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Pages in category "Paintings in the Courtauld Gallery" The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes. A.
The head of the Courtauld Gallery is Ernst Vegelin. [2] The gallery closed on 3 September 2018 for a major redevelopment, called Courtauld Connects, [3] [4] and reopened on 19 November 2021. [5] The Courtauld Institute of Art is a self-governing college of the University of London specialising in the study of the history of art.
La Loge ('The Theatre Box') is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London. [1] The painting depicts a young couple in a box at the Paris theatre. The woman was modeled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years.
Samuel Courtauld (7 May 1876 – 1 December 1947) was an English industrialist who is best remembered as an art collector. He founded The Courtauld Institute of Art in London in 1932 and, after a series of gifts during the 1930s, bequeathed his collection to the institute on his death. By the early 20th century, the Courtauld family business ...
The Courtauld Institute of Art (/ ˈ k ɔːr t ə ʊ l d /), commonly referred to as The Courtauld, is a self-governing college of the University of London specialising in the study of the history of art and conservation. It is among the most prestigious specialist colleges for the study of the history of art in the world and is known for the ...
The Courtauld Institute copy, believed to be a van Meegeren forgery. In 1960, Geoffrey Webb presented a version of the painting to the Courtauld Institute. At the end of the Second World War, he had been an allied officer in Europe investigating art works looted by the Nazis.
Seated Nude is a 1916 oil on canvas painting by Amedeo Modigliani, now in the Courtauld Gallery. [1] The painting is one of a famous series of nudes that Modigliani painted between 1916 and 1918, which include many of his most famous works. Its model was Beatrice Hastings, then the artist's lover.
To her, art was a way to make contact with God. [2] As her production continued, Houghton's images gained in complexity, exhibiting an increasing number of layers, colors and small details. [ 11 ] In the 19th century, “abstraction” was not yet a concept, hence the bemused tone of the critical reception of the paintings. [ 11 ]
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