This painting depicts the abstract form of a woman sitting in a chair with her head, shown in profile and tilted upward. There is a stringed instrument in her lap and her hands rest on the arms of the chair. It is painted in muted colors of aqua and lavender with brighter areas of yellow, orange and blue. The figure, chair and instrument are created with just a few black lines to suggest their forms.
The painting is an abstract rendering of a woman seated in a chair, playing a mandolin. Picasso has emphasized the theme by including several musical symbols. The subject is Marie Therese Walter, Picasso’s lover at the time.
This is a large semi-circular painting (lunette) with several figures arranged to accomodate the shape of the canvas. It is night time, so the scene is enveloped in darkness. In the top center area, there is an angel, surrounded by bright light, who holds out a golden goblet toward a man kneeling before him. This man, with arms outstretched, looks up toward the goblet and the face of the angel. His face is illuminated by the light. He is wearing a bright red robe and a dark blue cloak. In the left foreground, there are three men who are sleeping. Two are sitting on the ground and the third, an elderly man with white hair, is reclining in front of them. They have dark blue and brown cloaks wrapped around them. On the lower right, shown in the far distance, is a group of people walking toward the kneeling figure. This scene is painted in dark tones of brown, green, blue and gray, except for the red robe of the kneeling man and areas on faces, arms and legs which are highlighted by a bright light.
This painting depicts a scene from the Passion of Jesus Christ, as told in the New Testament. Following the Last Supper, Jesus and three of his disciples went to the Mount of Olives so that he could pray. He asked Peter, James and John to stand guard, but they fell asleep. During his time of prayer, Jesus accepted his fate, " My Father, if this chalice may not pass away but I must drink it, thy will be done" (Matthew 26:42). Judas brought soldiers to the Mount of Olives and betrayed Jesus with a kiss.
Here, Jesus is shown kneeling with his arms outstretched toward an angel who holds a goblet. These two figures are illuminated by a bright light that provides a strong contrast with the surrounding darkness. On the left are the three disciples. John, in a brown cloak, sits asleep with his head propped on an arm. James, in a blue cloak, sits slumped over. Peter, an old man with white hair and beard, lies sleeping on the ground. The figure of Christ and the grouping of the disciples follow the curved shape of the lunette frame which was designed to fit in the architectural space of a church chapel. On the far right of the painting, in the distance, Judas leads a group of people who are walking toward Jesus.
It is thought that Dirck van Baburen created this copy of his original painting, that hangs in the San Pietro in Montorio church in Rome, as a replica to show to the Spanish king who commissioned the Pièta Chapel paintings. The chapel was decorated with scenes from the Passion of Christ during 1615-1620. There is a companion to the Baburen lunette painting titled, "Mocking of Christ," by David de Haen. Baburen's "Entombment," which hangs over the altar, is considered one of his best known works.
Bust-length figure of a woman with head turned proper left, down-turned eyelids and crescent moon atop head; executed in bronze with a rich, dark patina on a brownish stone base.
It is unclear whether this bust was first conceived as a study for Falguiere's full-length sculpture of Diana or as a spin-off to capitalize on the popularity of the finished statue. Regardless, Falguiere’s “Bust of Diana” was so popular at the end of the 19th century that many versions were made in at least three sizes and in different types of media, including marble and bronze. The bust would have appealed to its 19th century audience for its portrait-like realism, arresting pose, idealized beauty and Classical subject matter. In Roman mythology, Diana was goddess of the hunt and personification of the moon represented by the crescent atop her head. Abstracted from the context of the full-length statue in which her right arm is raised while her left holds a bow, Diana’s lowered eyelids and turned head give her an austere, slightly haughty appearance.