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Wanderer above the Sea of Fog [a] is a painting by German Romanticist artist Caspar David Friedrich made in 1818. [2] It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.
The Son of Man (French: Le fils de l'homme) is a 1964 painting by the Belgian surrealist painter René Magritte. It is perhaps his best-known artwork. [1] Magritte painted it as a self-portrait. [2] The painting consists of a man in an overcoat and a bowler hat standing in front of a low wall, beyond which are the sea and a cloudy sky. The man ...
The personage depicted was possibly a cloth merchant or burgemeester. Hals mostly portrayed local people, barring a few rare examples of smaller portraits that were possibly painted for visitors to the town. In his 1910 catalog of Frans Hals works Hofstede de Groot wrote: 247. PORTRAIT OF A MAN STANDING. M. 148. Three-quarter-length.
[1] [3] The portrait and its pendant, Portrait of a Young Woman with a Fan, have been separated since 1793. [2] [4] Occasional exhibitions have reunited the pair. [3] Wilhelm von Bode was the first one to notice the similarities in size and composition and presented the man and woman as pendants in his catalogue of Rembrandt paintings in 1897 ...
Portrait of a Man (Parmigianino) Portrait of a Man with a Glove; Portrait of a Man Holding Gloves; Man in a Hammock; Portrait of a Man in a Red Hat; Portrait of a Man in a Red Suit; Man on a Balcony; Man with a Beer Jug; Man with a Glove; A Man with a Quilted Sleeve; Portrait of a Man with a Roman Medal; Portrait of a Man with Arms Akimbo; Man ...
Bronzino's portraits earned praise for being well executed and natural. [4] His first portraits were more freely painted and less precise, as seen in the portrait of Lorenzo Lenzi, than his later ones. [3] [4] For example, Bronzino's portrait of Ludovico Capponi (c. 1550–1555) is more smooth and has more controlled brushwork.
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The Vitruvian Man depicts a nude man facing forward and surrounded by a square, while superimposed on a circle. [2] The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base. [2]
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