LaurieAnnie's photos

Roman Gallery in the Metropolitan Museum of Art, S…

Roman Gallery in the Metropolitan Museum of Art, S…

Detail of the Portrait of a Young Woman by Lorenzo…

16 Sep 2021 25
Portrait of a Young Woman ca. 1490–1500 Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) Italian Object Details Title: Portrait of a Young Woman Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence) Date: ca. 1490–1500 Medium: Oil on wood Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm) Classification: Paintings Credit Line: Bequest of Richard De Wolfe Brixey, 1943 Accession Number: 43.86.5 This damaged but evocative portrait has been identified as the widow of the artist's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (ginepro) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Text from: www.metmuseum.org/art/collection/search/436910

Detail of the Portrait of a Young Woman by Lorenzo…

16 Sep 2021 24
Portrait of a Young Woman ca. 1490–1500 Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) Italian Object Details Title: Portrait of a Young Woman Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence) Date: ca. 1490–1500 Medium: Oil on wood Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm) Classification: Paintings Credit Line: Bequest of Richard De Wolfe Brixey, 1943 Accession Number: 43.86.5 This damaged but evocative portrait has been identified as the widow of the artist's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (ginepro) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Text from: www.metmuseum.org/art/collection/search/436910

Portrait of a Young Woman by Lorenzo di Credi in t…

16 Sep 2021 24
Portrait of a Young Woman ca. 1490–1500 Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) Italian Object Details Title: Portrait of a Young Woman Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence) Date: ca. 1490–1500 Medium: Oil on wood Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm) Classification: Paintings Credit Line: Bequest of Richard De Wolfe Brixey, 1943 Accession Number: 43.86.5 This damaged but evocative portrait has been identified as the widow of the artist's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (ginepro) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Text from: www.metmuseum.org/art/collection/search/436910

Portrait of a Young Woman by Lorenzo di Credi in t…

16 Sep 2021 24
Portrait of a Young Woman ca. 1490–1500 Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) Italian Object Details Title: Portrait of a Young Woman Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence) Date: ca. 1490–1500 Medium: Oil on wood Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm) Classification: Paintings Credit Line: Bequest of Richard De Wolfe Brixey, 1943 Accession Number: 43.86.5 This damaged but evocative portrait has been identified as the widow of the artist's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (ginepro) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Text from: www.metmuseum.org/art/collection/search/436910

Detail of a Portrait of a Young Man by Antonello d…

16 Sep 2021
Portrait of a Young Man ca. 1470 Antonello da Messina (Antonello di Giovanni d'Antonio) Italian Object Details Title: Portrait of a Young Man Artist: Antonello da Messina (Antonello di Giovanni d'Antonio) (Italian, Messina ca. 1430–1479 Messina) Date: ca. 1470 Medium: Oil on wood Dimensions: 10 5/8 x 8 1/8 in. (27 x 20.6 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.645 Trained in Naples in the Netherlandish technique of oil painting, Antonello set the standard for portraiture when he came from Sicily to Venice in 1475. Long before Leonardo da Vinci, he introduced the incipient smile as an indication of the inner life of the sitter, enveloping his features in a soft light and engaging the viewer with his direct gaze. In these ways, the picture responds to the often-voiced negative view that painting was a mere depiction of the outward appearance of a person—not his character. Text from: www.metmuseum.org/art/collection/search/435581

Portrait of a Young Man by Antonello da Messina in…

16 Sep 2021
Portrait of a Young Man ca. 1470 Antonello da Messina (Antonello di Giovanni d'Antonio) Italian Object Details Title: Portrait of a Young Man Artist: Antonello da Messina (Antonello di Giovanni d'Antonio) (Italian, Messina ca. 1430–1479 Messina) Date: ca. 1470 Medium: Oil on wood Dimensions: 10 5/8 x 8 1/8 in. (27 x 20.6 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.645 Trained in Naples in the Netherlandish technique of oil painting, Antonello set the standard for portraiture when he came from Sicily to Venice in 1475. Long before Leonardo da Vinci, he introduced the incipient smile as an indication of the inner life of the sitter, enveloping his features in a soft light and engaging the viewer with his direct gaze. In these ways, the picture responds to the often-voiced negative view that painting was a mere depiction of the outward appearance of a person—not his character. Text from: www.metmuseum.org/art/collection/search/435581

Detail of The Last Communion of St Jerome by Botti…

16 Sep 2021
The Last Communion of Saint Jerome early 1490s Botticelli (Alessandro di Mariano Filipepi) Italian Object Details Title: The Last Communion of Saint Jerome Artist: Botticelli (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence) Date: early 1490s Medium: Tempera and gold on wood Dimensions: 13 1/2 x 10 in. (34.3 x 25.4 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.642 The great fourth-century scholar and translator of the Bible into Latin is shown in his cell near Bethlehem, supported by his brethren as he receives Last Communion. Famous in its day, the picture was painted for the Florentine wool merchant Francesco del Pugliese, a supporter of the radical preacher Savonarola. An opponent of the Medici, Pugliese may have been attracted to the subject for its deeply devotional content. The period frame was carved in the workshop of Giuliano da Maiano; the lunette is by Bartolomeo di Giovanni, who sometimes collaborated with Botticelli. Text from: www.metmuseum.org/art/collection/search/435728

Detail of The Last Communion of St Jerome by Botti…

16 Sep 2021
The Last Communion of Saint Jerome early 1490s Botticelli (Alessandro di Mariano Filipepi) Italian Object Details Title: The Last Communion of Saint Jerome Artist: Botticelli (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence) Date: early 1490s Medium: Tempera and gold on wood Dimensions: 13 1/2 x 10 in. (34.3 x 25.4 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.642 The great fourth-century scholar and translator of the Bible into Latin is shown in his cell near Bethlehem, supported by his brethren as he receives Last Communion. Famous in its day, the picture was painted for the Florentine wool merchant Francesco del Pugliese, a supporter of the radical preacher Savonarola. An opponent of the Medici, Pugliese may have been attracted to the subject for its deeply devotional content. The period frame was carved in the workshop of Giuliano da Maiano; the lunette is by Bartolomeo di Giovanni, who sometimes collaborated with Botticelli. Text from: www.metmuseum.org/art/collection/search/435728

The Last Communion of St Jerome by Botticelli in t…

16 Sep 2021
The Last Communion of Saint Jerome early 1490s Botticelli (Alessandro di Mariano Filipepi) Italian Object Details Title: The Last Communion of Saint Jerome Artist: Botticelli (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence) Date: early 1490s Medium: Tempera and gold on wood Dimensions: 13 1/2 x 10 in. (34.3 x 25.4 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.642 The great fourth-century scholar and translator of the Bible into Latin is shown in his cell near Bethlehem, supported by his brethren as he receives Last Communion. Famous in its day, the picture was painted for the Florentine wool merchant Francesco del Pugliese, a supporter of the radical preacher Savonarola. An opponent of the Medici, Pugliese may have been attracted to the subject for its deeply devotional content. The period frame was carved in the workshop of Giuliano da Maiano; the lunette is by Bartolomeo di Giovanni, who sometimes collaborated with Botticelli. Text from: www.metmuseum.org/art/collection/search/435728

The Last Communion of St Jerome by Botticelli in t…

16 Sep 2021
The Last Communion of Saint Jerome early 1490s Botticelli (Alessandro di Mariano Filipepi) Italian Object Details Title: The Last Communion of Saint Jerome Artist: Botticelli (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence) Date: early 1490s Medium: Tempera and gold on wood Dimensions: 13 1/2 x 10 in. (34.3 x 25.4 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.642 The great fourth-century scholar and translator of the Bible into Latin is shown in his cell near Bethlehem, supported by his brethren as he receives Last Communion. Famous in its day, the picture was painted for the Florentine wool merchant Francesco del Pugliese, a supporter of the radical preacher Savonarola. An opponent of the Medici, Pugliese may have been attracted to the subject for its deeply devotional content. The period frame was carved in the workshop of Giuliano da Maiano; the lunette is by Bartolomeo di Giovanni, who sometimes collaborated with Botticelli. Text from: www.metmuseum.org/art/collection/search/435728

Detail of The Finding of Moses by Tintoretto in th…

16 Sep 2021 20
The Finding of Moses 1560s? Jacopo Tintoretto (Jacopo Robusti) Italian Object Details Title: The Finding of Moses Artist: Jacopo Tintoretto (Jacopo Robusti) (Italian, Venice 1518/19–1594 Venice) Date: 1560s? Medium: Oil on canvas Dimensions: 30 1/2 x 52 3/4 in. (77.5 x 134 cm) Classification: Paintings Credit Line: Gwynne Andrews Fund, 1939 Accession Number: 39.55 The biblical story of the Finding of Moses was popular in Venice. Tintoretto gives it an unusual twist by showing Pharaoh’s daughter watching as a nurse is found for the baby (actually his own mother), rather than the more typical discovery of the baby in the bulrushes. The meaning of the hunting scenes in the background remains mysterious. The proportions of the figures and the painting’s sketchy quality have led some critics to suggest that it might be by Jacopo’s son, Domenico. Text from: www.metmuseum.org/art/collection/search/437820

Detail of The Finding of Moses by Tintoretto in th…

16 Sep 2021 19
The Finding of Moses 1560s? Jacopo Tintoretto (Jacopo Robusti) Italian Object Details Title: The Finding of Moses Artist: Jacopo Tintoretto (Jacopo Robusti) (Italian, Venice 1518/19–1594 Venice) Date: 1560s? Medium: Oil on canvas Dimensions: 30 1/2 x 52 3/4 in. (77.5 x 134 cm) Classification: Paintings Credit Line: Gwynne Andrews Fund, 1939 Accession Number: 39.55 The biblical story of the Finding of Moses was popular in Venice. Tintoretto gives it an unusual twist by showing Pharaoh’s daughter watching as a nurse is found for the baby (actually his own mother), rather than the more typical discovery of the baby in the bulrushes. The meaning of the hunting scenes in the background remains mysterious. The proportions of the figures and the painting’s sketchy quality have led some critics to suggest that it might be by Jacopo’s son, Domenico. Text from: www.metmuseum.org/art/collection/search/437820

The Finding of Moses by Tintoretto in the Metropol…

16 Sep 2021 19
The Finding of Moses 1560s? Jacopo Tintoretto (Jacopo Robusti) Italian Object Details Title: The Finding of Moses Artist: Jacopo Tintoretto (Jacopo Robusti) (Italian, Venice 1518/19–1594 Venice) Date: 1560s? Medium: Oil on canvas Dimensions: 30 1/2 x 52 3/4 in. (77.5 x 134 cm) Classification: Paintings Credit Line: Gwynne Andrews Fund, 1939 Accession Number: 39.55 The biblical story of the Finding of Moses was popular in Venice. Tintoretto gives it an unusual twist by showing Pharaoh’s daughter watching as a nurse is found for the baby (actually his own mother), rather than the more typical discovery of the baby in the bulrushes. The meaning of the hunting scenes in the background remains mysterious. The proportions of the figures and the painting’s sketchy quality have led some critics to suggest that it might be by Jacopo’s son, Domenico. Text from: www.metmuseum.org/art/collection/search/437820

The Finding of Moses by Tintoretto in the Metropol…

16 Sep 2021 18
The Finding of Moses 1560s? Jacopo Tintoretto (Jacopo Robusti) Italian Object Details Title: The Finding of Moses Artist: Jacopo Tintoretto (Jacopo Robusti) (Italian, Venice 1518/19–1594 Venice) Date: 1560s? Medium: Oil on canvas Dimensions: 30 1/2 x 52 3/4 in. (77.5 x 134 cm) Classification: Paintings Credit Line: Gwynne Andrews Fund, 1939 Accession Number: 39.55 The biblical story of the Finding of Moses was popular in Venice. Tintoretto gives it an unusual twist by showing Pharaoh’s daughter watching as a nurse is found for the baby (actually his own mother), rather than the more typical discovery of the baby in the bulrushes. The meaning of the hunting scenes in the background remains mysterious. The proportions of the figures and the painting’s sketchy quality have led some critics to suggest that it might be by Jacopo’s son, Domenico. Text from: www.metmuseum.org/art/collection/search/437820

Detail of St. Nicholas and the Three Boys in the P…

16 Sep 2021 19
aint Nicholas with the Three Boys in the Pickling Tub ca. 1500 South Netherlandish Object Details Title: Saint Nicholas with the Three Boys in the Pickling Tub Date: ca. 1500 Culture: South Netherlandish Medium: Oak Dimensions: Overall: 42 1/2 x 20 x 15 1/2 in. (108 x 50.8 x 39.4 cm) Classification: Sculpture-Wood Credit Line: Gift of J. Pierpont Morgan, 1916 Accession Number: 16.32.193 According to popular legend, Saint Nicholas restored life to three youths who had been killed by a butcher and thrown into a pickling tub. Text from: www.metmuseum.org/art/collection/search/463794

St. Nicholas and the Three Boys in the Pickling Tu…

16 Sep 2021 27
aint Nicholas with the Three Boys in the Pickling Tub ca. 1500 South Netherlandish Object Details Title: Saint Nicholas with the Three Boys in the Pickling Tub Date: ca. 1500 Culture: South Netherlandish Medium: Oak Dimensions: Overall: 42 1/2 x 20 x 15 1/2 in. (108 x 50.8 x 39.4 cm) Classification: Sculpture-Wood Credit Line: Gift of J. Pierpont Morgan, 1916 Accession Number: 16.32.193 According to popular legend, Saint Nicholas restored life to three youths who had been killed by a butcher and thrown into a pickling tub. Text from: www.metmuseum.org/art/collection/search/463794

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