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A later version of the painting, on canvas, [7] had been offered to the Kansas City Art Institute as the original, but was identified as a copy, on the basis of a photograph, by Sir Joseph Duveen, who permitted his remarks to be published in the New York World in 1920; the owner, Mrs Andrée Lardoux Hahn, sued for defamation of property in a ...
The subject in the painting had previously been described by the art dealer Jan C. Schuller as "little negress" during an exhibition in 1908. [10] A newspaper at the time described the portrait as "the superbly painted 'Little Negress' of very distinguished colouring and conception and with fine painting of the fabric of the clothes and of the ...
15th century depiction of Isabella. Isabella of France (1295 – 22 August 1358) was Queen of England and the daughter of Philip IV of France.Sometimes called the "She-Wolf of France", she was a key figure in the rebellion which deposed her husband, Edward II of England, in favor of their eldest son Edward III.
The painting illustrates an episode from Giovanni Boccaccio's Decameron novel Lisabetta e il testo di bassilico (1349 - 1353), which was reused for John Keats's poem, Isabella, or the Pot of Basil, which describes the relationship between Isabella, the sister of wealthy medieval merchants, and Lorenzo, an employee of Isabella's brothers. It ...
Isabella Francken (d. after 1631) was a Flemish painter who was active in the first part of the 17th century. [1] She was a member of the large Francken family of artists. Only a few works are currently attributed to her. These are history, landscape, and genre paintings, which are in the style representative of the Francken family workshop. [1]
Women were often only reluctantly educated as artists in Bonheur's day, and by becoming such a successful artist she helped to open doors to the women artists who followed her. [29] Bonheur was known for wearing men's clothing; [30] she attributed her choice of trousers to their practicality for working with animals (see Rational dress). [31]
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picture from Les Français sous la Révolution by Augustin Challamel & Wilhelm Ténint. The Incroyables (French: [ɛ̃kʁwajabl], "incredibles") and their female counterparts, the Merveilleuses (French: [mɛʁvɛjøz], "marvelous women"), were members of a fashionable aristocratic subculture in Paris during the French Directory (1795–1799).