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Gallery of Beauties The Nymphenburg Palace seen from its park. The Gallery of Beauties (German: Schönheitengalerie) is a collection of 38 portraits of the most beautiful women from the nobility and bourgeoisie of Munich, Germany, gathered by King Ludwig I of Bavaria in the south pavilion of his Nymphenburg Palace. [1]
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The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and ...
La Belle Strasbourgeoise is the most famous of the circa 1,500 portrait paintings by Largillière, and arguably the most iconic work in the Strasbourg museum. The identity of the depicted woman is unknown: she may be someone from the Strasbourg bourgeoisie, or a young Parisian in disguise (Strasbourg had become part of France only 22 years prior, in 1681), or the painter's own sister, Marie ...
The Bar (painting) A Bar at the Folies-Bergère; The Bathers (Renoir) Bathers with a Turtle; The Bathers (Cézanne) Beatrice Hastings in Front of a Door; The Beauty; Beijing 2008 (painting) The Beloved (Rossetti) Berlin Street Scene; Bertha Wegmann Painting a Portrait; Bharat Mata (painting) The Black Brunswicker; Black Woman with Child
Gothic art — art of the Gothic style during the Medieval period (mid-12th century until the late 15th century) in regions of Europe. Subcategories This category has the following 9 subcategories, out of 9 total.
Nan Wood Graham (July 26, 1899 – December 14, 1990) was an American artist and art teacher. She was the sister of painter Grant Wood.She is best known as the model for the woman in her brother's most famous painting, American Gothic (1930).
It shows a woman with the pale skin, high cheek bones and oval eyelids typical of the idealised portraits of noble women of the period. [2] She is identifiable as the Magdalen from the jar of ointment placed in the foreground, which is her traditional attribute in Christian art. She is presented as completely absorbed in her reading, a model of ...
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