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Castiglione is seated against an earth-toned background and wears a dark doublet with a trim of squirrel fur and black ribbon; on his head is a turban topped by a notched beret. [4] The attire indicates that this was painted during the winter, likely that of 1514–1515, when Castiglione was in Rome by appointment of Guidobaldo da Montefeltro ...
Though he was a German-born artist who spent much of his time in England, Holbein here displays the influence of Early Netherlandish painting.He used oils which for panel paintings had been developed a century before in Early Netherlandish painting, and just as Jan van Eyck and the Master of Flémalle used extensive imagery to link their subjects to religious concepts, Holbein used symbolic ...
During the Second World War the painting was stolen by the Nazis from Poland. Many historians regard it as the most important painting missing since World War II. [1] [2] The portrait is in oil on panel, probably from 1513 to 1514, and is by the Italian High Renaissance painter and architect Raffaello Sanzio da Urbino better known simply as ...
Renaissance art largely excluded Black people, even as it emerged during the early phases of the transatlantic slave trade which ultimately brought 10.7 million African men, women and children to ...
The painting depicts two women, one black and one white, sitting next to each other covered in beauty patches. The painting is unusual for the time in its depiction of the sitters as equals. [2] [3] The women are presented as companions with similar dress, makeup, hair, and jewelry. The work was created circa 1650 and subverts traditional ...
According to the subreddit’s description, accidental Renaissance refers to “a photo that inadvertently resembles a painting similar in composition, style, lighting, and/or subject to ...
The tonal pattern created by the dark garment, the white linen and position of the hand is a compositional feature of the painting. In Leonardo da Vinci 's John the Baptist , elements of the painting, including the corners of the model's eyes and mouth, are disguised by shadow, creating an air of ambiguity and mystery.
A homage to this painting appears in the final panel of On the False Earths (1977), the seventh volume of Jean-Claude Mézières and Pierre Christin's long-running comic book series Valérian and Laureline. [11] The painting was featured prominently in Jean-Pierre Jeunet's film Le Fabuleux Destin d'Amélie Poulain — released in English as ...
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