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At least it hides the face partly well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not ...
Whatever meaning is given to the scene and its details, and there has been much debate on this, according to Craig Harbison the painting "is the only fifteenth-century Northern panel to survive in which the artist's contemporaries are shown engaged in some sort of action in a contemporary interior.
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 ...
The Mont-Saint-Michel Island, depicted in the famous painting of the same name by James Webb in 1857, is a famous tourist destination. Its history dates back to the 8th century. Bishop Aubert ...
The Courtauld said there's evidence toward the bottom of the painting that suggests that it was a "much-reworked canvas" and that the mystery woman might have been a figure painted in Picasso's ...
Impression, Sunrise (French: Impression, soleil levant) is an 1872 painting by Claude Monet first shown at what would become known as the "Exhibition of the Impressionists" in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement. Impression, Sunrise depicts the port of Le Havre, Monet's hometown.
100 Great Paintings is a British television series broadcast in 1980 on BBC Two, devised by Edwin Mullins. [1] He chose 20 thematic groups, such as war, the Adoration , the language of colour, the hunt, and bathing, picking five paintings from each. [ 2 ]
The art historian Svetlana Alpers suggests that, by portraying the artist at work in the company of royalty and nobility, Velázquez was claiming high status for both the artist and his art, [65] and in particular to propose that painting is a liberal rather than a mechanical art. This distinction was a point of controversy at the time.
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