Seated man with disfigured face and amputated lower legs, shabbily dressed, holding a crutch along with a bunch of flowers in his right hand
This study of a disfigured and destitute casualty of the Great War is an example of George Grosz's tendency to use art as indictment against the indifference of the powerful in the face of postwar suffering; the grievously injured veteran who must resort to begging to survive is a type commonly found in the artist's Weimar era work
This painting shows a scene set in a room with high white walls that is open to the sky, like a courtyard. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
This painting shows a scene set in a courtyard with high white walls that is open to the sky. Beyond the wall there is flowering vegetation, tall trees and a tower with a balustrade with keyhole shaped openings. There are two clay pots resting on top of the wall and an oriental style carpet hanging over one side. Within this courtyard, there are three women who are looking at two small leopards that wear metal chains and stand in a keyhole shaped opening of the far right wall. The women, grouped together on the far left side, are wearing 19th century Moroccan dress, including richly embroidered, garments, headscarves and shoes. There is bright sunlight streaming into the room which creates shadows on the walls and floor.
Constant began to do paintings with Orientalist subjects following his travels in Spain and Morocco during the 1870s. Prior to that he was well known at the Paris Salon for exhibiting history scenes. The exact meaning of this subject is unknown, however, Constant had done other paintings of street scenes and harem women, including, Harem Women in Morocco, which received a third-class medal at the Salon in 1875. This painting shows his romantic treatment of these subjects and the inclusion of local artifacts, rugs and costumes from his studio collection.
This painting shows the interior of a large prison room. There is a thick stone wall and iron grating. Three figures are the focal point of this composition. One man, in a dark blue cloak, is standing and faces two other men who stare intently at his face. One of them is seated with a leg iron, on a stone bench and the other leans on a stone ledge. They are are dressed in simple brown cloaks. The standing figure has a raised left arm and is gesturing with his hand outstretched toward the other figures.
This history painting depicts a scene from the Old Testament (Genesis, Chapter 40) in which Joseph tells the Pharoah's servants what their dreams foretell. The Bible story relates that while in prison, the chief butler and chief baker to the Pharoah were troubled by their recent dreams. Joseph interpreted the butler 's dream to mean that he would be released and returned to the Pharoah's service in three days. Joseph asks the butler to remember him when that happens so that he might be released from prison. Joseph then interprets the baker's dream to mean that he will be put to death by the Pharoah in three days time. The events happened as Joseph predicted, but the chief butler forgets him and he remains imprisoned.
The setting for this painting is the interior of a prison where Joseph, standing on the left, is shown gesturing toward the baker and butler who stare intently at his face.
M. Bachelier is shown seated at a desk dressed in a high powdered wig and sumptous gold-embroidered velvet coat and waistcoat. Behind the figure is a rich cloth, pulled back to reveal columns. On the elaborately carved desk are papers and a writing set. M. Bachelier extends his left hand towards the viewer, suggesting that we have interepted him while writing at his des. The painting's coloring consists of rich burgundy red, green, tan and gold.
Pierre Bachelier directed the collection of taxes in the city of Lyon, France. Oudry's portrait recalls the official "portrait d'apparat" of his teacher, Nicolas de Largillière, that surrounds the sitter with emblems of his rank and profession.
This is a fine line drawing in pencil on white paper that shows a group of four figures of various ages. One is seated and the others are gathered around her chair, looking out at the viewer. They are dressed in early 19th c. European clothing. The central figure is a mature woman who embraces a young girl at her side. There is a boy and young woman standing behind her.
Portrait of a young man seated in a chair wearing a dark jacket, white shirt with high collar and neck tie with red stick pin; holding a book in his right hand. Plain grayish-brown background; gold frame.
Phillips worked mainly in New England painting portraits commissioned by members of the wealthy new middle class that emerged after the American Revolution to celebrate their status and place in society.
“Portrait of a Man” illustrates Phillips attention to facial features, preserving the sitter’s likeness, while his fine clothing, and the copy of Milton’s “Paradise Lost” indicate his sophistication, education and affluence.
Bust-length portrait of a woman with grey hair in a cream colored dress seated in a red chair with a view of the landscape to right of figure seen through an illusionistic stone oval window or oculus.
Based on a portrait of Martha Washington by his father, Charles Willson Peale, in 1795, this is one of several posthumous portraits of Martha Dandridge Custis Washington (June 2, 1731-May 22, 1802) painted by Rembrandt Peale in the 1850s. The stone oculus surrounding the sitter mirrors Peale’s “porthole portraits” of George Washington, which he framed in stone to underscore the subject’s monumentality and to serve as an allusion to the Roman Republic, whose ideals were continually invoked by the Founding Fathers.
An elegantly attired young woman is shown in a half-length portrait. Her hands are crossed in front of her at the wrist and she holds a partially open folding fan in her right hand. Her blue silk dress has long lace cuffs and a lace overlay at the shoulders and bodice. The bodice is also ornamented with silk bows of matching silk. At her neck is an elaborate pearl and lace choker; she has a matching pearl bracelet and seed pear earring. Her haif carries the blue of dress in the ornamentation at the crown of her head. Ribbons from her hair ornament cascade down either side of her bosom.
Johann Valentin Tischbein was a member of a prosperous Saxony-based family of artists. Tischbein spent time in the Netherlands working in Maastricht in 1747 and then at the Hague in 1750, before settling in Kassel as a court painter.
We do not know the sitter of this portrait, but from her elaborate dress we may assume that she was a young woman of rank in the region near Kassel. This painting is unusual in that it has never been relined (the process of adding a second canvas behind the original to give it support and strength) and preserves the freshness of the brushwork, particularly in the areas of the lace where the delicate impasto is frequently lost during relining.