hu/detail/c/canova/2/3medusa.jpg"},{"artworkid":600,"author":"DELACROIX, Eugne","description":"\r\nDelacroix discovered Shakespeare in 1825 on a trip to London, where the celebrated Edmund Kean was playing Richard III. In Paris, the equally famous Talma - whose town house was decorated by Delacroix - did much to popularise Shakespeare's work in French. Delacroix saw Hamlet in Paris, in the company of Hugo, de Vigny, Dumas, Nerval and Berlioz.\r\nThe Shakespearean hero, imperfect, immoderate and immature, was perfectly adapted to Delacroix's temperament, and gave free rein to his imagination; in his hands, the hero could be completed and perfected. It was, of course, Hamlet who most fascinated Delacroix.\r\n\"Alas, poor Yorick! - I knew him, Horatio: a fellow of most infinite jest...\" (Act V, Scene 1). The scene of Hamlet and Horatio in the Graveyard inspired a painting and a series of lithographs which mirror the development of his art as a whole.\r\n\r\n\n","end_year":1839,"genre":"painting","materials":"Oil on canvas, 29,5 x 36 cm","museum_name":"Muse du Louvre, Paris","name":"Hamlet and Horatio in the Graveyard","start_year":1839,"type":"other","url":"https://www.wga.hu/detail/d/delacroi/3/317delac.jpg"},{"artworkid":604,"author":"CIOLI, Valerio","description":"\r\nThe grotesque marble statue on the Fountain of Bacchus depicts Braccio di Bartolo, also called Morgante, the most famous of the five buffoons who lived at the court of Cosimo I de' Medici. He spent most of his life in the Palazzo Pitti. He was a very popular character during Cosimo I's rule; he was famous and well-liked because of his sharp, witty tongue. Bronzino painted full-length nude portrait of him, with the front on one side, and the back on the other side of the same canvas.\r\n\r\n\n","end_year":1568,"genre":"sculpture","materials":"Marble","museum_name":"Boboli Gardens, Florence","name":"Fountain of Bacchus","start_year":1561,"type":"mythological","url":"https://www.wga.hu/detail/c/cioli/bacchus2.jpg"},{"artworkid":566,"author":"MOSAIC ARTIST, Italian","description":"\r\nThe decoration of the Early Christian churches, and particularly of the basilicas, was mostly with mosaics. The largest series of early mosaic decorations in Rome are the panels on the triumphal arch and the nave walls of Santa Maria Maggiore of c. 432-40.\r\nThe picture shows a detail of the mosaics on the nave.\r\n\r\n\n","end_year":-1,"genre":"mosaic","materials":"Mosaic","museum_name":"Santa Maria Maggiore, Rome","name":"Old Testament scenes","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zearly/1/4mosaics/1rome/3maggior/1nave10.jpg"},{"artworkid":570,"author":"BRAY, Salomon de","description":"\r\nThe most prestigious commission Salomon de Bray ever received was for three paintings for Amalia van Solms's country seat, Huis ten Bosch. Jacob van Campen and Constantijn Huygens were responsible for the decoration of the large centrally located Oranjezaal. The Triumphal Procession with Musicians was the first canvas de Bray completed. The second, likewise a triumphal procession was finished a year later. Finally, in 1651, he painted a grisaille of putti.\r\n\n\n\r\nSuggested listening (streaming mp3, 3 minutes):Marc-Antoine Charpentier: Marche en Rondeau\n\n\n","end_year":1649,"genre":"painting","materials":"Oil on canvas, 385 x 205 cm","museum_name":"Huis ten Bosch, The Hague","name":"Triumphal Procession with Musicians","start_year":1649,"type":"historical","url":"https://www.wga.hu/detail/b/bray/salomon/3triumph.jpg"},{"artworkid":574,"author":"BALDUNG GRIEN, Hans","description":"\n\n","end_year":1512,"genre":"painting","materials":"Panel","museum_name":"National Gallery of Canada, Ottawa","name":"Eve, the Serpent, and Death","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/b/baldung/1/02eve.jpg"},{"artworkid":578,"author":"MINIATURIST, Bohemian","description":"\r\nThe folio is from the Missal of St Vitus Cathedral in Prague, otherwise known as the Olomouc Missal.\r\nThe picture shows Christ on the Cross between the Virgin and St John the Evangelist. In a frame of a standing oblong shape, which gives a three-dimensional effect, the crucified Christ is represented between the figures of the Virgin and of St John the Evangelist. The marginal decoration of scrolls of acanthus leaves springs from the corners of the frame, and encircles a small, round field at the bottom, where the Vir Dolorum is depicted.\r\nThe acanthus decoration which had been made some 10-20 years earlier in the workshop which executed commissions for the Emperor Wenceslas, is here arranged in a more regular and decorative manner, the scrolls and leaves being even more stylized. They have virtually assumed a metallic hardness. In the picture itself the features which formerly characterized the International Gothic style have been further modified to the point of being exaggerated. All elements in the picture have been made secondary to a desire for decorativeness: Christ's ribs form a regular pattern of parallel lines, as do the veins of the wood of the cross. The crown of thorns looks like an ornamental head-dress rather than an instrument of torture; and the drops of blood falling from the wound of Christ on the kerchief of the Virgin harmonize beautifully with her cherry-red lips. Though the figures beside the cross are slender, in accordance with the taste of the period, they are wrapped in enormously ample draperies. But to show the Virgin so full of joie de vivre that she almost seems to be dancing does not suit the mood of this picture. Furthermore, St John is so enveloped in a mass of draperies disproportionate to his small head that he appears to be hiding someone under his garments. His right arm extended to touch the cross looks rather distorted; it is too long and is twisted at the wrist in a strange, unnatural manner. These extremely stylized idioms of form fit the abstract and symbolic figure of the Vir Dolorum better; even so, the way that the end of His loincloth is placed in front of the sarcophagus and arranged in a decorative manner, seems to indicate certain playfulness whose purpose is not fully clarified.\r\nInternational Gothic art, no doubt, had always been in danger of becoming exaggeratedly stylized, and by the time the style was coming to an end this contrived and purposeless formalism had begun to dominate it, particularly in the work of minor artists.\r\nIn the miniature in Brno a feature appears which is in sharp contrast to the accepted qualities of the International Gothic style, a feature which is more characteristic of the art of subsequent decades: instead of soft, wavy lines the folds show harder lines and sharper angles (particularly in the mantle of St John.\r\n\r\n\n","end_year":1413,"genre":"illumination","materials":"Manuscript, 415 x 295 mm","museum_name":"Town Archive, Brno","name":"Olomouc Missal","start_year":1413,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1401-450/7other/13_1401.jpg"},{"artworkid":582,"author":"MINIATURIST, Flemish","description":"\r\nThe main illumination of the page (folio 48v) depicts the Crucifixion. This illumination formerly was attributed to the workshop of Jan van Eyck. The lower scene represents the Sacrifice of Isaac.\r\n\r\n\n","end_year":1420,"genre":"illumination","materials":"Manuscript (Ms. 47), 284 x 203 mm","museum_name":"Biblioteca Nazionale Reale, Turin","name":"Turin-Milan Hours","start_year":1420,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1401-450/6turin/16turin.jpg"},{"artworkid":586,"author":"GIOTTO di Bondone","description":"\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"No. 33 Scenes from the Life of Christ: 17. Mocking of Christ (detail)","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/5heads1/3head080.jpg"},{"artworkid":590,"author":"CARAVAGGIO","description":"\r\nDiscarded jewellery - a string of pearls, clasps, a jar (perhaps holding precious ointment) - lies on the floor.\r\n\r\n\n","end_year":1597,"genre":"painting","materials":"Oil on canvas, width of detail: 30 cm","museum_name":"Galleria Doria Pamphilj, Rome","name":"Magdalene (detail)","start_year":1596,"type":"religious","url":"https://www.wga.hu/detail/c/caravagg/02/12magda1.jpg"},{"artworkid":594,"author":"VASARI, Giorgio","description":"\r\nThe long façade is almost unvaried. Piers with niches alternate with two columns; thus three bays are repeated throughout the linear façade. Above this the three bay unit is continued in the mezzanine and the piano nobile where triads of framed windows have alternating pediments.\r\nThe photo shows the view looking toward the Arno.\r\n\r\n\n","end_year":1560,"genre":"architecture","materials":"Photo","museum_name":"Galleria degli Uffizi, Florence","name":"Exterior view","start_year":1560,"type":"other","url":"https://www.wga.hu/detail/v/vasari/3/1uffizi5.jpg"},{"artworkid":598,"author":"AGOSTINO DI DUCCIO","description":"\r\nThe picture shows Fortitude, one of the Virtues seated in niches between pilasters in the Chapel of St Sigismund.\r\n\r\n\n","end_year":1456,"genre":"sculpture","materials":"Marble","museum_name":"Tempio Malatestiano, Rimini","name":"Cappella di San Sigismondo (detail)","start_year":1449,"type":"religious","url":"https://www.wga.hu/detail/a/agostin/1rimini/1sigis09.jpg"},{"artworkid":602,"author":"GOUJON, Jean","description":"\r\nWith the accession of Henry II in 1547, Goujon passed into royal service. In 1549 he collaborated with Jean Cousin the Elder in organizing the ceremonial entry of Henry II into Paris, an event that allowed the new generation of classicizing artists to display their skills. Goujon's most famous work, the Fountain of the Innocents, the architecture of which was probably by Lescot, was originally built as a monument for this occasion. It was, until 1787, a rectangular structure on a corner, presenting two arched bays to the Rue aux Fers and one to the Rue Saint-Denis. The bays were articulated by fluted composite pilasters, between which were narrow vertical relief panels of nymphs holding urns. Horizontal relief panels of tritons and nymphs were placed above and below each bay, and the spandrels of the arches were filled by winged personifications of Fame.\r\nThe present appearance of the monument, as a free-standing, four-sided structure, is the result of a late 18th-century rebuilding for which Augustin Pajou provided extra sculpture in an able pastiche of Goujon's style. The vertical relief panels remain in situ, but the horizontal ones were removed around 1810 (now Musée du Louvre, Paris). All these reliefs, with their undulating contours, light, transparent draperies and finesse of execution, exude a pagan gaiety. Goujon transformed his sources in engravings after Rosso and antique sculpture to create a masterpiece of grace and harmony in which an echo of Hellenistic art can be caught.\r\n\r\n\n","end_year":1549,"genre":"sculpture","materials":"Photo","museum_name":"Place Joachim du Bellay, Paris","name":"Fontaine des Innocents","start_year":1549,"type":"other","url":"https://www.wga.hu/detail/g/goujon/innocen4.jpg"},{"artworkid":606,"author":"GAUGUIN, Paul","description":"\r\nThe technique of this painting is related to Seurat's pointillism. The figure was used by Gauguin in several further paintings and graphics.\r\n\r\n\n","end_year":1892,"genre":"graphics","materials":"Watercolour, 400 x 320 mm","museum_name":"Muse des Beaux-Arts, Grenoble","name":"Tahitian Eve","start_year":1892,"type":"study","url":"https://www.wga.hu/detail/g/gauguin/08/water16.jpg"},{"artworkid":610,"author":"CHRISTUS, Petrus","description":"\r\nWe know very little about the life of Petrus Christus, though it is certain that in 1444 he obtained the citizenship of Bruges, then the richest town in Flanders and its main artistic centre. He may have been the pupil of Jan van Eyck, and in his surviving panel paintings we can see that his solutions to problems of composition and his figure types are similar to those of his predecessor. Indeed Christus's delicately wrought and brilliantly coloured works served to popularise the technique and manner of Van Eyck.\r\nSome fifteen to twenty works by Christus are known, one of which is The Virgin and Child, probably the surviving part of a triptych for home devotion. Framed by a semi-circular arch resting on slender columns and with a pleasant landscape in the background, the Virgin looks tenderly down at the naked Infant supported on her arm. Every detail has been painted with meticulous care - the minute wrinkles on the Infant's face, the foliage of the trees in the distance and the statuette of Adam and Eve on the columns at the sides, which, in alluding to the Fall, emphasize the coming Redemption through Christ. Other versions and copies have survived, indicating the popularity of this picture over the years, but unfortunately none of them give any clue as to when it was painted or who commissioned it.\r\n\r\n\n","end_year":1445,"genre":"painting","materials":"Wood, 55,5 x 31,5 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Madonna","start_year":1445,"type":"religious","url":"https://www.wga.hu/detail/c/christus/1/madonna.jpg"},{"artworkid":614,"author":"CARAVAGGIO","description":"\n\n","end_year":1607,"genre":"painting","materials":"Oil on canvas","museum_name":"Museo Nazionale di Capodimonte, Naples","name":"Flagellation (detail)","start_year":1607,"type":"religious","url":"https://www.wga.hu/detail/c/caravagg/09/55flagex.jpg"},{"artworkid":618,"author":"VERONESE, Paolo","description":"\n\n","end_year":1556,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo Ducale, Venice","name":"Juno Showering Gifts on Venetia (detail)","start_year":1554,"type":"mythological","url":"https://www.wga.hu/detail/v/veronese/08/dieci/3dieci2.jpg"},{"artworkid":704,"author":"NANNI DI BARTOLO","description":"\r\nThe Virgin and Child and the two saints in the lunette show the influence of Jacopo della Quercia and have been attributed to Nanni, but they bear no stylistic relationship to his certain works.\r\n\r\n\n","end_year":1437,"genre":"sculpture","materials":"Photo","museum_name":"Basilica di San Nicola a Tolentino, Tolentino (Marche)","name":"Lunette of the portal","start_year":1437,"type":"religious","url":"https://www.wga.hu/detail/n/nanni/bartolo/portal5.jpg"},{"artworkid":577,"author":"MILLET, Jean-Franois","description":"\r\nAfter 1848, Millet devoted himself to genre scenes glorifying the family life of the hard-working farmer population, whom he observed in the region of Barbizon. The thematic simplicity of these pictures does not belong to the anecdotal vein of genre painting. Millet paints the grandeur and dignity of peasants with thick, expressive and liberal brushwork.\r\nThe painting was exhibited at the Salon of 1850.\r\n\r\n\n","end_year":1850,"genre":"painting","materials":"Oil on canvas, 56 x 65 cm","museum_name":"Muse du Louvre, Paris","name":"Trussing Hay","start_year":1850,"type":"genre","url":"https://www.wga.hu/detail/m/millet/02trussi.jpg"},{"artworkid":581,"author":"MARATTI, Carlo","description":"\r\nMaratti was the pre-eminent exponent of late Baroque classicism in Rome. The major inspiration for the present painting was Correggio's large altarpiece of the Holy Night with its striking nocturnal lighting. The painter has not only directly borrowed the pose and position of Mary and the Christ Child from Correggio's altarpiece, but also the youthful grace of the Virgin's features. Inn their use  of light, both artists clearly evoke the light of God promised in the Old Testament, which became a reality with the birth of Jesus.\r\n\r\n\n","end_year":1650,"genre":"painting","materials":"Oil on canvas, 99 x 75 cm","museum_name":"Gemldegalerie, Dresden","name":"The Holy Night (The Nativity)","start_year":1650,"type":"religious","url":"https://www.wga.hu/detail/m/maratti/nativity.jpg"},{"artworkid":585,"author":"RUOPPOLO, Giovanni Battista","description":"\r\nThe painting is signed lower left.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 76 x 128 cm","museum_name":"Private collection","name":"Fruit Still-Life","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/r/ruoppolo/fruistil.jpg"},{"artworkid":589,"author":"VERONESE, Paolo","description":"\r\nFrom the 16th century, the refectory of the Benedictine convent of San Giorgio Maggiore in Venice, with its Marriage at Cana, was considered one of the principal sights of the city. If we are to believe the monastic chronicle written in 1619 by Don Fortunato Oimo, kings and princes had clamored for copies of the picture. Certainly, it is the festive mood of the picture, set in a world very familiar to contemporary viewers, that must have prompted demands of this kind. On the left of the richly laden table, the groom and bride of the biblical wedding open the gently undulating procession of beautifully portrait-like heads, whose individual features constantly captured the imagination of viewers in the 18th century, and even occasionally induced romantic visitors to the refectory to see a portrait of the painters own beloved in the bride.\r\n\r\n\n","end_year":1563,"genre":"painting","materials":"Oil on canvas","museum_name":"Muse du Louvre, Paris","name":"The Marriage at Cana (detail)","start_year":1563,"type":"religious","url":"https://www.wga.hu/detail/v/veronese/06/2cana1.jpg"},{"artworkid":593,"author":"CHERNETSOV, Grigory Grigorievich","description":"\r\nThe Gallery of 1812 inside the Winter Palace in St. Petersburg was designed by Carlo Rossi (1775-1849), an architect of Italian by origin who had lived in St. Petersburg since childhood. He was prominent in the fields of official architecture and interior decoration. Rossi designed interiors at the Anichkov Palace, Pavlosk, the Winter Palace, and the Yelagin Palace, St. Petersburg.\r\n\r\n\n","end_year":1827,"genre":"painting","materials":"Oil on canvas, 122 x 94 cm","museum_name":"The Hermitage, St. Petersburg","name":"The Gallery of 1812 in the Winter Palace","start_year":1827,"type":"interior","url":"https://www.wga.hu/detail/c/chernets/gallery.jpg"},{"artworkid":597,"author":"SIGNORELLI, Luca","description":"\r\nThere are evident influences from Florence in the painting, but the crowded figures and their complex, foreshortened poses look forward to Signorelli's frescoes in the chapel of San Brizio in the cathedral at Orvieto.\r\n\r\n\n","end_year":1505,"genre":"painting","materials":"Panel, 42 x 34 cm","museum_name":"Galleria Franchetti, Ca' d'Oro, Venice","name":"Flagellation","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/s/signorel/various/81flagel.jpg"},{"artworkid":601,"author":"RAFFAELLO Sanzio","description":"\r\nBefore he visited Florence, Raphael rarely used pen, in line with the traditional practice exercised in Perugino's workshop, he preferred metalpoint or black chalk. His earliest pen drawings were executed in a slightly conservative and descriptive manner, with distinct lines reminiscent of metalpoint and with forms created by accented outlines and regular modelling.\r\n\r\n\n","end_year":1503,"genre":"graphics","materials":"Pen and brown ink, over stylus, 288 x 266 mm","museum_name":"Muse du Louvre, Paris","name":"Virgin and Child with Sts Sebastian and Roch","start_year":1501,"type":"study","url":"https://www.wga.hu/detail/r/raphael/7drawing/3/22drawin.jpg"},{"artworkid":605,"author":"VIDAL, Eugne","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 47 x 59 cm","museum_name":"Private collection","name":"Girl Resting on Her Arms","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/v/vidal/girlrest.jpg"},{"artworkid":609,"author":"KLIMT, Gustav","description":"\r\nAway from the crowded figures, in front of the ugly snake body and the mighty wings of the monster, crouches the \"Nagender Kummer\" (Gnawing Grief), a meagre female figure whose expressiveness is particularly striking.\r\n\r\n\n","end_year":1902,"genre":"painting","materials":"Casein paints, stucco coverings, various materials, gold plating on mortar","museum_name":"Secession Building, Vienna","name":"Beethoven Frieze: centre wall (detail)","start_year":1902,"type":"other","url":"https://www.wga.hu/detail/k/klimt/1/13centre_wall.jpg"},{"artworkid":613,"author":"PISSARRO, Camille","description":"\n\n","end_year":1872,"genre":"painting","materials":"Oil on cradled panel, 32 x 48 cm","museum_name":"Art Institute, Chicago","name":"Snow at Louveciennes","start_year":1871,"type":"landscape","url":"https://www.wga.hu/detail/p/pissarro/camille/3/winter05.jpg"},{"artworkid":617,"author":"MEDIEVAL SCULPTOR, French","description":"\r\nThe picture shows a detail of the frieze on the west façade of the abbey church of Saint-Gilles.\r\n\r\n\n","end_year":1150,"genre":"sculpture","materials":"Stone","museum_name":"Abbey Church of Saint-Gilles, Saint-Gilles-du-Gard","name":"Flagellation","start_year":1125,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/po-12c21/08f_1134.jpg"},{"artworkid":621,"author":"CARLEVARIS, Luca","description":"\r\nCarlevaris was a painter and mathematician and is considered to have been the founder of the Venetian urban landscape, known as the veduta. He combined topographical precision with an ability to convey a sense of space. \r\n\r\n\n","end_year":1720,"genre":"painting","materials":"Oil on canvas, 85,7 x 163,8 cm","museum_name":"Private collection","name":"View of the Wharf from the Bacino di San Marco","start_year":1720,"type":"landscape","url":"https://www.wga.hu/detail/c/carlevar/carlev10.jpg"},{"artworkid":625,"author":"GOUTHIRE, Pierre","description":"\r\nDesigned by Louis-Simon Boizot and executed by Pierre Gouthière, this fine clock was presented by the city of Avignon to the marquis de Rochechouart on 29 December 1771. In 1768 he had received back the papal city of Avignon from Pope Clement XIII on behalf of Louis XV and had become its governor. The figure representing the city of Avignon holds a wreath over the Rochechouart coat of arms, while the reclining male figure below represents the river Rhone and the seated female figure its tributary, the Durance.\r\nGouthière was a French metalworker, the greatest artist of ornamental bronzes of the period of Louis XVI. He produced a vast number of superb cast and chiseled gilt bronzes, executed chiefly for the adornment of fine clocks, East Asian and Sèvres porcelains, and furniture. The Wallace Collection in London includes a red jasper bowl adorned by Gouthière that once belonged to Mme Du Barry, a clock bearing his signature, and many other fine works. \r\n\r\n\n","end_year":1771,"genre":"metalwork","materials":"Gilt bronze and marble, height 68 cm","museum_name":"Wallace Collection, London","name":"Mantel clock","start_year":1771,"type":"other","url":"https://www.wga.hu/detail/g/gouthier/clock.jpg"},{"artworkid":629,"author":"ROBERTI, Ercole de'","description":"\r\nThe predella of the main altarpiece of the church of San Giovanni di Monte in Bologna consisted of three pieces, the Prayer in the Garden, and the Road to Calvary at the sides and a Pietà in the middle.\r\nThe two side paintings were on their original place until 1749 when they were sold to the Saxonian Elector.\r\n\r\n\n","end_year":1482,"genre":"painting","materials":"Oil on wood, 35 x 118 cm","museum_name":"Gemldegalerie, Dresden","name":"Predella of Stories of Christ: 1. Prayer in the Garden and Capture","start_year":1482,"type":"religious","url":"https://www.wga.hu/detail/r/roberti/prede_c1.jpg"},{"artworkid":603,"author":"MONET, Claude","description":"\r\nTill 1878 Monet lived at Argenteuil. From 1872 on, he painted on the river bank at Argenteuil, looking either up- or downriver. According to which way he chose, the trees cluster as verticals at the left or right edge, their shadows n the path parallel horizontals.\r\n\r\n\n","end_year":1872,"genre":"painting","materials":"Oil on canvas, 50 x 65 cm","museum_name":"National Gallery of Art, Washington","name":"Riverside Path at Argenteuil","start_year":1872,"type":"landscape","url":"https://www.wga.hu/detail/m/monet/03/argent03.jpg"},{"artworkid":607,"author":"HALS, Frans","description":"\r\nIt is assumed by critics that the sitters are Isaac Massa and his wife Beatrix van der Laen. However, it is debated by others. The pose of the recently married couple, leaning against the trunk of a tree, emphasizes the casual air of the portrait. The ivy twining itself around the tree and curling round at the woman's feet, who, in turn, has her hand negligently resting on the man's shoulder, symbolizes the permanence of the marriage. The thistle growing next to the man in the bare patch of ground at the bottom left of the picture may be an allusion to God's word to Adam after the Fall: \"Cursed is the ground for thy sake; in sorrow shalt thou eat of it all days of thy life; thorns also and thistles shall it bring forth to thee.\" (Genesis 3, 17f.) Thus, the thistle may symbolize labour, itself a consequence of the Fall. In puritanical Calvinist ethics, which had already gained considerable currency in the Netherlands, work was considered a cardinal virtue, and achievement a central aspect of personal conduct.\r\nFrans Hals's work for this bourgeois couple included an Italian landscape background on the right - a sunlit villa, marble statue and spring - whose purpose was to create the impression of elevated rank and dignified elegance. However, the background features are fanciful, bearing no relation whatsoever to the real world of the couple. Rather than the couple's country residence, scrutiny of iconographical details shows the villa to be the temple of Juno, the goddess of marriage, whose attribute was the peacock.\r\n\r\n\n","end_year":1622,"genre":"painting","materials":"Oil on canvas, 140 x 166,5 cm","museum_name":"Rijksmuseum, Amsterdam","name":"Married Couple in a Garden","start_year":1622,"type":"portrait","url":"https://www.wga.hu/detail/h/hals/frans/01-1623/12coupl.jpg"},{"artworkid":611,"author":"GHIRLANDAIO, Davide","description":"\r\nFormerly the painting was attributed to Domenico Ghirlandaio, the brother of the artist.\r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Tempera on panel, 65 x 42 cm","museum_name":"Fitzwilliam Museum, Cambridge","name":"Virgin and Child Enthroned between St Ursula and St Catherine","start_year":1480,"type":"religious","url":"https://www.wga.hu/detail/g/ghirland/davide/virgin_e.jpg"},{"artworkid":615,"author":"ARCHITECT, French","description":"\r\nFirst built as a fortress in the aftermath of the Albigensian Crusade; begun in 1287 and under construction for 200 years, Albi Cathedral is claimed to be the largest brick building in the world.\r\nThe Gothic cathedral was constructed in brick between 1287 to 1480 in the wake of the Cathar Church, a Christian non-trinitarian dualist movement with an episcopal see at Albi. Catharism was extinguished in southern France by the \"Cathar Crusade\" (1209–1229). In the aftermath of the bloodshed, the cathedral's dominant presence and fortress-like exterior were intended to convey the power and authority of the trinitarian Roman Catholic Church.\r\nThe construction of the cathedral was initiated by Bernard de Castanet (1240-1317) Bishop of Albi and Inquisitor of Languedoc. Work on the nave was completed about 1330. The bell tower was added in 1492. It is a hall church, the widest in France.\r\nView the ground plan of Sainte-Cécile Cathedral, Albi.\r\n\r\n\n","end_year":-1,"genre":"architecture","materials":"Photo","museum_name":"Sainte-Ccile Cathedral, Albi (Tarn)","name":"Interior view","start_year":-1,"type":"interior","url":"https://www.wga.hu/detail/zzzarchi/14c/2/02f_1305.jpg"},{"artworkid":619,"author":"LAIRESSE, Grard de","description":"\r\nLairesse's large-scale historical, allegorical, and mythological paintings and grisailles, done in a style that is in accord with the precepts of classical art theory, won wide acclaim. He was called upon to decorate the ceilings and wall panels of numerous civic buildings, palaces, and stately homes. William III employed Lairesse at Soestdijk and The Hague. He can still be seen to good advantage at The Hague; his most famous work, a series of seven large paintings representing actual and mythological scenes from the ancient history of Rome, is at the Binnenhof there, and his allegorical ceiling celebrating Concord, Freedom of Trade, and Security, formerly installed in the home of a rich Amsterdam burgomaster, is now on view in the Peace Palace. One part of the ceiling, which comprised three sections, is illustrated here.\r\n\r\n\n","end_year":1672,"genre":"painting","materials":"Ceiling painting","museum_name":"Peace Palace, The Hague","name":"Allegory of the Freedom of Trade","start_year":1672,"type":"mythological","url":"https://www.wga.hu/detail/l/lairesse/allegory.jpg"},{"artworkid":623,"author":"COCK, Jan Wellens de","description":"\r\nSt Christopher is shown here crossing the water while a hermit holding a lantern stands on the opposite bank of the river. In the foreground, the landscape is dominated by earth-coloured tones. However, the greens in the intermediary planes lead the viewer's gaze to the luminous bluish background with silvery highlights. This panoramic landscape was inspired by Patenier. \r\n \r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 56 x 93 cm","museum_name":"Private collection","name":"St Christopher in a Panoramic Landscape","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/c/cock_h/father/cristop.jpg"},{"artworkid":627,"author":"GIOTTO di Bondone","description":"\r\nIn the four compartments of the crossing vault the three Franciscan virtues — Poverty, Obedience and Chastity — are pictured and explained by inscriptions on the arches of the wall. Since the work and the writings of St Bonaventure, Francis has been conceived as the \"angel of the sixth seal\". For this reason these pictures are bound within a framework whose figurative elements allude to the Apocalypse and whose central motif is the apocalyptic Christ on the keystone of the vault.\r\nThe contents of the vault cells are the following: The Apotheosis of St Francis (west cell, at the bottom of this reproduction), Allegory of Poverty (east cell, top), Allegory of Obedience (south cell, at left), Allegory of Chastity (north cell, at right).\r\n\r\n\n","end_year":1320,"genre":"painting","materials":"Fresco","museum_name":"Lower Church, San Francesco, Assisi","name":"Franciscan Allegories","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/assisi/lower/crossing/00allego.jpg"},{"artworkid":631,"author":"SIMONE MARTINI","description":"\r\nTo the left of the Meditation is the fresco of the Miracle of the Resurrected Child; like the Miraculous Mass, this episode had never been included in a fresco cycle before. While Martin is praying he is approached by a woman holding her dead child in her arms; she begs him to do something and the Saint kneels in prayer. Amidst the astonishment of those present the child is resurrected.\r\nIt was pointed out that Simone does not follow the official biographies (which all report the incident as having taken place in the countryside around Chartres), but blends this event with a legend that was popular in Siena at the time. This legend was a longstanding oral tradition, which we know of from a 1657 source; it tells the story of Martin stopping in Siena while on his way to Rome on a pilgrimage. In Siena he performed a miracle so great that a church consecrated to him was built in the city. The miracle was a resurrection and this is the connection that justifies Simone's blending of the two episodes and changing the setting to Siena. The city centre is symbolized by the building to the right: the square-topped battlements, the three-light mullioned windows on the piano nobile and the Sienese arch above the entrance door help us identify it as the Palazzo Pubblico. This is how the town hall appeared before 1325 when the bell tower, the Torre del Mangia, was added to the left.\r\nThe need to make the event recounted more immediate, to modernize an episode that had occurred almost a thousand years before, made Simone go even further. The crowd does not consist only of pagans, as the written accounts of the event described it; Simone portrays a most varied group of onlookers. A plump friar is shown looking up at a tree above the scene: he looks very much like Gentile da Montefiore. Some of the figures are praying devoutly, while others, such as the knight in the blue hat, express astonishment and even scepticism (notice how the other knight looks at him frowning, as though in reproach).\r\n\r\n\n","end_year":1325,"genre":"painting","materials":"Fresco, 296 x 230 cm","museum_name":"Cappella di San Martino, Lower Church, San Francesco, Assisi","name":"Miracle of the Resurrected Child (scene 5)","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/s/simone/3assisi/scenes/50child.jpg"},{"artworkid":635,"author":"UNKNOWN MASTER, Spanish","description":"\r\nDespite its strong German influence, this carved whalebone panel was made in northeast Spain. It shows the figures of the three kings standing not on the ground, but apparently suspended in space. The shapes of their feet overlap to form an interwoven pattern, an effect accentuated by their intersecting staffs.\r\n\r\n\n","end_year":1100,"genre":"sculpture","materials":"Carved whalebone, 37 x 16 cm","museum_name":"Victoria and Albert Museum, London","name":"Adoration of the Magi","start_year":1100,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_sp/zunk_sp3/06magi.jpg"},{"artworkid":639,"author":"BERNINI, Gian Lorenzo","description":"\r\nSupporting the structure of the Cathedra are the four fathers of the Church: St Ambrose, St Augustine, St Athanasius and St John Chrysostom. Rendered twice-life size, these hugely dominating figures represent the sanctity of the Cult of Saints and their continuity with present-day bishops.\r\nThe picture shows the figures of St John Chrysostom and St Augustine.\r\n\r\n\n","end_year":1666,"genre":"sculpture","materials":"Bronze","museum_name":"Basilica di San Pietro, Vatican","name":"The Throne of Saint Peter (detail)","start_year":1657,"type":"religious","url":"https://www.wga.hu/detail/b/bernini/gianlore/sculptur/1650/throne5.jpg"},{"artworkid":643,"author":"SIGNORELLI, Luca","description":"\n\n","end_year":1502,"genre":"painting","materials":"Wood","museum_name":"Museo Diocesano, Cortona","name":"Lamentation over the Dead Christ (detail)","start_year":1502,"type":"religious","url":"https://www.wga.hu/detail/s/signorel/cortona/lamenta4.jpg"},{"artworkid":608,"author":"ARCHITECT, Italian","description":"\r\nThe Cappella Caracciolo di Vico has a central plan and is covered by a dome. This is one of the most notable products of the architecture of the sixteenth century in southern Italy. Begun in 1499 and completed in 1516, this is a remarkable structure, with great equilibrium among its various elements, revealing, at a very early date, the presence in Naples of the earliest forms of the Roman Renaissance. The design should be ascribed to an architect who was well informed concerning the work then being done by Bramante and Sangallo. The tombs of Nicolantonio and Galeazzo Caracciolo is the work of Annibale Caccavello (1515-1595) and Giovanni Domenico d'Auria (d. 1573).\r\n\r\n\n","end_year":1516,"genre":"architecture","materials":"Photo","museum_name":"Via San Giovanni, Naples","name":"San Giovanni a Carbonara: Cappella Caracciolo di Vico","start_year":1516,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/16c/3/3naples1.jpg"},{"artworkid":612,"author":"RASPALL, Manuel Joaquim","description":"\r\nThe photo shows the south façade with a sundial seen from the garden.\r\nThe Casa Barbey is evidence of the impressive variety of architectural activity in Catalonia around 1900.\r\n\r\n\n","end_year":1911,"genre":"architecture","materials":"Photo","museum_name":"Passeig 5, La Garriga, Barcelona","name":"Casa Barbey: south faade","start_year":1911,"type":"other","url":"https://www.wga.hu/detail/r/raspall/barbey3.jpg"},{"artworkid":616,"author":"MASTER of the Holy Kinship","description":"\r\nThis double-sided panel once formed the wing of a now lost altarpiece, with the Adoration of the Magi originally serving as the interior panel and the Throne of Grace as the exterior. Formerly, the panel was in the Metropolitan Museum of Art, New York. It was sold for the Acquisitions Fund in 2013.\r\nThe composition depicting The Throne of Grace presents the Holy Trinity - God the Father, the Holy Spirit, and Christ - in a tightly arranged unit. Angels kneel and pray beside the throne, while the female donor of the panel prays at the bottom of the scene. The embroidery of the canopy in this scene is of the same richly delineated pattern found in the canopy in the Adoration. \r\n\r\n\n","end_year":1510,"genre":"painting","materials":"Oil on panel, 116 x 86 cm","museum_name":"Private collection","name":"The Throne of Grace","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/m/master/holykins/double2.jpg"},{"artworkid":620,"author":"JUSSOW, Heinrich Christoph","description":"\r\nSchloss Wilhelmshöhe was built for Landgrave Frederick II of Hessen-Kassel. In 1786, Heinrich Christoph Jussow presented an ideal project, but the commission was given to Simon Louis du Ry (1726-1799). Finally the long series of variegated and innovative designs was reduced to a conventional scheme as a three-wing complex and constructed by Jussow on English lines.\r\nThe photo shows one of the side wings.\r\nView the ground plan of Schloss Wilhelmshöhe, Kassel.\r\n\r\n\n","end_year":1799,"genre":"architecture","materials":"Photo","museum_name":"Schloss Wilhelmshhe, Kassel","name":"Exterior view","start_year":1786,"type":"other","url":"https://www.wga.hu/detail/j/jussow/wilhelm1.jpg"},{"artworkid":624,"author":"GIOTTO di Bondone","description":"\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"No. 11 Scenes from the Life of the Virgin: 5. Marriage of the Virgin (detail)","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/5heads1/2head025.jpg"},{"artworkid":628,"author":"TINTORETTO","description":"\r\nThe painting depicts several activities: three smiths and a cobbler, an embroiderer and a spinner, two washerwomen, and a merchant on the road with his overloaded donkey. Some people are putting their household goods on order, but there are others who are sleeping or doing nothing at all.\r\n\r\n\n","end_year":1594,"genre":"painting","materials":"Oil on canvas","museum_name":"San Giorgio Maggiore, Venice","name":"The Jews in the Desert (detail)","start_year":1592,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/5_1580s/2desert1.jpg"},{"artworkid":632,"author":"SCHIELE, Egon","description":"\r\nIn the radical and obsessive ways in which he envisioned himself, Egon Schiele staged his body, as it were, and through facial expressions and corporal gesticulations, brought it to the limit of what is anatomically possible. An early highlight of this was the 1910 painting Seated Male Nude (Self-Portrait). The 20-year-old artist presented himself naked, in an almost painful physical position. The skin, and with it the body's sensual surface, is displayed with every tendon, muscle, and bone emphasized, making the body appear almost skinned. He projected this fragmented body onto the canvas with no apparent narrative context. The yellow-green flesh, signal-red eyes, nipples, navel, and genitals are far removed from any naturalistic colour scheme. Schiele's search for the ego, pursued in countless self-portrayals, form a reflection on the quintessence of human existence in which Eros and Thanatos play the leading roles.\r\n\r\n\n","end_year":1910,"genre":"painting","materials":"Oil and gouache on canvas, 153 x 150 cm","museum_name":"Leopold Museum, Vienna","name":"Seated Male Nude (Self-Portrait)","start_year":1910,"type":"portrait","url":"https://www.wga.hu/detail/s/schiele/1selfpo1.jpg"},{"artworkid":636,"author":"UNKNOWN MASTER, Italian","description":"\r\nThis lovely stone has five different layers of colours from which the cameo has been carved. While the style is Hellenistic Greek, the workmanship seems to indicate that the gem was made at the end of the 15th century.\r\n\r\n\n","end_year":1490,"genre":"sculpture","materials":"Chalcedony cameo, 5,8 x 5,1 cm","museum_name":"Museo Archeologico Nazionale, Florence","name":"Bust of a Bacchante Crowned with Ivy","start_year":1490,"type":"mythological","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it7/07cameo1.jpg"},{"artworkid":640,"author":"BUGATTI, Carlo","description":"\r\nData for the writing desk are given in the description of a separate image.\r\n\r\n\n","end_year":1902,"genre":"furniture","materials":"Wood frame, painted parchment covering, height 86 cm (chair)","museum_name":"Brooklyn Museum, New York","name":"Cobra Chair and Writing Desk","start_year":1902,"type":"other","url":"https://www.wga.hu/detail/b/bugatti/carlo/furnitu6.jpg"},{"artworkid":644,"author":"PAOLO VENEZIANO","description":"\r\nIn the Duecento, a lively school of panel painting arose in Venice, but Venetian painting found its first authoritative voice in Paolo Veneziano, whose signed works can be dated from the 1320s to the 1360s. Paolo's works exemplify the refinement of Italo-Byzantine style.\r\nIn Paolo's earliest dated work, the Coronation of the Virgin, the freedom, freshness and brilliance of colour epitomize Venetian taste. The picture is organized in terms of waves of different colours and patterns. Unlike Tuscan painting, no clear-cut forms emerge; the picture is a web of colour and lines, like a luxurious fabric.\r\n\r\n\n","end_year":1324,"genre":"painting","materials":"Tempera on panel, 99 x 78 cm","museum_name":"National Gallery of Art, Washington","name":"Coronation of the Virgin","start_year":1324,"type":"religious","url":"https://www.wga.hu/detail/p/paolo/venezian/coronati.jpg"},{"artworkid":648,"author":"MASTER of the Brunswick Monogram","description":"\r\nThis painting is attributed to the Flemish master who was active in Antwerp and is named after a painting in the Herzog-Anton-Ulrich Museum in Brunswick.\r\n\r\n\n","end_year":1535,"genre":"painting","materials":"Wood, 40 x 32 cm","museum_name":"Muse du Louvre, Paris","name":"Abraham Leading his Son Isaac to the Sacrifice","start_year":1535,"type":"religious","url":"https://www.wga.hu/detail/m/master/brunswic/abraham.jpg"},{"artworkid":652,"author":"BRUEGHEL, Jan the Elder","description":"\r\nJan Brueghel the Elder was arguably the most important European artist to have painted on copper. Certainly he was one of the most prolific - approximately half of his oeuvre was painted on this support and the majority of these works are, like the present painting, landscapes.\r\nBrueghel depicts here an assortment of peasants, merchants and travellers set within a delicately rendered landscape, framed on the left by a forest and opening up on the right to a panoramic view of a distant city. The most striking feature of this landscape is the extraordinary sense of perspective that the artist creates within the composition, an accomplishment that is all the more remarkable given the small scale of the work.\r\n\r\n\n","end_year":1610,"genre":"painting","materials":"Oil on copper, 22 x 33 cm","museum_name":"Private collection","name":"Panoramic Landscape with Travellers","start_year":1610,"type":"landscape","url":"https://www.wga.hu/detail/b/bruegel/jan_e/1/panoram.jpg"},{"artworkid":622,"author":"BAEGERT, Derick","description":"\r\nIn the late fifteenth century, Wesel in the Lower Rhine was an important art centre, as demonstrated with the recently discovered oeuvre of Derick Baegert. His Bearing of the Cross does not merely describe Christ on the road to Calvary, but it evokes metaphorical associations through elaboration of the narrative. Without violating the meaning of the Gospel text, the painting transcends literal interpretation. In continuous narrative, the painting elicits multiple associations. In the background, Christ can be witnessed already hanging on the cross, as his betrayer Judas commit suicide from a nearby tree.\r\n\r\n\n","end_year":1490,"genre":"painting","materials":"Oil on panel","museum_name":"Westflisches Landesmuseum, Mnster","name":"The Bearing of the Cross","start_year":1490,"type":"religious","url":"https://www.wga.hu/detail/b/baegert/bearing.jpg"},{"artworkid":626,"author":"BERRUGUETE, Pedro","description":"\r\nThe predella of the altarpiece on the high altar of the church of St Eulalia presents five prophets, one of them is Ezekiel.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Oil on wood, 110 x 80 cm","museum_name":"Santa Eulalia, Paredes de Nava","name":"Ezekiel","start_year":1500,"type":"religious","url":"https://www.wga.hu/detail/b/berrugue/pedro/prophet3.jpg"},{"artworkid":630,"author":"MASOLINO da Panicale","description":"\r\nThe picture presents a view of the vaulting of the Collegiate Church with the scenes from the life of the Virgin. On the walls below, a cycle with scenes from the lives of the archdeacons Stephen and Lawrence, by Il Vecchietta and Paolo Schiavo can be seen.\r\nThe six scene from the life of the Virgin fill the six compartments of the cross-ribbed vaulting of the polygonal presbytery, their unusual arrangement dictated in part by the relative sizes of the available spaces. Owing to their larger numbers of figures, the Nativity and the Adoration of the Kings were relegated to the wider side compartments. The three narrower compartments between them were utilized for the glorification of the Virgin, in them we find the Coronation placed between the Annunciation and the Betrothal. The Assumption scene appears in the compartment directly behind the choir arch, and is not visible from the nave of the church. On the capstone God the Father giving benediction is depicted.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Fresco","museum_name":"Collegiata, Castiglione Olona","name":"View of the vaulting","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/m/masolino/olona/26olona.jpg"},{"artworkid":634,"author":"CACCINI, Giovanni Battista","description":"\r\nCaccini's garden sculptures Summer and Autumn (1592-93), commissioned by Alessandro Acciaioli, were later purchased by Ferdinando I to ornament the Ponte Santa Trinita (in situ) in 1608 for the wedding festivities of Prince Cosimo.\r\n\n\n\r\nSuggested listening (streaming mp3, 10 minutes):Vivaldi: Concerto in G minor RV 315 op. 8. No. 2 (Summer)\n\n\n","end_year":1593,"genre":"sculpture","materials":"Marble","museum_name":"Ponte Santa Trinita, Florence","name":"Summer","start_year":1592,"type":"mythological","url":"https://www.wga.hu/detail/c/caccini/ponte3.jpg"},{"artworkid":638,"author":"PITTONI, Giambattista","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 97 x 79 cm","museum_name":"Charlottenburg Palace, Berlin","name":"The Death of Joseph","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/p/pittoni/death_jo.jpg"},{"artworkid":642,"author":"GIAMBOLOGNA","description":"\r\nGiambologna added his own contributions to the statuary of the Piazza della Signoria in Florence, including the Rape of the Sabine Woman, placed in 1583 by Grand Duke Francesco I under the Loggia dei Lanzi in the spot once occupied by Donatello's Judith and Holofernes. The identification of the subject mattered so little to Giambologna that he called earlier versions of the same group Paris and Helen, Pluto and Proserpina, and Phineus and Andromeda. His chief interest lay in the energy of the spiral movement and the vitality of the male and female figures, and he succeeded so well in their rendition that Baroque sculptors, particularly Bernini, never forgot this group.\r\n\r\n\n","end_year":1583,"genre":"sculpture","materials":"Marble, height 410 cm","museum_name":"Loggia dei Lanzi, Florence","name":"Rape of a Sabine","start_year":1581,"type":"historical","url":"https://www.wga.hu/detail/g/giambolo/2/55giambo.jpg"},{"artworkid":646,"author":"MONET, Claude","description":"\n\n","end_year":1879,"genre":"painting","materials":"Oil on canvas, 64 x 81 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Plum Trees in Bloom","start_year":1879,"type":"landscape","url":"https://www.wga.hu/detail/m/monet/05/2vario02.jpg"},{"artworkid":650,"author":"PAL, Lszl","description":"\r\nThe art of László Paál gave many original features to Barbizon School. Of the great masters in Paál's time only Millet actually lived in Barbizon, and he followed the activity of the Hungarian artist and the other young painters who worked there with great interest, and was highly appreciative of his passionate paintings. Paál's work was first associated with that of Théodore. Rousseau and later he was compared with Diaz de la Péna. Yet there is something that makes him quite different from them - his imposing power of rendering, and his highly nostalgic, nature-inspired delineation. In his best works, the romantic approach is combined with a realistic representation and expression of atmospheric effects.\r\nThe painting \"In the Forest of Fontainebleau\" is bathed in sunlight, the forms are strict and there is still a vibrant translucent effect. His palette has an abundance of greens - glistening olives, the pale green of sunlit leaves, the sea-green of moss, the dark green of the deep mysterious forest - these and many more variations of green foliage shimmer in the dancing shafts of sunlight.\r\nNot one of his works was acquired by a museum during his lifetime, and his only official recognition, the \"mention honorable\" of the Paris Salon came when he was already seriously ill. In 1880 two of his pictures were bought for the collection of the National Museum. Thanks to Elek Petrovics, the Museum of Fine Arts, despite financial difficulties, bought a number of his works during and after the First World War, among them his painting.\r\n\r\n\n","end_year":1876,"genre":"painting","materials":"Oil on canvas, 92 x 63 cm","museum_name":"Magyar Nemzeti Galria, Budapest","name":"In the Forest of Fontainebleau","start_year":1876,"type":"landscape","url":"https://www.wga.hu/detail/p/paal/08paal.jpg"},{"artworkid":654,"author":"HASSAM, Childe","description":"\r\nHassam began to make a name for himself with rainy or snowy city scenes. In 1886, he went to Europe, this time to Paris. In this period he began to use a more Impressionist technique and colourism. Grand Prix Day, painted in 1887, is generally cited as the earliest work in his changed style. His palette brighter, his accentual colour contrasts strong, Hassam has turned away from the rain to a sunny summer's day and a crowd on their way to the big June races at Longchamp in the Bois de Boulogne.\r\n\r\n\n","end_year":1887,"genre":"painting","materials":"Oil on canvas, 61 x 86 cm","museum_name":"Museum of Fine Arts, Boston","name":"Grand Prix Day","start_year":1887,"type":"other","url":"https://www.wga.hu/detail/h/hassam/grandpri.jpg"},{"artworkid":658,"author":"REDON, Odilon","description":"\r\nThe present pastel is one of the highpoints of the decorative period (1907-10) in Redon's work. The sun-god Apollo, who was nicknamed \"the shining one,\" is not directly visible himself in the picture but is probably understood to be present in the beam of light on the right-hand edge of the picture. The reflection of this light on the horses pulling his chariot conveys its intensity.\r\n\r\n\n","end_year":1914,"genre":"painting","materials":"Pastel, 91 x 77 cm","museum_name":"Muse d'Orsay, Paris","name":"The Triumphal Car of Apollo","start_year":1905,"type":"mythological","url":"https://www.wga.hu/detail/r/redon/triumpha.jpg"},{"artworkid":662,"author":"DEMUT-MALINOVSKY, Vasily Ivanovich","description":"\n\n","end_year":1820,"genre":"sculpture","materials":"Bronze","museum_name":"State Tretyakov Gallery, Moscow","name":"Bust of Suvorov","start_year":1820,"type":"portrait","url":"https://www.wga.hu/detail/d/demut/suvorov.jpg"},{"artworkid":729,"author":"RIBERA, Jusepe de","description":"\r\nThis canvas belongs to the intensely realistic and direct portrayals of the Apostles for which Ribera is justly famous. The choice of ordinary men as models for his series of Saints and Apostles brought an immediacy to his paintings.\r\nThe painting is signed and dated lower right: Jusepe de Ribera/espanol, F. 1632.\r\n\r\n\n","end_year":1632,"genre":"painting","materials":"Oil on canvas, 101 x 75 cm","museum_name":"Private collection","name":"St Paul","start_year":1632,"type":"religious","url":"https://www.wga.hu/detail/r/ribera/1/st_paul.jpg"},{"artworkid":633,"author":"UGOLINO DI NERIO","description":"\r\nThis painting is one of the pinnacle panels of the now dismembered altarpiece painted by Ugolino di Nerio for the Franciscan church of Santa Croce, Florence. According to a nineteenth-century drawing attributed to Humbert de Superville, it was placed above the paired Sts James the Greater and Philip (Staatliche Museen, Berlin).\r\nThe prophet Isaiah is unfurling a sroll bearing the remains of an inscription from Isaiah 7:14.\r\n\r\n\n","end_year":1328,"genre":"painting","materials":"Egg tempera on wood, 46 x 32 cm","museum_name":"National Gallery, London","name":"Isaiah","start_year":1325,"type":"religious","url":"https://www.wga.hu/detail/u/ugolino/nerio/1/3pinnac2.jpg"},{"artworkid":637,"author":"PAL, Lszl","description":"\r\nThe works of László Paál are mainly landscapes with no human figures appearing in then scarcely ever. This painting is an exception in as much as a  woman can be seen in the background. In the coexistence of the land and the human being in Paál's oeuvre always the former has importance. The woman is nearly disappearing among the trees, there is nothing, not even her presence, in the picture to disturb the silence and tranquillity of forest.\r\n\r\n\n","end_year":1877,"genre":"painting","materials":"Oil on canvas, 100 x 70 cm","museum_name":"Magyar Nemzeti Galria, Budapest","name":"The Depth of the Forest","start_year":1877,"type":"landscape","url":"https://www.wga.hu/detail/p/paal/13paal.jpg"},{"artworkid":641,"author":"CANDID, Peter","description":"\r\nThis panel depicting St Margaret of Antioch was painted while Candid was living in Florence, and it shows the strong influence of Vasari. According to legend, St Margaret was cast into prison by the governor or Antioch and was swallowed whole by the devil in the form of a dragon. Armed with a cross, she pierced its belly and split the monster open, allowing her to walk free. She was eventually beheaded.\r\nThe painting had a companion piece representing St Catherine of Alexandria whose cult was often linked to that of St Margaret's.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 51 x 34 cm","museum_name":"Private collection","name":"St Margaret of Antioch","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/c/candid/margaret.jpg"},{"artworkid":645,"author":"MEMLING, Hans","description":"\r\nChrist appears in evangelical guise seated on a rainbow, his feet resting on a gleaming golden globe, surrounded by the twelve apostles and the intercessors Mary and John the Baptist. They are all pictured on a cloud that continues left to the gates of paradise and right to the mouth of hell. The traditional angels with the instruments of the Passion hover in pairs above this divine assembly, while the four angels blowing their apocalyptic trumpets float somewhat randomly above the earth, one of them even appearing high up in the clouds of the right wing. The lily of mercy and the red-hot sword of justice on either side of Christ's head correspond symbolically with the upward gesture of blessing made by his right hand, and the downward one by his left.\r\nThe rainbow separates the two worlds and their different orders; the ethereal golden space of God's Kingdom appears at the top, while the earth, represented as a wide plain bordered in the distance by a chain of mountains, is shown at the bottom. This will be the valley of Josaphat, which, according to the apocryphal authors (Honorius of Autun, James of Voragine) would be the site of the Last Judgment. The time of day is fixed by the dark blue-green night sky.\r\nThe figure of St Michael stands on the earth directly below Christ, on the dividing line between the green soil to the left and the barren brown plain to the right. Holding the scales in his right hand, he uses the crosier in his left to prick the flesh of the damned soul, as if to prod him towards the mouth of hell.\r\n\r\n\n","end_year":1471,"genre":"painting","materials":"Oil on wood, 221 x 160 cm","museum_name":"Muzeum Narodowe, Gdansk","name":"Last Judgment Triptych (central)","start_year":1467,"type":"religious","url":"https://www.wga.hu/detail/m/memling/1early3/02last2.jpg"},{"artworkid":649,"author":"GIOTTO di Bondone","description":"\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"No. 33 Scenes from the Life of Christ: 17. Mocking of Christ (detail)","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/5heads1/3head079.jpg"},{"artworkid":653,"author":"CARRACCI, Annibale","description":"\r\nCarracci executed this painting simultaneously with the frescoes in Galleria Farnese in Rome. It shows Carracci's capability to combine in an original way the style of selected artists from the past, in this case those of Correggio and Michelangelo.\r\n\r\n\n","end_year":1600,"genre":"painting","materials":"Oil on canvas, 156 x 149 cm","museum_name":"Museo Nazionale di Capodimonte, Naples","name":"Piet","start_year":1599,"type":"religious","url":"https://www.wga.hu/detail/c/carracci/annibale/2/pieta.jpg"},{"artworkid":657,"author":"LE PRINCE, Jean-Baptiste","description":"\r\nThis drawing seems to be set on the outskirts of a Russian village, with a wooden church dominating the background. A long plank of wood has been balanced on a rock to create a makeshift seesaw, which has sent a young girl soaring into the air. In front of them two small children struggle to pull a further three along on a sled.\r\n\r\n\n","end_year":1769,"genre":"graphics","materials":"Black chalk, pen and black ink, grey wash, 290 x 228 mm","museum_name":"Private collection","name":"The Seesaw","start_year":1769,"type":"landscape","url":"https://www.wga.hu/detail/l/le_princ/zgraph_1.jpg"},{"artworkid":661,"author":"ARCHITECT, French","description":"\r\nIn the Late Gothic era many churches were completed on which work had been interrupted for a long time. As the large main front was usually constructed after the completion of the church, architects of the 15th and 16th centuries were particularly on demand for work on fronts.\r\nIn Normandy there are several Late Gothic towers. During this period, tower foundations that already existed were often completed, as for example, the tower of Notre-Dame in Caudebec-en-Caux, a church begun in 1382. The high octagon that crowns the tower was constructed in the period 1490-1515. The polygon, begun in 1491, is completed by a spire finished around 1515.\r\nThe photo shows the façade with tower.\r\n\r\n\n","end_year":1515,"genre":"architecture","materials":"Photo","museum_name":"Notre-Dame, Caudebec-en-Caux (Seine-Maritime)","name":"Exterior view","start_year":1490,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/15c/2/13f_1451.jpg"},{"artworkid":665,"author":"FORABOSCO, Girolamo","description":"\r\nThis is one of the late paintings of the artist who worked in Venice and Padua. It shows the influence of the Mannerism of Padovanino, Forabosco's first teacher, and Titian's painterly style.\r\n\r\n\n","end_year":1670,"genre":"painting","materials":"Oil on canvas, 121 x 97 cm","museum_name":"Liechtenstein Museum, Vienna","name":"David with the Head of Goliath","start_year":1670,"type":"religious","url":"https://www.wga.hu/detail/f/forabosc/david.jpg"},{"artworkid":669,"author":"COROT, Jean-Baptiste Camille","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 55 x 46 cm","museum_name":"Wallraf-Richartz-Museum, Cologne","name":"Poetry","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/c/corot/corot08.jpg"},{"artworkid":673,"author":"SAARINEN, Eliel","description":"\r\nSuur-Merijoki Manor in Viipuri Province was a Finnish Art Nouveau masterpiece, a 'total work of art' that became one of the most famous Finnish homes of its era. It was commissioned by Swiss-born Maximilian Neuscheller (1860-1919), a wealthy, cosmopolitan businessman based in St. Petersburg who travelled widely and was a knowledgeable patron of the arts.\r\nIn 1900 Neuscheller purchased the Suur-Merijoki estate on the Karelia Isthmus, a popular vacationing spot among the St. Petersburg elite. Two years later, he enlisted the services of the promising Finnish architect trio to design a summer villa for himself and his family.\r\nThe young architects Herman Gesellius (1874-1916), Armas Lindgren (1874-1929) and Eliel Saarinen (1873-1950) founded a three-man architectural practice in 1896, while all three were still undergraduates. They made their first breakthrough as designers of the Finnish pavilion at the Paris World's Fair. Wealthy Neuscheller offered the young architects a unique opportunity by giving them the chance to design a 'total work of art' in the Art Nouveau style, sparing no expense, complete with furniture and textiles. The architects were assisted by a large team of artisans, painters and sculptors. The manor was built in 1902-03.\r\nSuur-Merijoki Major was situated in an unusual location atop a small hill in the middle of a spruce forest. The main villa had the look of a Gothic castle with medieval touches such as turrets, nature granite boulders in the plinths and elevations, and tapering windows.\r\nNeuscheller died in the aftermath of the Russian Revolution in 1919, after which his family sold the estate to the Finnish government in 1927. The manor was badly damaged during the Winter War, but some of its furnishings were salvaged and evacuated to Finland. The estate was relinquished to the Soviet Union in 1944. Today there is nothing left of the once-splendid manor but rubble and ruin.\r\nEliel Saarinen's watercolour of 1902 shows the exterior of the manor.\r\n\r\n\n","end_year":1902,"genre":"architecture","materials":"Watercolour","museum_name":"Museum of Finnish Architecture, Helsinki","name":"Suur-Merijoki Manor: exterior","start_year":1902,"type":"other","url":"https://www.wga.hu/detail/s/saarinen/1manor1.jpg"},{"artworkid":677,"author":"RUBENS, Peter Paul","description":"\r\nThis is one of Rubens' rare night scenes. Although sketch-like in the handling, it appears to be a finished independent work that he painted for his own pleasure.\r\n\r\n\n","end_year":1617,"genre":"painting","materials":"Oil on panel, 79 x 61 cm","museum_name":"Mauritshuis, The Hague","name":"Old Woman and Boy with Candles","start_year":1616,"type":"genre","url":"https://www.wga.hu/detail/r/rubens/61other/01oldwom.jpg"},{"artworkid":733,"author":"GIOTTO di Bondone","description":"\n\n","end_year":1320,"genre":"painting","materials":"Fresco","museum_name":"North transept, Lower Church, San Francesco, Assisi","name":"The Adoration of the Magi","start_year":1315,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/assisi/lower/ceiling/03christ.jpg"},{"artworkid":737,"author":"GIULIO ROMANO","description":"\r\nThis painting is almost identical with the painting attributed to Raphael in the Tribuna of the Uffizi Gallery in Florence. The naked, athletic St John the Baptist sits on a stony outcrop of a grotto-like rock formation that forms a dark background for his brilliantly lit figure. The spring rising close by can be read as a symbol of baptism.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 178 x 154 cm","museum_name":"Liechtenstein Museum, Vienna","name":"St John the Baptist in the Wilderness","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/g/giulio/various/baptist.jpg"},{"artworkid":647,"author":"VASSALLETTO, Pietro","description":"\r\nThis type of marble candlestick, created to hold the Easter candle, began to be widely used in the 10th century as part of the Holy Saturday liturgy. This imposing candleholder has splendid decorations along its shaft. Divided horizontally into six registers, vegetal and animal motifs alternate with scenes of the Passion and resurrection of Christ. Below the scenes is an inscription with the names of the two authors: Nicola (Niccolò) d'Angelo and Pietro Vassalletto. The concept of the work is attributed to Pietro Vassalletto, while the attribution of the different parts remains controversial since other works definitely by Nicola d'Angelo with which it would be possible to make comparisons are not known.\r\n\r\n\n","end_year":1170,"genre":"sculpture","materials":"Marble, height 560 cm","museum_name":"San Paolo fuori le Mura, Rome","name":"Easter Candlestick","start_year":1170,"type":"other","url":"https://www.wga.hu/detail/v/vassalet/easter_b.jpg"},{"artworkid":651,"author":"BOTTICELLI, Sandro","description":"\r\nThe panels on the subjects of Virginia and Lucretia were produced to be hung together. The classical writer Livy wrote the stories of the two Roman heroines. The beautiful, virtuous Virginia becomes the victim of an intrigue of the dastardly decemvir Appius Claudius, and despite her innocence is to be condemned to a life of slavery. In order to avoid this disgrace, she is stabbed to death by her father. The events lead to a revolt against Rome's tyrannical decemvirs.\r\n\r\n\n","end_year":1504,"genre":"painting","materials":"Tempera on panel, 85 x 165 cm","museum_name":"Accademia Carrara, Bergamo","name":"The Story of Virginia","start_year":1496,"type":"historical","url":"https://www.wga.hu/detail/b/botticel/90scenic/20virgin.jpg"},{"artworkid":655,"author":"HEEM, Jan Davidsz. de","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 100 x 76 cm","museum_name":"Gemldegalerie, Dresden","name":"Flowers in Glass and Fruits","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/h/heem/jan/1/flowfrui.jpg"},{"artworkid":659,"author":"NANNI DI BARTOLO","description":"\r\nThe loosely swathed drapery conforms to a type that Nanni deployed in a series of works, of which the the Virgin and Child now in the Ognissanti in Florence is characteristic.\r\nThe statue came from San Salvatore al Monte, Florence.\r\n\r\n\n","end_year":1423,"genre":"sculpture","materials":"Pigmented terracotta, height 140 cm","museum_name":"Cenacolo di Ognissanti, Florence","name":"Virgin and Child","start_year":1420,"type":"religious","url":"https://www.wga.hu/detail/n/nanni/bartolo/virgin2.jpg"},{"artworkid":663,"author":"WEYDEN, Rogier van der","description":"\r\nThe central panel is dominated by the son of God, seated on a semi-circular rainbow, with the Virgin Mary at one end of the arc and St John the Baptist at the other. Christ's feet rest on a sphere, symbol of the universe. With his right hand, he blesses those who are saved and with his left curses those who are damned. These two gestures are emphasized by appropriate emblems, respectively, a lily and a blazing sword. Beneath Christ stands St Michael, prince of the heavenly hosts. He is pictured as young, because he is immortal and as handsome, because he is the embodiment of divine justice. He holds in his hands a scale in which he weighs souls. The souls are represented by two little naked figures, whose names are \"Virtutes\" and \"Peccata\". The former kneels, overcome with delight, while the latter seems horrified and screams with terror.\r\n\r\n\n","end_year":1452,"genre":"painting","materials":"Oil on wood","museum_name":"Muse de l'Htel-Dieu, Beaune","name":"The Last Judgment (detail)","start_year":1446,"type":"religious","url":"https://www.wga.hu/detail/w/weyden/rogier/09beaune/05beaun.jpg"},{"artworkid":667,"author":"KESSEL, Jan van, I","description":"\r\nThis painting is part of a series representing the Four Continents.\r\n\r\n\n","end_year":1666,"genre":"painting","materials":"Oil on canvas","museum_name":"Alte Pinakothek, Munich","name":"The Continent of Asia","start_year":1666,"type":"mythological","url":"https://www.wga.hu/detail/k/kessel/jan1/contine2.jpg"},{"artworkid":671,"author":"SOLARIO, Andrea","description":"\r\nThe artist belongs to the generation bridging the 15th and 16th centuries and was highly regarded in his own day for his portraiture. This early portrait was executed during the artist's stay in Venice, the sitter, who holds a pink or carnation in his right hand indicating a betrothal portrait, was probably a Venetian senator.\r\n\r\n\n","end_year":1495,"genre":"painting","materials":"Oil and egg tempera on poplar, 50 x 39 cm","museum_name":"National Gallery, London","name":"Man with a Pink Carnation","start_year":1495,"type":"portrait","url":"https://www.wga.hu/detail/s/solari/andrea/pink.jpg"},{"artworkid":675,"author":"SCHLAUN, Johann Conrad","description":"\r\nNot far to the northwest of Münster, Schlaun built himself a country lodge, the Rüschhaus near Nienberge. In his lodge he succeeded in combining the rustic farmhouse type of the Münster region with the frivolity of the French 'maison de plaisance.\" A central drive leads to the courtyard façade with its great entrance archway. The garden front is ornamented with delicate windows and door frames and a flight of steps.\r\nThe picture shows the garden front of the country lodge.\r\n\r\n\n","end_year":1749,"genre":"architecture","materials":"Photo","museum_name":"Rschhaus, Nienberge","name":"Exterior view","start_year":1745,"type":"other","url":"https://www.wga.hu/detail/s/schlaun/3rusch1.jpg"},{"artworkid":679,"author":"LAURANA, Francesco","description":"\r\nThere is evidence that Laurana was in Sicily from May 1468 until September 1471, but he may have arrived earlier and left later. Laurana was last mentioned in Palermo on 28 September 1471, but he seems to have stayed on the east coast of Sicily that year.\r\nThe sculpture, which on the base bears the inscription \"Sancta Maria dela Gratia de Palazu\", the relief with the Dormitio Virginis, the shield of the Alagones and another, still unidentified, with a lion, was probably commissioned by the Alagona family to the church of Santa Maria della Grazia and after its destruction moved to its present location.\r\n\r\n\n","end_year":1471,"genre":"sculpture","materials":"Marble","museum_name":"Chiesa dell'Immacolata, Palazzolo Acreide (Sicily)","name":"Madonna della Grazia","start_year":1471,"type":"religious","url":"https://www.wga.hu/detail/l/laurana/acreide2.jpg"},{"artworkid":683,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Benesch 832.\r\n\r\n\n","end_year":1648,"genre":"graphics","materials":"Pen and wash, 144 x 244 mm","museum_name":"British Museum, London","name":"Farm buildings near a brook and a high embankment","start_year":1648,"type":"landscape","url":"https://www.wga.hu/detail/r/rembrand/53drawin/2/39lands.jpg"},{"artworkid":687,"author":"LAZZARINI, Gregorio","description":"\r\nThe subject of Dido and the bull's hide is taken from the Aeneid and illustrates both the ingenuity of Dido and tells the story of the founding of Carthage. After fleeing Tyre and landing on the shores of North Africa, Dido bartered with the local king Iarbas to acquire some land. Attempting to drive a hard bargain, Iarbas agreed to give Dido as much land as the hide of a bull could cover. However, Dido cut a bull's hide into thin strips and used them to outline a large area of land, thereby outwitting Iarbas and securing some living space for her and her followers. It was on that site that Dido built Carthage and became its queen.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 115 x 161 cm","museum_name":"Private collection","name":"Dido and the Bull's Hide","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/l/lazzarin/didobull.jpg"},{"artworkid":691,"author":"DONATELLO","description":"\n\n","end_year":1439,"genre":"sculpture","materials":"Marble","museum_name":"Museo dell'Opera del Duomo, Florence","name":"Cantoria (detail)","start_year":1431,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/2_mature/cantoria/cantori5.jpg"},{"artworkid":695,"author":"BALDUNG GRIEN, Hans","description":"\r\nMucius Scaevola (Livy 2:12-13) was a hero of Roman legend. When the Etruscan forces, led by Lars Porsena, king of Clusium, were besieging Rome, a young Roman nobleman, Caius Mucius, succeeded in penetrating the enemy lines in disguise, meaning to kill Porsena. By mistake he killed the king's secretary who was sitting beside him. Mucius was seized but, to show how cheaply he held his life, thrust his right hand into the flames of an altar fire and let it burn. Porsena, amazed by his endurance, set him free. He was thereafter called Scaevola, meaning 'left-handed'.\r\nIn painting, of the Renaissance and later, Mucius stands for the virtues of patience and constancy. His sacrifice was also held to be a prefiguration of Christ's sacrifice.\r\n\r\n\n","end_year":1531,"genre":"painting","materials":"Lime wood, 98 x 68 cm","museum_name":"Gemldegalerie, Dresden","name":"Mucius Scaevola","start_year":1531,"type":"historical","url":"https://www.wga.hu/detail/b/baldung/2/09mucius.jpg"},{"artworkid":656,"author":"TIZIANO Vecellio","description":"\r\nBetween 1553 and 1554 Titian executed for the Habsburgs two classical mythological works of clearly erotic intent which he himself described as \"poesie\" (mythological fables). These are the Danaë with a Nurse and the Venus and Adonis, both now in the Prado, Madrid. The Venus and Adonis became the prototype for a whole series of replicas of this subject.\r\nVenus, the goddess of love, falls in love with Adonis, a beautiful youth. Her love is not, however, enough to stop him pursuing his favourite pastime, hunting, which will lead to his undoing, for he is gored to death by a boar. There is an interesting letter from Titian to Philip II which deals with this painting. The artist makes a special point of mentioning that he was particularly interested in depicting the body from both sides.\r\nIn both paintings the scene of the union of the lovers is bathed in the warm light of sunset, where the diffuse softness of the colours holds sway. The female nudes reveal the continuing inspiration of Michelangelo's sculpture, such as the Dawn and Night from the Medici tombs in Florence. But what is entirely personal to Titian is the quality of the colour, which fragments into patches of dazzling luminosity - a perfect complement to the ecstatic sensuous abandon of the figures.\r\nIn its own day Venus and Adonis was considered one of Titian's most erotic works, especially in the compression of Venus' buttocks in her seated pose, but it also suggests the indulgent condescension of a younger man towards the frantic and overprotective reaction of an older woman.\r\n\r\n\n","end_year":1554,"genre":"painting","materials":"Oil on canvas, 180 x 207 cm","museum_name":"Museo del Prado, Madrid","name":"Venus and Adonis","start_year":1554,"type":"mythological","url":"https://www.wga.hu/detail/t/tiziano/08b/2venus_a.jpg"},{"artworkid":660,"author":"GHIRLANDAIO, Domenico","description":"\r\nThis painting is probably the earliest panel painting by Ghirlandaio. There is a close formal connection between this panel and Ghirlandaio's frescoed St Barbara in the church of Sant'Andrea, Cercina, which is considered by most recent scholars to be among his earliest extant works.\r\n\r\n\n","end_year":1473,"genre":"painting","materials":"Panel, 68 x 47 cm","museum_name":"Private collection","name":"St Barbara Crushing her Infidel Father, with a Kneeling Donor","start_year":1473,"type":"religious","url":"https://www.wga.hu/detail/g/ghirland/domenico/1early/4barbara.jpg"},{"artworkid":664,"author":"LIPPI, Filippino","description":"\n\n","end_year":1491,"genre":"painting","materials":"Fresco","museum_name":"Santa Maria sopra Minerva, Rome","name":"Triumph of St Thomas Aquinas over the Heretics (detail)","start_year":1489,"type":"religious","url":"https://www.wga.hu/detail/l/lippi/flippino/carafa/1hereti5.jpg"},{"artworkid":668,"author":"MICHELANGELO Buonarroti","description":"\r\nThe detail shows the head of the Ignudo at the upper left corner of the Drunkenness of Noah (above the prophet Joel).\r\n\r\n\n","end_year":1509,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Ignudo (detail)","start_year":1509,"type":"religious","url":"https://www.wga.hu/detail/m/michelan/3sistina/2ignudi/01_4sw1.jpg"},{"artworkid":672,"author":"DONATELLO","description":"\n\n","end_year":1456,"genre":"sculpture","materials":"Bronze, diameter 28,5 cm","museum_name":"Victoria and Albert Museum, London","name":"Chellini Madonna (verso)","start_year":1456,"type":"religious","url":"https://www.wga.hu/detail/d/donatell/3_late/various/chellin2.jpg"},{"artworkid":676,"author":"BILIVERT, Giovanni","description":"\r\nEmploying loose brushwork and warm effects of light and shadow, Bilivert was inspired by sixteenth century Venetian painting, Veronese's influence was evident. The artist was further influenced by his pupil, Francesco Furini, famous for his soft sfumato effects and the ambiguous sensuality of his many female nudes. Furini's influence on his teacher is clear in the present painting.\r\n\r\n\n","end_year":1633,"genre":"painting","materials":"Oil on copper, 46 x 33 cm","museum_name":"Private collection","name":"Venus, Cupid and Pan","start_year":1630,"type":"mythological","url":"https://www.wga.hu/detail/b/bilivert/giovanni/venus_cu.jpg"},{"artworkid":680,"author":"PERRY, Lilla Cabot","description":"\n\n","end_year":1897,"genre":"painting","materials":"Oil on canvas, 66 x 81 cm","museum_name":"Private collection","name":"Monet's Garden at Giverny","start_year":1897,"type":"landscape","url":"https://www.wga.hu/detail/p/perry/giverny.jpg"},{"artworkid":684,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nLautrec's father, Count Alphonse-Charles-Marie de Toulouse-Lautrec-Monfa (1838-1913) is described as a crotchety eccentric, who was mainly interested in hunting, and who seemed to love horses, dogs, and falcons more than people. When he realised that his weakling son would never equal him in riding, hunting, or soldiering, he turned away in disappointment.\r\n\r\n\n","end_year":1880,"genre":"painting","materials":"Oil on canvas, 39 x 51 cm","museum_name":"Muse du Petit Palais, Paris","name":"Count Alphonse de Toulouse-Lautres Driving his Coach and Four","start_year":1880,"type":"genre","url":"https://www.wga.hu/detail/t/toulouse/1/01early.jpg"},{"artworkid":688,"author":"VORSTERMAN, Lucas","description":"\r\nHope (Spes) steers the straw-covered wagon of poverty (Penia); two donkeys, Stupidity (Stupiditas) and Laziness (Ignavia) and two oxen - Negligence (Negligentia) and Sloth (Pigritia) - pull it. Moderation (Moderatio), Diligence (Diligentia), Carefulness (Soliticitudo), and Labour (Labor) lead the horses and drive them. Like Wealth, poverty is also accompanied by good and evil forces: Industriousness (Industria), which hands out tools to the retinue, sits together with Experience (Usus), and Memory (Memoria) on the cart; behind Poverty, Misfortune (Infortunium) hands out thrashings. The text on the panel hanging from the tree ponders the vicissitudes of fate and the nature of wealth and poverty. Whereas the rich man should spend his life in delusion, in perpetual fear of a stroke of misfortune, the poor man should fear nothing and learn with industrious virtuousness to serve God.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Pen in brown, with gray and brown wash, black and red chalks, and white highlights, 43,7 x 58,5 cm","museum_name":"British Museum, London","name":"Triumph of Poverty","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/v/vorsterm/triumph.jpg"},{"artworkid":692,"author":"NARDO DI CIONE","description":"\r\nThe Strozzi Chapel contains one of the most important altarpieces of the Trecento, painted by Orcagna (Andrea di Cione) between 1354 and 1357. The frescoes in the chapel were probably painted at the same time as the retable by Nardo di Cione, the brother of Orcagna.\r\nIn nearly a complete departure from earlier family chapels, the fresco program is devoted almost exclusively to a depiction of the Last Judgment, which takes up all three walls. The pictorial program of the frescoes is articulated like a triptych, with the Last Judgment on the west wall as the core of the ensemble and Paradise on the south wall as the pendant to Hell on the north wall.\r\nThe picture shows the Strozzi Chapel from the east. On the west wall is the Last Judgment, on the south wall (left) the Paradise, on the north wall (right) the Hell can be seen.\r\nThe figures in the stained glass window are the Madonna and Child, and the Dominican Saint Thomas Aquinas.\r\n\r\n\n","end_year":1357,"genre":"painting","materials":"Fresco","museum_name":"Cappella Strozzi di Mantova, Santa Maria Novella, Florence","name":"View of the chapel from the east","start_year":1354,"type":"religious","url":"https://www.wga.hu/detail/n/nardo/strozzi/0view2.jpg"},{"artworkid":696,"author":"BRUEGHEL, Pieter the Younger","description":"\r\nThe painting is composed of several humorous genre scenes depicting the movements people of various ages on the icy ground.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Tempera on oak panel","museum_name":"Nrodn Galerie, Prague","name":"Adoration of the Magi (detail)","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/b/bruegel/pieter_y/2/adoratip.jpg"},{"artworkid":700,"author":"BRUEGEL, Pieter the Elder","description":"\r\nMary with the Christ child is sitting on a donkey, the ox visible behind her. Joseph is striding out in front of them in the direction of the inn where the tax collectors or census officials are. Otherwise, no one in Bruegel's depiction of a winter village square is interested in the biblical figures.\r\n\r\n\n","end_year":1566,"genre":"painting","materials":"Oil on oak","museum_name":"Muses Royaux des Beaux-Arts, Brussels","name":"The Census at Bethlehem (detail)","start_year":1566,"type":"religious","url":"https://www.wga.hu/detail/b/bruegel/pieter_e/04/09census.jpg"},{"artworkid":666,"author":"VERROCCHIO, Andrea del","description":"\r\nThis is Verrocchio's first major sculpture, the tomb of Piero and Giovanni Medici, the sons of Cosimo, ordered by Lorenzo and Giuliano. Although related to earlier Florentine sepulchral monuments, it departs from the figurated tombs in white marble which had been popular during mid-century. It was made of the same materials as the pavement above Cosimo's tomb to stress the dinasty. Appropriately, it is double-sided - in an arch between the Old Sacristy and the former Chapel of Sacrament - and thus a significant step towards freestanding tomb. Its understated imagery and elegant decoration are representative of the late fifteenth-century art.\r\n\r\n\n","end_year":1472,"genre":"sculpture","materials":"Marble, porphyry, serpentine, bronze and pietra serena, height 540 cm","museum_name":"San Lorenzo, Florence","name":"Tomb of Piero and Giovanni de' Medici (interior)","start_year":1469,"type":"religious","url":"https://www.wga.hu/detail/v/verocchi/sculptur/tomb_med.jpg"},{"artworkid":670,"author":"MEDIEVAL SCULPTOR, Spanish","description":"\r\nThe choir-stall comes from the church of San Benito at Valladolid.\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Wood","museum_name":"National Museum of Religious Carvings, Valladolid","name":"Choir-stall","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zgothic/gothic/6/05s_1500.jpg"},{"artworkid":674,"author":"CARAVAGGIO","description":"\r\nThis painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill.\r\nCaravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbarán. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone.\r\n\n\n\r\nSuggested listening (streaming mp3, 11 minutes):Johann Kuhnau: The Fight between David and Goliath (No. 1 of the 6 Stories from the Bible illustrated in music)\n\n\n","end_year":1600,"genre":"painting","materials":"Oil on canvas, 110 x 91 cm","museum_name":"Museo del Prado, Madrid","name":"David and Goliath","start_year":1600,"type":"religious","url":"https://www.wga.hu/detail/c/caravagg/06/31david.jpg"},{"artworkid":678,"author":"ADAM, Robert","description":"\r\nThe Ante Room is dominated by twelve Ionic columns veneered in green scagliola. The arrangement of the columns gives the room a square effect. The deep vivid colours in this room are a complete contrast to the subtle colours of the Great Hall.\r\nThe picture shows the Ante Room.\r\n\r\n\n","end_year":1764,"genre":"architecture","materials":"Photo","museum_name":"Syon House, Brentford, Middlesex","name":"Interior view","start_year":1763,"type":"interior","url":"https://www.wga.hu/detail/a/adam2/syon2.jpg"},{"artworkid":682,"author":"ADRIANO FIORENTINO","description":"\r\nAdriano worked at courts in Italy and also in Germany, where he produced one of his best-known works, a bronze bust of Elector Frederick III the Wise in contemporary costume.\r\n\r\n\n","end_year":1498,"genre":"sculpture","materials":"Brass, height 62 cm","museum_name":"Staatliche Kunstsammlungen, Dresden","name":"Elector Frederick III of Saxony, Called Frederick the Wise","start_year":1498,"type":"portrait","url":"https://www.wga.hu/detail/a/adriano/frederic.jpg"},{"artworkid":686,"author":"BASSANO, Jacopo","description":"\r\nJacopo Bassano was a painter of religious scenes and a discerning portraitist but he primarily owes his fame to the invention of an utterly new genre, one that combined pastoral themes with biblical and allegorical subjects. His depictions of the seasons - unique in cinquecento Italian painting - were probably inspired by Pieter Bruegel's, Pieter Aertsen's and Joachim Beuckelaer's works and scored great and lasting success. Bassano's workshop painted innumerable replicas of these compositions, which came to be known even beyond the Alps through prints, in particular those made by the members of the Sadeler family.\r\nIn this painting the theme of summer is introduced by a scene of sheep-shearing and a woman pausing for repose with three children. The three scenes in the middle ground - harvesting, gathering, and thrashing the crop - confirm that the episode takes place in summer. In the background on the left, the sketchily depicted figures are engaged in the scene of the sacrifice of Isaac.\r\n\r\n\n","end_year":1575,"genre":"painting","materials":"Oil on canvas, 79 x 111 cm","museum_name":"Kunsthistorisches Museum, Vienna","name":"Summer (Sacrifice of Isaac)","start_year":1575,"type":"religious","url":"https://www.wga.hu/detail/b/bassano/jacopo/2/10summer.jpg"},{"artworkid":690,"author":"GRECO, El","description":"\r\nCommenced in the summer of 1577, and completed in the spring of 1579, for the High Altar of the Sacristy of the Cathedral, where it still hangs. A document of 2nd July 1577 referring to this painting is the earliest record of El Greco in Spain. El Greco has produced one of the most dignified and moving portrayals of Christ in art. The powerful effect of the painting especially depends upon his original and forceful use of colour. Something of the effect of the grand images of the Saviour in Byzantine art is recalled. The motif of the crowding round Christ suggests an acquaintance with the works of the Northern artist, Bosch; the figure preparing the Cross could be derived from the similar figure bending forward in Raphael's tapestry cartoon of the Miraculous Draught of Fishes. This is, however, the last time that there are any hints of specific borrowings.\r\nThe painting shows Christ clad in a bright red robe and looking up to Heaven with an expression of serenity as he is being tormented by his captors. A figure in the background bearing a red hat points at Christ accusingly, while two others argue over his garments. A man in green to Christ's left holds him firmly with a rope and is about to rip off his robe in preparation for his crucifixion. At the lower right, a man in yellow bends over the cross and drills a hole to facilitate the insertion of a nail to be driven through Christ's feet. The clouds above Christ, painted in strong diagonals, provide a 'path' of uplifting communication between Christ and God the Father. On the left side of the composition, the three Marys contemplate the event with distress. Above them a soldier wearing a suit of armour reminiscent of those fabricated in sixteenth-century Toledo stares out directly at the viewer. El Greco may have intended this figure to be a contemporary portrait.\r\nA small, signed version of the Espolio, at Upton Park, Warwickshire, the original preliminary model is probably for the large painting. Many other versions exist, but few can be by El Greco. The only occasion that he treated the subject was for the Cathedral, but the type of Christ created in the Espolio is taken up in the related subject of Christ carrying the Cross, and in other representations of Christ.\r\nThe initial reception of the painting, when seen by the artists brought to value it, was that it was beyond appraisal. After the artist's death, the first real recognition of the painting was some two centuries later when Goya painted his Taking of Christ for the same sacristy.\r\n\r\n\n","end_year":1579,"genre":"painting","materials":"Oil on canvas, 285 x 173 cm","museum_name":"Sacristy of the Cathedral, Toledo","name":"The Disrobing of Christ (El Espolio)","start_year":1577,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/04/0402grec.jpg"},{"artworkid":694,"author":"VELDE, Henry van de","description":"\r\nThis gracious mansion is the work of architect Octave Van Rysselberghe and designer Henry van de Velde, who designed the interior. Paul Otlet, who commissioned the building, was a doctor of law, socialist activist, and pacifist. He devoted his fortune to a model of classification of his archives that we can consider today as a forerunner of the Internet.\r\nThe interior is organized around a large central space lit by a glass roof, in which the main stairwell gives access to the various rooms. The landings are separated by glass walls which provide additional lighting to this central space. The building has retained some of its decoration, such as the mosaic floor and several stained glass windows.\r\nIn graphic art, linear rhythm still served as a bearer of mood. In this respect, van de Velde found himself in concord with the stylistic devices of Symbolism, yet his pure Art Nouveau work retained - in purified form - a personal stamp. It becomes visible in the interior design of the Hôtel Otlet.\r\n\r\n\n","end_year":1898,"genre":"architecture","materials":"Photo","museum_name":"Rue de Florence 13, Brussels","name":"Htel Otlet: stairwell","start_year":1894,"type":"interior","url":"https://www.wga.hu/detail/v/velde3/11otlet1.jpg"},{"artworkid":698,"author":"ANGELICO, Fra","description":"\r\nThe fresco (repainted) was detached and transferred to masonite support.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Detached fresco, 116 x 75 x 2 cm","museum_name":"Convento di San Domenico, Fiesole","name":"Madonna and Child","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/a/angelico/14/0fiesol2.jpg"},{"artworkid":702,"author":"PASTI, Matteo de'","description":"\r\nA warm relationship existed between Leon Battista Alberti (1404-1472), an Italian architect and Renaissance humanist polymath, and Matteo de' Pasti, the medalist. The design of this medal was probably a collaborative effort. Clearly the reverse, a winged eye surrounded by a laurel wreath and the accompanying motto, was Alberti's invention.\r\n\r\n\n","end_year":1454,"genre":"sculpture","materials":"Cast bronze, diameter 9 cm","museum_name":"Castello Sforzesco, Milan","name":"Medal of Leon Battista Alberti","start_year":1454,"type":"portrait","url":"https://www.wga.hu/detail/p/pasti/medal_a.jpg"},{"artworkid":706,"author":"UNKNOWN MASTER, Flemish","description":"\r\nThis small palmwood high relief was part of a St George group.\r\n\r\n\n","end_year":1410,"genre":"sculpture","materials":"Wood, 15,9 x 11,2 cm","museum_name":"Museum Mayer van den Bergh, Antwerp","name":"King's Daughter","start_year":1400,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_fl/sculptur/2/02kingda.jpg"},{"artworkid":710,"author":"SPAVENTO, Giorgio","description":"\r\nThis 15-century late Gothic palace takes its name from the spiral staircase (bovolo in Venetian dialect) at the rear. The helicoidal stairway develops within a tower marked by round rampant arches, finishing with a belvedere surmounted by a dome which is linked to the open gallery on five floors, one above the other.\r\nThe palace was built from 1499 on by Giovanni Candi (d. 1506), but Giorgio Spavento was the architect of the stairway.\r\n\r\n\n","end_year":1499,"genre":"architecture","materials":"Photo","museum_name":"San Luca Canal, Venice","name":"Palazzo Contarini del Bovolo: External staircase","start_year":1499,"type":"other","url":"https://www.wga.hu/detail/s/spavento/bovolo.jpg"},{"artworkid":681,"author":"GOSSART, Jan","description":"\r\nThe left wing of the diptych depicts the Virgin and Child in the Church, while the right wing the donor Antonio Siciliano and St Anthony.\r\nThe diptych was commissioned by Antonio Siciliano who served as chamberlain and secretary to Massimiliano Sforza, the Duke of Milan. In 1513 he was dispatched to Margaret of Austria in Mechelen on a diplomatic mission. It is assumed that Siciliano commissioned the painting from Gossart, who about 1513 worked at Margaret's court in Mechelen.\r\nThe donor is depicted in the right-hand panel, kneeling with his dog by his side, against the backdrop of a mountainous landscape with a meadow full of flowers in the foreground, in the act of being presented by his patron St Anthony to the Madonna, represented on the opposite panel.\r\nThe authorship of the diptych is debated, especially that of the donor (right) wing. Several alternative suggestions were proposed, the authorship being connected to the Antwerp Mannerists or to the artists contributing to the Grimani Breviary. The left panel is attributed to Gerard David. This attribution is supported by recent technical examination.\r\n\r\n\n","end_year":1515,"genre":"painting","materials":"Oil on oak panel, 40 x 22 cm","museum_name":"Galleria Doria Pamphilj, Rome","name":"The Doria-Pamphilj Diptych (right wing)","start_year":1510,"type":"religious","url":"https://www.wga.hu/detail/g/gossart/01altar/2doria1.jpg"},{"artworkid":685,"author":"FONTANA, Lavinia","description":"\r\nThis drawing represents Antonietta (born c. 1588), the younger daughter of Pedro Gonzalez, the \"hairy man from Munich.\" It belongs with eighteen other folios to an album dating from the end of the seventeenth century. It is very likely a preparatory sketch for the portrait, now in Blois.\r\n\r\n\n","end_year":1595,"genre":"graphics","materials":"Red and black pencil, brown ink on paper, 94 x 76 mm","museum_name":"The Morgan Library and Museum, New York","name":"Portrait of Antonietta Gonzalez","start_year":1594,"type":"portrait","url":"https://www.wga.hu/detail/f/fontana/lavinia/gonzalez.jpg"},{"artworkid":689,"author":"UNKNOWN MASTER, Swedish","description":"\r\nThe development of Romanesque painting in Scandinavia is closely linked with the art trade in England and in Lower Saxony. Byzantine influences do not come to the fore until the end of the twelfth century and the beginning of the thirteenth. It can be assumed that most wooden church of the eleventh and twelfth centuries were decorated with panel paintings. Unfortunately, only very little of this kind of work has survived. One example of the Ascension of Christ from the Swedish church of Eke.\r\n\r\n\n","end_year":1200,"genre":"painting","materials":"Wood","museum_name":"Nationalmuseum, Stockholm","name":"Ascension of Christ (detail)","start_year":1200,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_z/02christ.jpg"},{"artworkid":693,"author":"MINIATURIST, French","description":"\r\nThe picture shows the initial 'B' on folio 9v with the head of an elephant embellished with green and red.\r\nCharlemagne was given an Indian elephant in 802. Its name was Abulabaz and it excited much interest. This initial in the manuscript of Cassiodorus includes a remarkably accurate elephant's head. Medieval artists knew about ivory but not many had seen elephants. This illuminator probably knew the elephant which was presented to Charlemagne by caliph Haroun-al-Rachide in the year 802. Abulabaz lived until 1810, therefore the Cassiodorus manuscript cannot be earlier than 802.\r\n\r\n\n","end_year":-1,"genre":"illumination","materials":"Manuscript (Ms. lat. 2195)","museum_name":"Bibliothque Nationale, Paris","name":"Cassiodorus: Commentary on the Psalms","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/0801-850/2french/3cassio2.jpg"},{"artworkid":697,"author":"VANNINI, Ottavio","description":"\r\nThe picture shows a wall in the Room of Giovanni da San Giovanni in the Palazzo Pitti. The frescoes were commissioned for the marriage in 1635 between the Grand Duke Fernando II de' Medici and Vittoria della Rovere. After the death of Giovanni da San Giovanni, these were finished by Ottavio Vannini, Francesco Furini, and Cecco Bravo between 1638 and 1642.\r\nThe scene below the window represents Michelangelo Showing Lorenzo il Magnifico the Head of a Faun.\r\n\r\n\n","end_year":1642,"genre":"painting","materials":"Fresco","museum_name":"Palazzo Pitti, Florence","name":"View of the west wall (detail)","start_year":1638,"type":"other","url":"https://www.wga.hu/detail/v/vannini/pitti2.jpg"},{"artworkid":701,"author":"TIEPOLO, Giovanni Battista","description":"\r\nPhaethon Asking His Father to Let Him Drive the Chariot of Sun is the principal episode of the Myth of Phaethon. It is staged on the east wall of the main hall. The chariot appears in the lower section, with spirited horses, ready to lead him into the sky, their bridles held by the Hours.\r\n\r\n\n","end_year":1719,"genre":"painting","materials":"Fresco","museum_name":"Villa Baglioni, Massanzago","name":"Phaethon Asking His Father to Let Him Drive the Chariot of Sun","start_year":1719,"type":"mythological","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/2_1730s/00bagli3.jpg"},{"artworkid":705,"author":"GAUGUIN, Paul","description":"\n\n","end_year":1891,"genre":"painting","materials":"Oil on canvas, 69 x 91 cm","museum_name":"Muse d'Orsay, Paris","name":"Tahitian Women on the Beach","start_year":1891,"type":"genre","url":"https://www.wga.hu/detail/g/gauguin/04/tahiti07.jpg"},{"artworkid":709,"author":"FEUCHTMAYER, Joseph Anton","description":"\r\nJoseph Anton Feuchtmayer, like Johann Josef Christian, another sculptor in Upper Swabia in the mid-eighteenth century, used plaster as his main sculptural medium. He is considered one of the principal masters of southern German Rococo. His life-size figures in the pilgrimage church at Birnau are notable for their intense physical agitation, which is intended to suggest inner spiritual torment. Their symbolic representation was evidently more important to the artist than their specific anatomical attributes.\r\n\r\n\n","end_year":1749,"genre":"sculpture","materials":"Plaster, life-size","museum_name":"Unsere Liebe Frau, Birnau","name":"St. Joachim","start_year":1749,"type":"religious","url":"https://www.wga.hu/detail/f/feuchtma/joseph/joachim.jpg"},{"artworkid":713,"author":"DALLE MASEGNE, Jacobello","description":"\r\nAntonio Venier (c. 1330-1400) was a Doge of Venice reigning from October 1382 to his death. He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.\r\nThe tomb of Doge Antonio Venier contains the Madonna and Saints (height c. 180 cm), the recumbent Doge on the elaborate sarcophagus, and Virtues (height c. 80 cm),  in the five lower niches.\r\n\r\n\n","end_year":1400,"genre":"sculpture","materials":"Marble and Istrian stone","museum_name":"Santi Giovanni e Paolo, Venice","name":"Tomb of Doge Antonio Venier","start_year":1400,"type":"religious","url":"https://www.wga.hu/detail/d/dalle_ma/tvenier1.jpg"},{"artworkid":717,"author":"ROELAS, Juan de las","description":"\n\n","end_year":1615,"genre":"painting","materials":"Oil on canvas, 151 x 107 cm","museum_name":"Private collection","name":"Martyrdom of St John the Evangelist","start_year":1615,"type":"religious","url":"https://www.wga.hu/detail/r/roelas/martyrdo.jpg"},{"artworkid":721,"author":"NATTIER, Jean-Marc","description":"\n\n","end_year":1748,"genre":"painting","materials":"Oil on canvas, 64 x 81 cm","museum_name":"Muse National du Chteau, Versailles","name":"Madame Victoire","start_year":1748,"type":"portrait","url":"https://www.wga.hu/detail/n/nattier/marc/mvictoir.jpg"},{"artworkid":725,"author":"BAMBAIA","description":"\r\nIn addition to the effigy of Gaston de Foix in the Castello Sforzesco, Milan, a large number of fragments of the monument survive. The most important are seven reliefs illustrating the career of Gaston de Foix which are now in Turin and represent:\r\n1. Capture of Brescia\r\n2. Battle of Ravenna\r\n3. Funeral procession of Gaston de Foix\r\n4. Entry of the French Forces into Bologna\r\n5. Departure of the French from Bologna\r\n6. Battle of Isola della Scala\r\n7. Death of Gaston de Foix\r\nAll of the seven surviving scenes illustrate events from the campaign of 1511-12. They are enclosed in foliated borders and were originally separated from each other by carved pilasters. Each relief pulsates with innumerable figures that are so fully carved that the entire foreground seems composed of freely modeled statuettes. Landscape settings and intricately entwined figures rival the complexity of even the most remarkable of earlier Lombard reliefs.\r\nThe picture shows the Funeral procession of Gaston de Foix.\r\n\r\n\n","end_year":1522,"genre":"sculpture","materials":"Marble","museum_name":"Museo Civico d'Arte Antica, Turin","name":"Relief #3: Funeral procession of Gaston de Foix","start_year":1515,"type":"religious","url":"https://www.wga.hu/detail/b/bambaia/foix/4relief3.jpg"},{"artworkid":699,"author":"SANMICHELI, Michele","description":"\r\nOne of Sanmicheli's most sophisticated and admired buildings is the Pellegrini Chapel, attached to the church of San Bernardino in Verona. Approached from a short vestibule, the tall chapel is of circular plan, with a dome concealed externally by a drum in the North Italian manner. The interior was inspired by that of the Pantheon, having a radial plan with large recesses on the main axes and tabernacled niches between them. The upper storey has a balcony, perhaps intended for a choir; with its trabeated three-bay windows, it is much indebted to Bramante's design for the dome of St Peter's, Rome.\r\nThe wall design is of considerable intricacy, especially in the lower storey, where the main order of Corinthian half columns is coupled with a smaller pilaster order that extends into the recesses and connects with the niche tabernacles. Further complexities anticipate the Palazzo Bevilacqua, with straight-fluted half columns for the entrance and end recesses, and spirally-fluted half columns at the sides, while triangular pediments over the main recesses alternate with segmental pediments for the tabernacles. Richly embellished with exquisite carving, the execution, as Vasari observed, appears to defy the immense technical difficulty of adapting so complex a design to a curving wall surface and realizing it in stonework.\r\nView the ground plan and section of the Cappella Pellegrini.\r\n\r\n\n","end_year":1527,"genre":"architecture","materials":"Photo","museum_name":"Cappella Pellegrini, San Bernardino, Verona","name":"Interior view","start_year":1527,"type":"other","url":"https://www.wga.hu/detail/s/sanmiche/1capell1.jpg"},{"artworkid":703,"author":"EARLY CHRISTIAN SCULPTOR, Italian","description":"\r\nThe detail shows a scene from the front of the sarcophagus: Christ's Entry to Jerusalem on a Donkey. This is one of the earliest representations of the scene.\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Marble","museum_name":"Museo Tresoro, Basilica di San Pietro, Vatican","name":"Sarcophagus of Junius Bassus (detail)","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zearly/1/1sculptu/sarcopha/1/6bassus6.jpg"},{"artworkid":707,"author":"PIER FRANCESCO FIORENTINO","description":"\r\nAlternatively, Piero di Lorenzo di Pratese di Bartolo Zuccheri (1413-1487) is also suggested as the author of this panel.\r\n\r\n\n","end_year":1460,"genre":"painting","materials":"Tempera on panel, arched top, 60 x 45 cm","museum_name":"Courtauld Gallery, London","name":"Virgin and Child with a Goldfinch and the Infant St John","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/p/pier/virgin_c.jpg"},{"artworkid":711,"author":"GIBSON, John","description":"\r\nAlongside to the new classicism at the end of the eighteenth century came a passionate concern with exact naturalistic representation in every field of art. An art which was so very much an imitation, whether of nature or of another epoch, naturally discouraged individuality among artists, and this uniformity appeared as much in the work of those at the top as in that of the hundreds of their followers. They formed the taste in sculpture, and this taste was to continue in the academies and dominated the graveyards right through the nineteenth century. Gibson's Tinted Venus is an illustration of its strong persistence.\r\n\r\n\n","end_year":1856,"genre":"sculpture","materials":"Marble with slight pigmentation, height 175 cm","museum_name":"Walker Art Gallery, Liverpool","name":"The 'Tinted Venus'","start_year":1851,"type":"mythological","url":"https://www.wga.hu/detail/g/gibson/venus.jpg"},{"artworkid":715,"author":"TIZIANO Vecellio","description":"\n\n","end_year":1565,"genre":"painting","materials":"Oil on canvas","museum_name":"Galleria Borghese, Rome","name":"St Dominic","start_year":1565,"type":"religious","url":"https://www.wga.hu/detail/t/tiziano/06_1560s/07domini.jpg"},{"artworkid":719,"author":"PRETI, Mattia","description":"\r\nThe Feast was one of a series of four paintings that belonged to the furnishings of the palazzo of the Duca di San Severino Gruther in Naples in 1745. It probably served as a counterpart to David Playing the Harp to Saul (private collection), and in the 18th century it had already been compared with Veronese by Preti's biographer De Dominici, because of its magnificent painted architecture.\r\n\r\n\n","end_year":1659,"genre":"painting","materials":"Oil on canvas, 202 x 297 cm","museum_name":"Museo Nazionale di Capodimonte, Naples","name":"Absalom's Feast","start_year":1653,"type":"religious","url":"https://www.wga.hu/detail/p/preti/absolom.jpg"},{"artworkid":723,"author":"LOTTO, Lorenzo","description":"\r\nLotto painted relatively few female portraits of which the Portrait of a Lady is the earliest to survive. It shows a strong stylistic resemblance to the portrait of Bishop Bernardo de' Rossi. Like that portrait, this one may once have had a cover, the so-called Maiden's Dream in the National Gallery of Art, Washington.\r\nUntil the late 19th century this portrait of an unidentified woman, who wears no jewelry and whose light brown hair is pulled back in a net cap, was attributed to Hans Holbein the Younger.\r\n\r\n\n","end_year":1506,"genre":"painting","materials":"Oil on wood, 36 x 28 cm","museum_name":"Muse des Beaux-Arts, Dijon","name":"Portrait of a Lady","start_year":1506,"type":"portrait","url":"https://www.wga.hu/detail/l/lotto/1/04lady1.jpg"},{"artworkid":727,"author":"CALAME, Alexandre","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on paper laid down on canvas, 45 x 31 cm","museum_name":"Private collection","name":"Mountainous Riverscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/c/calame/riversca.jpg"},{"artworkid":731,"author":"ARCHITECT, Catalan","description":"\r\nThe building work on the monastery church started in 1174, and the church was consecrated in 1211. The elongated nave and two aisles comprise six bays. It is adjoined by a very narrow transept without aisles, on the east side of which there are four rectangular chapels and the large choir without ambulatory. Both the interior and the exterior are austere and monumental.\r\nThe monastery houses numerous tombs of counts and kings and was extended in the late thirteenth and early fourteenth centuries to include residential quarters.\r\n\r\n\n","end_year":1211,"genre":"architecture","materials":"Photo","museum_name":"Cistercian convent, Santes Creus (Tarragona)","name":"Exterior view","start_year":1174,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/5/05c_1151.jpg"},{"artworkid":735,"author":"PARMIGIANINO","description":"\r\nThe painting was commissioned by Maria Bufalini for her husband's family chapel at S. Salvatore in Lauro, Rome. The commission required the presence of two saints in the lower part: St John the Baptist was the patron saint of Maria's father-in-law, while Jerome was chosen because of his connection with the legal profession practiced by both her husband and his father. The artist chose to separate the two saints, with the Baptist dominating the lower portion while Jerome is shown sleeping to suggest that the painting represents his vision. John looks out and with an exaggerated gesture directs us to the Virgin and Child, who are floating in midair, a position that becomes popular in the sixteenth century. The complex and trained pose of the Baptist, the emphasis on foreshortened forms, and the long, unusually  proportioned figures are all typical of Mannerist art.\r\n\r\n\n","end_year":1527,"genre":"painting","materials":"Oil on panel, 343 x 149 cm","museum_name":"National Gallery, London","name":"The Vision of St Jerome","start_year":1527,"type":"religious","url":"https://www.wga.hu/detail/p/parmigia/1/v_jerome.jpg"},{"artworkid":739,"author":"XAVERY, Pieter","description":"\r\nThis statuette, together with a statuette of a faun in the same collection, belonged to the same ensemble of which the group of Bacchanal was part. They have the same late 18th-century wooden bases which would indicate that they were not separated only after this. Additional surviving figures from this ensemble of Bacchants are not known.\r\n\r\n\n","end_year":1671,"genre":"sculpture","materials":"Terracotta, height 42 cm","museum_name":"Private collection","name":"Bacchus","start_year":1671,"type":"mythological","url":"https://www.wga.hu/detail/x/xavery/bacchan3.jpg"},{"artworkid":756,"author":"GILPIN, Sawrey","description":"\r\nSawrey Gilpin was a leading horse and animal painter of a competence which is always reliable and occasionally inspired. He was popular with his fellow Royal Academicians and frequently collaborated with them, adding portraits of favourite animals to numerous pictures.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 64 x 76 cm","museum_name":"Private collection","name":"A Black and White English Springer Spaniel in a Landscape","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/g/gilpin/sawrey/spaniel1.jpg"},{"artworkid":708,"author":"STEEN, Jan","description":"\r\nIt is true that the depiction contains scores of references to the \"dissolute household\", a motif that Steen embroidered on countless paintings, yet quite correctly the picture once was called a proverb painting. In this detail, the seemingly pious couple must have a meaning of its own given the duck on the man's shoulder. He can be identified as a \"quacker\", or a Quaker, a zealous Mennonite. The woman may be a begijn, a Catholic woman who had taken a vow of chastity, but was not part of a monastic order: begijnen or sanctimonious hypocrites were also considered zealots. While the role of these two figures is clear, they have yet to be linked to a fitting aphorism.\r\n\r\n\n","end_year":1663,"genre":"painting","materials":"Oil on canvas","museum_name":"Kunsthistorisches Museum, Vienna","name":"In Luxury, Beware (detail)","start_year":1663,"type":"genre","url":"https://www.wga.hu/detail/s/steen/page2/famil4.jpg"},{"artworkid":712,"author":"GOTHIC GLASS PAINTER, French","description":"\r\nThe picture shows the rose window from the central doorway of the west portal of the Cathedral of Notre-Dame, Reims. Stained glass windows in the Reims cathedral are among the most famous produced in the High Middle Ages.\r\n\r\n\n","end_year":1290,"genre":"stained-glass","materials":"Stained glass window","museum_name":"Cathedral, Reims","name":"Rose Window","start_year":1290,"type":"religious","url":"https://www.wga.hu/detail/zgothic/stained/13c/18f_1250.jpg"},{"artworkid":716,"author":"DUVIVIER, Jan Bernard","description":"\r\nThis highly symbolic family portrait is conceived almost in a fashion of a memorial. On the eve of the reign of terror that followed the French Revolution, this group, portrayed in the manner of a Dutch master, has the character of a 'memento mori' for a doomed aristocracy.\r\n\r\n\n","end_year":1790,"genre":"painting","materials":"Oil on canvas, 112 x 145 cm","museum_name":"Groeninge Museum, Bruges","name":"Portrait of the Villers Family","start_year":1790,"type":"portrait","url":"https://www.wga.hu/detail/d/duvivier/villers.jpg"},{"artworkid":720,"author":"PEREDA, Antonio de","description":"\r\nDuring the seventeenth century the school of Madrid, lead by the inspired Velázquez and Cano, developed a number of other lesser, but still interesting painters. One of them is Antonio de Pereda, author of a number of noble religious paintings, such as the Immaculate Conception, in the Ponce Museum, Puerto Rico. Especially noteworthy are his allegorical compositions.\r\n\r\n\n","end_year":1643,"genre":"painting","materials":"Oil on canvas, 105 x 84 cm","museum_name":"Museo del Prado, Madrid","name":"St Jerome","start_year":1643,"type":"religious","url":"https://www.wga.hu/detail/p/pereda/jerome.jpg"},{"artworkid":724,"author":"UNKNOWN MASTER, Catalan","description":"\r\nThe earliest surviving examples of Spanish panel paintings are the altar panels produced by painters active in the workshops attached to religious houses. These panels were intended for the decoration of altars and the choice of theme was confined to the symbolic representation of figures from the New Testament. Scenes from the lives of saints were but rarely depicted. In practically every one of these panels we find centrally placed in the composition the figure of the Virgin or of Christ, surrounded by a round or oval halo. Round the central figure are narrative scenes or a hieratic arrangement of the apostles.\r\nThis panel, now in Barcelona, is a typical example of such a retable. Its painter is referred to as the Master of Seo de Urgell. There are innumerable contemporary miniatures in which the faces and the drapery of the garments have been painted in a similarly stereotyped manner. Every single figure is schematic: the apostles stand stiffly upright, each one holding some object by which he can be identified - and yet the artist has breathed life into these figures. Christ, judging the world, places his hand on a book with the very gesture that might be used by a student of the law as he closes the codex in which he has sought guidance in reaching a fair jjudgment. At the same time there is in the iconography all the naivete of folk-art: the detail and ornamental elements convey the painter's delight in unrestricted decoration.\r\n\r\n\n","end_year":1100,"genre":"painting","materials":"Tempera on wood, 130 x 150 cm","museum_name":"Museu Nacional d'Art de Catalunya, Barcelona","name":"Christ and the Twelve Apostles","start_year":1100,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_sp/zunk_cat/001chris.jpg"},{"artworkid":728,"author":"BELLINI, Giovanni","description":"\r\nThe detail shows the landscape at the right side of the painting.\r\n\r\n\n","end_year":1488,"genre":"painting","materials":"Oil on canvas","museum_name":"San Pietro Martire, Murano","name":"Barbarigo Altarpiece (detail)","start_year":1488,"type":"religious","url":"https://www.wga.hu/detail/b/bellini/giovanni/1480-89/3barbari/135barb3.jpg"},{"artworkid":732,"author":"MANTEGNA, Andrea","description":"\r\nThis photograph was taken before the chapel was destroyed on 11 March 1944. Today only fragments of the lower wall area remain. The right-hand wall of the chapel was dedicated to St Christopher. From the upper left to the lower right the scenes were St Christopher before the King (scene 1); the Confrontation with the Devil (scene 2); St Christopher Carrying Christ across the River (scene 3); St Christopher and the Soldiers of the King of Samos in Lycia (scene 4); the Martyrdom of St Christopher (scene 5); the Removal of his Body (scene 6).\r\nThe composition of the whole wall was Mantegna's work, but only the two bottom pictures (scenes 5 and 6) were painted by him.\r\n\r\n\n","end_year":1457,"genre":"painting","materials":"Fresco","museum_name":"Cappella Ovetari, Chiesa degli Eremitani, Padua","name":"Scenes from the Life of St Christopher (scene 4)","start_year":1448,"type":"religious","url":"https://www.wga.hu/detail/m/mantegna/01/2chris03.jpg"},{"artworkid":736,"author":"BENSON, Ambrosius","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel","museum_name":"Muse des Beaux-Arts, Blois","name":"Concert","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/b/benson/father/zconcert.jpg"},{"artworkid":740,"author":"GRUBACS, Carlo","description":"\r\nThe painting shows a view of the Doge's Palace and Piazzetta looking west from the Riva Degli Schiavoni. Carlo Grubacs was a painter of animated urban waterscapes and architectural features.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 51 x 70 cm","museum_name":"Private collection","name":"A View of Venice","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/g/grubacs/viewveni.jpg"},{"artworkid":744,"author":"ZUCCARO, Taddeo","description":"\r\nIn the two rooms on the piano nobile suited for a larger public, the Sala dei Fasti Farnesiani and the Sala del Concilio, Taddeo Zuccaro painted a cycle depicting, in a total of twenty-three scenes, the history of the Farnese family.\r\nThe depiction of events from family history already had a long tradition in the Farnese family. Vasari painted a cycle in the Cancellaria, Rome, and Salviati in the Palazzo Farnese, Rome. Yet no cycle of paintings before Caprarola had depicted the history of the Farnese in such an extensive manner, from medieval times up to the present day.\r\nThe scene shown here represents Charles V, Alessandro Farnese, and Ottavio Farnese at the Head of the Imperial Army against the League of Schmalkalden, 1546. It is one of the four larger scenes on the long sides of the Sala dei Fasti Farnesiani.\r\n\r\n\n","end_year":1563,"genre":"painting","materials":"Fresco","museum_name":"Sala dei Fasti Farnesiani, Palazzo Farnese, Caprarola","name":"Scene from the History of the Farnese Family","start_year":1562,"type":"historical","url":"https://www.wga.hu/detail/z/zuccaro/taddeo/farnese2.jpg"},{"artworkid":748,"author":"BRUEGHEL, Jan the Younger","description":"\r\nThis is a simplified version of a subject and composition treated on several occasions by Jan Brueghel the Younger.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on oak panel, 53 x 80 cm","museum_name":"Private collection","name":"Still-Life of Flowers in a Basket on a Stone Ledge","start_year":-1,"type":"still-life","url":"https://www.wga.hu/detail/b/bruegel/jan_y/stilbask.jpg"},{"artworkid":752,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Benesch 141.\r\nThese studies were made for Rembrandt's single most copious and varied composition, St John the Baptist Preaching.\n\n","end_year":1634,"genre":"graphics","materials":"Brown ink, 167 x 196 mm","museum_name":"Staatliche Museen, Berlin","name":"Studies for groups and figures","start_year":1634,"type":"study","url":"https://www.wga.hu/detail/r/rembrand/53drawin/4/082real.jpg"},{"artworkid":714,"author":"PUGET, Pierre","description":"\r\nPuget's most important works in Genoa were two statues of St Sebastian and the Blessed Alessandro Sauli, made for the Sauli family to decorate the niches in the crossing piers of S. Maria di Carignano, Genoa. In these works Puget comes nearer than at any other time to the feeling of Roman Baroque sculptors and even to Bernini, particularly to his Daniel in the Chigi Chapel in S. Maria del Popolo which he could have seen when he made his second visit to Rome. However, the differences which exist between the two statues are significant. Bernini's Daniel is more plastic in its conception than Puget's Sebastian. Daniel surges forward in the movement of prayer, right out of the niche; St Sebastian falls in a pose contained by the plane closing the front of the niche. This refusal of the full Baroque three-dimensional movement is typical of Puget and distinguishes his work from that of Bernini.\r\n\r\n\n","end_year":1668,"genre":"sculpture","materials":"Marble","museum_name":"Church of Santa Maria Assunta di Carignano, Genoa","name":"St Sebastian","start_year":1663,"type":"religious","url":"https://www.wga.hu/detail/p/puget/sculptur/1/07sebast.jpg"},{"artworkid":718,"author":"MINIATURIST, French","description":"\r\nThe picture shows the historiated initial on the page of Psalm 51 (folio 74v). It depicts the scene when Doeg kills Ahimelech and the priests of Nob at the behest of Saul.\r\n\r\n\n","end_year":1180,"genre":"illumination","materials":"Manuscript (76 F 13), 75 x 75 mm","museum_name":"Koninklijke Bibliotheek, The Hague","name":"Fcamp Psalter","start_year":1180,"type":"religious","url":"https://www.wga.hu/detail/zgothic/miniatur/1151-200/4fecamp/17fecamp.jpg"},{"artworkid":722,"author":"AGOSTINO DI DUCCIO","description":"\r\nThe picture shows Grammar, one of the seven Liberal Arts.\r\n\r\n\n","end_year":1456,"genre":"sculpture","materials":"Photo","museum_name":"Tempio Malatestiano, Rimini","name":"Cappella delle Arti Liberali (detail)","start_year":1449,"type":"religious","url":"https://www.wga.hu/detail/a/agostin/1rimini/6liber04.jpg"},{"artworkid":726,"author":"BOILLY, Louis Lopold","description":"\r\nJean Elleviou (1769-1842), an operatic tenor, was one of the most celebrated French singers of his time. He was famed for the remarkable sweetness and flexibility of his voice, and for his excellent diction.\r\nBoilly's portrait of Elleviou depicts the young singer in his role in Le Prisonnier or La Ressemblance, a comic opera in one act with music by Domenico Della-Maria and libretto by Alexendre Duval, which premiered at the Théâtre Feydeau in 1798.\r\nThe painting was exhibited at the Paris Salon in July of 1798.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 54 x 41 cm","museum_name":"Private collection","name":"Portrait of the Singer Jean Elleviou","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/b/boilly/elleviou.jpg"},{"artworkid":730,"author":"HEYDEN, Jan van der","description":"\r\nJan van der Heyden was one of the leading architectural painters of his generation and a man of more parts than most Dutch painters. When he was a boy of thirteen his parents settled in Amsterdam; apart from trips to the Rhineland, the northern, and the southern Netherlands he spent his life there. He painted some imaginary cityscapes based on studies done in Germany, which at first blush appear to be true-to-life views, and lovely capriccios which show expert knowledge of the principles of classical architecture. His oeuvre also includes about forty landscapes that reveal a debt to Adriaen van de Velde, who is credited with painting figures in some of his pictures, and a few intriguing still-lifes that can be justifiably categorized as interiors. Van der Heyden is best known for his views of Amsterdam.\r\nMost of van der Heyden's paintings were done in the sixties and seventies - his work as inventor, entrepreneur, and city official probably slacked his pace. But he continued to paint until the very end. His latest firmly datable picture, Still-life with Rarities, now in Budapest, shows the corner of a 'Kunstkamer' in strong even light with meticulous depictions of rarities from the natural and man-made world, but not the collector who assembled them. It is proudly inscribed with his monogram and states he painted it when he was seventy-five years old; he attained that age in 1712, the year he died.\r\nAmong the objects displayed in the Kunstkamer, which is most probably a fictive one, are a hanging armour of an armadillo, a copy after an etching of Pietro Testa's Suicide of Dido above the marble mantle, an inlaid cabinet used for housing treasured coins and natural specimens, oriental weapons, and on the bright red Chinese embroidered cloth that covers the table globes, one terrestrial and the other celestial, and an open Blaeu atlas. Next to the table there is a red damask covered chair that supports a folio Bible open at the favourite passage of Dutch moralists: Ecclesiastes, Chapter I, which begins with 'The words of the Preacher . . . vanity of vanities; all is vanity. What profit hath a man of all his labour which he taketh under the sun?' The biblical reference to transience is reinforced by Testa's Suicide of Dido, a subject taken from Virgil's Aeneid which can be read as an exemplum of love's ephemeral nature.\r\nVan der Heyden's message is obvious and familiar. It is one we have heard from other still-life specialists: preparation for salvation is of greater importance than all the treasures, pleasures, and knowledge that can be derived from this world.\r\n\r\n\n","end_year":1712,"genre":"painting","materials":"Oil on canvas, 74 x 64 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Still-Life with Rarities","start_year":1712,"type":"still-life","url":"https://www.wga.hu/detail/h/heyden/rarities.jpg"},{"artworkid":734,"author":"RENOIR, Pierre-Auguste","description":"\r\nThis painting is a study of a nude for which the model was Lise Tréhot, the artist's mistress. Although the study was transformed into Diana, the ancient goddess of the hunt, in order to produce a painting acceptable for the jury of the 1867 Salon, the painting was rejected.\r\nThe style of the painting shows the influence of Courbet.\n\n","end_year":1867,"genre":"painting","materials":"Oil on canvas, 196 x 130 cm","museum_name":"National Gallery of Art, Washington","name":"Diana","start_year":1867,"type":"mythological","url":"https://www.wga.hu/detail/r/renoir/1/1renoi06.jpg"},{"artworkid":738,"author":"TINTORETTO","description":"\r\nIn the background is yet another threat: the Amalekites are attacking the camp of the children of Israel.\r\n\r\n\n","end_year":1577,"genre":"painting","materials":"Oil on canvas","museum_name":"Scuola Grande di San Rocco, Venice","name":"Moses Drawing Water from the Rock (detail)","start_year":1577,"type":"religious","url":"https://www.wga.hu/detail/t/tintoret/3b/2upper/1/02moses1.jpg"},{"artworkid":742,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nYvette Guilbert (1867-1944) was a celebrated singer and raconteuse. Before making her career she was a model and sales assistant at the Printemps department store. In 1889 she appeared at the Eldorado for the first time, and in 1890, at the Moulin Rouge. In 1895 she went on tour to America, and she returned to Paris even more famous than before. Long black gloves were her trademark. Lautrec drew her wearing her gloves, and he dedicated two lithograph albums to her.\r\n\r\n\n","end_year":1894,"genre":"graphics","materials":"Oil over reproduction on photographic paper, 48 x 28 cm","museum_name":"Muse Toulouse-Lautrec, Albi","name":"Yvette Guilbert Greeting the Audience","start_year":1894,"type":"other","url":"https://www.wga.hu/detail/t/toulouse/6/litho09.jpg"},{"artworkid":746,"author":"RAFFAELLO Sanzio","description":"\r\nMost of Raphael's figure studies from the years of 1504-08 cannot be connected to any known commission. The Massacre of the Innocents was one of the most celebrated and widely reproduced engravings of the sixteenth century, which established the decade long, fruitful collaboration of Raphael and the Bolognese engraver Marcantonio Raimondi.\r\nAt the beginning of the sixteenth century there was no significant printmaking activity in Rome thus it was an ideal place for Raphael to launch a printmaking and publishing enterprise. Beyond the immediate profit to be gained from selling prints, the painter must also have been motivated by the advantages lying in the reproduction and distribution of his own compositions. Since Raphael was inexperienced in both printmaking and publishing, he was in need of suitable partners. He appointed one of his apprentices, Baviero de' Carocci (active c. 1515-1527) to supervise the printing and sale of prints after his designs.\r\nMarcantonio Raimondi made six engravings for Raphael. These were the products of an operation for which Raphael provided the designs, Raimodi the engraving skills, and Baviera the organization of the printing and sale. Baviera soon included other engravers in the business, employing among other Agostino Veneziano (c. 1490-1536) and Marco Dente (c. 1486-1527),\r\nThe Massacre of the Innocents is probably the earliest of the six engravings in which Raphael's name appears.\r\n\r\n\n","end_year":1512,"genre":"graphics","materials":"Pen and brown ink, 260 x 400 mm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Massacre of the Innocents","start_year":1511,"type":"study","url":"https://www.wga.hu/detail/r/raphael/7drawing/3/28drawin.jpg"},{"artworkid":750,"author":"MEDIEVAL SCULPTOR, French","description":"\r\nThis capital represents a weight-bearing figure leaning out towards the spectator.\r\n\r\n\n","end_year":1200,"genre":"sculpture","materials":"Stone","museum_name":"Cathedral, Tournai","name":"Capital","start_year":1150,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/cap-12c3/10f_1167.jpg"},{"artworkid":754,"author":"KONINCK, Philips","description":"\r\nJoost van den Vondel, portrayed here at the age of 78, was the leading poet and playwright of the seventeenth century in Amsterdam. He was also the most prominent Catholic convert of the period.\r\n\r\n\n","end_year":1665,"genre":"painting","materials":"Oil on panel, 56 x 47 cm","museum_name":"Amstelkring Museum, Amsterdam","name":"Joost van den Vondel","start_year":1665,"type":"portrait","url":"https://www.wga.hu/detail/k/koninck/philips/j_vondel.jpg"},{"artworkid":758,"author":"TIEPOLO, Giovanni Domenico","description":"\r\nThis fresco comes from the Tiepolo family house (villa) at Zianigo, between Padua and Venice. Giandomenico's fresco cycle has been detached and is now preserved in the Ca' Rezzonico. The scene originally decorated the ceiling of the celebrated Pulcinella room in the family villa.\r\n\r\n\n","end_year":1793,"genre":"painting","materials":"Detached fresco, 200 x 170 cm","museum_name":"Museo del Settecento Veneziano, Ca' Rezzonico, Venice","name":"The Swing of Pulcinella","start_year":1791,"type":"genre","url":"https://www.wga.hu/detail/t/tiepolo/giandome/2/06zianig.jpg"},{"artworkid":792,"author":"TIEPOLO, Giovanni Battista","description":"\r\nThe saint stands in profile at the steps of an altar in front of a highly-developed architectural background. His gaze diverted upward in astonishment, he experiences the manifestation of the Mother of God and her Child, who appear to float in the interior of the church on a cloud, accompanied by angels. The rendering of the material of the robes is particularly impressive, as is the mist-like quality of the cloud, which almost turns the vision into an actual happening.\r\n\r\n\n","end_year":1740,"genre":"painting","materials":"Oil on canvas, 360 x 182 cm","museum_name":"Museo Diocesano, Camerino","name":"The Virgin Appearing to St Philip Neri","start_year":1740,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/3_1740s/02virgin.jpg"},{"artworkid":741,"author":"JORDAENS, Jacob","description":"\r\nThe often depicted story gave the Baroque painters an opportunity to paint a scene that combined naked female beauty with the spying male gaze. The painters vied to come up with new takes on the story to give the scene an unexpected twist.\r\n\r\n\n","end_year":1653,"genre":"painting","materials":"Oil on canvas, 154 x 203 cm","museum_name":"Statens Museum for Kunst, Copenhagen","name":"Susanna and the Elders","start_year":1653,"type":"mythological","url":"https://www.wga.hu/detail/j/jordaens/2/susanna.jpg"},{"artworkid":745,"author":"BOSCH, Hieronymus","description":"\r\nIn a group of drawings attributed to Bosch with reasonable certainty, monsters proliferate in a multitude of shapes, no two exactly alike. Legs sprout from grotesquely grinning heads, obscene bladder-like forms develop snouts and legs; some creatures are all head or rump. This taste for monsters Bosch shared with his age, which was fascinated by the grotesque and the unnatural. \r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Pen and bistre, 318 x 210 mm","museum_name":"Ashmolean Museum, Oxford","name":"Studies of Monsters","start_year":-1,"type":"study","url":"https://www.wga.hu/detail/b/bosch/93graph/26graphi.jpg"},{"artworkid":749,"author":"POORTER, Willem de","description":"\r\nWillem de Poorter was influenced by Rembrandt's dramatic handling of light and Dou's 'fijnschilder' technique and meticulous still-life elements. He preferred subjects in which women played the lead roles, and which offered him the opportunity to paint ornamental vessels and items made of marble, silver or gold. The present work allowed him to revel in both his favourite motifs.\r\nThe painting belongs to a Hungarian private collection, it is on long term loan to the Szépmûvészeti Múzeum, Budapest.\r\n\r\n\n","end_year":1638,"genre":"painting","materials":"Oil on canvas, 71 x 84 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Allegory of Colonial Power","start_year":1638,"type":"mythological","url":"https://www.wga.hu/detail/p/poorter/allegory.jpg"},{"artworkid":753,"author":"SISLEY, Alfred","description":"\n\n","end_year":1880,"genre":"painting","materials":"Oil on canvas, 46 x 65 cm","museum_name":"Palais des Beaux-Arts, Lille","name":"After the Debacle, the Seine at Pont de Suresnes","start_year":1880,"type":"landscape","url":"https://www.wga.hu/detail/s/sisley/2other/seine2.jpg"},{"artworkid":757,"author":"MEYTENS, Martin van, II","description":"\r\nDénes Bánffy (1723-80) was a Master of the Horse and Lord Lieutenant of Kolozs County in Hungary.\r\n\r\n\n","end_year":1750,"genre":"painting","materials":"Oil on canvas, 207 x 116 cm","museum_name":"Historical Picture Gallery, Hungarian National Museum, Budapest","name":"Portrait of Dnes Bnffy","start_year":1750,"type":"portrait","url":"https://www.wga.hu/detail/m/mijtens/martin2/4banffy.jpg"},{"artworkid":761,"author":"ERHART, Michael","description":"\r\nThe image of the Virgin, generally standing, who shelters under her outspread mantle a group of the faithful in need of protection is probably derived from one of the provisions of medieval law. This conferred on women of high rank the privilege of granting to persecuted people who called upon their aid the so-called \"protection of the mantle\" - safe refuge and freedom from persecution. This motif is found in theological literature from the early 13th century onward, and it soon appeared in the plastic arts, emerging as a devotional image in the late 13th century and becoming widespread during the two following centuries. The religious aspect of this legally based symbol was applied not to the Virgin alone, as the most powerful of the intercessors before God's throne, but also to other female saints such as St Ursula or St Odilia. The Cistercians and Dominicans in particular contributed, notably by accounts of visions, to the wide distribution of this image.\r\nThe famous Madonna of Mercy in the Berlin sculpture collection, originally attributed by art historians to the Ravensburg sculptor Friedrich Schramm, is now unanimously considered to be the work of Michel Erhart of Ulm. The Virgin stands, tall and slender, on a grassy plinth. Showing movement only to the extent of a slight curving of the body, she protectively holds up her garment in the gesture of the \"protection of the mantle\". Beneath it a large number of the faithful find refuge. Her elegant reserve and the nobility of her posture match the refined facial expression, emphasized by her strikingly slender throat. These features, together with the artistic framing of her face by the wavy hair falling to her shoulders and the shawl covering her hair, reflect Erhart's endeavour to achieve in sculpture an idealized image of beauty, an effect further enhanced by the largely original polychrome colouring.\r\n\r\n\n","end_year":1480,"genre":"sculpture","materials":"Painted limewood, height 135 cm","museum_name":"Staatliche Museen, Berlin","name":"Ravensburg Madonna of Mercy","start_year":1480,"type":"religious","url":"https://www.wga.hu/detail/e/erhart/michael/ravensbu.jpg"},{"artworkid":765,"author":"GALLI, Agostino","description":"\r\nOne of the most beautiful and well preserved Renaissance palaces in Prague is situated near Prague Castle on the Hradcanske square. The palace is easily recognizable by its rich black-and-white sgraffito decorations on its walls.\r\nThe transformation of medieval Prague into a Renaissance city was accelerated by a great fire of the Lesser Town, Hradcany and Prague Castle in 1541. After the fire many originally civic houses were rebuilt in aristocratic residences, among them the Schwarzenberg Palace, Martinic Palace and Palace of the lords of Hradec, all of them with rich embellished sgraffito façades. \r\nSchwarzenberg Palace stands on the area of three buildings that were destroyed by the fire. The ruins were bought by Jan Popel Lobkowicz, one of the richest noblemen in Bohemia and later on Prague's highest burgrave. The main building, in T-shape, was built in 1567, the western wing was finished several years later. The walls of the palace enclose a square courtyard divided from the Hradcanske square by a wall and a grille gate. \r\nThe palace was built by the Italian Agostino Galli, who originally designed a typical Italian palazzo with wings around a square courtyard. However, the decorated wall surfaces show the strong local influences.\r\n\r\n\n","end_year":1567,"genre":"architecture","materials":"Photo","museum_name":"Schwarzenberg Palace, Prague","name":"Exterior view","start_year":1567,"type":"other","url":"https://www.wga.hu/detail/g/galli1/schwarz1.jpg"},{"artworkid":769,"author":"PALMER, Samuel","description":"\r\nThe pages of Palmer's sketchbook preserve his transfiguring, enraptured imagination at work.\r\n\r\n\n","end_year":1824,"genre":"graphics","materials":"Pencil, brown ink and wash, 116 x 189 mm","museum_name":"Victoria and Albert Museum, London","name":"Sketchbook, folio 5 verso","start_year":1824,"type":"study","url":"https://www.wga.hu/detail/p/palmer/sketch.jpg"},{"artworkid":773,"author":"GIOVANNI DAL PONTE","description":"\r\nThe triptych depicts in the centre the Coronation of the Virgin with musical angels. On the left side Sts Francis and John the Baptist, on the right Sts Ivo and Dominic are represented. \r\n\r\n\n","end_year":1410,"genre":"painting","materials":"Panel","museum_name":"Galleria dell'Accademia, Florence","name":"Coronation of the Virgin with Saints","start_year":1400,"type":"religious","url":"https://www.wga.hu/detail/g/giovanni/ponte/coronati.jpg"},{"artworkid":777,"author":"RICCI, Sebastiano","description":"\r\nThe artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical.\r\nThe Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry.\r\nThe origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s.\r\nThe painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures.\r\n\r\n\n","end_year":1730,"genre":"painting","materials":"Oil on canvas, 330,2 x 289,6 cm","museum_name":"Royal Collection, Windsor","name":"The Adoration of the Magi","start_year":1726,"type":"religious","url":"https://www.wga.hu/detail/r/ricci/sebastia/2/adoratio.jpg"},{"artworkid":781,"author":"PRE-ROMANESQUE SCULPTOR, German","description":"\r\nPicture stones are almost exclusively found on Gotland and show mythological scenes.\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Limestone","museum_name":"Swedish History Museum, Stockholm","name":"Picture stone","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zearly/2/1sculptu/various/variou09.jpg"},{"artworkid":785,"author":"KEYSER, Thomas de","description":"\r\nThis painting belongs to a group of small full-length portraits in meticulously delineated interiors, executed by the Amsterdam artist Thomas de Keyser in the 1620s and 30s, which were extremely influential upon the development of Dutch portrait painting in the second quarter of the seventeenth century. In each case the sitter is placed in a rich interior, informally posed with lively gestures, looking confidently out at the viewer. The first of this series is de Keyser's splendid portrait of the Stadholder's secretary Constantijn Huygens and his clerk of 1627 (National Gallery, London), which seems to have been an immediate success.\r\nThe sitter of this painting is identified as the Amsterdam gold- and silversmith Christian van Vianen (c.1600-1667), who later became court goldsmith to Charles II of England. Christian was the son of Adam and the nephew of Paulus van Vianen. \r\nThe painting is signed with monogram and dated centre left: TDK 1630.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on panel, 65 x 54 cm","museum_name":"Private collection","name":"Portrait of a Silversmith","start_year":1630,"type":"portrait","url":"https://www.wga.hu/detail/k/keyser/thomas/portsilv.jpg"},{"artworkid":743,"author":"RICCI, Sebastiano","description":"\r\nThe composition of this painting is similar to that of another painting of the same subject by Sebastiano Ricci, now in the Staatliche Museen, Berlin. Both painting follow the scheme used for representing the toilette of Venus. Bathsheba is identified only by the barely visible spying figure in the Budapest painting and by the figure of a maid approaching with a letter from King David.\r\nApparently Ricci liked to use buildings with columns to close up the background, no doubt inspired by Veronese. Slender columns, light, almost floating balconies provide a picturesquely decorative framework for the figures grouped on the stage in front. The whole scene is pervaded by a shimmering silvery light; shadow and dimness have vanished completely; the painter applies light and colour for modelling. The colouring, with its nacreous lustre, is particularly attractive; the hues are delicately shaded, enhancing the interplay of form and content.\r\n\r\n\n","end_year":1724,"genre":"painting","materials":"Oil on canvas, 119 x 199 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Bathsheba at her Bath","start_year":1724,"type":"religious","url":"https://www.wga.hu/detail/r/ricci/sebastia/2/2bathshe.jpg"},{"artworkid":747,"author":"SULLIVAN, Louis Henry","description":"\r\nThe last phase in Sullivan's career was largely devoted to designing banks in small towns in the Midwest. Midwestern agriculture thrived in the early 20th century, leading to a revolution in rural banking and the proliferation of small institutions sympathetic to local needs.\r\nSullivan's first commission in this field was the magnificent National Farmers' Bank (1907-08) in Owatonna, Minnesota. It was followed by the People's Savings Bank (1911), Cedar Rapids, Iowa; the Merchants' Bank (1914), Grinnell, Iowa; the Home Building Association Bank (1914), Newark, Ohio; the Purdue State Bank (1914), West Lafayette, Indiana; the People's Federal Savings and Loan Association (1917-18), Sidney, Ohio; and finally the Farmers and Merchants Union Bank (1919) in Columbus, Wisconsin.\r\nThese buildings posed no problems in the expression of structure, as they were all low, load-bearing brick constructions; they did, however, raise important questions of institutional expression. Sullivan's solution was to make them monumental, as befitted banks, but 'modern' and unrelated to historical precedent in order to communicate their transformed character. They are the final and most richly impressive demonstrations of his ornamental skill, with their rich use of polychromy in brick and terracotta. Furthermore, the design of each was sensitively adapted to its setting, usually at the end of the main street facing the town square (as at Owatonna, Grinnell, Newark, Sidney, and Columbus).\r\nCompleted in 1914, the Purdue State Bank is the smallest and least expensive of Sullivan's \"Jewel Boxes,\" a series of Midwestern banks designed in the modern style at the end of his career. Built on a tiny, trapezoidal lot between two streets, the structure is less ornamental than most of the architect's other work; it includes only a few terra cotta panels. During the 1950s, a stone portion was added to the back of the building, and the original doorway was converted into a window and then an ATM.\r\nThe photo shows the southern side and the former main entrance to the Purdue State Bank (now a Chase bank).\r\n\r\n\n","end_year":1914,"genre":"architecture","materials":"Photo","museum_name":"210 West State Street,West Lafayette, Indiana","name":"Purdue State Bank","start_year":1914,"type":"other","url":"https://www.wga.hu/detail/s/sullivan/85purdu1.jpg"},{"artworkid":751,"author":"TERBORCH, Gerard","description":"\r\nThe independence of the Netherlands was recognised by the Treaty of Munster which was signed between the Dutch and the Spanish in 1648. The treaty, result of long negotiation put an end to the Eighty Years' War on the 18th of June, 1648. The ratification took place in the council chamber of Münster town hall. Gerard Terborch was present and he commemorated the event by this painting.\r\n\r\n\n","end_year":1648,"genre":"painting","materials":"Oil on copper, 46 x 60 cm","museum_name":"Rijksmuseum, Amsterdam","name":"The Ratification of the Treaty of Mnster, 15 May 1648","start_year":1648,"type":"historical","url":"https://www.wga.hu/detail/t/terborch/1/munster.jpg"},{"artworkid":755,"author":"TOULOUSE-LAUTREC, Henri de","description":"\r\nBoth the lithograph and the painting of this subject show the nude dancer and artist Cha-U-Kao (middle) dancing with a girlfriend, with Jane Avril to their right.\r\nAround 1880 Montmartre became the centre for the lesbians of Paris. No one protested when two women waltzed together, as in Lautrec's painting.\r\n\r\n\n","end_year":1892,"genre":"painting","materials":"Oil on cardboard, 93 x 80 cm","museum_name":"Nrodn Galerie, Prague","name":"At the Moulin Rouge: Two Women Waltzing","start_year":1892,"type":"genre","url":"https://www.wga.hu/detail/t/toulouse/3/2mouli05.jpg"},{"artworkid":759,"author":"POZZI, Stefano","description":"\r\nThe picture shows a detail of the wall decoration in the Salone Turco in the Palazzo Colonna. \r\nThe powerful Colonna family had lived on the western slope of the Quirinale in Rome since the Middle Ages. Over the years it managed to link together the various houses it had built and purchased over time into a unified ensemble of palaces, courtyards, and gardens. In the seventeenth century, the art-loving cardinal Girolamo I Colonna (1604-1666) began turning the complex into a Baroque residence. Construction began in 1650. The south wing, containing the Grande Galleria, was built between 1661 and 1700 at the behest of the cardinal's nephew Lorenzo Onofrio (1637-1689).\r\nUnder the sons of Filippo II Colonna (1663-1714) more additions were made to the palace. A new wing was erected between 1730-33 by Nicola Michetti. Of this wing only the corner pavilion has survived unchanged, and in it is one of the loveliest interiors from the Roman Rococo, the Coffeehouse. The most important eighteenth-century additions were completed under Cardinal Girolamo II Colonna (1708-1763). He commissioned Paolo Posi to build a gallery in the highly theatrical style of the eighteenth century. The cardinal's favourite painter was Stefano Pozzi who, together with his brother Giuseppe (1723-1765) and the landscape painter Giovanni Angeloni (1740-1788), painted the doors, mirrors, and wall panels of Girolamo's apartment, the so-called Salone Turco, with cheerful and decorative arabesques and small-format scenes.\r\n\r\n\n","end_year":1758,"genre":"painting","materials":"Fresco","museum_name":"Palazzo Colonna, Rome","name":"Wall decoration","start_year":1758,"type":"mythological","url":"https://www.wga.hu/detail/p/pozzi/turco1.jpg"},{"artworkid":763,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Benesch 257.\r\nThis drawing is in the friendship album of Burchard Grossmann.\r\n\r\n\n","end_year":1634,"genre":"graphics","materials":"Ink and wash, 89 x 71 mm","museum_name":"Koninklijke Bibliotheek, The Hague","name":"Bearded old man","start_year":1634,"type":"portrait","url":"https://www.wga.hu/detail/r/rembrand/53drawin/3/64portr.jpg"},{"artworkid":767,"author":"BELLUCCI, Antonio","description":"\r\nThe style of this painting reflects Bellucci's formative period in Venice from the late 1670s onwards, and in particular the influence of painters such as Antonio Zanchi.\r\n\r\n\n","end_year":1693,"genre":"painting","materials":"Oil on canvas, 109 x 135 cm","museum_name":"Private collection","name":"Rebecca at the Well","start_year":1691,"type":"religious","url":"https://www.wga.hu/detail/b/bellucci/rebecca.jpg"},{"artworkid":771,"author":"ZANCHI, Antonio","description":"\r\nJosiah was the King of Judah who was killed in the battle at Megiddo in 609 BC. Josiah's death is related in the Old Testament (in both Kings and Chronicles).\r\nZanchi's tenebrist canvas is a work of the painter's early maturity revealing the influence of Luca Giordano and Giovanni Battista Langetti.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 116 x 166 cm","museum_name":"Private collection","name":"The Death of King Josiah","start_year":1660,"type":"religious","url":"https://www.wga.hu/detail/z/zanchi/josiah.jpg"},{"artworkid":775,"author":"GIOTTO di Bondone","description":"\r\nThe two elderly spouses recognize one another and their good fortune in their Meeting at the Golden Gate. It is the final picture of the upper register and, at the same time, an allusion to an event which is yet to come: the Birth of the Virgin Mary.\r\n\r\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"No. 6 Scenes from the Life of Joachim: 6. Meeting at the Golden Gate (detail)","start_year":1304,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/1joachim/joachi62.jpg"},{"artworkid":779,"author":"JUEL, Jens Jrgensen","description":"\n\n","end_year":1774,"genre":"painting","materials":"Oil on canvas, 64 x 55 cm","museum_name":"The Hermitage, St. Petersburg","name":"Portrait of a Woman","start_year":1773,"type":"portrait","url":"https://www.wga.hu/detail/j/juel/port_wom.jpg"},{"artworkid":783,"author":"LEERMANS, Pieter","description":"\r\nThis panel, a so-called 'portrait historié', depicts a lady as the Penitent Mary Magdalene, three-quarter-length, besides a willow tree, with an extensive landscape in the background with a castle beyond.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 37 x 28 cm","museum_name":"Private collection","name":"Portrait of a Lady","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/l/leermans/portlady.jpg"},{"artworkid":760,"author":"MASTER of the Legend of Saint Barbara","description":"\r\nThe present panel can be considered among the finest examples of the Master's works. It can be seen as a continuation of the great influence which Rogier van der Weyden had on artists not only in his adopted city of Brussels, but throughout the whole of the Low Countries.\r\nUrsula was the daughter of the Christian King Dionotus of Dumnonia. At her father's insistence she agreed to marry the pagan Conan Meriadoc of Armorica, but not before a religious pilgrimage to Rome, circa 383, so that her suitor could be baptized. Upon their return from Rome, the couple stopped in Cologne, where they, along with her eleven thousand virgin attendants, were intercepted by the Huns, then in control of the German city. The pagan Hunnish prince asked Ursula to be his bride, but he was rejected. As retribution, Ursula was put to death by arrows, along with her attendants, all of whom were beheaded. Here the Master of the Legend of St. Barbara depicts St. Ursula punctured by a single arrow, her identifying symbol, as she protects her attendants with her finely rendered robe.\r\n\r\n\n","end_year":1500,"genre":"painting","materials":"Oil on panel, 38 x 27 cm","museum_name":"Private collection","name":"St Ursula Protecting the Eleven Thousand Virgins with Her Cloak","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/m/master/legen/ursula.jpg"},{"artworkid":764,"author":"ROSSETTI, Dante Gabriel","description":"\r\nRossetti was a poet as well as an artist. His poem \"The Blessed Damozel\" was first composed in 1847, when he was nineteen, and he continued to revise it until just before his death. William Graham, one of the artist's most faithful patrons, commissioned a painting of its subject in 1871. The poem uses archaic language to describe the damozel, or damsel, leaning out of heaven - \"the rampart of God's house\" - to behold her earthbound lover. The painting takes the form of a Renaissance altarpiece, with the damozel as a surrogate for the Virgin Mary.\r\nGraham, an avid collector of early Renaissance paintings, suggested that he add the predella (the panel or step traditionally found below the main part of an altarpiece) with the reclining lover in a terrestrial landscape. The two-part frame, designed by the artist, emphasizes the separation between heaven and earth - the \"gold bar\" described in the poem.\r\n\r\n\n","end_year":1878,"genre":"painting","materials":"Oil on canvas, 137 x 96 cm, predella 36 x 96 cm","museum_name":"Fogg Art Museum, Harvard University, Cambridge","name":"The Blessed Damozel","start_year":1871,"type":"mythological","url":"https://www.wga.hu/detail/r/rossetti/thebless.jpg"},{"artworkid":768,"author":"DAVID, Gerard","description":"\n\n","end_year":-1,"genre":"painting","materials":"Panel","museum_name":"ffentliche Kunstsammlung, Basel","name":"Mary and Child with two Angels Making Music","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/d/david/1/mary_chi.jpg"},{"artworkid":772,"author":"FONTANA, Lavinia","description":"\r\nThe artist depicted herself in a studio, preparing to draw from figurines using metal-point and coated paper. Her opulent costume tells of her success and her noble clientele. Fontana learned her trade in her father's workshop and married one of his assistants, who then assisted her. Her partner also participated in domestic tasks, which were many - the couple had eleven children.\r\n\r\n\n","end_year":1579,"genre":"painting","materials":"Oil on copper, diameter 16 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Self-Portrait in a Studio","start_year":1579,"type":"portrait","url":"https://www.wga.hu/detail/f/fontana/lavinia/selftond.jpg"},{"artworkid":776,"author":"PRE-ROMANESQUE SCULPTOR, Irish","description":"\r\nClonmacnois was one of the most celebrated Early Christian monasteries in Ireland, famed for its learning and artistic patronage and best known today for an outstanding collection of monuments and stone carvings. The monastery was founded by St Ciaran in 545 on a commanding site above a bend in the River Shannon. What started as a small religious community became the core of a monastic city, with much commercial activity and hundreds of lay inhabitants.\r\nThe range and quality of stone carving to be found at Clonmacnois are unparalleled in Ireland. The sculpture falls into a number of categories. Over 400 incised grave slabs survive from the early monastic period (7th–12th century), decorated with various forms of cross. Many are inscribed with personal names. Standard designs using knotwork, spirals, and frets in a restrained manner were used over a long period. One of the most attractive is a Latin cross with expanded semicircular terminals.\r\nThe 'Cross of the Scriptures', with its well-modelled, rounded figure sculpture, is a product of the Durrow–Monasterboice workshop. A worn inscription on the east side mentions the names of Abbot Colman (d 926) and King Flann (d 916) and has been the subject of much debate. The cross (h. 3.38 m) is made of two pieces of stone, with shaft, ring and cap all cut from a monolith. In contrast to other Irish crosses, the ring projects in front of the cross arms, which are tilted upwards. Some of the panels are difficult to interpret, but others can be identified easily (Arrest of Christ, Crucifixion, Resurrection, Traditio clavium, and Last Judgement).\r\n\r\n\n","end_year":-1,"genre":"sculpture","materials":"Stone","museum_name":"Clonmacnois Monastery, County Offaly","name":"Cross of Scriptures","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/zearly/2/1sculptu/irish/clonmac5.jpg"},{"artworkid":780,"author":"DONATELLO","description":"\r\nFollowing the restoration of 1985, the polychrome terracotta Bust of Niccolò da Uzzano, originally from Palazzo Capponi, has won back its place in the history of Florentine Renaissance sculpture which Carlo Carlieri had assigned to it in his Florentine Guide of 1745. This distinguished public figure, who led the party which opposed the Medici, and represented several times in fresco (in the Church of Santa Maria del Carmine, in Palazzo Medici-Riccardi, in the Church of Sant'Egidio), on medals and subsequently in the commemorative alcoves of the Uffizi Gallery, could not be ignored by the young Donatello, who reproduces the man in polychrome terracotta, in line with the classical model of antiquity. Probably executed in the 1430s (Niccolò died in 1433), it reveals the physical and moral individuality of the man, and has been described as the oldest half bust portrait of the Florentine Renaissance.\r\nThere is a considerable debate surrounding the attribution of this bust to Donatello. Other possible sculptors include Desiderio da Settignano and Piero Torrigiani. Whatever the case, this is a work of high quality.\r\n\r\n\n","end_year":1430,"genre":"sculpture","materials":"Polychrome terracotta, height 46 cm","museum_name":"Museo Nazionale del Bargello, Florence","name":"Bust of Niccol da Uzzano","start_year":1430,"type":"portrait","url":"https://www.wga.hu/detail/d/donatell/2_mature/various/1uzzano.jpg"},{"artworkid":784,"author":"BONSI, Giovanni","description":"\r\nThis painting formed the central panel of an altarpiece.\r\n\r\n\n","end_year":1370,"genre":"painting","materials":"Tempera on panel, gold ground, 45 x 24 cm","museum_name":"Private collection","name":"Madonna and Child with Saints and Angels","start_year":1370,"type":"religious","url":"https://www.wga.hu/detail/b/bonsi/panel.jpg"},{"artworkid":788,"author":"TIZIANO Vecellio","description":"\r\nIn the years following the execution of his two celebrated mythological paintings, the Diana and Callisto, and the Diana and Actaeon, Titian painted other mythological paintings for Philip II, including the Rape of Europa (Museum of Fine Arts, Boston), the Death of Actaeon (National Gallery, London), and Perseus and Andromeda (Wallace Collection, London).\r\nIn the Death of Actaeon, the dramatic scene of the young hunter attacked and ripped apart by the pack of dogs takes place in a landscape of livid colours heavy with premonition.\r\n\r\n\n","end_year":1562,"genre":"painting","materials":"Oil on canvas, 179 x 189 cm","museum_name":"National Gallery, London","name":"Death of Actaeon","start_year":1562,"type":"mythological","url":"https://www.wga.hu/detail/t/tiziano/08b/6actaeon.jpg"},{"artworkid":842,"author":"DRER, Albrecht","description":"\r\nLike almost all engravings after 1514, it is devoid of any landscape in the background. Everything, even the chickens, is shown with an intensity.\r\n\r\n\n","end_year":1519,"genre":"graphics","materials":"Engraving, 116 x 73 mm","museum_name":"Metropolitan Museum of Art, New York","name":"The Peasant and His Wife at the Market","start_year":1519,"type":"genre","url":"https://www.wga.hu/detail/d/durer/2/13/4/090.jpg"},{"artworkid":762,"author":"PELLEGRINI, Giovanni Antonio","description":"\r\nToward the end of the seventeenth century, Cesare Alessandri, a wealthy Venetian merchant had a wing erected to the side of his villa, to be used as foresteria (guest quarters). Decorations embellish three rooms on the second floor; the paintings in the central hall and in the northwest room are attributed to Giovanni Antonio Pellegrini. The fresco cycles in these two rooms constitute the first private fresco commission given to Pellegrini after his return to Venice from Rome. His stay in Rome had been beneficial to his development, enabling him to incorporate into his own visual repertory the language of Luca Giordano and Baciccio.\r\nIn the central hall, within faux-stucco frames, are depictions of mythological scenes inspired by Ovid's Metamorphoses. The frescoes are located within vertical compartments of various sizes on the walls of the hall, which, because of its elongated shape, seems almost like a gallery. The light is diffused through three large, arched windows. The windowed wall contains the paintings Apollo and Daphne, Sleeping Endymion, Salmacis and the Hermaphrodite, and Cadmus Sowing the Dragons Teeth. The two short walls have the Rape of Deianira and Narcissus at the Spring on one side, and the Rape of Europa and on the other. Mercury and Argus. The entrance wall has the representations Danaë and the Shower of Gold, Venus Weeping over the Death of Adonis, and Pan and Syrinx.\r\nAbove, a painted frieze of interwoven laurel leaves circle the perimeter of the room. Perched atop the frieze, are child musicians, parrots, squirrels, and little monkeys. The decorative program is completed on the curvature of the ceiling, where eight inserts depict putti and little satyrs at play. On the vault are three coffers in which the frescoes for the most part faded away.\r\n\r\n\n","end_year":1704,"genre":"painting","materials":"Fresco","museum_name":"Villa Alessandri, Mira","name":"View of the central hall in the foresteria","start_year":1704,"type":"interior","url":"https://www.wga.hu/detail/p/pellegri/2/2mira01.jpg"},{"artworkid":766,"author":"GIOTTINO","description":"\r\nCelebrating the eloquent expression on faces of figures and their gestures, Vasari remembers the altarpiece in the Florentine church of San Remigio: the scene is grouped in the lower part of the painting, with the dead Christ, the Virgin, Mary Magdalen and other saints crying him. On the left the saints Remigio and Benedict with two kneeling women in modern clothes, probably the donors of the picture.\r\nThe painting is mentioned by Vasari as a work of Giotto di maestro Stefano called Giottino, and not otherwise documented. Certain critics have identified this with Maso di Banco, the author of the stupendous frescoes in the Bardi Chapel at Santa Croce, but it is more probable that we have here a personality of equal worth but distinct. Certain Lombard elements (e.g. the costume of the two figures of the donors) tend to indicate a painter who was familiar with northern painting: and Giottino's father, Stefano, did, in fact, migrate from Florence to Lombardy.\r\n\r\n\n","end_year":1365,"genre":"painting","materials":"Tempera on wood, 195 x 134 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Piet of San Remigio","start_year":1365,"type":"religious","url":"https://www.wga.hu/detail/g/giottino/pieta.jpg"},{"artworkid":770,"author":"CANALETTO","description":"\r\nCanaletto generally favoured painting on canvas, but he also executed nine small works with copper supports, of which this is a fine example. Beaten copper sheets provided a very smooth surface upon which to paint, and were usually used by artists concerned with depicting fine details. The companion picture to this work, also in the same collection, shows the Grand Canal Looking East.\r\nThe dominant hues and tones are warmer and lighter than in the artist's earlier paintings, and as such mark the direction his work was increasingly to take. The topography is accurate and the site a famous one - a combination particularly favoured by English Grand Tourists.\r\n\r\n\n","end_year":1727,"genre":"painting","materials":"Oil on copper, 45,5 x 62,5 cm","museum_name":"Private collection","name":"Grand Canal: The Rialto Bridge from the South","start_year":1727,"type":"landscape","url":"https://www.wga.hu/detail/c/canalett/2/canal217.jpg"},{"artworkid":774,"author":"LE BRUN, Charles","description":"\r\nThe tapestry was made in the Gobelins factory after the design of Le Brun.\r\n\r\n\n","end_year":1664,"genre":"tapestry","materials":"Tapestry","museum_name":"Mobilier National, Paris","name":"The Seasons: Autumn","start_year":1664,"type":"mythological","url":"https://www.wga.hu/detail/l/le_brun/3tapestr/u_seaso.jpg"},{"artworkid":778,"author":"MICHELANGELO Buonarroti","description":"\n\n","end_year":1511,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Jonah (detail)","start_year":1511,"type":"religious","url":"https://www.wga.hu/detail/m/michelan/3sistina/3prophet/10_3pr7a.jpg"},{"artworkid":782,"author":"CORREGGIO","description":"\r\nThe picture shows a detail of the ceiling of the Camera di San Paolo.\r\nThe Three Graces, a classical theme that became popular in the Renaissance, was based upon Roman sculptures of the subject, including a well-known group that survived in Siena. It was rendered in reliefs and paintings, including the small picture by Raphael. Correggio's approach is loose and while the figures are intended to represent marble, they reveal soft flesh that is nothing like cold stone, and their proportions are full almost to the point of exaggeration.\r\n\r\n\n","end_year":1519,"genre":"painting","materials":"Fresco","museum_name":"Camera di San Paolo, Parma","name":"Three Graces","start_year":1518,"type":"mythological","url":"https://www.wga.hu/detail/c/correggi/frescoes/sanpaolr.jpg"},{"artworkid":786,"author":"BOUCHER, Franois","description":"\n\n","end_year":1730,"genre":"painting","materials":"Oil on canvas, 59 x 72 cm","museum_name":"The Hermitage, St. Petersburg","name":"Crossing the Bridge","start_year":1730,"type":"genre","url":"https://www.wga.hu/detail/b/boucher/2/cross1.jpg"},{"artworkid":790,"author":"PONTORMO, Jacopo","description":"\r\nThe picture shows the personification of Autumn.\r\n\r\n\n","end_year":1521,"genre":"painting","materials":"Fresco","museum_name":"Villa Medici, Poggio a Caiano","name":"Lunette fresco (detail)","start_year":1519,"type":"mythological","url":"https://www.wga.hu/detail/p/pontormo/2poggio/3poggio1.jpg"},{"artworkid":794,"author":"BANTI, Cristiano","description":"\r\nAlong with Telemaco Signorini, Silvestro Lega, and Giovanni Fattori, Cristiano Banti was one of the leading members of the 'Macchiaioli' group who frequented the Caffè Michelangiolo in Florence, meeting-place of progressive artists. Banti later became a teacher at the Florentine Academy.\r\nIn the Three Peasant Women, the figures are rendered in a rather abstract but luminous outdoor setting with the intimate, dreamlike character of almost Symbolist qualities.\r\n\r\n\n","end_year":1881,"genre":"painting","materials":"Oil on canvas, 73 x 34 cm","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"Three Peasant Women","start_year":1881,"type":"genre","url":"https://www.wga.hu/detail/b/banti/3women.jpg"},{"artworkid":798,"author":"QUERCIA, Jacopo della","description":"\r\nThe general sophistication of the Annunciation group at San Gimignano suggests that Jacopo was no novice at working in wood, which has led scholars to attribute a number of other wood sculptures to him. The most widely accepted attributions are: a Virgin with Saints from San Martino (1423-25; Museo dell'Opera del Duomo, Siena); a Virgin and Child (c. 1430; Musée du Louvre, Paris) and a St John the Baptist (c. 1430; San Giovanni, Siena).\r\nThe picture shows the Virgin and Child with Sts John the Evangelist, John the Baptist, Bartholomew, and Anthony Abate.\r\n\r\n\n","end_year":1425,"genre":"sculpture","materials":"Wood","museum_name":"Museo dell'Opera del Duomo, Siena","name":"Virgin with Saints","start_year":1423,"type":"religious","url":"https://www.wga.hu/detail/q/quercia/jacopo/6various/4w_virg4.jpg"},{"artworkid":802,"author":"AVED, Jacques-Andr-Joseph","description":"\r\nThe remarkable portrait of Madame Crozat was shown at the Salon in 1741. In this portrait Aved conveys something of the sitter's character - including a lack of vanity - and her ordinary existence. With her tapestry work and a teapot handy in the background, she might stand as representative of the highest bourgeoisie: sensible, comfortable, industrious. It was thought worth commenting on in 1741 that another woman would have suppressed the fact of those spectacles which Madame Crozat has just taken off and still holds; Aved seizes on this very detail to give a sense of momentary pause in a pleasantly busy domestic life.\r\nIn the nineteenth century the painting was supposed to be by Chardin. \r\n\r\n\n","end_year":1741,"genre":"painting","materials":"Oil on canvas","museum_name":"Muse Fabre, Montpellier","name":"Madame Crozat","start_year":1741,"type":"portrait","url":"https://www.wga.hu/detail/a/aved/m_crozat.jpg"},{"artworkid":787,"author":"DAVID, Jacques-Louis","description":"\r\nThis painting can be regarded as David's finest work, in which he has perfectly succeeded in immortalizing a contemporary political event as an image of social ideals. David's painting of Marat represents the peak of his involvement in the Revolution where invention, style, fervent belief and devotion combine to produce one of the most perfect examples of political painting. David presented the painting to the Convention on 14 November 1793.\r\nJean-Paul Marat saw himself as a friend of the people, he was a doctor of medicine and a physicist, and above all he was editor of the news-sheet Ami du peuple. He suffered from a skin disease and had to perform his business for the revolution in a soothing bath. This is where David shows him, in the moment after the pernicious murder by Charlotte Corday, a supporter of the aristocracy. David had seen his fellow party member and friend the day before. Under the impact of their personal friendship David created his painting \"as if in a trance,\" as one of his pupils later reported.\r\nDavid takes the viewer into Marat's private room, making him the witness of the moments immediately after the murder. Marat's head and arm have sunk down, but the dead hand still holds pen and paper. This snapshot of exactly the minute between the last breath and death in the bathroom had an immense impact at the time, and it still has the same effect today.\r\nDavid has used a dark, immeasurable background to intensify the significance. The boldness of the high half of the room above the figure concentrates attention on the lowered head, and makes us all the more aware of the vacuum that has been created. The distribution of light here has been reversed from the usual practice, with dark above light. This is not only one of the most moving paintings of the time, but David has also created a secularised image of martyrdom. The painting has often, and rightly, been compared with Michelangelo's Pietà in Rome; in both the most striking element is the arm hanging down lifeless. Thus David has unobtrusively taken over the central image of martyrdom in Christianity to his image of Marat. Revolutionary and anti-religious as the painting of this period claimed to be, it is evident here that it very often had recourse to the iconography and pictorial vocabulary of the religious art of the past.\r\n\r\n\n","end_year":1793,"genre":"painting","materials":"Oil on canvas, 162 x 128 cm","museum_name":"Muses Royaux des Beaux-Arts, Brussels","name":"The Death of Marat","start_year":1793,"type":"historical","url":"https://www.wga.hu/detail/d/david_j/3/301david.jpg"},{"artworkid":791,"author":"VOUET, Simon","description":"\r\nThis early self-portrait shows Vouet's intuitive talent for capturing transitory effects. This illustration of a moment in which time is suspended and one can almost sense the breath on the sitter's lip was an evolution of the naturalism found in the early work of Annibale Carracci and Caravaggio.\r\n\r\n\n","end_year":1615,"genre":"painting","materials":"Oil on canvas, 64 x 48 cm","museum_name":"Muse Rattu, Arles","name":"Self-Portrait","start_year":1615,"type":"portrait","url":"https://www.wga.hu/detail/v/vouet/1/0selfpor.jpg"},{"artworkid":795,"author":"BRONZINO, Agnolo","description":"\r\nThe heavy-lidded Pope Clement VII, the illegitimate son of the dashing Giuliano de' Medici, brother of Lorenzo the Magnificent, succeeded his first cousin Giovanni, who reigned as Leo X, in no less tumultuous times.\r\nThis painting by the workshop of Bronzino is derived from Raphael's triple portrait of the Medici prelate-cousins.\r\n\r\n\n","end_year":1570,"genre":"painting","materials":"Oil on wood, 60 x 39 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Portrait of Pope Clement VII","start_year":1564,"type":"portrait","url":"https://www.wga.hu/detail/b/bronzino/2/z_pope1.jpg"},{"artworkid":799,"author":"CLAUDE LORRAIN","description":"\r\nIn the last decade of his life, Claude concentrated on a limited number of themes, many of them from Virgil's Aeneid. The Apollo and the Muses on Mount Helion (Parnassus) of 1680 in the Boston Museum of Fine Arts is a good example of his use of idyllic mythology during his last years. His technique remained as refined as in his earlier years, but his compositions often lost the earlier sense of perfect balance in the trees of different sizes and densities on each side of the picture. Sometimes, as in the Boston picture, the whole appears rather awkward, especially in reproductions which tend to emphasize the patterns made by the landscape against the sky. In front of the original, however, these awkwardnesses disappear because one becomes aware that the artist is concentrating entirely on atmosphere, to the exclusion of everything else.\r\nThe mythological story depicted on the picture is the following.\r\nApollo, as the God of Poetry and Music (in this role named Apollo Musagetes), dwells on Mount Parnassus, accompanied by the muses, the goddesses of poetic inspiration and the creative arts in general. The running brook is the Castilian spring, which, like another, the Pierian, was a source of inspiration and learning where we are advised to drink deep.\r\nThe painting was executed for the Principe Colonna, and was in the family collection until at least 1783. It is included in Liber Veritatis (LV 193).\r\n\r\n\n","end_year":1680,"genre":"painting","materials":"Oil on canvas, 98 x 135 cm","museum_name":"Museum of Fine Arts, Boston","name":"Apollo and the Muses on Mount Helion (Parnassus)","start_year":1680,"type":"mythological","url":"https://www.wga.hu/detail/c/claude/3/10muses.jpg"},{"artworkid":803,"author":"GRNEWALD, Matthias","description":"\r\nGrünewald worked in the court of the Bishop of Mainz, and he painted this panel to the Bishop's Fond in Halle. Albert, the Bishop of Brandenburg is pictured as St Erasm on the painting.\r\n\r\n\n","end_year":1523,"genre":"painting","materials":"Oil on wood, 226 x 176 cm","museum_name":"Alte Pinakothek, Munich","name":"Meeting of St Erasm and St Maurice","start_year":1517,"type":"religious","url":"https://www.wga.hu/detail/g/grunewal/3/04erasm.jpg"},{"artworkid":807,"author":"ARCHITECT, German","description":"\r\nCelle is a city in Lower Saxony. The old town, Altencelle, was founded about 1248, and Celle (founded 1292) was the residence (1371–1705) of the dukes of Brunswick-Lüneburg. The old town has many fine examples of 16th- to 19th-century half-timbered buildings, including the Hoppener Haus (1532) and the grammar school (1603).\r\nHouses in the Altstadt are half-timbered and stylistically unified, those with eaves built from the 17th century blending in with the older type of gabled houses by the use of projecting storeys, gable ends and oriels. The timbers have ornamental and inscribed friezes.\r\nHalf-timber work is a method of building in which external and internal walls are constructed of timber frames and the spaces between the structural members are filled with such materials as brick, plaster, or wattle and daub. Traditionally, a half-timbered building was made of squared oak timbers joined by mortises, tenons, and wooden pegs; the building's cage-like structural skeleton is often strengthened at the corners with braces. This method of timber framing was adapted to both low, rambling country homes and six- or seven-storied buildings in crowded towns.\r\nThe photo shows a street in the Altstadt.\r\n\r\n\n","end_year":-1,"genre":"architecture","materials":"Photo","museum_name":"Altstadt, Celle","name":"General view","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/16c/1/06g_1552.jpg"},{"artworkid":811,"author":"JOUVENET, Jean-Baptiste","description":"\r\nThe huge Raising of Lazarus, one of four vast canvases painted by Jouvenet early in the eighteenth century for the church of Saint-Martin-des-Champs in Paris, is a tour-de-force of hes realistic vein combined with the elevated and idealized. Here the figure of Christ is somewhat over-bland and insufficiently assertive amid the agitated crowd gathered around the looming rocks of the tomb, but Mary, the sister of Lazarus, takes on the role of heroine, distressed yet decorous, and very consciously posed, in garments of gleaming white, gold, and green, to hold the centre of the stage. She is the embodiment of French academic classicism and could serve in comparable guise in many other pictures of the period. What she gestures towards, however, is dramatic in a different idiom: the stark moment of Lazarus's return from the dead, with him awakening in the deep cavernous gloom of his burial-chamber, lit only by a single torch, and experiencing hardly less violent and painful astonishment than do the figures gaping around him.\r\n\r\n\n","end_year":1706,"genre":"painting","materials":"Oil on canvas, 388 x 664 cm","museum_name":"Muse du Louvre, Paris","name":"The Raising of Lazarus","start_year":1706,"type":"religious","url":"https://www.wga.hu/detail/j/jouvenet/2lazarus.jpg"},{"artworkid":908,"author":"DONATELLO","description":"\r\nThe monument to Erasmo da Narni - who found fame as Gattamelata (honey cat) - is still a prominent urban feature in Padua. The military leader mounted on his horse and with his staff of command in his hand dominates the Piazza del Santo.\r\n\r\n\n","end_year":1450,"genre":"sculpture","materials":"Bronze, 340 x 390 cm (without base)","museum_name":"Piazza del Santo, Padua","name":"Equestrian Statue of Gattamelata","start_year":1447,"type":"portrait","url":"https://www.wga.hu/detail/d/donatell/2_mature/padova/3gatta.jpg"},{"artworkid":789,"author":"ARNOLD OF WESTPHALIA","description":"\r\nThe Albrechtsburg (so-called in 1676) in Meissen is one of the most important German Late Gothic buildings, commissioned by the brothers Elector Ernest (reg 1464-86) and Duke Albrecht (reg 1464-85) of Saxony as their main residence and seat of government. It is the best example of Arnold's original and innovative style in the transition from the medieval to the modern era: here, the fortified nature of the medieval castle gave way to the splendour of a modern palace complex. The buttresses are turned inwards, the piers have strong concave mouldings and no capitals, and the vault springers rise directly from the socles. The unusually large windows have arches shaped like a gathered curtain. This decorative feature, known as a 'curtain arch', was characteristic of Arnold and his workshop.\r\nThe uniquely rich and fantastic vaults in the interior of the Albrechtsburg, especially in the Great Hall, have earned Arnold the epithet 'master of vaulting technique'. Almost all the rooms have cell vaults of a type first used in larger rooms in the Albrechtsburg, which quickly spread throughout Saxony and the neighbouring regions to the east. There are also vaults of original design in the Wappensaal, where the ribs cross at different levels, and the stone Princes' Stairs, called the 'Grosser Wendelstein'.\r\n\r\n\n","end_year":1470,"genre":"architecture","materials":"Photo","museum_name":"Albrechtsburg Castle, Meissen","name":"General view","start_year":1470,"type":"other","url":"https://www.wga.hu/detail/a/arnold/meissen1.jpg"},{"artworkid":793,"author":"HONTHORST, Gerrit van","description":"\r\nThis painting is closely related to another work by Honthors, a horizontal version of the same theme in Los Angeles. Since some of the same expressive devices are found in both pictures - for example , the way in which the extended hand of the standing mocker holding a candle casts its shadow on his face - both were likely to have been executed relatively close in time.\r\n\r\n\n","end_year":1616,"genre":"painting","materials":"Oil on canvas, 197 x 171 cm","museum_name":"Private collection","name":"The Mocking of Christ","start_year":1616,"type":"religious","url":"https://www.wga.hu/detail/h/honthors/1/031mocki.jpg"},{"artworkid":797,"author":"LIPPI, Fra Filippo","description":"\r\nThe picture shows one of the scenes from the Stories from the Life of St John the Baptist painted by Filippo Lippi in the choir of the Prato Cathedral.\r\n\r\n\n","end_year":1465,"genre":"painting","materials":"Fresco","museum_name":"Duomo, Prato","name":"St John Taking Leave of His Parents","start_year":1452,"type":"religious","url":"https://www.wga.hu/detail/l/lippi/filippo/1450pr/22leave.jpg"},{"artworkid":801,"author":"ALTDORFER, Albrecht","description":"\r\nPainters of the Danube school made landscapes a central feature of their works. Landscape became valued for its own sake. Figures and narrative content are often absent. Most of Altdorfer's landscapes are fantasies rather than records of actual towns or places. In this etching he presented a plausible view of a village by a small river with a well-fortified castle above. Conjuring up memories of the German or Alpine countryside, it is a setting for the imagination's delectation.\r\n\r\n\n","end_year":1522,"genre":"graphics","materials":"Etching with watercolour, 225 x 170 mm","museum_name":"Kunstsammlungen der Veste Coburg, Coburg","name":"Large Fir","start_year":1512,"type":"landscape","url":"https://www.wga.hu/detail/a/altdorfe/4/largefir.jpg"},{"artworkid":805,"author":"FRAGONARD, Jean-Honor","description":"\r\nAccording to the Books of Kings, Jeroboam was the first king of the break-away ten tribes or Northern Kingdom of Israel, over whom he reigned twenty-two years.\r\nFragonard's painting depicts Jeroboam offering sacrifice for the idol of the Golden Calf. While he was engaged in offering incense, a prophet from Judah appeared before him with a warning message from the Lord. Attempting to arrest the prophet for his bold words of defiance, his raised hand was \"dried up,\" and the altar before which he stood was rent asunder.\r\nWith this painting Fragonard won the Grand Prix de l'Académie Royale in 1752.\r\n\r\n\n","end_year":1752,"genre":"painting","materials":"Oil on canvas, 115 x 145 cm","museum_name":"cole des Beaux-Arts, Paris","name":"Jeroboam Offering Sacrifice for the Idol","start_year":1752,"type":"religious","url":"https://www.wga.hu/detail/f/fragonar/father/1/01jerobo.jpg"},{"artworkid":809,"author":"PONTORMO, Jacopo","description":"\r\nPontormo's last major commission was the decoration of the choir of San Lorenzo in Florence for Duke Cosimo. He worked on these frescoes from 1546 until his death in 1557. This now destroyed programme, including a Resurrection and Last Judgment but mainly a cycle of scenes from the Genesis, constituted Pontormo's final artistic testament. Drawings, such as that shown by the picture, provide the basis for its reconstruction.\r\n\r\n\n","end_year":1550,"genre":"graphics","materials":"Black chalk on paper, 413 x 177 mm","museum_name":"Galleria degli Uffizi, Florence","name":"Four Evangelists","start_year":1550,"type":"study","url":"https://www.wga.hu/detail/p/pontormo/drawings/2/07loren5.jpg"},{"artworkid":813,"author":"MARSEUS VAN SCHRIECK, Otto","description":"\r\nThe picture shows a nocturnal forest floor still-life with a thistle, butterflies, mushrooms and a frog.\r\nOtto Marseus van Schrieck was one of the leading innovators of the Dutch forest floor-still life. In the present work, he has focused meticulous attention on a thistle, a single pink flower, and a handful of forest dwellers, all of which glisten vividly against a darkened background.\r\n\r\n\n","end_year":1671,"genre":"painting","materials":"Oil on canvas, 59 x 47 cm","museum_name":"Private collection","name":"Nocturnal Forest Floor Still-Life","start_year":1671,"type":"still-life","url":"https://www.wga.hu/detail/m/marseus/nocturn.jpg"},{"artworkid":817,"author":"VASSALLETTO, Pietro","description":"\n\n","end_year":1170,"genre":"sculpture","materials":"Marble","museum_name":"San Paolo fuori le Mura, Rome","name":"Easter Candlestick (detail)","start_year":1170,"type":"religious","url":"https://www.wga.hu/detail/v/vassalet/easter_c.jpg"},{"artworkid":821,"author":"MINIATURIST, French","description":"\r\nIn addition to the Chirurgia by Roger Frugard (folios 1-46), the present early 14th-century manuscript contains also the French translation of Circa instans by Mattheus Platearius (folios 48-135).\r\nMatthaeus Platearius was a physician from the medical school at Salerno, and is thought to have produced a twelfth-century Latin manuscript on medicinal herbs titled \"Circa Instans\" aka \"The Book of Simple Medicines\", later translated into French as \"Le Livre des simples medecines\". It was an alphabetic listing and textbook of simples that was based on Dioscorides \"Vulgaris\", which described the appearance, preparation, and uses of various drugs. It was widely acclaimed, and was one of the first herbals produced by the newly developed printing process in 1488.\r\nThe picture shows folios 49v-50 containing full-page miniatures of an apothecary shop, on the left, and medical consultations, on the right.\r\n\r\n\n","end_year":1325,"genre":"illumination","materials":"Manuscript (MS Sloane 1977), 235 x 160 mm (each)","museum_name":"British Library, London","name":"Mattheus Platearius: Circa instans","start_year":1300,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/1301-350/2french/843frenc.jpg"},{"artworkid":825,"author":"MEDIEVAL SCULPTOR, Spanish","description":"\r\nThe detail of this portal represents King David. A work by the Master of las Platerías - probably the same personality as Master Esteban, son of the Cathedral architect - the prophet David is still impregnated with elements from the art of Toulouse almost contemporaneous with the Puerta de las Platerías, carved at the very end of the 11th century. However, the less numerous folds, the more strongly affirmed relief, and the general simplification result in a more realistic, if less refined, art than the Languedoc models.\r\n\r\n\n","end_year":1090,"genre":"sculpture","materials":"Stone","museum_name":"Cathedral of Santiago, Compostela","name":"Puerta de las Plateras (detail)","start_year":1090,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/po-11c/3s6_1101.jpg"},{"artworkid":829,"author":"CLAESZ., Pieter","description":"\r\nThis painting, one of the few youthful works by the artist, depicts a still-life with a Roemer, a roll, smoked herring, a watch, smoker's requisites, hazelnuts and a brazier.\r\nThis intimate, small-format picture belongs to a group of the artist's paintings from the mid-1620s, in which Claesz. focused on combining two types of still-life, the breakfast piece and the so-called Toebackje or smoking still-life.  \r\n\r\n\n","end_year":1626,"genre":"painting","materials":"Oil on panel, oval, 29 x 39 cm","museum_name":"Private collection","name":"Still-Life","start_year":1625,"type":"still-life","url":"https://www.wga.hu/detail/c/claesz/herrin.jpg"},{"artworkid":796,"author":"DRER, Albrecht","description":"\r\nSome critics dated the print after the second Italian journey 1507/08. The austerity of the mental conception which is particularly noticeable in comparison with the gay imagination of the other prints, is due without doubt to the subject matter, and the pose and the classical treatment of the drapery in the figure of Christ, so reminiscent of sculpture, needed no fresh inspiration from southern art. The handling of form in its relation to space leaves no doubt as to the date being about 1505, as is proved by a glance at the painting The Adoration of the Magi in Florence of the year 1504, this cut standing in a similar relation to this picture as the other prints of the Life of the Virgin do to the Paumgartner Altar.\r\n\r\n\n","end_year":1505,"genre":"graphics","materials":"Woodcut","museum_name":"Graphische Sammlung Albertina, Vienna","name":"Life of the Virgin: 16. Christ Taking Leave of his Mother","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/d/durer/2/12/5virgin/16_life.jpg"},{"artworkid":800,"author":"MAHU, Cornelis","description":"\r\nThe painting depicts a still-life with an orange on a pewter plate, a porcelain pitcher, a glass, bread and a box of tobacco on a table.\r\nIn the late 1620s, the still-life of the Northern school developed a new form under the influence of the painters of the Haarlem school, Pieter Claesz. and Willem Claesz Heda. They inspired numerous Antwerp painters including Cornelis Mahu, who, in this composition, presents us with his version of the \"monochrome banquets\".\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on panel, 31 x 46 cm","museum_name":"Private collection","name":"Still-Life","start_year":1630,"type":"still-life","url":"https://www.wga.hu/detail/m/mahu/stillife.jpg"},{"artworkid":804,"author":"PISANO, Nino","description":"\n\n","end_year":1346,"genre":"sculpture","materials":"Marble","museum_name":"Bode Museum, Berlin","name":"Virgin and Child","start_year":1346,"type":"religious","url":"https://www.wga.hu/detail/p/pisano1/nino/various/virginc3.jpg"},{"artworkid":808,"author":"LIPPI, Filippino","description":"\r\nSeveral paintings have been assigned to Filippino's early career (1475–81), yet this period remains the most problematic to reconstruct. Not one painting is signed, dated or unquestionably connected to a patron, and each was once attributed to another painter. Included in the works that have been dated before 1482 are several small, devotional panels and narrative scenes, among them the Tobias and the Angel. These panels are influenced in various ways by aspects of the art of Fra Filippo, Botticelli and Verrocchio and reveal a burgeoning interest in the kind of landscape enriched with monasteries, castles, bridges, lakes and the activities of people and animals that is present in Filippino's later paintings.\r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Oil and tempera on poplar panel, 33 x 24 cm","museum_name":"National Gallery of Art, Washington","name":"Tobias and the Angel","start_year":1475,"type":"religious","url":"https://www.wga.hu/detail/l/lippi/flippino/1/02tobias.jpg"},{"artworkid":812,"author":"CIGOLI","description":"\r\nCigoli's drawing shows the construction of Brunelleschi's dome of the Florence Cathedral.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Drawing","museum_name":"Istituto Germanico, Florence","name":"Construction of the Dome","start_year":-1,"type":"study","url":"https://www.wga.hu/detail/c/cigoli/z_dome1.jpg"},{"artworkid":816,"author":"STROZZI, Bernardo","description":"\r\nStrozzi treated this subject in similar format on several occasions. In this variant he was strongly influenced by the potent art of Rubens, who sojourned in Genoa between 1605 and 1606, painting portraits whose rigorous dynamism made a considerable impact on Genoese art. \r\n\r\n\n","end_year":1625,"genre":"painting","materials":"Oil on canvas, 69 x 55 cm","museum_name":"Private collection","name":"St Paul","start_year":1625,"type":"religious","url":"https://www.wga.hu/detail/s/strozzi/1/st_paul.jpg"},{"artworkid":820,"author":"MIEL, Jan","description":"\r\nJan Miel belonged to the numerous followers of Pieter van Laer, a Dutch painter working in Rome. This group of painter was known as the 'Bamboccianti' after the nickname of van Laer, 'Il Bamboccio' (which may be translated 'little clumsy one'). Their pictures are called bambocciate (Italian for childishness). The Bamboccianti were mainly Northeners working in Rome, such as the Flemings Jan Miel and Michiel Sweerts, but also included Italians, such as Michelangelo Cerquozzi and Viviano Codazzi.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 51 x 74 cm","museum_name":"The Hermitage, St. Petersburg","name":"Hunters at Rest","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/m/miel/hunters.jpg"},{"artworkid":824,"author":"COOMANS, Pierre Olivier Joseph","description":"\r\nCoomans worked with models both in studios and in exterior settings, capturing in exquisite fashion all the mystical beauty they had to offer. His portraits were greatly prized by European collectors.\r\nIn the present portrait a young lady is selecting a necklace from her jewellery box and she is looking at a mirror to reflect her image with the jewellery, for her presentation at a social occasion.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 82 x 67 cm","museum_name":"Private collection","name":"The Jewellery Box","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/c/coomans/j_box.jpg"},{"artworkid":828,"author":"UNKNOWN MASTER, French","description":"\r\nThe original surviving front cover of the Codex Aureus of St. Emmeram is one of the greatest treasures of medieval art. The gold repoussé pictures, the profuse encrustations of jewels and pearls, the glazing and filigree and fine granulations of gold, all make the cover of the Codex Aureus one of the most magnificent of all medieval book bindings. In the centre we see Christ in Majesty in strong relief. The chased fields either side of Christ show the four evangelists and, in landscape format, Christ with the woman taken in adultery and driving the dealers out of the temple (above), healing a leper (below left) and healing a blind man (below right).\r\n\r\n\n","end_year":-1,"genre":"illumination","materials":"Gold, gems and pearls, 420 x 330 mm","museum_name":"Bayerische Staatsbibliothek, Munich","name":"Book cover","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/covers/03aureus.jpg"},{"artworkid":832,"author":"PICOT, Franois-Edouard","description":"\r\nThis painting is the reduced version of the large (233 x 291 cm) original in the Louvre. This exquisite reduction was produced for the Duc de la Rochefoucauld d'Estissac, a discriminating collector of the restoration period. \r\nThis pivotal painting in the career of the artist firmly established Picot as a painter committed to the traditions of the classical school even though modified by an awareness of his contemporary romantics.\r\n\r\n\n","end_year":1817,"genre":"painting","materials":"Oil on canvas, 40 x 48 cm","museum_name":"Private collection","name":"Cupid and Psyche","start_year":1817,"type":"mythological","url":"https://www.wga.hu/detail/p/picot/cupidpsy.jpg"},{"artworkid":836,"author":"CRANACH, Lucas the Elder","description":"\r\nRecently some scholars attributed the painting to Hans Cranach, son of Lucas Cranach the Elder. Since the style of father and son was very close to each other it is very difficult to differentiate between them.\r\n\r\n\n","end_year":1532,"genre":"painting","materials":"Oil on panel, 83 x 121 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"Christ and the Adulteress","start_year":1532,"type":"religious","url":"https://www.wga.hu/detail/c/cranach/lucas_e/05/54religi.jpg"},{"artworkid":840,"author":"HAECHT, Willem van","description":"\r\nThis painting depicts a 'kunstkamer', or art room. It was a popular subject in seventeenth-century Antwerp. The shown paintings are existing Flemish, German and Italian works of art, while the statues are well-known classical pieces. \r\nIn the left foreground, the painter depicted a story from classical antiquity. The story goes that Alexander the Great commissioned Appelles, illustrated by the man holding the paintbrush, to paint the portrait of Campaspe, one of his most beautiful mistresses. The painter fell madly in love with her. Alexander, as a mark of his appreciation of the painter's work, presented his lover to Apelles as a gift.\r\n\r\n\n","end_year":1630,"genre":"painting","materials":"Oil on panel, 105 x 149 cm","museum_name":"Mauritshuis, The Hague","name":"Apelles Painting Campaspe","start_year":1630,"type":"interior","url":"https://www.wga.hu/detail/h/haecht/campaspe.jpg"},{"artworkid":844,"author":"PARRA ABRIL, Miguel","description":"\n\n","end_year":1845,"genre":"painting","materials":"Oil on canvas, 38 x 52 cm","museum_name":"Museo del Prado, Madrid","name":"Plate of Sweets","start_year":1845,"type":"still-life","url":"https://www.wga.hu/detail/p/parra/stillif3.jpg"},{"artworkid":912,"author":"TIEPOLO, Giovanni Battista","description":"\n\n","end_year":1725,"genre":"painting","materials":"Oil on canvas, 46 x 38 cm","museum_name":"The Hermitage, St. Petersburg","name":"Annunciation","start_year":1724,"type":"religious","url":"https://www.wga.hu/detail/t/tiepolo/gianbatt/2_1730s/032annun.jpg"},{"artworkid":806,"author":"LELY, Sir Peter","description":"\r\nPortraiture, which was to become the single most brilliant achievement of English painting in the 18th century, was a field dominated in the 17th century by foreign artists who received many commissions from the royal court. The leading exponents of this period were van Dyck and Lely. This portrait of Henrietta Maria, Queen of England is an idealized portrait.\r\nHenrietta Maria of France (1609-1669), the daughter of King Henry IV of France and Marie de Médici, was the Queen consort of England, Scotland and Ireland as the wife of King Charles I. She was mother of two kings, Charles II and James II and grandmother of two queens and one king, Mary II, William III and Anne of Great Britain as well as paternal aunt of Louis XIV of France. She had married Charles I in 1625, but soon fell out of favour with Parliament and the people because of her support for English Catholics. Later, she tried in vain and with great personal commitment, to help her husband. After the execution of Charles I in 1649, she settled in Paris. In 1660, when her oldest son succeeded to the throne as Charles II of Great Britain and Ireland, Henrietta Maria returned to England where she lived as Dowager Queen and Queen Mother until 1665 when she returned permanently to France. She died at the age of 59 at the château de Colombes, near Paris, marking the end of a turbulent life. She was buried in the French royal necropolis at the Basilica of St Denis.\r\nLely portrays her here as a beautiful and dignified woman in royal dress with an expression of suffering on her lips and a look of aloof mourning in her eyes. This is no longer a Baroque representative portrait, but tends far more in the direction of an individual interpretative portrayal. The nature of her life's journey is hidden by her reserved facial expression.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 49 x 39 cm","museum_name":"Muse Cond, Chantilly","name":"Henrietta Maria of France, Queen of England","start_year":1660,"type":"portrait","url":"https://www.wga.hu/detail/l/lely/henriett.jpg"},{"artworkid":810,"author":"ARCHITECT, French","description":"\r\nThe ground was laid for classicism during the regime of Henry IV (reg 1589-1610). The buildings for which Henry IV was directly responsible must be considered in two groups: the additions to the royal palaces, and the improvements to the city of Paris. Of the former the finest example is the stable courtyard portal built by Rémy Collin in a square court (Cour des Offices) open on one side towards the Cour de l'Ovale.\r\nFar more revolutionary are Henry IV's improvements to the city of Paris. It was in accordance with his general policy that he should want to embellish his capital, and in keeping with his character that his improvements should be of a very practical kind. In twelve years he completed the Pont Neuf, built the Place Royale and the Place Dauphine and began the Place de France, created the Hôpital Saint-Louis and laid the foundations of the Collège Royal. In these works Henry IV brought town-planning to a new stage and established certain principles which were to influence the development of Paris for several centuries.\r\nBy the beginning of the 17th century the tide of ornament had became typical for architects to rely simply on the contrast between rusticated quoins at the salient points of their structures and rendered or unrendered brick infill. This is nowhere better illustrated than in the relatively modest houses surrounding the Place Dauphine (1607-15) and the Place Royale (from 1605; now Place des Vosges), which Henry IV laid out in Paris as the nuclei for ordered development in the city. \r\nThe Place Royale was conceived in 1604 and carried out from 1605 onwards. It was built on the site of the old royal palace of the Tournelles, which was abandoned by Catherine de' Medici after the death of Henry II in the tournament held there. The style of the houses was simple. We find on the ground floor an arcaded cloister. The elevation in the upper storeys has stucco 'chaines' against the brick, and there are very simple dormers.\r\nView the site plan of Place des Vosges, Paris.\r\n\r\n\n","end_year":1605,"genre":"architecture","materials":"Photo","museum_name":"Place des Vosges, Paris","name":"General view","start_year":1605,"type":"other","url":"https://www.wga.hu/detail/zzzarchi/17c/2/02f_1602.jpg"},{"artworkid":814,"author":"STEEN, Jan","description":"\n\n","end_year":1660,"genre":"painting","materials":"Oil on panel, 63 x 51 cm","museum_name":"The Hermitage, St. Petersburg","name":"The Doctor's Visit","start_year":1660,"type":"genre","url":"https://www.wga.hu/detail/s/steen/page1/doctorsv.jpg"},{"artworkid":818,"author":"BARKER, Thomas Jones","description":"\r\nThe Siege of Lucknow was the prolonged defence of the Residency within the city of Lucknow during the Indian Rebellion of 1857. After two successive relief attempts had reached the city, the defenders and civilians were evacuated from the Residency, which was then abandoned.\r\n\r\n\n","end_year":1859,"genre":"painting","materials":"Oil on canvas, 105 x 181 ca","museum_name":"National Portrait Gallery, London","name":"The Relief of Lucknow, 1857","start_year":1859,"type":"historical","url":"https://www.wga.hu/detail/b/barker/thomas1/lucknow.jpg"},{"artworkid":822,"author":"PISANO, Giovanni","description":"\r\nThe octagonal pulpit has a central support formed by three caryatids, clearly modelled on Classical prototypes and representing Faith, Hope, and Charity; they stand on an octagonal pedestal adorned with figures of the Liberal Arts and Philosophy.\r\n\r\n\n","end_year":1311,"genre":"sculpture","materials":"Marble","museum_name":"Cathedral, Pisa","name":"Pulpit details: pedestal of the Caryatides","start_year":1302,"type":"religious","url":"https://www.wga.hu/detail/p/pisano/giovanni/pulpit_p/5base2.jpg"},{"artworkid":826,"author":"AGABITI, Pietro Paolo","description":"\r\nThis is one of the four predella scenes belonging to the altarpiece with the central panel depicting the Virgin Enthroned between Sts John the Baptist and Anthony of Padua.\r\n\r\n\n","end_year":1528,"genre":"painting","materials":"Oil on wood","museum_name":"Pinacoteca Civica, Palazzo Pianetti, Jesi","name":"Nativity","start_year":1528,"type":"religious","url":"https://www.wga.hu/detail/a/agabiti/altar34.jpg"},{"artworkid":830,"author":"SLODTZ, Ren-Michel","description":"\r\nSlodtz carved around 1740 for a private collector this small group of four (counting the dog). The subject was a popular one, Diana and Endymion. The story: Endymion, sent to sleep for ever by the command of Jupiter, in return for being granted perpetual youth, was visited nightly by the goddess Diana.\r\n \r\nThe beautiful youth, Endymion, who fell into an eternal sleep, has captured the imagination of poets and artists as a symbol of the timelessness of beauty that is 'a joy forever'.\r\nThe theme allowed the artist to display his talent by contrasting the amorous goddess' eagerness with the torpor of the sleeping youth.\r\n\r\n\n","end_year":1740,"genre":"sculpture","materials":"Marble, height 85 cm","museum_name":"Private collection","name":"Diana and Endymion","start_year":1740,"type":"mythological","url":"https://www.wga.hu/detail/s/slodtz/rene_mic/diana.jpg"},{"artworkid":834,"author":"RIEMENSCHNEIDER, Tilman","description":"\r\nFirst a stone altar was erected at the place of the legendary discovery of a host. Riemenschneider's retable of Mary was set up on the stone altar much later at the beginning of the 16th century. Riemenschneider formed the external structure in the shape of a late Gothic monstrance. The shrine is made of pinewood, the sculptures are of softer limewood.\r\nIn the centre shrine you is the main scene: the Assumption of the Blessed Virgin who is surrounded by the twelve apostles. The coronation of Virgin Mary is represented in the superstructure above the shrine. At the top of the altar the risen Christ as the Man of Sorrows is represented.\r\nThe side panels show scenes from Mary's life: the Annunciation (bottom left), the Visitation (top left), the Nativity (top right) and the Presentation in the Temple (bottom right).. Above there is the so-called Visitation where Mary meets Elizabeth. The upper relief on the right wing shows Christ's birth and below the Presentation of Child Jesus in the temple.\r\nIn the niches of the predella the Adoration of the Magi (left) and Christ among the Doctors (right) can be seen. In the latter scene Riemenschneider has portrayed himself, sitting at Jesus' feet in medieval clothing.\r\n\r\n\n","end_year":1510,"genre":"sculpture","materials":"Wood","museum_name":"Herrgottskirche, Creglingen am Tauber","name":"Mary's Altar","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/r/riemensc/5cregli.jpg"},{"artworkid":838,"author":"MINIATURIST, French","description":"\r\nThis handsome medical textbook, made for a wealthy client in Paris about 1280, comprises works by Hippocrates and Galen in the Latin translation of Constantinus Africanus, a Tunisian doctor of the eleventh century. The miniature on folio 100v shows a doctor and his student discussing a patient.\r\n\r\n\n","end_year":1280,"genre":"illumination","materials":"Manuscript (Cod. 2315)","museum_name":"sterreichische Nationalbibliothek, Vienna","name":"Works by Hippocrates and Galen","start_year":1280,"type":"other","url":"https://www.wga.hu/detail/zgothic/miniatur/1251-300/2french/67french.jpg"},{"artworkid":815,"author":"SNAYERS, Pieter","description":"\r\nPieter Snayers specialized in painting battle scenes. He applied himself to making large paintings of historical sieges from the contemporary conflicts. He became court painter to the governors of the Spanish Netherlands, Cardinal Infante Ferdinand and Archduke Leopold Wilhelm. In their service he made a substantial number of pictures as a visual record of military successes. The topographical character of the set of siege pictures by Snayers in the Prado is remarkable.\r\n\r\n\n","end_year":1650,"genre":"painting","materials":"Oil on canvas, 189 x 263 cm","museum_name":"Museo del Prado, Madrid","name":"Taking of Breda","start_year":1650,"type":"historical","url":"https://www.wga.hu/detail/s/snayers/battle2.jpg"},{"artworkid":819,"author":"TESTA, Pietro","description":"\r\nThe monumental masterpiece of the artist was executed for the church of Santa Croce dei Lucchesi in Rome.\r\n\n\n\r\nSuggested listening (streaming mp3, 22 minutes):Johann Sebastian Bach: Cantata, BWV 82\n\n\n","end_year":1643,"genre":"painting","materials":"Oil on canvas, 323 x 226 cm","museum_name":"The Hermitage, St. Petersburg","name":"Presentation of the Virgin in the Temple","start_year":1641,"type":"religious","url":"https://www.wga.hu/detail/t/testa/presenta.jpg"},{"artworkid":823,"author":"BRAMER, Leonaert","description":"\r\nThis drawing comes from a series of at least fifty-five Old Testament scenes, called the Gutekunst series after their previous owner, an art dealer in Bern. Some of the scenes from the series are known to have served as models for decoration on Delftware.\r\n\r\n\n","end_year":1630,"genre":"graphics","materials":"Brush and black ink, dray wash on brownish gray paper, 400 x 310 mm","museum_name":"Courtauld Gallery, London","name":"Joseph and Potiphar's Wife","start_year":1630,"type":"religious","url":"https://www.wga.hu/detail/b/bramer/2/oldtest1.jpg"},{"artworkid":827,"author":"BERLINGHIERI, Bonaventura","description":"\r\nBonaventura was one of the three painter sons of Berlinghiero Berlinghieri, a painter active between 1215 and 1242 in Luca. The painting of St Francis  is one of the earliest altarpieces dedicated to the saint who was canonized in 1228. The Berlinghieri family exerted considerable influence on Florentine painting before Cimabue.\r\n\n\n\r\nSuggested listening (streaming mp3, 33 minutes):Michael Haydn: St Francis Mass\n\n\n","end_year":1235,"genre":"painting","materials":"Tempera on wood","museum_name":"Church of San Francesco, Pescia","name":"St Francis","start_year":1235,"type":"religious","url":"https://www.wga.hu/detail/b/berlingh/stfranci.jpg"},{"artworkid":831,"author":"TENIERS, David the Elder","description":"\r\nThe influence of the German artist Adam Elsheimer, under whom Teniers studied in Rome, is evident in the colour palette, drapery, and rendering of the light in the sky.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 119 x 96 cm","museum_name":"Private collection","name":"Christ on the Road to Calvary","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/t/teniers/jan1/calvary.jpg"},{"artworkid":835,"author":"GONALVES, Nuno","description":"\n\n","end_year":1460,"genre":"painting","materials":"Panel","museum_name":"Museu Nacional de Arte Antiga, Lisbon","name":"Altarpiece of Saint Vincent, the panel of the Knights","start_year":1460,"type":"religious","url":"https://www.wga.hu/detail/g/goncalve/n-cavalc.jpg"},{"artworkid":839,"author":"HACKERT, Jacob Philipp","description":"\n\n","end_year":1783,"genre":"painting","materials":"Oil on canvas, 120 x 170 cm","museum_name":"The Hermitage, St. Petersburg","name":"Great Cascades at Tivoli","start_year":1783,"type":"landscape","url":"https://www.wga.hu/detail/h/hackert/philipp/greatcas.jpg"},{"artworkid":843,"author":"GRECO, El","description":"\r\nEndowed with an unsurpassed classical education, Jerome (c. 342-420) became an outstanding biblical scholar as well as the translator of the Bible into Latin (the Vulgate). During the Renaissance, paintings showing him either in his study or performing acts of penance in the wilderness adorned the walls of the homes of many humanists and scholars. El Greco painted both types.\r\nThis painting is the final expression of El Greco's 'Saint in ecstasy' (compare St Sebastian, St Mary Magdalen and St Ildefonso). The pattern is still that of the St Sebastian of his first years in Spain, and it was employed also for the Christ of the Baptism.\n\n","end_year":1614,"genre":"painting","materials":"Oil on canvas, 166 x 110 cm","museum_name":"National Gallery of Art, Washington","name":"Saint Jerome Penitent","start_year":1610,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/21/2104grec.jpg"},{"artworkid":847,"author":"LONGHENA, Baldassare","description":"\r\nWhen the plague of 1630 subsided the Venetians decided to build this remarkable monumental church in thanksgiving to the Virgin, whose statue stands on the lantern of the dome.\r\nThe church is octagonal, centrally planned, and has a great hemispherical dome; its circular form was meant as an allusion to the Virgin's crown. A distinctive feature is the series of great Baroque scrolls on the buttresses. Longhena also designed the steps and paving outside the church.\r\nView the section and ground plan of Santa Maria della Salute, Venice.\r\n\r\n\n","end_year":1687,"genre":"architecture","materials":"Photo","museum_name":"Canal Grande, Venice","name":"Santa Maria della Salute: Faade","start_year":1631,"type":"other","url":"https://www.wga.hu/detail/l/longhena/5salute1.jpg"},{"artworkid":851,"author":"WATTEAU, Jean-Antoine","description":"\r\nWatteau reveals all the poetry of his art in The Marriage Contract.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 47 x 55 cm","museum_name":"Museo del Prado, Madrid","name":"The Marriage Contract","start_year":-1,"type":"genre","url":"https://www.wga.hu/detail/w/watteau/antoine/1/14contra.jpg"},{"artworkid":855,"author":"TIFFANY, Louis Comfort","description":"\r\nLouis Comfort Tiffany only produced a few hundred pieces of his art jewellery. The so-called \"peacock\" necklace in the Morse Museum is probably the designer's most important existing work in the medium. Though reportedly designed for the debut of his line of art jewellery at the 1904 Universal Exposition in St. Louis, the peacock necklace was not exhibited until 1906 at the Société des Artistes Français in Paris. The front medallion features a peacock mosaic of opals and enamels surrounded by amethysts and sapphires. Exhibition pieces were finished on both sides, and the back of the necklace is an enamelled design of pink flamingoes.\r\nUnlike the extravagant jewellery produced under the direction of Charles Tiffany at Tiffany & Co., Louis's jewellery was distinguished by design and colour. He executed his innovative creations - many drawing from the organic forms that had inspired him in glass - using largely semiprecious stones and enamels. His father, on the other hand, had built a reputation using precious jewels purchased from post-revolution European royalty.\r\n\r\n\n","end_year":1906,"genre":"metalwork","materials":"Enamel, opal, amethyst, ruby, sapphire, demantoid garnet, emerald, chrysoberyl, pearl, gold","museum_name":"Morse Museum of American Art, Winter Park, Florida","name":"Necklace","start_year":1903,"type":"other","url":"https://www.wga.hu/detail/t/tiffany/3jewel.jpg"},{"artworkid":859,"author":"UNKNOWN MASTER, Italian","description":"\r\nThirty-five years after the death (around 1262) of the Blessed Julianna of Collalto in the convent she founded on the Giudecca, her uncorrupted remains were exhumed and placed in this casket with a removable frontage to allow the body to be displayed. She is pictured on the lid, kneeling before the bishop saints Cataldo and Biagio, to whom the convent was dedicated. The crude paintings on the front and the inscription date from much later attempts at restoration.\r\n\r\n\n","end_year":1290,"genre":"painting","materials":"Painted wood, 90 x 174 x 69 cm","museum_name":"Museo Correr, Venice","name":"Casket of the Blessed Julianna","start_year":1290,"type":"religious","url":"https://www.wga.hu/detail/m/master/xunk_it/xunk_it0/09cascet.jpg"},{"artworkid":920,"author":"POLIDORO DA CARAVAGGIO","description":"\r\nThe Lombard heritage of Polidoro can be discerned in his landscape studies and many drawings of genre scenes, all executed in red chalk, a medium favoured by Leonardo and his Lombard followers. Polidoro took up a broad range of subjects in his genre drawings.\r\n\r\n\n","end_year":1525,"genre":"graphics","materials":"Red chalk, 222 x 186 mm","museum_name":"Biblioteca Ambrosiana, Milan","name":"Young Men Dancing around a Woman","start_year":1525,"type":"study","url":"https://www.wga.hu/detail/p/polidoro/drawing2.jpg"},{"artworkid":833,"author":"LOOS, Adolf","description":"\r\nLoos completed the Rufer House in 1922, the first of the cubiform houses in which he further developed the Raumplan concept (the free disposition of volumes within a simple building form to give more complex interior spaces than are possible with continuous horizontal floor divisions). The building is one of the well-known images of the early Modern Movement, with its classical cornice and plain frieze above plain wall surfaces and an asymmetrical arrangement of windows that reflected the free planning of the spaces within.\r\nLoos was very adamant about the pure form of the cube above all, and decoration is kept to a bare minimum. The walls are a stark white, and the windows frames contain the least amount of structure. This, however, is balanced by the frieze and cornice that runs along the top of the building, and a replica of some portions of the Parthenon frieze, positioned on the street side low enough for viewing. The frieze and cornice tie together the entire building while still contributing to the austere nature, seeming almost invisible.\r\nAnother key part of the Rufer house is the seemingly random arrangement of windows. With the blank white walls giving no distraction, the windows are the most noticeable aspect of the house. While the windows make no sense to the casual viewer from the exterior, the windows make perfect sense from the interior. These interiorly programmed windows give light and views where they make sense on the inside.\r\nView the axonometric drawing of the Rufer House.\r\n\r\n\n","end_year":1922,"genre":"architecture","materials":"Photo","museum_name":"Schliemanngasse 11, Vienna","name":"Rufer House: exterior view","start_year":1922,"type":"other","url":"https://www.wga.hu/detail/l/loos_a/71rufer.jpg"},{"artworkid":837,"author":"CAILLEBOTTE, Gustave","description":"\r\nCaillebotte was especially interested in light in the open, and fleeting impressions of a kind hitherto not considered proper subjects, while he was drawn thematically to human figures and aspects of urban life. His view of Impressionist realism was closest to that of Degas, however, he was also more open than the others to the world of hard physical work, and more emphatic in his willingness to take it as his subject.\r\nCaillebotte painted two versions of the Floor Scrapers, exhibiting both at the second Impressionist show in 1876. It was work he had seen at his parents' home. This was an aspect of Courbet's and Millet's realism adapted to the Impressionist idiom. He emphasized effects of light, the action presented in the painting is that of a moment, and the composition uses novel, Japanese perspective.\r\n\r\n\n","end_year":1875,"genre":"painting","materials":"Oil on canvas, 102 x 147 cm","museum_name":"Muse d'Orsay, Paris","name":"Floor Scrapers","start_year":1875,"type":"genre","url":"https://www.wga.hu/detail/c/caillebo/01floor.jpg"},{"artworkid":841,"author":"VLIET, Hendrick Cornelisz. van","description":"\n\n","end_year":1645,"genre":"painting","materials":"Oil on canvas, 83 x 68 cm","museum_name":"The Hermitage, St. Petersburg","name":"Girl Holding a Fan","start_year":1645,"type":"portrait","url":"https://www.wga.hu/detail/v/vliet/girl_fan.jpg"},{"artworkid":845,"author":"PERINO DEL VAGA","description":"\r\nThe Oratorio di San Giovanni Decollato in Rome houses the most important fresco cycle executed in the difficult decades after he Sack of Rome. It was commissioned by the Florentine confraternity of the Misericordia, founded in 1488, whose members had set themselves the task of helping those sentenced to death by providing them with spiritual support. Shortly after its founding the confraternity began the construction of the church and oratory next door. The completion of the church was delayed until 1553. By around 1536, on the other hand, the oratory had been completed to the extent that the painted decoration of the room could begin.\r\nThe subject chosen for the fresco cycle, which covers the upper half of all four walls, was the story of the patron saint of the brotherhood, John the Baptist. For the execution of the cycle they selected Florentine (or Tuscan) artists working in Rome at the time. The most renowned Florentine painter active in Rome was Perino del Vaga, and several preparatory drawings for the frescoes by him have been preserved. Perino's designs were executed by younger Florentine artists, Jacopino del Conte and Cecchino (Francesco) del Salviati.\r\nThe picture shows a sketch for St John the Baptist Preaching. The fresco was executed by Jacopino del Conte.\r\n\r\n\n","end_year":-1,"genre":"graphics","materials":"Pen ad brown ink, 222 x 233 mm","museum_name":"Graphische Sammlung Albertina, Vienna","name":"Sketch for St John the Baptist Preaching","start_year":-1,"type":"study","url":"https://www.wga.hu/detail/p/perino/zorator2.jpg"},{"artworkid":849,"author":"CLAUDE LORRAIN","description":"\r\nOn returning to Canaan, Jacob, who feared his elder brother Esau's vengeance, sent his servants ahead with a peace offering. That night an angel came to him, and they wrestled until daybreak. By remaining undefeated, Jacob earned God's blessing and a new name, Israel. Claude incorporated this subject into one of his few night scenes, linking the first rays of the morning sun with the favourable outcome of this turning point in the biblical story.\r\n\r\n\n","end_year":1672,"genre":"painting","materials":"Oil on canvas, 113 x 157 cm","museum_name":"The Hermitage, St. Petersburg","name":"Landscape with Jacob Wrestling with the Angel","start_year":1672,"type":"landscape","url":"https://www.wga.hu/detail/c/claude/3/07jacob.jpg"},{"artworkid":853,"author":"DUCCIO di Buoninsegna","description":"\r\nThe Polyptych no. 47 was originally in the Hospital of Santa Maria della Scala and now it is in the Pinacoteca of Siena. Only the central part of the work is of indisputable Duccio authorship; the remaining panels are ascribed to an able, but as yet unknown, assistant.\r\nThe lower section of this altarpiece depicting several figures shows Mary and the saints (St John the Evangelist and St Agnes on the left as well as St John the Baptist and Mary Magdalene on the right). The upper section shows Christ and the angels. Between them, the artist has painted a middle level which depicts half-length figures of kings and prophets from the Old Testament. Like the saints, they are named by inscription. Above the Madonna, for example, Moses and King avid appear.\r\n\r\n\n","end_year":1310,"genre":"painting","materials":"Tempera on wood, 184 x 257 cm","museum_name":"Pinacoteca Nazionale, Siena","name":"Polyptych No. 47","start_year":1310,"type":"religious","url":"https://www.wga.hu/detail/d/duccio/various/zpoly_47.jpg"},{"artworkid":857,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 1455, JH 1512.\r\n\r\n\n","end_year":1888,"genre":"graphics","materials":"Pen and ink, 490 x 610 mm","museum_name":"Oskar Reinhart Collection, Winterthur","name":"Garden with Flowers","start_year":1888,"type":"landscape","url":"https://www.wga.hu/detail/g/gogh_van/18/2arles09.jpg"},{"artworkid":863,"author":"CORTE, Gabriel de la","description":"\r\nThis painting (and another in the same private collection) are illuminating examples of the type of decorative flower pieces in series in which De la Corte specialised. The complete series is likely to have comprised a number of other pictures of the same type. These pictures are trompe l'oeil works that depict fictive carved stone or stucco-work grotesques of scrolling vegetable ornament with intertwining flower garlands. It is unlikely that these grotesques existed as such and they were most probably copied from 16th or 17th-century ornamental prints.\r\nWhile the grotesques are repeated in each picture, the floral arrangements vary and offer a delightful interplay between the natural-looking flowers and the stylised vegetable ornaments. The repetition of the grotesque decorations and the downward-looking angle of the cherubs gaze in the paintings suggest that these pictures were intended to make up a frieze on the upper part of the wall in a private residence of the time.\r\n\n\n\r\nSuggested listening (streaming mp3, 7 minutes):Piotr Ilyich Tchaikovsky: The Nutcracker, ballet suite, op. 71, Waltz of the Flowers\n\n\n","end_year":1690,"genre":"painting","materials":"Oil on canvas, 61 x 81 cm","museum_name":"Private collection","name":"Grotesques with Flowers","start_year":1690,"type":"still-life","url":"https://www.wga.hu/detail/c/corte/grotesq1.jpg"},{"artworkid":867,"author":"GRUND, Norbert","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on copper, 43 x 42 cm","museum_name":"Private collection","name":"Christ on the Rest","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/g/grund/chrirest.jpg"},{"artworkid":846,"author":"LAMBERTI, Niccol di Piero","description":"\r\nThe terracotta grave of Anti-Pope Alexander V in the left nave of the church San Francesco in Bologna was built in two installments, in 1424 and then in 1483. The upper part was made by Niccolò di Piero Lamberti, the tomb was completed in 1483 by Sperandio Savelli (c. 1425-c. 1504).\r\nThe picture shows the upper part of the tomb.\r\n\r\n\n","end_year":1424,"genre":"sculpture","materials":"Terracotta","museum_name":"San Francesco, Bologna","name":"Tomb of Pope Alexander V","start_year":1424,"type":"religious","url":"https://www.wga.hu/detail/l/lamberti/niccolo/tomb2.jpg"},{"artworkid":850,"author":"MADERNO, Carlo","description":"\r\nA noted feature of the garden in the Villa Aldobrandini is the Teatro delle Acque (\"Water Theater\") by Carlo Maderno and Orazio Olivieri. To provide water for this feature and for the rest of the garden, Aldobrandini constructed a new 8 kilometres long aqueduct from the Modena spring on Monte Algido to the villa.\r\nThe photo shows the façade seen from the garden.\r\n\r\n\n","end_year":1620,"genre":"architecture","materials":"Photo","museum_name":"Villa Aldobrandini, Frascati","name":"Teatro delle Acque","start_year":1620,"type":"other","url":"https://www.wga.hu/detail/m/maderno1/villa1.jpg"},{"artworkid":854,"author":"TOURNIER, Nicolas","description":"\r\nIn Toulouse, Nicolas Tournier painted religious pictures in the idiom of Caravaggio and genre compositions in the manner of Caravaggio's pupil Bartolomeo Manfredi. The Guardian Angel (Tobias and the Angel) is in the Chapel of the Annunciation of Narbonne Cathedral.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 235 x 188 cm","museum_name":"Cathedral, Narbonne","name":"The Guardian Angel","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/t/tournier/guardian.jpg"},{"artworkid":858,"author":"NICCOL DELL' ARCA","description":"\n\n","end_year":1463,"genre":"sculpture","materials":"Terracotta with traces of polychromy","museum_name":"Santa Maria della Vita, Bologna","name":"Mourning of the Marys over the Dead Christ (detail)","start_year":1462,"type":"religious","url":"https://www.wga.hu/detail/n/niccolo/arca/lamenta3.jpg"},{"artworkid":862,"author":"MOSER, Koloman","description":"\r\nWith Joseph Maria Olbrich, Moser was involved in the design of the Secession building on the Getreidemarkt in 1898, being responsible for the glass windows, friezes and ornamentation.\r\nThe picture shows a detail of the façade of the Secession Building, built by Josef Maria Olbrich.\r\n\r\n\n","end_year":1898,"genre":"sculpture","materials":"Photo","museum_name":"Friedrichstrae 12, Vienna","name":"Three Owls","start_year":1898,"type":"other","url":"https://www.wga.hu/detail/m/moser_k/2owls.jpg"},{"artworkid":866,"author":"EYCK, Jan van","description":"\r\nThe panel depicting in grisaille the Angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin Annunciate is in the same museum.\r\n\r\n\n","end_year":1436,"genre":"painting","materials":"Oil on wood, 39 x 24 cm","museum_name":"Museo Thyssen-Bornemisza, Madrid","name":"Annunciation","start_year":1436,"type":"religious","url":"https://www.wga.hu/detail/e/eyck_van/jan/02page/24dipty1.jpg"},{"artworkid":870,"author":"CANALETTO","description":"\r\nThe painting is part of a series of four vedute (now two are in the Thyssen collection and two in the Museo del Settecento in Venice). The four paintings reveals the influence of Marco Ricci.\r\n\n\n\r\nSuggested listening (streaming mp3, 3 minutes):Felix Mendelssohn-Bartholdy: Songs without Words op. 30 No. 5 (Venetian gondola song)\n\n\n","end_year":1724,"genre":"painting","materials":"Oil on canvas, 140,5 x 204,5 cm","museum_name":"Museo Thyssen-Bornemisza, Madrid","name":"Grand Canal, Looking East from the Campo San Vio","start_year":1723,"type":"landscape","url":"https://www.wga.hu/detail/c/canalett/1/canal105.jpg"},{"artworkid":874,"author":"PAXTON, Joseph","description":"\r\nIn 1850, Paxton was commissioned by Baron Mayer de Rothschild to design Mentmore Towers in Buckinghamshire. This was to be one of the greatest country houses built during the Victorian Era. Following the completion of Mentmore, Baron James de Rothschild, one of Baron de Rothschild's French cousins, commissioned Château de Ferrières at Ferrières-en-Brie near Paris to be \"Another Mentmore, but twice the size\". Both buildings still stand today.\r\n\r\n\n","end_year":1854,"genre":"architecture","materials":"Photo","museum_name":"Mentmore Towers, Mentmore, Buckinghamshire","name":"Exterior view","start_year":1850,"type":"other","url":"https://www.wga.hu/detail/p/paxton/mentmor4.jpg"},{"artworkid":878,"author":"VOSMAER, Daniel","description":"\r\nThe Italianate loggia with Tuscan columns and a black-and-white marble floor, placed in the middle of the meadows to the west of the city, is an invention by Daniel Vosmaer. This view is typical of the art of Delft in its preoccupation with architecture and perspective and with spaces both distant and near at hand.\r\n\r\n\n","end_year":1663,"genre":"painting","materials":"Oil on canvas, 91 x 113 cm","museum_name":"Gemeente Musea, Delft","name":"A View of Delft through an Imaginary Loggia","start_year":1663,"type":"landscape","url":"https://www.wga.hu/detail/v/vosmaer/daniel/viewdel.jpg"},{"artworkid":882,"author":"LORENZETTI, Pietro","description":"\r\nAt the right hand of Christ the Virgin is represented.\r\n\r\n\n","end_year":1320,"genre":"painting","materials":"Panel","museum_name":"Museo Diocesano, Cortona","name":"Crucifix (detail)","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/l/lorenzet/pietro/2/03crucif.jpg"},{"artworkid":886,"author":"GAUGUIN, Paul","description":"\r\nThe most important paintings executed during Gauguin's second stay in Tahiti are the Nevermore, The White Horse, and Two Tahitian Women. \"Nevermore\" is the refrain of The Raven, a famous poem published in 1875 by Edgar Allan Poe.\r\nNevermore is one of Gauguin's monumental nude paintings. It reflects the depression by which the painter was overcome in 1897 which led to his attempted suicide. This work is a free adaptation of Manet's Olympia, which Gauguin had copied before going to Tahiti in 1891. It attempts to suggest the superstitious dread of the Tahitian woman who lies alone in the foreground. Although Gauguin denied any association with Edgar Allen Poe's poem, the links are too obvious to be overlooked, particularly since it would have been well-known in the literary circles within which Gauguin moved, and had been illustrated in translation by Manet.\r\n\r\n\n","end_year":1897,"genre":"painting","materials":"Oil on canvas, 60 x 116 cm","museum_name":"Courtauld Gallery, London","name":"Nevermore (O Taiti)","start_year":1897,"type":"mythological","url":"https://www.wga.hu/detail/g/gauguin/06/tahiti63.jpg"},{"artworkid":890,"author":"OTTIN, Auguste","description":"\r\nIn France the Neoclassicism had the appearance of the official style under the Second Empire. However, Neoclassicism seemed ill-adapted to the modern world. One of the first questions raised was that of the nude. Few sculptors, in fact, were able, like Auguste Ottin, to find a subject to justify it in the contemporary world. The idea for his Modern Wrestling: The Hip Throw came from two famous wrestlers who staged bouts in Paris in 1859, the \"hip throw\" being one of the best-known throws in hand-to-hand combat. However, the obvious conclusion is that this is simply a modern version of the famous antique statue in Florence known as the Athletes.\r\n\r\n\n","end_year":1867,"genre":"sculpture","materials":"Bronze, height 145 cm","museum_name":"Muse Municipal, Barentin","name":"Modern Wrestling: The Hip Throw","start_year":1867,"type":"other","url":"https://www.wga.hu/detail/o/ottin/2wrestli.jpg"},{"artworkid":915,"author":"GABBIANI, Anton Domenico","description":"\r\nAfter purchasing in 1659 the Palazzo Medici from Ferdinando II de' Medici by Gabriello Riccardi, a number of architects contributed to the remodeling of the palace which took thirty years. The most spectacular intervention into the original fabric was the construction, beginning in 1670, an east-west gallery wing. In 1676 the library was built directly beside the gallery. In 1684-89 another new wing was built to the north.\r\nAnton Domenico Gabbiani painted three ceilings in the new rooms, the Allegory of the Fine Arts under the Protection of Wisdom and Nature; the Fall of Icarus; and the Triumph over Error. The painted decoration of two additional rooms complete the pictorial program of Gabbiani's ceilings. The quadratura-framed ceilings of these rooms, depicting Hercules at the Crossroads, and Jupiter Subdues the Giants, were painted by Giuseppe Nicola Nasini and his cousin Tommaso Nasini. The concept behind this pictorial program is that virtues triumph over vice.\r\n\r\n\n","end_year":1692,"genre":"painting","materials":"Fresco","museum_name":"Palazzo Medici Riccardi, Florence","name":"Allegory of the Fine Arts under the Protection of Wisdom and Nature","start_year":1691,"type":"mythological","url":"https://www.wga.hu/detail/g/gabbiani/1medici1.jpg"},{"artworkid":848,"author":"SCHADOW, Wilhelm von","description":"\r\nIn the Romantic period, beside the maternal, womanly woman a new form of idealization appeared, \"the eternal feminine being\", who, according to Goethe \"drew man upward\". First she appears as the sum of noble qualities, as in Mignon by Wilhelm von Schadow - angelically pure, artistic but pensive.\r\n\r\n\n","end_year":1828,"genre":"painting","materials":"Oil on canvas, 119 x 92 cm","museum_name":"Museum der Bildenden Knste, Leipzig","name":"Mignon","start_year":1828,"type":"other","url":"https://www.wga.hu/detail/s/schadow/wilhelm/mignon.jpg"},{"artworkid":852,"author":"GALLEN-KALLELA, Akseli","description":"\n\n","end_year":1897,"genre":"painting","materials":"Tempera on canvas, 66 x 57 cm","museum_name":"Ateneumin Taidemuseo, Helsinki","name":"The Fratricide","start_year":1897,"type":"mythological","url":"https://www.wga.hu/detail/g/gallenka/kaleval1.jpg"},{"artworkid":856,"author":"HOEFNAGEL, Jacob","description":"\r\nIn a perfect oval highlighted in gold, the scene is represented with a multitude of characters. The figure bedecked with ribbons is the Emperor Alexander. The story goes that the latter commissioned Appelles, illustrated by the man holding the paintbrush, to paint the portrait of Campaspe, one of his most beautiful mistresses. The painter fell madly in love with her. The watercolour shows the precise moment when Apelles starts to have feelings for Campaspe.\r\nThis work shows Jacob Hoefnagel to be a great miniaturist, just like his father, Joris Hoefnagel.\r\n\r\n\n","end_year":1611,"genre":"graphics","materials":"Watercolour on paper, 220 x 160 mm","museum_name":"Private collection","name":"Apelles Painting Campaspe in the Presence of Alexander","start_year":1611,"type":"mythological","url":"https://www.wga.hu/detail/h/hoefnage/jacob/apelles.jpg"},{"artworkid":860,"author":"MONET, Claude","description":"\n\n","end_year":1871,"genre":"painting","materials":"Oil on canvas, 48 x 74 cm","museum_name":"Ny Carlsberg Glyptotek, Copenhagen","name":"Wiindmill at Zaandam","start_year":1871,"type":"landscape","url":"https://www.wga.hu/detail/m/monet/02/4zaanda3.jpg"},{"artworkid":864,"author":"GOZZOLI, Benozzo","description":"\r\nSt Sebastian, who according to St Ambrose came from Milan, suffered his martyrdom in Rome at the end of the third century. He, one of the 14 auxiliary saints, is holding an arrow and a palm frond, attributes which identify him as a martyr. As an auxiliary saint in time of plague, his worship became increasingly important from the 14th century onwards. In keeping with the other pictures in the lower register, the composition includes a \"historia\" which relates to the life of the saint.\r\n\r\n\n","end_year":1465,"genre":"painting","materials":"Fresco","museum_name":"Apsidal chapel, Sant'Agostino, San Gimignano","name":"St Sebastian (on the pillar)","start_year":1464,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/4gimigna/saints/3sebasti.jpg"},{"artworkid":868,"author":"SUSTRIS, Lambert","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Galleria Borghese, Rome","name":"Scene of a Birth","start_year":-1,"type":"other","url":"https://www.wga.hu/detail/s/sustris/lambert/sc_birth.jpg"},{"artworkid":872,"author":"BOSCH, Hieronymus","description":"\r\nThe diabolic enterprises represented in the triptych reach a climax in the middle panel. Devils of all species, human and grotesque, arrive from all directions by land, water and air, to converge upon a ruined tomb in the centre. On a platform before the tomb, an elegantly dressed pair have set up a table from which they dispense drink to their companions. Near by, a woman wearing a large headdress and a gown with an extravagantly long train kneels at a parapet to offer a bowl to a figure opposite. Kneeling beside her, almost unnoticed in the midst of this hellish activity, is St Anthony himself; he turns towards the viewer, his right hand raised in blessing. His gesture is echoed by Christ half-hidden in the depths of the tomb, which Anthony has converted into a chapel. The right wall of the sanctuary ends in a decaying tower covered with monochrome scenes. Two of them, the Adoration of the Golden Calf and a group of men making offerings to an enthroned ape, are images of idolatry, while the third, the Israelites returning from Canaan with a bunch of grapes, prefigures Christ carrying the Cross on the outer wings of the triptych.\r\nA burning village illuminates the dusky background, probably a reference to the disease of ergotism or \"St Anthony's Fire\", whose victims invoked the name of St Anthony for relief. The ancient association of ergotism with the devil-plagued saint may have been influenced by the fact that one phase of the disease is characterized by hallucinations in which the sufferer believes that he is attacked by wild beasts or demons.\r\nThe devils who have gathered around St Anthony display a complexity of form unusual even for Bosch. In the group far right, for example, a blasted tree trunk becomes the bonnet, torso and arms of a woman whose body terminates in a scaly lizard tail; she holds a baby and is mounted on a giant rat. Near by, a jug has been transformed into another beast of burden whose wholly unsubstantial rider bears a thistle for a head. In the water below, a man has been absorbed into the interior of a gondola-fish, his hands thrust helplessly through its sides. An armoured demon with a horse's skull for a head plays a lute at lower left; he sits astride a plucked goose who wears shoes and whose neck ends in a sheep's muzzle. All these shifting forms, moreover, display a richness of colour that confers a visual beauty on even the most disgusting shape. A recent, careful cleaning of the triptych, among Bosch's best preserved works, reveals brilliant reds and greens alternating with subtly modulated passages of blue-greys and browns.\r\nThis convocation of fiends ostensibly illustrates the second attack on Anthony described in the literary accounts; the miraculous light which dispersed the devils on this occasion can be seen shining through one of the chapel windows. But the devils do not seem about to scatter \"like dust in the wind\", as one version has it, nor are they physically attacking Anthony. Instead, their torments must be understood in a spiritual sense. Like the monstrous creatures who confront Deguilleville's pilgrim, they are incarnations of the sinful urges with which Anthony wrestled in his desert solitude. In a drawing made around 1500, Albrecht Dürer similarly illustrated the evil thoughts of a group of people at Mass by means of little devils fluttering about their heads. A number of sins symbolized by Bosch's monsters can be identified, chief among which is Lust. Lust is also represented more overtly in the group of buildings at extreme right, where a monk and a prostitute drink together within a tent; there may be a further reference in the dark-skinned devil in the central group: the demon of unchastity, we are told, once appeared to Anthony in the form of a black boy. It should not be surprising that even the most ascetic saints were susceptible to this particular vice: as the \"Malleus Maleficarum\" informs us, it was through the carnal act that the Devil could most easily assail mankind.\r\nAnthony, however, has overcome all his temptations through the strength of his faith. This faith is expressed in his gesture of benediction, thought to be particularly efficacious against the Devil; and the steady gaze which the hermit directs towards us is one of comforting assurance. While the wings of the Lisbon triptych show Anthony tempted and tormented, the central panel thus shows him triumphant.\r\n\r\n\n","end_year":1506,"genre":"painting","materials":"Oil on panel, 131 x 119 cm","museum_name":"Museu Nacional de Arte Antiga, Lisbon","name":"Triptych of Temptation of St Anthony (central panel)","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/b/bosch/90anthon/central/01centr.jpg"},{"artworkid":876,"author":"BENONI, Giuseppe","description":"\r\nThe Dogana da Mar is at the point of confluence of the Giudecca Canal and the Grand Canal. On the mole, merchant ships used to unload cargoes for customs inspection. The building underwent various renovations over the course of the centuries until finally, in 1677, a design by Giuseppe Benoni was used to build the square tower of Istrian stone. On top of its roof was placed a bronze group composed of two atlantes who support a gilded sphere on which balances the allegorical figure of Fortune.\r\n\r\n\n","end_year":1682,"genre":"architecture","materials":"Photo","museum_name":"Punta della Dogana, Venice","name":"Dogana da Mar: View","start_year":1677,"type":"other","url":"https://www.wga.hu/detail/b/benoni/dogana3.jpg"},{"artworkid":880,"author":"BYSS, Johann Rudolf","description":"\r\nThe painting is signed and dated bottom centre: I. R. Bys. Fe: Praga. Ao. 1693.\r\n\r\n\n","end_year":1693,"genre":"painting","materials":"Oil on copper, 18 x 13 cm","museum_name":"Private collection","name":"Flowers in a Vase in a Stone Niche","start_year":1693,"type":"still-life","url":"https://www.wga.hu/detail/b/byss/flowers.jpg"},{"artworkid":884,"author":"GOES, Hugo van der","description":"\r\nThe infant Jesus lies on the ground surrounded by rays of light to signify him as the Light of the world. His mother Mary, father Joseph, various angels and the shepherds stand around him in adoration. In the background, the previous moment in the narrative sequence, when the angel announces the birth of the Saviour, is depicted in the surrounding scenery. The continuity of the background landscape erases the division between the central image and the side panels, where the family who commissioned the work is shown in prayer under the protection of four saints. To the left, Thomas the Apostle and St Anthony the Great preside over the head of family Tommaso Portinari and his two sons Antonio and Pigello, while to the right St Margaret, victorious on the dragon which had swallowed her, and Mary Magdalen, holding a vial of unguent, stand watch over Maria Baroncelli Portinari and her daughter Margherita. The different proportions of the saints and the members of the family reflect their position in social and religious hierarchy.\r\nOriginating from Florence, Tommaso Portinari (1428-1501) lived in Bruges for many years where he worked as a representative of the bank of the Medici family. In 1470 he married Maria Baroncelli, also of Florence; the family is depicted with clothing and hairstyles that reflect the Flemish fashion of the time. During his time in Flanders, Tommaso Portinari commissioned Flemish painter Hugo van der Goes to paint the Adoration of the Shepherds Triptych to adorn the Portinari family chapel in the church of Saint Giles in the Santa Maria Nuova hospital in Florence. The painting's arrival in Florence in 1483, having first reached Pisa by sea, was quite an event; the work was perceived to be extraordinarily innovative in the eyes of the Florentine painters, who particularly praised the realistic likeness of the objects, landscape and facial features. The still-life imagery in the central foreground is astonishing and abounds with symbolic references: the white iris and red lily allude to the theme of purity and Jesus's blood spilled during the Passion of the Christ, the purple columbine represents the sorrow of the Virgin Mary, while the carnations symbolize the Holy Trinity.\r\nWhen closed, the triptych showed a depiction of the Annunciation, painted in black and white on the verso of the doors.\r\n\r\n\n","end_year":1479,"genre":"painting","materials":"Oil on wood, 274 x 652 cm","museum_name":"Galleria degli Uffizi, Florence","name":"Portinari Triptych (open)","start_year":1476,"type":"religious","url":"https://www.wga.hu/detail/g/goes/portinar/0portina.jpg"},{"artworkid":888,"author":"TIZIANO Vecellio","description":"\n\n","end_year":1514,"genre":"painting","materials":"Oil on canvas","museum_name":"Alte Pinakothek, Munich","name":"Holy Family and Donor","start_year":1513,"type":"religious","url":"https://www.wga.hu/detail/t/tiziano/01_1510s/09holyfa.jpg"},{"artworkid":892,"author":"LOO, Jacob van","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on panel, 42 x 54 cm","museum_name":"Private collection","name":"Lot and his Daughters","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/l/loo/jacob/lotdaugh.jpg"},{"artworkid":896,"author":"LANDSEER, Charles","description":"\r\nCinderella is European folk tale embodying a myth-element of unjust oppression. The painting shows a scene when the prince helps the Cinderella to try on a shoe.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 73 x 93 cm","museum_name":"Private collection","name":"Cinderella","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/l/landseer/charles/cinderel.jpg"},{"artworkid":900,"author":"MAN, Cornelis de","description":"\r\nThe genre painting of the later period of the 17th century is well represented by Cornelis de Man.\r\nIn this picture we see a homely room in which a well-groomed gentleman and an elegantly gowned lady are playing chess. The cat, logs, and bellows near the hearth all contribute to the atmosphere of pleasant domesticity which is somewhat marred by the man's affected gestures and the woman's backward glance at the onlooker. The placing of the hands and figures is rather artificial in its ingenuity but the painting of the curtains and the other fabrics is superbly realistic.\r\n\r\n\n","end_year":1670,"genre":"painting","materials":"Oil on canvas, 97,5 x 85 cm","museum_name":"Szpmvszeti Mzeum, Budapest","name":"The Chess Players","start_year":1670,"type":"genre","url":"https://www.wga.hu/detail/m/man/chess_pl.jpg"},{"artworkid":904,"author":"BELLEGAMBE, Jean","description":"\r\nThe picture shows the central panel of the triptych depicting the Virgin with the Child.\r\n\r\n\n","end_year":1509,"genre":"painting","materials":"Tempera and oil on wood, 102 x 61 cm","museum_name":"Metropolitan Museum of Art, New York","name":"The Le Cellier Triptych","start_year":1508,"type":"religious","url":"https://www.wga.hu/detail/b/bellegam/cellier.jpg"},{"artworkid":916,"author":"LOCATELLI, Andrea","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on board on canvas, 27 x 42 cm","museum_name":"Private collection","name":"Figures in a Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/l/locatell/figures.jpg"},{"artworkid":861,"author":"ARCHITECT, English","description":"\r\nEnglish Gothic went its own way in the construction of west fronts. Only relatively seldom do we see the twin-towered fronts so common in France. In their place English cathedrals and monastery churches were content with a simple straight façade, or else they competed with each other in the construction of lengthy showpiece fronts, the so-called screen façades. Such a façade is only indirectly connected with the nave opening up behind it. The façade extends across the whole building, and the towers are either set back at the sides, or rise up from just behind the wall of the façade.\r\nWest-end portals play no particularly noteworthy role in English architecture. In contrast to French portals, they cower insignificantly in the lower areas of the façade and are not decorated with sculpture. One reason for this is that the main entrances to English churches lay at the side, mostly on the north, where a lavishly decorated porch marks the portal.\r\nThe most beautiful English screen façade is to be found at Wells. The towers stand at the side of the nave and boldly protruding buttresses divide the building vertically. Several rows of blind arcading, one above the other, run across horizontally. Statues are spread over the whole façade, they consist of reliefs on the surfaces of the spandrels, life-size figures of saints on the buttresses and enthroned above them all, Christ presiding over the Last Judgment.\r\nThe photo shows the west front of the cathedral. At the dedication in 1239 it was still not complete. The towers were completed c. 1400.\r\n\r\n\n","end_year":1230,"genre":"architecture","materials":"Photo","museum_name":"Cathedral, Wells, Somerset","name":"Exterior view","start_year":1230,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/13c/4/3wells12.jpg"},{"artworkid":865,"author":"JUVARRA, Filippo","description":"\r\nThe picture shows two of the allegorical statues of the Months and the Seasons that adorn the garden.\r\n\r\n\n","end_year":1710,"genre":"sculpture","materials":"Photo","museum_name":"Via degli Asili, Lucca","name":"Palazzo Controni Pfanner: View of the garden","start_year":1700,"type":"other","url":"https://www.wga.hu/detail/j/juvarra/lucca5.jpg"},{"artworkid":869,"author":"CORTE, Gabriel de la","description":"\r\nThis painting (and another in the same private collection) are illuminating examples of the type of decorative flower pieces in series in which De la Corte specialised. The complete series is likely to have comprised a number of other pictures of the same type. These pictures are trompe l'oeil works that depict fictive carved stone or stucco-work grotesques of scrolling vegetable ornament with intertwining flower garlands. It is unlikely that these grotesques existed as such and they were most probably copied from 16th or 17th-century ornamental prints.\r\nWhile the grotesques are repeated in each picture, the floral arrangements vary and offer a delightful interplay between the natural-looking flowers and the stylised vegetable ornaments. The repetition of the grotesque decorations and the downward-looking angle of the cherubs gaze in the paintings suggest that these pictures were intended to make up a frieze on the upper part of the wall in a private residence of the time.\r\n\r\n\n","end_year":1690,"genre":"painting","materials":"Oil on canvas, 61 x 81 cm","museum_name":"Private collection","name":"Grotesques with Flowers","start_year":1690,"type":"still-life","url":"https://www.wga.hu/detail/c/corte/grotesq2.jpg"},{"artworkid":873,"author":"ZURBARN, Francisco de","description":"\r\nZurbarán attains religious feeling by realistic simplicity, an extreme density, the boldness of his colours and the calculated awkwardness of his composition.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas","museum_name":"Museo de la Real Academia de San Fernando, Madrid","name":"Vision of Blessed Alonso Rodriguez","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/z/zurbaran/1/vision.jpg"},{"artworkid":877,"author":"THONET, Michael","description":"\r\nThis rocking chair was produced by the company Gebrüder Thonet, as a variant of an earlier design.\r\n\r\n\n","end_year":1904,"genre":"furniture","materials":"Curved brown stained beech, dark brown stained varnish, caning, 100 x 59 x 128 cm","museum_name":"Muse d'Orsay, Paris","name":"Rocking chair","start_year":1888,"type":"other","url":"https://www.wga.hu/detail/t/thonet/chair3.jpg"},{"artworkid":881,"author":"ROOS, Philipp Peter","description":"\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 102 x 98 cm","museum_name":"Private collection","name":"A Goat, Sheep and a Dog Resting in a Landscape","start_year":-1,"type":"landscape","url":"https://www.wga.hu/detail/r/roos/philipp/goatshee.jpg"},{"artworkid":885,"author":"STROZZI, Zanobi","description":"\r\nThis painting belongs to the predella of the Annalena Altarpiece by Fra Angelico. Zanobi Strozzi was employed by the workshop which Fra Angelico and his brother, the scribe Fra Benedetto, had established at San Domenico di Fiesole.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Tempera and gold on panel, 20 x 22 cm","museum_name":"Museo di San Marco, Florence","name":"Sts Cosmas and Damian Saved from Drowning","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/s/strozziz/2/stcosmas.jpg"},{"artworkid":889,"author":"PONZELLO, Giovanni","description":"\r\nFrom the large entrance vestibule a staircase ascends through a screen of Doric columns to a light-filled courtyard. This is completely surrounded by a two-tier loggia articulated with Doric and Ionic columns. The colonnades with their dramatic play of light and shade act as an open circulation system for the different levels of the palazzo. At the end of the courtyard an open T-shaped double-ramped staircase rises through two floors to a garden entrance (destroyed) into San Francesco. This perspective staircase design adapted ideas from contemporary and early 16th-century Spanish open hall staircases.\r\nView the ground plan and section of Palazzo Doria-Tursi, Genoa.\r\n\r\n\n","end_year":1597,"genre":"architecture","materials":"Photo","museum_name":"Palazzo Doria-Tursi, Genoa","name":"Interior view","start_year":1565,"type":"other","url":"https://www.wga.hu/detail/p/ponzello/doria4.jpg"},{"artworkid":893,"author":"BOTTICELLI, Sandro","description":"\r\nTwo angels are lifting the child up to the Madonna, who is lost in thought. Almost casually, she gently holds her child's feet, and he is looking at his mother in just as solemn and spellbound a manner as the two angels. Behind the group, which is composed to form a powerful, elegant linear design, is the corner of a wall, an allusion to the Hortus Conclusus, the enclosed garden which is a symbol of Marys virginity.\r\n\r\n\n","end_year":1470,"genre":"painting","materials":"Tempera on panel, 100 x 71 cm","museum_name":"Museo Nazionale di Capodimonte, Naples","name":"Madonna and Child and Two Angels","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/b/botticel/1early/08madonn.jpg"},{"artworkid":919,"author":"GOSSART, Jan","description":"\r\nJean II Carondelet (1469-1545), was a Burgundian cleric, politician, jurist and one of the most important advisors to Charles V, Holy Roman Emperor. He was a patron of Erasmus and a brother of Ferry Carondelet.\r\nThis sensitively rendered portrait shows the hallmarks of Gossart's early style: the tightly cropped composition; the plain, dark background; the conservative pose of the sitter, which emulates earlier examples from Bruges, namely, portraits by Hans Memling.\n\n","end_year":1508,"genre":"painting","materials":"Oil on oak panel, 40 x 29 cm","museum_name":"Toledo Museum of Art, Toledo, Ohio","name":"Jean Carondelet","start_year":1503,"type":"portrait","url":"https://www.wga.hu/detail/g/gossart/06portra/01portra.jpg"},{"artworkid":923,"author":"PANNINI, Giovanni Paolo","description":"\r\nDuring the last thirty years of Pannini's life he was primarily engaged on topographic views of Rome, real or imaginary, and one cannot doubt that he received vital impulses from the precise art of Giovanni Ghisolfi, whose 'vedute ideale' show the characteristically Roman scenic arrangement of ruins.\r\n\r\n\n","end_year":1743,"genre":"painting","materials":"Oil on canvas","museum_name":"Palazzo del Quirinale, Rome","name":"The Piazza del Quirinale","start_year":1743,"type":"landscape","url":"https://www.wga.hu/detail/p/pannini/viewquir.jpg"},{"artworkid":927,"author":"POUSSIN, Nicolas","description":"\n\n","end_year":1634,"genre":"painting","materials":"Oil on canvas, Iaid down on board","museum_name":"National Gallery, London","name":"The Adoration of the Golden Calf (detail)","start_year":1634,"type":"religious","url":"https://www.wga.hu/detail/p/poussin/2/18golden.jpg"},{"artworkid":887,"author":"ENGEBRECHTSZ., Cornelis","description":"\r\nCornelis Engebrechtsz. headed a large painters' workshop in the first decades of the 16th century, and trained Lucas van Leyden, Aertgen van Leyden and his own three sons, Pieter Cornelisz, Cornelis Cornelisz and Lucas Cornelisz. He and his pupils and assistants produced altarpieces and numerous smaller works for private devotion. One of his chief patrons was the Augustinian nunnery of Mariënpoel just north of Leiden. Among the works he made for the convent church were altarpieces with the Lamentation (c. 1508) and the Crucifixion (c. 1517), which were described by Karel van Mander in 1604 and are now in Leiden's Museum de Lakenhal.\r\nThe Amsterdam painting undoubtedly comes from an altarpiece illustrating episodes from the life of the Virgin. It was recognised as Engelbrechtsz.'s work in 1904, and shortly afterwards the Rijksmuseum was able to acquire a second, less well-preserved panel from the same altarpiece: Christ in the House of Martha and Mary.\r\nThe events depicted in the two panels are not found in the Bible but in the popular late-medieval Meditationes vitae Christi. Both scenes precede the Arrest of Christ. In the conversation with his mother and Mary Magdalen, Christ refused to abandon his planned visit to Jerusalem during the Jewish Passover, and foretold his impending death.\r\nThe second panel shows Christ taking leave of his mother, immediately before he and his disciples set off for Jerusalem. Movingly he embraces the kneeling Virgin amidst the sorrowful Marys and the apostles. Some of the disciples are descending into the valley on the right, with the city gate and walls of Jerusalem in the distance.\r\nThe attribution of the panels to Engelbrechtsz., based partly on the correspondences in style, colouring and manner of execution with the Crucifixion triptych in Leiden, was recently confirmed by an examination of the two underdrawings using infrared reflectography. \r\nThis painting is a fine example of the artist's more mature work. The poses and gestures in the figure group highlight the emotional nature of the leave-taking. The landscape and city in the background are painted in a surprisingly lively way. The steely, blue-white shapes of the mountains and rock formations contrast with the warm, bright colouring of the figures in the foreground. The attention paid to ornamental details, which was relatively slight by the standards of the day, and the broad manner of painting, which fades to the sketchy in the background, are typical of the work of Engelbrechtsz. and of the Leiden painters he trained.\r\n\r\n\n","end_year":1515,"genre":"painting","materials":"Oil on panel, 55 x 43 cm","museum_name":"Rijksmuseum, Amsterdam","name":"Christ Taking Leave of his Mother","start_year":1515,"type":"religious","url":"https://www.wga.hu/detail/e/engelbre/christ_t.jpg"},{"artworkid":891,"author":"DEGAS, Edgar","description":"\r\nIn his early scenes from the theatrical world, Degas depicted only that which the audience or musicians could see of the stage. However, later he went backstage, and he became a cool observer of rehearsals. In his paintings the stage changed from being an incidental setting of the picture to become the theme of the picture itself. Following his works showing the rehearsal room and the stage as a whole (even when only a corner is depicted), there came his series of astounding variations on the theme of dancers, in groups or isolated, in which the artist gained more and more freedom of vision, forever changing angles and capturing the ballerinas in the most surprising positions. The dancers are painted more and more in close-up. They do not move within a well-defined three-dimensional space, they fill the foreground with colours against the wings and curtains.\r\nThe most remarkable among these works are the different versions of Ballerina with a Bouquet, Curtsying. The dancer is a sylph, arms outstretched, and still carried by the last movement at the close of her solo. She bows, bathed in the brilliant spotlight, with the unreal, fantastic decor of the ballet as her background.\r\n\r\n\n","end_year":1878,"genre":"painting","materials":"Oil on canvas, 72 x 78 cm","museum_name":"Muse d'Orsay, Paris","name":"Ballerina with a Bouquet, Curtsying","start_year":1878,"type":"other","url":"https://www.wga.hu/detail/d/degas/3/1870s_75.jpg"},{"artworkid":895,"author":"ADAM, Lambert-Sigisbert","description":"\r\nIt was probably an aid to the success of the grand group of Neptune and Amphitrite for the Bassin de Neptune that it should be executed in lead. The huge lead group is all movement and action - Neptune poised as if about to rise and strike with his trident, and the whole rocky platform with its people and animals about to swing forward over the water.\r\n\r\n\n","end_year":1740,"genre":"sculpture","materials":"Lead","museum_name":"Bassin de Naptune, Versailles","name":"Neptune and Amphitrite","start_year":1740,"type":"mythological","url":"https://www.wga.hu/detail/a/adam/lambert/neptune.jpg"},{"artworkid":899,"author":"BRAY, Salomon de","description":"\n\n","end_year":1628,"genre":"graphics","materials":"Pen and ink and wash on paper, 76 x 76 mm","museum_name":"Rijksmuseum, Amsterdam","name":"Book and Picture Shop","start_year":1628,"type":"genre","url":"https://www.wga.hu/detail/b/bray/salomon/zbookpic.jpg"},{"artworkid":903,"author":"FACCHETTI, Pietro","description":"\r\nPietro Facchetti was a portraitist in Rome.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on canvas, 142 x 114 cm","museum_name":"Private collection","name":"Portrait of a Cardinal","start_year":-1,"type":"portrait","url":"https://www.wga.hu/detail/f/facchett/cardinal.jpg"},{"artworkid":907,"author":"CECCO DEL CARAVAGGIO","description":"\r\nIn a room containing shelves and a table, a young man is about to start playing the flute. Placed on the shelves are bowls, plates and jugs as well as bread and cheese. A small cheese (or head of garlic) hangs precariously from a string tied around a nail on the front of the shelf. On a table, diagonally receding to both left and right, is a glass vase full of water. Other containers on the table are surrounded by single pieces of fruit, a teething ring and a violin and bow.\r\nThe Flute Player was at one stage attributed to Louis Finson, but is now almost universally accepted as the work of Cecco del Caravaggio. However, doubts are still being voiced about a possible collaboration with a specialist in still-life painting. The subject of an instrumentalist derives from Caravaggio's Lute Player (Metropolitan Museum of Art, New York), and in this case the artist must have been a friend, student or model of Caravaggio's. The mysterious figure of 'Francesco, called Cecco del Caravaggio' mentioned by Giulio Mancini, has recently acquired a slightly more precise identity. The examination of known works by this artist led to the hypothesis that he was from France, Flanders or Spain.\r\n\n\n\r\nSuggested listening (streaming mp3, 15 minutes):Johann Sebastian Bach: Sonata in A Major for flute and cembalo obligato, BWV 1032\n\n\n","end_year":1620,"genre":"painting","materials":"Oil on canvas, 103 x 138 cm","museum_name":"Ashmolean Museum, Oxford","name":"The Flute Player","start_year":1615,"type":"genre","url":"https://www.wga.hu/detail/c/cecco/flutepla.jpg"},{"artworkid":911,"author":"MASTER of the Legend of Saint Lucy","description":"\r\nSt Sebastian is standing frontally with his hands over his head tied to a tree in a tree-filled landscape with abundant vegetation in the foreground. The towers of a castle loom up in the background. Apart from his loincloth he is naked. Both sides of his body are pierced with arrows. The handling of light is full of contrast, with ample use of white lead on the rosy skin standing out against the very dark green of the surroundings.\r\nVarious characteristics in the manner of painting and the style, as well as the conception, enable us to ascribe this hitherto unknown panel to the Master of the Legend of St Lucy. The stiff, marionette-like figures with heavily drawn features; the hard, richly contrasted palette; and the systematic use in his landscapes of stereotypical vegetation and towers or city views in the distance are typical of nearly all his compositions.\r\nIn this St Sebastian all these elements are clearly visible. The physiognomy with the heavy nose and the rather oriental eyes with large, vaulted upper eyelids and bushy eyebrows is to be seen in several of his works, for example, the Lamentation in Minneapolis and in the Tallinn altarpiece. The flat folds of the loincloth can be compared with the Virgin's head-scarf in the Lamentation of the Thyssen Foundation, where Christ's torso has been modelled in much the same way. The manner in which the vegetation is treated is almost identical in the St John on Patmos of Rotterdam and in the Legend of St Lucy in St James' Church in Bruges.\r\nOwing to its small format, it can be suspected that the St Sebastian was the wing of a triptych. The painting on the reverse was probably planed away when the cradle was applied.\r\n\r\n\n","end_year":1490,"genre":"painting","materials":"Oil on oak panel, 70 x 27 cm","museum_name":"Gallery Robert Pintelon, Aalst","name":"St Sebastian","start_year":1480,"type":"religious","url":"https://www.wga.hu/detail/m/master/legend3/2sebasti.jpg"},{"artworkid":894,"author":"GRECO, El","description":"\r\nThe \"expressionist\" stylistic traits, characteristic of El Greco's paintings at the end of the 1590s, are also found in the paintings of a retable El Greco created for the Augustinian college of Nuestra Señora de la Encarnacion in Madrid between 1596 and 1600. The patroness of the college, the lady-in-waiting Doña María de Córdoba y Aragón, had died back in 1593, implying that the commission likely came from her executor. The retable, like many other works in possession of the Church, was disassembled into its component parts during the French occupation of Spain. All we know from the surviving written sources is that El Greco supplied a total of seven paintings. This Annunciation in the Prado is one of these paintings, and it is an especially good example of the daring palette that characterizes the entire series.\r\nAt the bottom of the canvas, the terrestrial world is barely indicated by the steps, sewing basket and rose-bush in flame. The flames are rendered so naturalistically that they probably have appeared to mirror the real candle flames burning on the altar during the celebration of the Mass. But above and beyond El Greco has distorted light, colour and form. Indeed,all the form are in a state of flux. the grand rhythm of the wings of Gabriel and the Holy Spirit quicken the drama. Garments of crystalline blue, crimson and yellow-green vibrate against the blue-grey void. Incandescent light is reflected off the figures with such intensity that each seems to be its own source of light.\r\n\r\n\n","end_year":1600,"genre":"painting","materials":"Oil on canvas, 315 x 174 cm","museum_name":"Museo del Prado, Madrid","name":"The Annunciation","start_year":1596,"type":"religious","url":"https://www.wga.hu/detail/g/greco_el/12/1201grec.jpg"},{"artworkid":898,"author":"BATONI, Pompeo","description":"\r\nThis delicate painting of the Holy Family merges references that seem to run through the whole of Italian art: it recalls Correggio and Parmigianino in the Virgin's pose, Raphael and Guido Reni in the classical composition, and early seventeenth-century Bolognese painting in the figure of St Joseph.\r\n\r\n\n","end_year":1760,"genre":"painting","materials":"Oil on canvas, 99 x 74 cm","museum_name":"Pinacoteca Capitolina, Rome","name":"Holy Family","start_year":1760,"type":"religious","url":"https://www.wga.hu/detail/b/batoni/holyfam.jpg"},{"artworkid":902,"author":"REMBRANDT Harmenszoon van Rijn","description":"\nCatalogue number: Benesch 1351.\r\n\r\n\n","end_year":1656,"genre":"graphics","materials":"Brush and brown wash, 136 x 187 mm","museum_name":"Muse du Louvre, Paris","name":"River with trees","start_year":1654,"type":"landscape","url":"https://www.wga.hu/detail/r/rembrand/53drawin/2/49lands.jpg"},{"artworkid":906,"author":"UNKNOWN GOLDSMITH, French","description":"\r\nThis oval snuff-box with enamelled scenes after François Boucher is attributed to Mathieu III Coiny (1755-1788). Boucher's creations were among the most prolific sources of inspiration for the decorative arts in the eighteenth century.\r\n\r\n\n","end_year":1763,"genre":"metalwork","materials":"Gold, enamel, diamonds, 4,5 x 8,7 x 7,5 cm","museum_name":"Muse du Louvre, Paris","name":"Oval Snuff-box","start_year":1762,"type":"other","url":"https://www.wga.hu/detail/zzdeco/1gold/18c/01f_1704.jpg"},{"artworkid":910,"author":"DRER, Albrecht","description":"\r\nThis watercolour is among the earliest landscape paintings in European art to depict a specific location. Dürer may well have painted it in the summer of 1489, at the age of 18, although it could date from 1494 after his journeyman travels. Inscribed `Saint John's Church', it shows the church and a row of houses which lay just to the west of Nuremberg. Nearly 40 years later Dürer was to be buried in Saint John's graveyard. Dürer's watercolour view faces south, with a view of the distant hills beyond. The perspective is curious; it is almost a bird's-eye view. The row of houses appears flat rather than three-dimensional. Despite these problems, Dürer has lavished great care on the picture. In his early watercolours he was more concerned about the rendering of detail, rather than the overall effect.\r\nThe watercolour of Saint John's Church was looted during the Second World War and lost for nearly 50 years. Owned by the Kunsthalle in Bremen, it was among thousands of Old Master drawings which had been hidden for safekeeping in the cellar of a mansion 50 miles north-west of Berlin. The Red Army occupied the house in 1945 and soldiers ransacked the art works. Viktor Baldin, a young officer, found this watercolour on the floor, among a mass of works abandoned by the first looters. He saved the picture, along with 363 other drawings (including 22 Dürers), and brought it back to Russia. Baldin later gave the drawings to the architectural museum near Moscow where he worked. The existence of the missing Bremen pictures was kept secret until 1992. They are temporarily at the Hermitage in St Petersburg and lengthy negotiations are likely before their return to Bremen.\r\n\r\n\n","end_year":1489,"genre":"graphics","materials":"Watercolour and gouache on paper, 29 x 42 cm","museum_name":"The Hermitage, St. Petersburg","name":"St John's Church","start_year":1489,"type":"landscape","url":"https://www.wga.hu/detail/d/durer/2/16/1/01church.jpg"},{"artworkid":914,"author":"PARENZANO, Bernardino","description":"\r\nThe style of this painter of Istrian origin is highly unusual. Active in Mantua and Padua (though he cannot be identified with the monk and prophet of the same name [1437-1531], as was once thought), his work reveals the influence of Mantegna together with some elements drawn from Ferrarese painting. It is characterized by a care for detail, perhaps exaggerated, and by miniaturistic tendencies in a Northern European manner that find expression in a crystalline and metallic linearity. The angular, skeletal landscape, bathed in a leaden light and ruthlessly cleared so that it looks devastated, creates a sense of anguish in its snapshot-like fixity, as if the events were taking place in a human terrarium from which all the air has been evacuated.\r\nThere are three panels in the Galleria Doria Pamphilj illustrating the life of St Anthony Abbot (251-356), the founder of monasticism, as recounted in the fourth century in St Athanasius's popular book. The first (not shown here) illustrates how Anthony, after the death of his parents and at the age of between eighteen and twenty, \"sold... all the other goods and chattels he possessed and distributed the large sum of money he obtained to the poor.\" The second panel (not shown here) is devoted to the temptations of the saint. Finally, in the third piece of the predella (shown in the reproduction), the great and terrible power of Evil is revealed with the worst characteristics of the human race, in all its innate repulsiveness and horrifying folly. Exorcisers appear on the rock, in the form of skulls, and Satan is transformed into malign shapes and ferocious beasts, however, a ray of light descends toward Anthony and a voice declares: \"I was here, Anthony, but I wished to see your struggle, and since you have withstood and have not been defeated, I shall always succour you\". This is the moral of the cycle. We do not know whether it is complete or whether other elements are missing, such as the leave-taking of his sister, the erotic visions, or the meeting with Paul.\r\nThe Temptations of Saint Anthony, a theme that has fascinated artists from Bosch to Grünewald, Schongauer, and Flaubert, is cited as the work of Mantegna in the fideicommissary list of 1819, while it was recorded, along with the other two parts, in an inventory of the palace in Piazza Navona drawn up on the death of Camillo Pamphilj in 1666.\r\nBecause of their style the three pictures by Parenzano can be dated to the same period as the Paduan frescoes in Santa Giustinia, painted around 1494 (the painter lived in the monastery, 1492-96). It is interesting to think that these Temptations set amidst arid ground, surrounded by chimeras and monsters, may have been painted in the same year as the discovery of the \"New World.\"\r\n\r\n\n","end_year":1494,"genre":"painting","materials":"Panel, 46,4 x 58,2 cm","museum_name":"Galleria Doria Pamphilj, Rome","name":"Temptations of St Anthony","start_year":1494,"type":"religious","url":"https://www.wga.hu/detail/p/parenzan/temptati.jpg"},{"artworkid":918,"author":"RAGGI, Antonio","description":"\r\nThe decoration of the Chigi Chapel was designed by Bernini. The most important parts of the decoration, along with the mosaics and the reliefs, were the four sculptures placed into the niches between the columns holding the cupola. Two of them, Jerome and Mary Magdalen, were made by Bernini. The other two statues were by artists from Bernini's workshop, St Catherine of Siena by Ercole Ferrata and St Bernardino of Siena by Antonio Raggi.\r\nThe chapel as a whole was designed by Bernini.\r\n\r\n\n","end_year":1660,"genre":"sculpture","materials":"Marble, height 180 cm","museum_name":"Cappella Chigi, Duomo, Siena","name":"St Bernardino","start_year":1660,"type":"religious","url":"https://www.wga.hu/detail/r/raggi/capchigi.jpg"},{"artworkid":922,"author":"PERRONNEAU, Jean-Baptiste","description":"\r\nThis portrait of the animal painter Jean-Baptiste Oudry, representing him before a sketch of hunting dogs, was the artist's \"morceau de réception\" at the Académie royale de Peinture et de Sculpture in 1753.\r\n\r\n\n","end_year":1753,"genre":"painting","materials":"Oil on canvas, 105 x 131 cm","museum_name":"Muse du Louvre, Paris","name":"Portrait of Jean-Baptiste Oudry","start_year":1753,"type":"portrait","url":"https://www.wga.hu/detail/p/perronne/jb_oudry.jpg"},{"artworkid":926,"author":"AMMANATI, Bartolomeo","description":"\r\nThis falcon is one of the bronze birds Giambologna and Ammanati together produced for the grotto of the Medici garden at Castello. The grotto can be regarded as a kind of collection, one conceived on analogy with the 'studiolo' or 'Kunstkammer.'\r\n\r\n\n","end_year":1567,"genre":"sculpture","materials":"Bronze, 40 x 20 cm","museum_name":"Museo Nazionale del Bargello, Florence","name":"Falcon","start_year":1567,"type":"other","url":"https://www.wga.hu/detail/a/ammanati/3/birds1.jpg"},{"artworkid":930,"author":"MOSAIC ARTIST, Italian","description":"\r\nThe former south portal of the west narthex was reworked between 1503 and 1515 as the Porta da Mar leading to the Zen Chapel. In the twelfth century it had already received its mosaic decor, which was now extended with - among others - a cycle devoted to St Mark. The cycle covers the entire vault.\r\nThe detail of the Zen Chapel mosaics represents the Martyrdom of St Mark in Alexandria. \r\n\r\n\n","end_year":1515,"genre":"mosaic","materials":"Mosaic","museum_name":"Basilica di San Marco, Venice","name":"Zen Chapel (detail)","start_year":1503,"type":"religious","url":"https://www.wga.hu/detail/zgothic/mosaics/6sanmarc/8facade7.jpg"},{"artworkid":934,"author":"DUCCIO di Buoninsegna","description":"\r\nIn this depiction, the Child is neither making a gesture of benediction nor turning towards his mother but is silently watching the faithful. Duccio has painted the Christ Child's garment in an especially elaborate and opulent way. The technical perfection of the painting is particularly apparent in the transparent undergarment, which allows the finely modelled body of the Child to shine through.\r\n\r\n\n","end_year":1311,"genre":"painting","materials":"Tempera on wood","museum_name":"Museo dell'Opera del Duomo, Siena","name":"Maest (detail)","start_year":1308,"type":"religious","url":"https://www.wga.hu/detail/d/duccio/maesta/0main/maest_03.jpg"},{"artworkid":897,"author":"BRIL, Paul","description":"\r\nIn the second half of the 16th century a number of artists moved away from the then popular broad landscapes to direct their attention to a particular aspect of nature such as a mountain range, a village or a wood. Forsaking the bird's eye perspective, they view the scene from a lower and closer angle, as illustrated by the drawing A Forest Pool, by Antwerp artist Paul Bril, who worked in Rome from 1582 onwards. The emphasis is on the splendour of the wood and the majesty of the treetops. The little figure of the hunter is swallowed up in the surrounding, overwhelming nature and remains a secondary element in the composition. The trees are drawn decoratively with visible roots and knotty branches, invoked by nervous parallel strokes and curly little lines.\r\nOver this delicately drawn structure the artist applies a very subtle brown and grey wash tint, which stands out freshly against the areas of the paper that have been left white. The result is a playful interplay of light and dark right across the scene, gradually leading the eye towards the background. This technique reveals Bril's interest in light, the effect of which on the surroundings he carefully observes. This interest is also seen in the detailed representation of the reflection of the trees on the water. Although the viewer has direct access to this enchanting piece of woodland via the path leading from the very bottom of the picture, the highly refined style of drawing and the artificial structuring give the impression more of an ideal décor outside the confines of time and space.\r\nThis drawing belongs to a group produced between 1595 and 1600, all depicting intimate woodland surroundings. Jan Brueghel the Elder also treated this subject between 1592 and 1594 during his stay in Rome, where he met Paul Bril. Both artists drew inspiration from the woodland scenes of Pieter Bruegel the Elder, Hans Bol and the Italians Titian and Girolamo Muziano. Bril's landscapes were very influential and were regularly printed, among others by Aegidius Sadeler. However, no corresponding print is known of A Forest Pool, that was conceived first of all as an autonomous work of art, though Bril did use it later as an aide-mémoire in producing the tree parts in a number of paintings.\r\n\r\n\n","end_year":1600,"genre":"graphics","materials":"Drawing on paper, 201 x 270 mm","museum_name":"Muses Royaux des Beaux-Arts, Brussels","name":"A Forest Pool","start_year":1595,"type":"study","url":"https://www.wga.hu/detail/b/bril/paul/forestpo.jpg"},{"artworkid":901,"author":"LOISEAU, Gustave","description":"\r\nLoiseau was a self-taught painter who experimented with pointillism around 1884. He sojourned in Pont-Aven, and then, on his many travels, painted landscapes, mainly featuring rivers and the coast. He was dubbed \"the historian of the Seine\" because he was adept at what Impressionism was best suited to: recording and celebrating shifting conditions of light and the changes made in the landscape by human hand.\r\n\r\n\n","end_year":1902,"genre":"painting","materials":"Oil on canvas, 65 x 82 cm","museum_name":"Private collection","name":"Banks of the Seine","start_year":1902,"type":"landscape","url":"https://www.wga.hu/detail/l/loiseau/banksein.jpg"},{"artworkid":905,"author":"UNKNOWN MASTER, German","description":"\r\nThe picture shows a detail of a winged altarpiece.\r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Wood","museum_name":"Germanisches Nationalmuseum, Nuremberg","name":"Adoration of the Magi","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_ge/zunk_ge4a/adoratix.jpg"},{"artworkid":909,"author":"LONGHI, Pietro","description":"\r\nThe painting has a pendant: Reception before a Wedding, also in a private collection.\r\n\r\n\n","end_year":1750,"genre":"painting","materials":"Oil on canvas, 61 x 50 cm","museum_name":"Private collection","name":"Peasants Dancing La Furlana","start_year":1750,"type":"genre","url":"https://www.wga.hu/detail/l/longhi/pietro/1/10furla2.jpg"},{"artworkid":913,"author":"WECKMANN, Niklaus","description":"\r\nThis engaging group of the Virgin and Child with St Joseph was once the centrepiece of a large altarpiece. The Virgin and Child face in the same direction as the Child raises his right hand in blessing. Their posture suggests they may have been part of Holy Kinship group with St Anne or of an Adoration of the Magi. The orb in his left hand symbolizes Christ's role as spiritual ruler of the world.\r\n\r\n\n","end_year":1500,"genre":"sculpture","materials":"Limewood with traces of paint and gilding, height 81 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Holy Family","start_year":1500,"type":"religious","url":"https://www.wga.hu/detail/w/weckmann/holyfami.jpg"},{"artworkid":917,"author":"STEEN, Jan","description":"\r\nAmongst the genre scenes that brought Steen popularity and fame, there are almost twenty showing a doctor's visit to a bourgois home. As theatrical as any Commedia dell'arte play, they present scenes full of misunderstandings, secrets, assumptions and indiscretions. The \"illnesses\" of the patients are generally unforeseen pregnancy or lovesickness. The bed with the painting of lovers hanging over it, and the statue of Amor on the draughtscreen of the door immediately indicate to the spectator what is going on. The basin of coals in the foreground with the burning thread - quack doctors diagnosed pregnancy by \"reading\" the smoke - and the maid with her suitor at the door are further typical features of this genre. The patient, whose pulse the doctor is counting, has a note in her hand on which the following words are written: \"Daar baat gen/medesyn/want het is/minepeyn\" (\"No medicine can cure the pain of love\").\r\nThough hardly a profound insight, these words constitute a moral of the kind that is almost invariably to be found behind these types of Dutch paintings. For all the autonomy of the subject matter, a painting without such a \"deeper\" meaning would have been inconceivable at the time, and indeed did not actually emerge until the 19th century.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas, 61 x 52 cm","museum_name":"Alte Pinakothek, Munich","name":"Love Sickness","start_year":1660,"type":"genre","url":"https://www.wga.hu/detail/s/steen/page1/lovesick.jpg"},{"artworkid":921,"author":"PERSIUS, Friedrich Ludwig","description":"\r\nIn the first half of the 19th century in Germany, alongside Gothic Revival buildings, other styles in church architecture had also gained a footing. The first sketch of the church of the Redeemer (Heilandskirche) as an Italianate building with a detached campanile was made by the new Prussian king, Frederick William IV. Standing on an artificial terrace surrounded by an open arcade, the church, executed by Friedrich Ludwig Persius, resembles a ship in the water. A particularly attractive feature is the contrast between the arcading and the delicate patterning in variegated brick on the walls behind.\r\n\r\n\n","end_year":1841,"genre":"architecture","materials":"Photo","museum_name":"Heilandskirche, Port von Sacrow, Potsdam","name":"Exterior view","start_year":1841,"type":"other","url":"https://www.wga.hu/detail/p/persius/potsdam1.jpg"},{"artworkid":925,"author":"BAGLIONE, Cesare","description":"\r\nSome of the Roman paintings found in the Domus Aurea and elsewhere correspond quite precisely what Vasari and others determined to be the typical features of grotesques. These paintings inspired several ceiling designs 'all'antica' in the first part of the sixteenth century. The desire to revive not only the forms of ancient Roman architecture but also their decoration may help to explain the success of these paintings. In particular, Raphael and the specialist in his workshop, who mastered the genre completely, helped the grotesque style to spread quickly in Rome. This style enjoyed a long-lasting success, which can still be demonstrated even after mid-century. Nevertheless, quite early on the genre developed independently and distanced itself increasingly from ancient models. Later grotesques differed from antique iconography in every respect and retain only the principle of an absurd and paradoxical combination of varied buildings, figures, animals, and plants that Vitruvius criticized.\r\nThe fresco decoration in the Rocca dei Rossi is an example of the later grotesques. Rocca dei Rossi is a castle located in San Secondo Parmense, northern Italy. It was begun in 1466 on land donated to Giacomo Rossi, a member of one of the most prestigious families in Parma. The stronghold was later turned into a luxurious manor including many beautiful frescoes by the best local artists of the 16th century.\r\n\r\n\n","end_year":1575,"genre":"painting","materials":"Fresco","museum_name":"Stanza del Lupo, Rocca dei Rossi, San Secondo","name":"Grotesques with Imaginary Landscapes","start_year":1570,"type":"landscape","url":"https://www.wga.hu/detail/b/baglion/rocca2.jpg"},{"artworkid":938,"author":"LA TOUR, Maurice Quentin de","description":"\r\nThis large pastel is a remarkable and famous portrait commissioned from La Tour by the mistress of Louis XV.\r\n\r\n\n","end_year":1755,"genre":"painting","materials":"Pastel on seven sheets of blue paper mounted on canvas, 178 x 2136 cm","museum_name":"Muse du Louvre, Paris","name":"Marquise de Pompadour","start_year":1755,"type":"portrait","url":"https://www.wga.hu/detail/l/la_tour/maurice/pompadou.jpg"},{"artworkid":924,"author":"AMIGONI, Jacopo","description":"\r\nAmigoni had spent his early career in Venice, but he left the city to make a name for himself as an international artist, quickly finding an avid audience in the various courts of Europe which had developed a taste for the charm of the Venetian Rococo. In 1730, Amigoni arrived in London fresh from a series of pictorial triumphs in Venice, Rome and at the court of the Elector of Bavaria, and soon had eager patrons amongst the English nobility and even royalty.\r\nThe pair of canvases of mythological subjects, Venus and Adonis, and Bacchus and Ariadne, represent one of the most important works by Amigoni from his seminal English sojourn. These subjects represent two of the most recognizable and classic of all mythological stories, both with a rich history of pictorial representation in Venetian art. They are taken from Ovid's Metamorphoses, and in the case of Venus and Adonis, Amigoni returned to the subject throughout his career.\r\n\r\n\n","end_year":1730,"genre":"painting","materials":"Oil on canvas, 104 x 129 cm","museum_name":"Private collection","name":"Venus and Adonis","start_year":1730,"type":"mythological","url":"https://www.wga.hu/detail/a/amigoni/venus1.jpg"},{"artworkid":928,"author":"HOLLAR, Wenceslaus","description":"\n\n","end_year":1646,"genre":"graphics","materials":"Etching, 303 x 234 mm","museum_name":"The Hermitage, St. Petersburg","name":"Stellion Insulting Ceres","start_year":1646,"type":"mythological","url":"https://www.wga.hu/detail/h/hollar/stellion.jpg"},{"artworkid":932,"author":"ADAM, Robert","description":"\n\n","end_year":1773,"genre":"architecture","materials":"Photo","museum_name":"Syon House, Brentford, Middlesex","name":"Gateway","start_year":1773,"type":"other","url":"https://www.wga.hu/detail/a/adam2/syon7.jpg"},{"artworkid":936,"author":"FRANCAVILLA, Pietro","description":"\r\nThis marble statue was made in Florence in 1598 and placed in Jérôme de Gondi's garden in Paris, accompanied by bronze figures of animals. It was later installed in the gardens at Versailles.\r\nOrpheus charms the animals with the sound of his lyre, with Cerberus, the three-headed dog who guarded the entrance to the underworld, at his side.\r\n\n\n\r\nSuggested listening (streaming mp3, 7 minutes):Cristoph Willibald Gluck: Orfeo, Act I, Orpheus' aria in G Major\n\n\n","end_year":1598,"genre":"sculpture","materials":"Marble, height 250 cm","museum_name":"Muse du Louvre, Paris","name":"Orpheus Charming the Animals","start_year":1598,"type":"mythological","url":"https://www.wga.hu/detail/f/francavi/orpheus1.jpg"},{"artworkid":940,"author":"MONNOT, Pierre Etienne","description":"\r\nThe significant sculptural undertaking that inaugurated the eighteenth century in Rome was the realization of the colossal statues of the Apostles in twelve monumental, green marble niches, decorated by the dove symbol of the Pamphilj family, which Francesco Borromini built during the reconstruction of the interior of San Giovanni in Laterano. The statues, the completion of Borromini's project, were executed before 1718 by the most important sculptors of the time from Rome and elsewhere. The sculptors included Camillo Rusconi (Andrew, Matthew, James the Greater, John the Evangelist), Francesco Moratti (Simon), Angelo de' Rossi (James the Less), Giuseppe Mazzuoli (Philip), Lorenzo Ottoni (Thaddeus), as well as the Frenchmen Pierre-Étienne Monnot (Peter, Paul) and Pierre Le Gros (Bartholomew, Thomas).\r\nAmong these sculptors Camillo Rusconi was the most noted sculptor of the first half of the century. The only one who effectively rivaled him was Pierre Le Gros, although Pierre-Étienne Monnot, to whom are owed St Peter and St Paul, also created magnificent works.\r\nThe apostle's gesture of reaching out is balanced by his attributes of a book and a sword.\r\n\r\n\n","end_year":1718,"genre":"sculpture","materials":"Marble, height 425 cm","museum_name":"San Giovanni in Laterano, Rome","name":"St Paul","start_year":1708,"type":"religious","url":"https://www.wga.hu/detail/m/monnot/st_paul.jpg"},{"artworkid":944,"author":"IBBETSON, Julius Caesar","description":"\r\nThis painting depicts a landscape with travellers in a horse drawn carriage and figures conversing by a track. In the rural scene, the artist creates a fine contrast between the frenetic coachman, spurring his horses into a furious gallop and the leisurely exchange amongst the group of figures in the foreground of the work.\r\n\r\n\n","end_year":1792,"genre":"painting","materials":"Oil on canvas, 37 x 46 cm","museum_name":"Private collection","name":"Landscape with Travellers","start_year":1792,"type":"landscape","url":"https://www.wga.hu/detail/i/ibbetson/landscap.jpg"},{"artworkid":948,"author":"GOGH, Vincent van","description":"\nCatalogue numbers: F 405, JH 1394.\r\n\r\n\n","end_year":1888,"genre":"painting","materials":"Oil on canvas, 73 x 46 cm","museum_name":"Van Gogh Museum, Amsterdam","name":"Blossoming Pear Tree","start_year":1888,"type":"landscape","url":"https://www.wga.hu/detail/g/gogh_van/07/orchar06.jpg"},{"artworkid":952,"author":"WAGNER, Otto","description":"\r\nWagner built the residential block on the corner of Neustiftgasse and Döblergasse in Vienna (1909), its upper four storeys with simple undecorated surfaces and window openings and its ground and first floor with black tiles applied in stripes and rectangles.\r\n\r\n\n","end_year":1911,"genre":"architecture","materials":"Photo","museum_name":"Dblergasse 4, Vienna","name":"Residential block: detail of the faade","start_year":1911,"type":"other","url":"https://www.wga.hu/detail/w/wagner_o/9block3.jpg"},{"artworkid":956,"author":"MEDIEVAL SCULPTOR, Catalan","description":"\r\nA very late Romanesque sculpture, contemporary with Gothic creations existed from Italy to Galicia. It proposes eclectic solutions, but among other permanent characteristics possesses a renewed penchant for certain aspects of the art of Late Antiquity and the resumption of artistic exchanges with distant parts. The beautifully fashioned capitals in the Cathedral of La Seu Vella (the Old Cathedral) in Lleida, Catalonia, present an example.\r\n\r\n\n","end_year":1210,"genre":"sculpture","materials":"Stone","museum_name":"Cathedral of La Seu Vella, Lleida","name":"Capitals","start_year":1210,"type":"religious","url":"https://www.wga.hu/detail/zgothic/1romanes/cap-13c/1s1_1201.jpg"},{"artworkid":960,"author":"GIOTTO di Bondone","description":"\r\nOn this decorative framing band, two evangelists are depicted.\r\n\r\n\n","end_year":1306,"genre":"painting","materials":"Fresco","museum_name":"Cappella Scrovegni (Arena Chapel), Padua","name":"Decorative band","start_year":1303,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/padova/decorati/15figure.jpg"},{"artworkid":964,"author":"ABBATINI, Guido Ubaldo","description":"\r\nIn Rome it was customary to decorate church choirs on high church holidays with temporary decorations constructed of coloured papier mâché or canvas. The most famous of these are the ones created by Pietro da Cortona for the forty-hour prayer in Rome's San Lorenzo in Damaso during Holy Week in 1633. Drawings and engravings of these temporary \"sacred sets\" are the earliest evidence of the increasing tendency in the seventeenth century to transform church spaces into stages for heavenly apparitions and visions. One of the first decorations belonging to this category was the Cornaro Chapel in Santa Maria della Vittoria in Rome, designed by Gian Lorenzo Bernini. In it architecture, sculpture, and painting combine to form a theatrical whole. The saint and the angel in the famous Ecstasy of St Teresa function as the performers, while the saint's vision is entrusted to the medium of fresco, executed by Guido Ubaldo Abbatini.\r\n\r\n\n","end_year":1650,"genre":"painting","materials":"Oil on canvas, 168 x 120 cm","museum_name":"Staatliches Museum, Schwerin","name":"Gian Lorenzo Bernini's Cornaro Chapel","start_year":1650,"type":"religious","url":"https://www.wga.hu/detail/a/abbatini/cornaro.jpg"},{"artworkid":968,"author":"MEMLING, Hans","description":"\r\nThe closed wings represent St John the Baptist and St George in grisaille. No adequate explanation for their presence has been found as yet. The two saints might have been included as the two sons' (Jan and Jaris) patron saints. The eldest son, Willem, was already protected by his father's patron on the front, and the two other sons are known to have died at a very early age.\r\n\r\n\n","end_year":1484,"genre":"painting","materials":"Oil on wood, 141 x 87 cm (each wing)","museum_name":"Groeninge Museum, Bruges","name":"Triptych of the Family Moreel (closed)","start_year":1484,"type":"religious","url":"https://www.wga.hu/detail/m/memling/3mature3/25more4.jpg"},{"artworkid":972,"author":"DRER, Albrecht","description":"\n\n","end_year":1511,"genre":"graphics","materials":"Woodcut","museum_name":"British Museum, London","name":"Small Passion: 24. Christ on the Cross","start_year":1511,"type":"religious","url":"https://www.wga.hu/detail/d/durer/2/12/7smallp/2/24_small.jpg"},{"artworkid":929,"author":"VOET, Jacob Ferdinand","description":"\r\nVictor Amadeus II (1666-1732) acceded to the Dukedom of Savoy in 1675, when only nine years old. He was Duke of Savoy from 1675 to 1730. Having fought in the War of the Spanish Succession, he became king of Sicily in 1713 but he was forced to exchange this title and instead became king of Sardinia.\r\nVoet painted the young Duke on at least three occasions.\r\n\r\n\n","end_year":1670,"genre":"painting","materials":"Oil on canvas, oval, 75 x 62 cm","museum_name":"Private collection","name":"Portrait of Victor Amadeus II, King of Sicily and Sardinia","start_year":1670,"type":"portrait","url":"https://www.wga.hu/detail/v/voet/amadeus2.jpg"},{"artworkid":933,"author":"SOLIMENA, Francesco","description":"\r\nPrince Joseph Wenzel (1696-1772) was the Reigning Prince of Liechtenstein from 1712 to 1718 and from 1748 to 1772. He secured a place in military history primarily through his efficient technical and personnel reorganisation of the Austrian artillery, which he made into the powerful instrument of the Imperial army. The baton, armour, and sword lying to one side in the portrait references to his military career.\r\n\r\n\n","end_year":1720,"genre":"painting","materials":"Oil on canvas, 126 x 101 cm","museum_name":"Liechtenstein Museum, Vienna","name":"Portrait of Prince Joseph Wenzel von Liechtenstein","start_year":1720,"type":"portrait","url":"https://www.wga.hu/detail/s/solimena/1/portrait.jpg"},{"artworkid":937,"author":"CHARDIN, Jean-Baptiste-Simon","description":"\n\n","end_year":1728,"genre":"painting","materials":"Oil on canvas, 80 x 63 cm","museum_name":"Museo Thyssen-Bornemisza, Madrid","name":"Still-Life with Cat and Rayfish","start_year":1728,"type":"still-life","url":"https://www.wga.hu/detail/c/chardin/1/01still2.jpg"},{"artworkid":941,"author":"VERMEER, Johannes","description":"\r\nThe maid has a special function in several of Vermeer's paintings. She is able to act as a secret messenger for her mistress, who is not able to leave the house, which has been entrusted to her care, alone. In seventeenth-century treatises, sending love-letters was considered a sign that the woman had committed adultery.\r\n\r\n\n","end_year":1668,"genre":"painting","materials":"Oil on canvas","museum_name":"Rijksmuseum, Amsterdam","name":"The Love Letter (detail)","start_year":1667,"type":"genre","url":"https://www.wga.hu/detail/v/vermeer/03d/31lovel1.jpg"},{"artworkid":945,"author":"GIOVANNI DA MILANO","description":"\r\nThe two women, one of whom is handing the other a plate of food, draw the viewer's gaze away from the other figures thanks to their clothing, whose elegance is clearly derived from contemporary fashions. The modeling of their delicately shaped faces, slender necks. and bare shoulders has a smoothness almost like porcelain and an enamel-like glaze, and a similar effect is achieved in their garments.\r\n\r\n\n","end_year":1365,"genre":"painting","materials":"Fresco","museum_name":"Rinuccini Chapel, Santa Croce, Florence","name":"Birth of the Virgin (north wall, detail)","start_year":1365,"type":"religious","url":"https://www.wga.hu/detail/g/giovanni/milano/rinuccin/1north4.jpg"},{"artworkid":949,"author":"TENIERS, David the Younger","description":"\r\nThis is one of the many versions of this subject painted by Teniers. St Anthony in his blue habit, crouched over a low table, book in hand, the temptress hag behind and a surrounding array of astonishing and unnatural creatures, such as the hideous ecorché dog, barking at the saint in the foreground.\r\n\r\n\n","end_year":-1,"genre":"painting","materials":"Oil on oak panel, 22 x 16 cm","museum_name":"Private collection","name":"The Temptation of St Anthony","start_year":-1,"type":"religious","url":"https://www.wga.hu/detail/t/teniers/jan2/2/temptaty.jpg"},{"artworkid":953,"author":"GOYEN, Jan van","description":"\r\nThe subject and composition of this picture recall Jan van Goyen's many views of Nijmegen, but the fort here, with its Romanesque bell tower, improbable portals, and asymmetrical façade, is surely imaginary. The work is remarkable for the warmth of its brown and yellow tones, with rose and salmon colours throughout the cloudy sky.\r\n\r\n\n","end_year":1647,"genre":"painting","materials":"Oil on wood, 66 x 97 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Castle by a River","start_year":1647,"type":"landscape","url":"https://www.wga.hu/detail/g/goyen/2/castle.jpg"},{"artworkid":957,"author":"CZANNE, Paul","description":"\r\nThe closer Cézanne came to a comprehension of nature, the less satisfied he was with himself. It was long ago conjectured that the repaired hole in the centre of this canvas was made by the artist in an outburst of fury. Such an act might demonstrate how exceptionally demanding he was toward himself.\r\n\r\n\n","end_year":1906,"genre":"painting","materials":"Oil on canvas, 101 x 81 cm","museum_name":"The Hermitage, St. Petersburg","name":"Blue Landscape","start_year":1904,"type":"landscape","url":"https://www.wga.hu/detail/c/cezanne/5/1variou2.jpg"},{"artworkid":961,"author":"UGOLINO DI NERIO","description":"\r\nThe detail shows the Virgin Mary and two of the Marys.\r\n\r\n\n","end_year":1328,"genre":"painting","materials":"Egg tempera on wood","museum_name":"National Gallery, London","name":"The Way to Calvary (detail)","start_year":1325,"type":"religious","url":"https://www.wga.hu/detail/u/ugolino/nerio/1/4prede41.jpg"},{"artworkid":965,"author":"ARCHITECT, Italian","description":"\r\nDuring the 14th century there was a growing tendency to give cubic structures a decorative surface. On some buildings, the character of a precious shrine was created intentionally. If we did not know its actual dimensions, we might take the church of Santa Maria della Spina in Pisa for a shrine. The oratory contains what was believed to be part  of Christ's crown of thorns, which the city had acquired in 1333. The acquisition provided the impetus to extend the existing chapel. Undoubtedly, the Sainte-Chapelle in Paris, where the entire crown was preserved, was the model. The side walls in particular display an array of French-inspired motifs, a forest of gables, pinnacles and tracery. As at the Sainte-Chapelle, the sculptural moldings are an integral part of the architecture, and not mere surface decoration.\r\n\r\n\n","end_year":1333,"genre":"architecture","materials":"Photo","museum_name":"Santa Maria della Spina, Pisa","name":"Exterior view","start_year":1323,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/14c/3/1/6pisa1.jpg"},{"artworkid":969,"author":"GOZZOLI, Benozzo","description":"\r\nThis scene is on the exterior wall of the Shrine of the Visitation. The Birth of Mary takes place in the presence of several women in a perspectively constructed interior, a bed chamber that is furnished with marble wall paneling and a wooden coffered ceiling.\r\n\r\n\n","end_year":1491,"genre":"painting","materials":"Transferred fresco","museum_name":"Biblioteca Comunale, Castelfiorentino","name":"Birth of Mary","start_year":1491,"type":"religious","url":"https://www.wga.hu/detail/g/gozzoli/6late/3visita3.jpg"},{"artworkid":973,"author":"BRAMANTE, Donato","description":"\r\nBeginning in 1505, at first in competition with two other architects, Giuliano da Sangallo and Fra Giocondo, Bramante planned the new Basilica of St. Peter in Rome - his greatest work and one of the most ambitious building projects up to that date in the history of humankind. The first stone was placed on April 18, 1506. The project's site had to be cleared first of the old, crumbling Basilica of Constantine. Bramante's part in its demolition earned him the nicknames of \"Maestro Ruinante\" or \"Master Wrecker.\" At the time of his death the new construction had scarcely begun to take shape.\r\nBramante's design, which was preferred to proposals submitted by Giuliano da Sangallo and Fra Giocondo, is represented on Caradosso's foundation medal (1506; e.g. National Gallery of Art, Washington), and the same design, apart from some minor deviations of detail, is recorded in a half-plan drawing known as the Parchment Plan (1A, Galleria degli Uffizi, Florence). The layout seems to have grown out of the ideas he had considered at Pavia Cathedral and Santa Maria delle Grazie, namely a domed Greek cross inscribed within a square and with apses on the main axes. It is here further elaborated with four subsidiary domes on the diagonals, where the Greek-cross arrangement is repeated on a smaller scale, and with four corner towers. The centre of the design corresponds fittingly with the revered tomb of St Peter, and the multi-domed layout recalls that of earlier sepulchral churches, such as San Marco, Venice. The arrangement of the crossing is a major innovation in church design, with diagonal chamfers to the massive crossing piers giving the dome a much greater diameter than the width of the arms.\r\nIn its enormous scale, Bramante's design for St Peter's was quite without precedent for a post-medieval church and relied heavily on ancient Roman bath complexes, which seem to have inspired a wholly new approach to spatial planning. Whereas during the 15th century internal spaces were conceived as a product of designing walls, in St Peter's the walls were a product of designing spaces. Through this new approach, greatly aided by Bramante's revival of Roman brick-and-concrete construction, the massive vault-bearing walls took up the residual areas between neighbouring spaces and were hollowed out in a multitude of alcoves, arches and niches.\r\nBramante's design for the dome, with its colonnaded drum resembling a circular temple and its crowning lantern, is known also from a plate in Serlio (Book III). In shape (hemispherical on the inside, stepped and dishlike on the outside) as well as in size, the design abandoned contemporary practice and was closely modelled instead on the Pantheon. The much greater overall size of St Peter's, however, compared with the Pantheon, was no doubt regarded as emblematic of the triumph of Christianity over ancient paganism and of the authority of papal rule.\r\nThe Parchment Plan design was, nevertheless, just one of many alternatives considered even as construction progressed. No decision seems to have been made by Bramante's death, however, even though the crossing had been substantially completed up to the height of the drum, with piers and attached Corinthian pilasters using capitals copied from those inside the Pantheon.\r\nThe picture shows Bramante's plan for the dome. You can also view Bramante's design of the ground plan for St Peter's.\r\n\r\n\n","end_year":1506,"genre":"graphics","materials":"Drawing","museum_name":"Museo Petriano, Vatican, Rome","name":"Plans for New St Peter's in Rome","start_year":1506,"type":"study","url":"https://www.wga.hu/detail/b/bramante/1archite/2/stpeters.jpg"},{"artworkid":977,"author":"STEEN, Jan","description":"\r\nThe reader is a self portrait.\r\n\r\n\n","end_year":1660,"genre":"painting","materials":"Oil on canvas","museum_name":"Szpmvszeti Mzeum, Budapest","name":"A Merry Party (detail)","start_year":1660,"type":"genre","url":"https://www.wga.hu/detail/s/steen/page2/m_party1.jpg"},{"artworkid":981,"author":"CARRIER-BELLEUSE, Albert-Ernest","description":"\n\n","end_year":-1,"genre":"sculpture","materials":"Bronze, red-brown patina, height 88 cm","museum_name":"Private collection","name":"Psyche","start_year":-1,"type":"mythological","url":"https://www.wga.hu/detail/c/carrier/psyche.jpg"},{"artworkid":985,"author":"GIAMBOLOGNA","description":"\r\nThis is one of the few drawings that have been persuasively assigned to Giambologna. It shows a design of the Oceanus Fountain in the Boboli Gardens, Florence. It features specific sculptures by Giambologna in more or less finished state. The drawing is a design for installation, not for statues as such.\r\n\r\n\n","end_year":1570,"genre":"graphics","materials":"Ink on paper","museum_name":"Ashmolean Museum, Oxford","name":"Study for the Oceanus Fountain","start_year":1570,"type":"study","url":"https://www.wga.hu/detail/g/giambolo/1/34giambo.jpg"},{"artworkid":931,"author":"MEMLING, Hans","description":"\r\n3. Arrival in Rome\r\nLeaving the mountains behind them, the pilgrims arrive in procession in Rome, where they are met by Pope Cyriacus at the portal of an imaginary church or baptistry. The round tower with its circular windows and colonnades in the middle ground, and the putti frolicking and making music on the cornice before it, are also meant to suggest an Italian environment. Etherius, dressed all in red, kneels behind Ursula, whom he has come to join. Ursula is now wearing a demure cap with a veil, under which her hair is loose. Her headgear now remains the same until her demise. A citizen with more personalised features kneels behind Etherius, holding his hat before him. The pope is dressed in a red dalmatic, as is the acolyte who holds his crosier. A group of cardinals and other high-ranking churchmen stand behind him. The concentration of red robes is a clear reference to the coming martyrdom. Inside the church, Etherius' confession is heard, Ursula takes communion, and those who have not yet been baptised undergo the ceremony.\r\n\r\n\n","end_year":1489,"genre":"painting","materials":"Oil on panel, 35 x 25,3 cm","museum_name":"Memlingmuseum, Sint-Janshospitaal, Bruges","name":"St Ursula Shrine: Arrival in Rome (scene 3)","start_year":1489,"type":"religious","url":"https://www.wga.hu/detail/m/memling/4ursula/36ursu03.jpg"},{"artworkid":935,"author":"KLIMT, Gustav","description":"\r\nBehind the golden knight appear two allegorical female characters, who are referred to in the catalogue as \"Ehrgeiz\" (Ambition)\" and \"Mitleid\" (Compassion). They are meant to act as \"inner driving forces\" to motivate the knight to \"take up the struggle for happiness\" in the name of humanity.\r\nThe knight's challenging gaze focuses on the subsequent scene, which stretches across the entire centre wall where the \"hostile forces\" are gathered.\r\n\r\n\n","end_year":1901,"genre":"painting","materials":"Casein paints, stucco coverings, various materials, gold plating on mortar","museum_name":"Secession Building, Vienna","name":"Beethoven Frieze: left wall (part 2, detail)","start_year":1901,"type":"other","url":"https://www.wga.hu/detail/k/klimt/1/23left_wall.jpg"},{"artworkid":939,"author":"CARPACCIO, Vittore","description":"\n\n","end_year":1515,"genre":"painting","materials":"Tempera on canvas","museum_name":"Gallerie dell'Accademia, Venice","name":"The Ten Thousand Martyrs on the Mount Ararat (detail)","start_year":1515,"type":"religious","url":"https://www.wga.hu/detail/c/carpacci/5/052marty.jpg"},{"artworkid":943,"author":"FETTI, Domenico","description":"\r\nFetti is best known for his series on the parables, gentle genre scenes sculpted with light. This painting was executed by Fetti's workshop.\r\n\r\n\n","end_year":1618,"genre":"painting","materials":"Oil on wood, 76 x 45 cm","museum_name":"Galleria Palatina (Palazzo Pitti), Florence","name":"The Parable of the Vineyard","start_year":1618,"type":"religious","url":"https://www.wga.hu/detail/f/feti/parable2.jpg"},{"artworkid":947,"author":"UNKNOWN WEAVER, English","description":"\n\n","end_year":1080,"genre":"tapestry","materials":"Wool embroidered on a linen background","museum_name":"Muse de la Tapisserie de la Reine Mathilde, Bayeux","name":"The Bayeux Tapestry (detail)","start_year":1080,"type":"historical","url":"https://www.wga.hu/detail/zzdeco/2tapestr/2bayeux/04bayeux.jpg"},{"artworkid":951,"author":"ROTTMANN, Carl","description":"\r\nRottmann came from a family of artists, which brought him into contact with other Heidelberg painters early on. In 1821, he began courses in history painting at the Munich Academy, and went on excursions in the Bavarian mountains to do nature studies. Sojourns in Italy in 1826-1828, and again in 1829, introduced him to the Roman manner of open-air painting. A key event for his development was his meeting the Bavarian crown prince, the future King Ludwig I, who lived in Rome. Ludwig commissioned Rottmann to paint the Italian Cycle in the Munich Hofgarten Arcades (1830-1833), a series of frescoes depicting Italian landscapes, which would remain a favourite subject.\r\nAnother major work was the Greek Cycle, based on studies made during a visit to Greece in 1834-1835 and destined for the Neue Pinakothek in Munich. These were done in encaustic (a technique employing heated wax colours that fused after application), and Rottmann worked on them until his death. In these landscapes, the architectonic structure of rigorous, classical composition is combined with a dramatic treatment of colour, expressed through light and other natural phenomena.\r\n\r\n\n","end_year":1847,"genre":"painting","materials":"Stone, 162 x 206 cm","museum_name":"Neue Pinakothek, Munich","name":"Corinth with Akrocorinth","start_year":1847,"type":"landscape","url":"https://www.wga.hu/detail/r/rottmann/corinth.jpg"},{"artworkid":955,"author":"MAZZONI, Guido","description":"\n\n","end_year":1489,"genre":"sculpture","materials":"Pigmented terracotta","museum_name":"Duomo, Modena","name":"Adoration of the Child (detail)","start_year":1485,"type":"religious","url":"https://www.wga.hu/detail/m/mazzoni/guido/adoratix.jpg"},{"artworkid":959,"author":"TROYE, Edward","description":"\n\n","end_year":1830,"genre":"painting","materials":"Oil on canvas, 64 x 76 cm","museum_name":"Private collection","name":"Dick Chinn, by Sumpter","start_year":1830,"type":"other","url":"https://www.wga.hu/detail/t/troye/dickchin.jpg"},{"artworkid":963,"author":"DEGAS, Edgar","description":"\r\nAlthough the dancers appear to be casually observed, the composition was meticulously worked out. The artist's fascination with form and structure is reflected in the analogy between the watering can (used to wet down the dust on the studio floor) and the dancer at the right. The handle on the side imitates her left arm, the handle at the top mimics her head, and the spout approximates her right arm and raised leg. Later in life Degas regretted this visual joke and wished to paint out the can, but the owner of the canvas, a friend of the artist, refused to allow Degas to retouch it.\r\n\r\n\n","end_year":1877,"genre":"painting","materials":"Mixed media on canvas, 76 x 81 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Dancers Practicing at the Bar","start_year":1876,"type":"other","url":"https://www.wga.hu/detail/d/degas/3/1870s_67.jpg"},{"artworkid":967,"author":"LORENZETTI, Pietro","description":"\r\nIn this series of frescoes, there is a pronounced tendency toward narrative breadth; Lorenzetti embellished the action with all sorts of frills and genrelike subsidiary scenes such as the kitchen interior in the Last Supper.\r\n\r\n\n","end_year":1320,"genre":"painting","materials":"Fresco","museum_name":"Lower Church, San Francesco, Assisi","name":"Last Supper (detail)","start_year":1320,"type":"religious","url":"https://www.wga.hu/detail/l/lorenzet/pietro/1/1vault/2lastsu1.jpg"},{"artworkid":971,"author":"BOSCH, Hieronymus","description":"\r\nThe picture shows a detail of the central panel, which depicts the Carp Ship (after Fraenger).\r\n\r\n\n","end_year":1506,"genre":"painting","materials":"Oil on panel","museum_name":"Museu Nacional de Arte Antiga, Lisbon","name":"Triptych of Temptation of St Anthony (detail)","start_year":1505,"type":"religious","url":"https://www.wga.hu/detail/b/bosch/90anthon/central/09centr.jpg"},{"artworkid":975,"author":"ROBERTI, Ercole de'","description":"\r\nThe two small paintings in the Louvre, representing St Apollonia and St Michael, were in the side columns of the polyptych commissioned from Ercole de' Roberti and Francesco del Cossa by Floriano Griffoni from Bologna for his private chapel in the church of San Petronio.\r\n\r\n\n","end_year":1473,"genre":"painting","materials":"Panel, 26 x 11 cm","museum_name":"Muse du Louvre, Paris","name":"Griffoni Polyptych: St Michael","start_year":1470,"type":"religious","url":"https://www.wga.hu/detail/r/roberti/griffoni/grif_07.jpg"},{"artworkid":979,"author":"SIMONE MARTINI","description":"\n\n","end_year":1341,"genre":"painting","materials":"Third synopia","museum_name":"Palace of Popes, Avignon","name":"Saviour Blessing (detail)","start_year":1341,"type":"religious","url":"https://www.wga.hu/detail/s/simone/7last/3avignon.jpg"},{"artworkid":983,"author":"PERUGINO, Pietro","description":"\r\nPerugino's portrait and that of the architect are included in this scene, at a respectful remove from the real dignitaries. The fifth figure from the right in this grouping is a self-portrait. The man holding a square to the right is thought to be a portrait of the architect of the Sistine Chapel.\r\n\r\n\n","end_year":1482,"genre":"painting","materials":"Fresco","museum_name":"Cappella Sistina, Vatican","name":"Christ Handing the Keys to St Peter (detail)","start_year":1481,"type":"religious","url":"https://www.wga.hu/detail/p/perugino/sistina/keys0.jpg"},{"artworkid":987,"author":"UNKNOWN MASTER, French","description":"\r\nThe unidentified sitter is set against a red background and faces left. His black cap and robes would seem to be clerical garb. The direction of the sitter's gaze and his prayerful hand gesture strongly suggest that this panel was originally the right wing of a diptych, and the left wing was most likely an image of the Virgin and Child.\r\n\r\n\n","end_year":1480,"genre":"painting","materials":"Tempera and oil on oak, 29 x 22 cm","museum_name":"National Gallery of Art, Washington","name":"Portrait of an Ecclesiastic","start_year":1480,"type":"portrait","url":"https://www.wga.hu/detail/m/master/yunk_fr/yunk_fr1/095portr.jpg"},{"artworkid":958,"author":"UNKNOWN MASTER, Flemish","description":"\r\nThe representation is a development of the Man of Sorrows either or not in the company of the Virgin. As mourning emblems of the Deposition the figures of the Virgin Mary, John, Mary Magdalene and a holy woman are grouped around the dead body of Christ, who is nevertheless showing his wounds like a living person. It is a devotional subject. Two angels are holding the sponge and the lance. Under the Cross are the instruments and symbols of the Passion, such as the ladder, the Flagellation column, the scourge, Judas' silver coins, the holy women's vases, the hammer and the dice.\r\nThe painting is the work of an anonymous Memling follower. It is not probable that the composition reflects a lost Memling.\r\n\r\n\n","end_year":1505,"genre":"painting","materials":"Oil on oak panel, 49,1 x 41,9 cm (original frame)","museum_name":"Memlingmuseum, Sint-Janshospitaal, Bruges","name":"Man of Sorrows with Mary and John and Two Holy Women","start_year":1495,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_fl/15_paint/3/10sorrow.jpg"},{"artworkid":962,"author":"MASOLINO da Panicale","description":"\r\nThe picture shows a view of the altar room in the Baptistery. The trompe l'oeil paintings in the window niches depict an open door, and John the Baptist in Prison. On the choir arch a prophet and two Church fathers are depicted. The crown of the arch contains the date: MCCCCXXXV.\r\nIn the scene showing the Baptist in prison, the actual prison cell appears in the embrasure of the south window. On the choir arch, in rectangular compartments, St Jerome seated at the top, gazes across toward the choir wall, whereas St Augustine, just below him, faces the entry wall to the west. The narrow section of the wall to the right of the arch shows the Baptist's beheading.\r\n\r\n\n","end_year":1435,"genre":"painting","materials":"Fresco","museum_name":"Baptistery, Castiglione Olona","name":"View of the altar room","start_year":1435,"type":"religious","url":"https://www.wga.hu/detail/m/masolino/olona/02olona.jpg"},{"artworkid":966,"author":"ROMANESQUE PAINTER, Austrian","description":"\r\nChristian themes have never wholly excluded animal grotesques, strange hybrid creatures, or winged monsters. In their authentical role as a personification of evil, they form part of God's grand scheme of salvation. This is apparent in the areas framing the apse of St. Jacob in Kastellaz near Tramin in the southern Tyrol. The malicious creatures include centaurs, harpies, fish-like creatures, and dog-headed monsters devouring serpents. Armed with bow and arrow, serpent slings and clumsy bone tools, these grotesque creatures are also engaged in battle with one another.\r\n\r\n\n","end_year":1220,"genre":"painting","materials":"Fresco","museum_name":"St. Jakob, Kastellaz","name":"Fabulous Creatures","start_year":1220,"type":"other","url":"https://www.wga.hu/detail/zgothic/mural/13c/10austri.jpg"},{"artworkid":970,"author":"BORDONE, Paris","description":"\r\nFormerly the sitter was identified as Hieronymus Krafft whose name is on the letter held by the sitter. However, the crest on the pilaster indicates that the sitter belongs to the Stachel family from Augsburg.\r\n\r\n\n","end_year":1540,"genre":"painting","materials":"Oil on canvas, 107 x 86 cm","museum_name":"Muse du Louvre, Paris","name":"Portrait of Thomas Stachel","start_year":1540,"type":"portrait","url":"https://www.wga.hu/detail/b/bordone/portrait.jpg"},{"artworkid":974,"author":"ARCHITECT, Italian","description":"\r\nConstruction began in 1098. It was intended to house the relics of St Nicholas the Pilgrim (who died in Trani in 1094) to whom the church was dedicated. The building was complete by about 1200, except for the bell tower. It was built using the local stone of Trani, characterised by its colour, an extremely light pink, almost white.\r\nThe single-tower composition of Trani is particularly well-suited to its site: the tower is counterbalanced by nothing less grand than the Adriatic.  \r\n\r\n\n","end_year":1186,"genre":"architecture","materials":"Photo","museum_name":"Cathedral, Trani (Puglia)","name":"Exterior view from the south-east","start_year":1098,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/3/12i_1152.jpg"},{"artworkid":978,"author":"STOM, Matthias","description":"\r\nMatthias Stom's works of the later 1630s - such as that of barren old Sarah bringing her toothsome maid Hagar to a wary, elderly Abraham so that husband and servant can produce a son - exemplify his choice of sordid and all too human biblical subjects.\r\n\r\n\n","end_year":1639,"genre":"painting","materials":"Oil on canvas, 113 x 168 cm","museum_name":"Staatliche Museen, Berlin","name":"Sarah Leading Hagar to Abraham","start_year":1637,"type":"mythological","url":"https://www.wga.hu/detail/s/stom/abraham.jpg"},{"artworkid":982,"author":"DUCCIO di Buoninsegna","description":"\r\nThe middle levels of the reverse side of the Maestà contain 26 scenes from the story of Christ's Passion. Taken together, they make up the most comprehensive Passion cycle to survive. Stories of all four Gospels formed the basis of Duccio's pictures. They should be read from left to right, and from below to above.\r\nThe picture shows 11 scenes of the cycle from the left side of the altarpiece.\r\n\r\n\n","end_year":1311,"genre":"painting","materials":"Tempera on wood","museum_name":"Museo dell'Opera del Duomo, Siena","name":"Stories of the Passion (Maest, verso, detail)","start_year":1308,"type":"religious","url":"https://www.wga.hu/detail/d/duccio/maesta/verso_1/verso001.jpg"},{"artworkid":986,"author":"ENGEL, Josef Franz","description":"\r\nAfter the Benedictine Order was re-established in 1802, in the 1820a and 1830s several plans were drawn up for the full, large-scale reconstruction of the ancient archabbey in Pannonhalma. Precedents for the designs probably came from the monastery complexes of Austria and southern Germany. Working as a designer in the first stage of construction was Josef Franz Engel. Although he produced plans for the entire suite of buildings at Pannonhalma, only the library was constructed according to his concept in 1824-26.\r\nThe library occupies a separate wing of the building. Its geometrically pure space is covered by a single barrel vault. A gallery supported by wooden columns runs around the room. The decoration is the work of Josef Klieber (1773-1850) who was known primarily as a sculptor, but here he was also responsible for the painted works.\r\n\r\n\n","end_year":1826,"genre":"architecture","materials":"Photo","museum_name":"Benedictine Archabbey, Pannonhalma","name":"View of the library","start_year":1824,"type":"interior","url":"https://www.wga.hu/detail/e/engel_j/library2.jpg"},{"artworkid":990,"author":"GUERCINO","description":"\r\nThe painting was commissioned and paid for by Giovanni Donato Correggio in 1656. The crisp treatment of the lilies is noteworthy.\r\n\r\n\n","end_year":1656,"genre":"painting","materials":"Oil on canvas, 91 x 74 cm","museum_name":"Private collection","name":"St Anthony of Padua with the Infant Christ","start_year":1656,"type":"religious","url":"https://www.wga.hu/detail/g/guercino/2/stanthon.jpg"},{"artworkid":994,"author":"UNKNOWN MASTER, Flemish","description":"\r\nThis is an eloquent example of the transformation of a Gospel parable into a genre scene. This practice, common in Northern Europe, makes it difficult to recognize the prodigal son in this wealthy gentleman entertained by delightful musicians.\r\n\r\n\n","end_year":1600,"genre":"painting","materials":"Oil on panel","museum_name":"Museo Correr, Venice","name":"The Pleasures of the Prodigal Son","start_year":1600,"type":"religious","url":"https://www.wga.hu/detail/m/master/zunk_fl/16_paint/2/13prodig.jpg"},{"artworkid":998,"author":"CRANACH, Lucas the Elder","description":"\r\nThe central panel represents the Last Supper, depicting Luther amongst the Apostles. The left panel (probably by Lucas Cranach the Younger) represents the Baptism: Philipp Melanchthon administering the sacrament of Baptism, while the right panel (by Lucas Cranach the Younger) represents the Penance: Johannes Bugenhagen administering the power of keys by hearing confession of sins and administering absolution. The predella shows Martin Luther preaching.\r\n\r\n\n","end_year":1547,"genre":"painting","materials":"Oil on panel","museum_name":"Stadtkirche, Wittenberg","name":"Reformation Altar","start_year":1530,"type":"religious","url":"https://www.wga.hu/detail/c/cranach/lucas_e/01/05altar1.jpg"},{"artworkid":976,"author":"GIOTTO di Bondone","description":"\r\nThis is the twenty-fourth of the twenty-eight scenes (twenty-five of which were painted by Giotto) of the Legend of Saint Francis.\r\nGiotto's authorship of some parts of the last scenes is often questioned, and in the case of those in the last bay (after No. 25, usually attributed to the St Cecilia Master) denied completely.\r\n\r\n\n","end_year":1300,"genre":"painting","materials":"Fresco, 270 x 230 cm","museum_name":"Upper Church, San Francesco, Assisi","name":"Legend of St Francis: 24. Canonization of St Francis","start_year":1300,"type":"religious","url":"https://www.wga.hu/detail/g/giotto/assisi/upper/legend/franc24.jpg"},{"artworkid":980,"author":"BRAKENBURG, Richard","description":"\r\nMost of Brakenburg's genre scenes are clearly inspired by Jan Steen, who worked in Haarlem between 1661 and 1670. It is thought that Richard Brakenburg might have worked in his studio.\r\n\r\n\n","end_year":1679,"genre":"painting","materials":"Oil on canvas, 70 x 86 cm","museum_name":"Private collection","name":"Tavern Interior","start_year":1679,"type":"genre","url":"https://www.wga.hu/detail/b/brakenbu/tavern2.jpg"},{"artworkid":984,"author":"DRER, Albrecht","description":"\r\nDürer's most important contribution to the theoretical study of art was his work on the question of human proportion, a problem which arose from the Italian artists' search for the ideal measurements of the body. After years of study, Dürer ultimately decided that there was no absolute ideal. Choosing the head as the basic measurement for other parts of the human body, he established a series of proportions devised according to different physiques. His theory was published in his Four Books on Human Proportion, but although he had begun to correct the proofs it was not published until six months after his death.\r\nThe picture shows an illustration from Four Books on Human Proportion.\r\n\r\n\n","end_year":1528,"genre":"graphics","materials":"Woodcut, 22 x 16 cm","museum_name":"Graphische Sammlung Albertina, Vienna","name":"Figure of Woman Shown in Motion","start_year":1528,"type":"study","url":"https://www.wga.hu/detail/d/durer/2/12/9_1528/6books5.jpg"},{"artworkid":988,"author":"PRETI, Francesco Maria","description":"\r\nIn his design for Villa Pisani in Stra, Francesco Maria Preti was looking straight back to the Palladian villa all'antica, for instance, in his use of a central temple façade. However, compared with Palladio's villas, the sheer size of Villa Pisani was radically different. This difference in dimensions was due to the influence of palace architecture.This also applied to the addition, on the garden side, of a complete storey on the attic floor.\r\nThe photo shows the façade.\r\n\r\n\n","end_year":1756,"genre":"architecture","materials":"Photo","museum_name":"Villa Pisani, Stra","name":"Exterior view","start_year":1735,"type":"other","url":"https://www.wga.hu/detail/p/preti_f/pisani.jpg"},{"artworkid":992,"author":"BOTTICELLI, Sandro","description":"\r\nIn the second episode the woman has fallen, bitten by the dogs, wounded by the sword. The knight dismounts, cuts open her back and rips out her heart to feed it to his dogs. The woman gets to her feet and starts running again, the horse and dogs start the chase again. Degli Onesti realizes that he has witnessed a phantom hunt, a curse.\r\n\r\n\n","end_year":1483,"genre":"painting","materials":"Tempera on panel, 82 x 138 cm","museum_name":"Museo del Prado, Madrid","name":"The Story of Nastagio degli Onesti (second episode)","start_year":1483,"type":"historical","url":"https://www.wga.hu/detail/b/botticel/6nastagi/nastag2.jpg"},{"artworkid":996,"author":"ARCHITECT, Spanish","description":"\r\nIn the south of the kingdom of León, the cathedrals of Zamora and Salamanca and the collegiate church of Toro were built around the middle of the twelfth century. All three have a number of features in common, indicating regionalism. The churches have most ostensibly in common that their crossings are each surmounted by a peculiar circular or domed tower known as \"Cimborio.\"\r\nThe construction of the old cathedral in Salamanca was started before mid-twelfth century, but the major part of the construction work was carried out in the second half of the century and the building was completed in the thirteenth century. In the early sixteenth century a new building of monumental proportions had been constructed next to the original one, and although the north wall of the old building was destroyed to make way for it, the rest of it remained undamaged. The two buildings are distinguished  the \"Catedral Nueva\" (New Cathedral) and \"Catedral Vieja\" (Old Cathedral).\r\nThe Old Cathedral has a considerably longer nave and more bays than the churches in Zamora and Toro. The transept is relatively more prominent. In the interior the similarities are obvious. the cathedral of Salamanca has been constructed throughout with groin vaults; it also boasts the mighty, pointed transverse arches in the nave. They form a particularly prominent sculptural feature in the interior because of an extra respond. Powerful, cruciform-based clustered piers rise from round bases and project so far into the nave that they almost seem to obstruct it.\r\nThe photo shows the chancel and the \"Torre del Gallo\" seen from the south-east.\r\nView the ground plan of the Cathedral of Salamanca.\r\n\r\n\n","end_year":1200,"genre":"architecture","materials":"Photo","museum_name":"Old Cathedral, Salamanca","name":"Exterior view","start_year":1150,"type":"religious","url":"https://www.wga.hu/detail/zzzarchi/12c/5/17s_1152.jpg"},{"artworkid":1000,"author":"BCKLIN, Arnold","description":"\r\nBöcklin's patron Marie Berna commissioned this painting in 1880 as a memorial to her late husband. It is based on an unfinished canvas that she saw in the artist's studio in Florence; at her request, he added the draped coffin and the shrouded figure to the rowboat in the foreground. Böcklin later wrote to her, \"you will be able to dream yourself into the world of dark shadows.\" Between 1883 and 1886, he painted three additional versions of the subject, each slightly different. The five versions of the painting are the following.\r\nFirst version: 1880, oil on canvas, 111 x 155 cm, Öffentliche Kunstsammlung, Basel.\r\nSecond version: 1880, oil on wood, 74 x 122 cm, Metropolitan Museum, New York.\r\nThird version: 1883, oil on wood, 80 x 150 cm, Alte Nationalgalerie, Berlin.\r\nFourth version: 1884; oil on zinc, 81 x 151 cm, destroyed in 1945.\r\nFifth version: 1886, oil on wood, 80 x 150 cm, Museum der Bildenden Künste, Leipzig.\r\nThe scene was widely reproduced and inspired numerous artists, including the composer Sergei Rachmaninoff and the Surrealist painter Salvador Dalí.\r\n\r\n\n","end_year":1880,"genre":"painting","materials":"Oil on wood, 74 x 122 cm","museum_name":"Metropolitan Museum of Art, New York","name":"Island of the Dead (second version)","start_year":1880,"type":"landscape","url":"https://www.wga.hu/detail/b/bocklin/isle2.jpg"},{"artworkid":989,"author":"SANGALLO, Antonio da, the Elder","description":"\r\nIn 1518, Antonio da Sangallo the Elder accepted one of the major commissions of the period, the pilgrimage church of the Madonna di San Biagio at Montepulciano. The church was built to commemorate a miracle that took place on one of the slopes surrounding the city, and thus Antonio had a site in the midst of a magnificent landscape with no preexisting constructions.\r\nAntonio's most important work is the pilgrimage church of the Madonna di San Biagio (begun 1518). The dome was completed in 1543, the east tower in 1564, and the west tower (not completed) was added in 1574. The lantern and the upper floor of the tower were designed in 1543 by Baccio d'Agnolo.\r\nAntonio's numerous drawings of the project (Florence, Uffizi) are evidence of a careful process of planning. Taking the model of his brother's Santa Maria delle Carceri, Prato, as a starting-point, he created a vast centralized building. The plan is a Greek cross, without aisles. A square block projects above the crossing to form a base for the drum, pilastered inside and out, which supports a hemispherical dome. The arms of the cross are barrel-vaulted, and the four supporting arches at the crossing spring from a jutting entablature borne on ensembles of deeply modelled Doric pilasters and engaged columns on a low plinth, which project well forward into the crossing space.\r\nThe church is designed into its landscape setting and, while enhancing the significance of its site, defers to the ambient buildings. The church, on which he worked from 1518 until his death in 1534, was the most ambitious church building of the period with the exception of St. Peter's in Rome.\r\nView the ground plan and section of the church.\r\n\r\n\n","end_year":1534,"genre":"architecture","materials":"Photo","museum_name":"Madonna di San Biagio, Montepulciano","name":"General view","start_year":1518,"type":"other","url":"https://www.wga.hu/detail/s/sangallo/antonio1/montepu1.jpg"},{"artworkid":993,"author":"MASTER M S","description":"\r\nThe detail shows Elizabeth kissing the hand of Virgin Mary.\r\n\r\n\n","end_year":1506,"genre":"painting","materials":"Tempera on limewood","museum_name":"Magyar Nemzeti Galria, Budapest","name":"The Visitation (detail)","start_year":1506,"type":"religious","url":"https://www.wga.hu/detail/m/master/ms/1visita2.jpg"},{"artworkid":997,"author":"POLLACK, Mihly","description":"\r\nThe Hungarian National Museum traces its foundation to 1802 when Count Ferenc Széchényi set up the National Széchényi Library. It is a national museum for the history, art and archaeology of Hungary, including areas not within Hungary's modern borders such as Transylvania. The style of the main building was laid out in a Neo-classical style by Mihály Pollack and was added onto by other artists in the form of statues, paintings and other architecture.\r\n\r\n\n","end_year":1846,"genre":"architecture","materials":"Photo","museum_name":"Hungarian National Museum, Budapest","name":"Exterior view","start_year":1837,"type":"other","url":"https://www.wga.hu/detail/p/pollack/mihaly/n_museum.jpg"},{"artworkid":995,"author":"SILO, Diego de","description":"\r\nThe tomb of Bishop Luis de Acuña (died 1495) is a Renaissance work carved in alabaster by Diego de Siloé. The lying effigy rests on a low bed whose flanks are illustrated with Virtues reliefs.\r\nDiego de Siloé began his career as an associate of Bartolomé Ordóñez and probably worked with him in Italy. By 1519 he had returned to Burgos, where he remained until 1528. His most notable sculptures of this period include the tomb of Bishop Luis de Acuña (1519-20), a Man of Sorrows for the St Anne altarpiece of (1523), a section of the Presentation in the Temple, part of the main altarpiece in the Capilla del Condestable, executed in collaboration with Felipe Vigarny (1523-25), and the wall tomb of Canon Diego de Santander, all in Burgos Cathedral, as well as some free-standing sculptures: Christ at the Column (Diocesan Museum of the Cathedral, Burgos; another at Dueñas, S Agustín, La Visitación), St Sebastian in Barbadillo de Herreros (Burgos, La Visitación), and St Michael (Sasamón, S María la Real). The emphasis on the physical beauty of the sacred figures, the study of anatomy, his use of the proportions for the human body based on the canon of eight heads, and the exploration of expression and movement are innovative characteristics, which show the influence of Italian Renaissance sculpture; they are attributed to the impact of Michelangelo, whose work Siloé no doubt studied in Italy.\r\n\r\n\n","end_year":1520,"genre":"sculpture","materials":"Alabaster","museum_name":"Capilla Santa Ana, Cathedral, Burgos","name":"Tomb of Bishop Luis de Acua","start_year":1519,"type":"religious","url":"https://www.wga.hu/detail/s/siloe/diego/sculptur/acuna.jpg"},{"artworkid":999,"author":"KNOX, Archibald","description":"\r\nThe box, designed by Archibald Knox, was manufactured for Liberty & Co. by W. H. Haseler Ltd., London. This firm acted in partnership with Liberty & Co. for the manufacture of the Cymric range of silverware.\r\nDuring the late 19th century, archaeological investigations and discoveries contributed to regionalist and nationalist impulses in the decorative arts, such as the so-called \"Viking Revival\" style, rife with Scandinavian forms. Manx designer Archibald Knox often paired ornament inspired by the traditional arts of his Celtic ancestors with stylistic conventions of contemporary design movements. This box, enlivened by Celtic-inspired interlaced knots and enamelled buds characteristic of the English Arts and Crafts movement, captures the dual senses of historicism and modernity that defined turn-of-the-century design.\r\nThis box is one of four variants known to exist. The Museum's example is the most elaborate of the four and is distinguished from the other known examples by its bulging lid and massive opal cabochon. The complexity and scale of this work suggest it was made on special order and was among the more costly works in Liberty & Co.'s Cymric line of silver goods.\r\n\r\n\n","end_year":1905,"genre":"metalwork","materials":"Silver, enamel, and opal, 14 x 16 x 26 cm","museum_name":"Museum of Art, Dallas","name":"Box (model 652 variant)","start_year":1905,"type":"other","url":"https://www.wga.hu/detail/k/knox/1metal4.jpg"}]