Search results
Results from the WOW.Com Content Network
Self-portrait; Self-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...
The Arnolfini Marriage (1434, National Gallery, London) is a landmark of Western art, an early example of a full-length couple portrait, superbly painted in rich colors and exquisite detail. But equally important, it showcases the newly developed technique of oil painting pioneered by van Eyck, which revolutionized art, and spread throughout ...
Nefertiti bust, from the 18th dynasty, New kingdom Egyptian death mask from the 18th dynasty. Louvre, Paris portrait of Meritamun, 19th dynasty of Egypt. Portraiture in ancient Egypt forms a conceptual attempt to portray "the subject from its own perspective rather than the viewpoint of the artist ... to communicate essential information about the object itself". [1]
Portrait of Giovanni di Nicolao Arnolfini, 29 x 20cm.Gemäldegalerie, Berlin. Portrait of Giovanni di Nicolao Arnolfini (or Portrait of a Man in a Red Chaperon) is a small c. 1438 portrait by Jan van Eyck believed to be the same person as in the famous 1434 Arnolfini Portrait due to the similarities of facial features.
“In history of art, the butterfly symbolizes metamorphosis and rebirth,” explained Yeo, who was commissioned by The Drapers’ Company to paint Charles portrait in 2020 when he was still the ...
Portrait of Erasmus of Rotterdam by Hans Holbein the Younger. Authentic portraits are ideal, but none exist for the vast majority of historic personalities. Where they exist, authentic portraits, i.e. artistic depictions of a person that purport to provide an individualized, authentic representation of that person's unique looks, based either directly or indirectly on a witness's first-hand ...
The painting has symbolism in the headscarf and outfit that portray Gentileschi in a costume that resembles a Romani woman. [5] Self-Portrait as a Lute Player has been interpreted as Gentileschi portraying herself as a knowledgeable musician, [4] a self portrayal as a prostitute, [6] and as a fictive expression of one aspect of her identity. [7]