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Madhubani art (also known as Mithila art) is a style of painting practiced in the Mithila region of India and Nepal. It is named after the Madhubani district of Bihar, India, which is where it originated. [1] Jitwarpur, Ranti and Rasidpur are the three most notable cities associated with the tradition and evolution of Madhubani art. [1]
Saint Jerome in His Study is a painting by the Italian Renaissance master Antonello da Messina. The painting depicts human, natural, and divine knowledge, and is filled with architectural qualities. The painting depicts human, natural, and divine knowledge, and is filled with architectural qualities.
Goethe famously said in 1807 that painting "lacks any established, accepted theory as exists in music". [2] [3] Kandinsky in 1911 reprised Goethe, agreeing that painting needed a solid foundational theory, and such theory should be patterned after the model of music theory, [2] and adding that there is a deep relationship between all the arts, not only between music and painting.
The Art of Painting, also known as The Allegory of Painting (Dutch: Allegorie op de schilderkunst), or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. [1]
Isle of the Dead (German: Die Toteninsel) is the best-known painting of Swiss Symbolist artist Arnold Böcklin (1827–1901). Prints were very popular in central Europe in the early 20th century— Vladimir Nabokov observed in his 1936 novel Despair that they could be "found in every Berlin home".
The painting was pictured on an 1869 United States 24-cent definitive postage stamp. Trumbull's Declaration of Independence signing scene painting has been depicted several times on United States currency and postage stamps. It was first used on the reverse side of the $100 National Bank Note that was issued in 1863. [3]
Rossetti was commissioned by William Graham to paint for him a version of Beata Beatrix, which Rossetti at first resisted.After stopping and starting the work, he grew to enjoy revisiting the theme, and altered the suffusion of light from the original, increasing background definition, and perhaps the idealization of the subject. [6]
The painting represents an imaginary scene of a contemporary scientific demonstration, based on real life, and depicts the eminent French neurologist Jean-Martin Charcot (1825–1893) delivering a clinical lecture and demonstration at the Pitié-Salpêtrière Hospital in Paris (the room in which these demonstrations took place no longer exists at the Salpêtrière).