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The painting represents three characters who stand out against a very dark background. Slightly off-center in the composition, Beaufort is seated, dressed in a characteristic cardinal's outfit: he is wrapped in his cassock, with his mozzetta covering the upper body, and wearing the biretta. He fills the space with the red colour, which is the ...
The List of painters in the National Gallery of Art is a list of the named artists in the National Gallery of Art, Washington, D.C. whose works there comprise oil paintings, gouaches, tempera paintings, and pastels. The online collection contains roughly 4,000 paintings by 1,000 artists, but only named painters with the previously mentioned ...
The painting was part of the collection of Cardinal Francesco Maria Del Monte, where it was cataloged in 1627. [1] The saint, together with Mary Magdelene, were among the Cardinal's favorites. According to Alessandro Zuccari, it was painted on the suggestion of the Cardinal when Caravaggio was living with him in the Palazzo Madama.
Portrait of a Cardinal, or simply The Cardinal, is an oil on panel painting by the Italian Renaissance artist Raphael, dated to c. 1510–1511. It is held by the Prado Museum in Madrid. Raphael had arrived in Rome in 1508, and quickly found great success during the papacy of Pope Julius II .
The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy.
Lucretia and her Husband Lucius Tarquinius Collatinus or Tarquin and Lucretia is an oil painting attributed to Titian, dated to around 1515 and now in the Kunsthistorisches Museum in Vienna. The attribution to this artist is traditional but uncertain - the brightened palette suggests it could instead be by Palma Vecchio .
Caterina Ginnasi (1590 – 30 November 1660) was an Italian noblewoman and painter of the Baroque period, active mainly in Rome.. Ginnasi was orphaned under a young age, and placed in the care of her uncle, Cardinal Domenico Ginnasi, who was the dean of the Holy College in Rome.
The advanced painting technique used by Goya, as well as elements such as the woman's attire and hairstyle, suggest a later date. Based on research, art historians at the Museo del Prado now believe the most likely date of creation to be between 1814 and 1816. [8] If the portrait indeed depicted the artist's wife, the year 1798 seems improbable.
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