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τη ωραια πυλη του ιερου (tē hōraia pylē tou hierou, the Beautiful Gate of the temple) [2] According to the Acts narrative, there was a habitual beggar there with a congenital disability, who sought alms as people entered and left the temple.
Another beggar in rags on the right of the first one is kneeling while he supports himself with crutches. Behind these two figures is a section of wall with ivy and a column, suggesting a city gate. At the top left behind St Martin is an older man on horseback who is looking at the scene with an expression of astonishment.
The Gate of Calais / O the Roast Beef of Old England painting (1748) print (1749)—a comic view of the French inspired by Hogarth's arrest as a spy in Calais [180] Portrait of George Osborne, later John Ranby Jnr (c.1748-50) Portrait of Hannah, Daughter of John Ranby Snr (c.1748-50)
A beggar in a tall hat and long cloak, with a cottage and two figures in the background: About 1629 or earlier B012: 1: Self portrait in a fur cap, in an oval border: About 1629 B095: 1: Peter and John at the gate of the Temple: roughly etched: About 1629 B106: 1: St. Jerome kneeling: a large plate: About 1629 B115: 1: The small lion hunt: with ...
Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c. 1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera. [17] [18] One of his real-life subjects was Sarah Malcolm, whom he sketched two days before her execution.
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Attempts have been made to interpret the picture of five disabled people and a beggar-woman as an allusion to a historical event: the badger's tails, or foxes' tails, on their clothes might refer to the Gueux, a rebel party formed against the government of Philip II of Spain and Granvelle; but these also occur in Bruegel's The Fight Between Carnival and Lent in Vienna, dated 1559.
Guercino's drawings are known for their fluent style in which "rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms". [ 21 ] Despite presumably having monocular vision due to a 'lazy' right eye, Guercino showed remarkable facility to imply depth in his works, perhaps assisted by an enhanced ...