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Slive felt the painting could be dated to Hals' earliest period but felt there was too little "Hals juvenalia" to date it with certainty before 1610. In 1989 Claus Grimm listed it again as a pendant of the Man Holding a Skull but felt that it may have been painted somewhat later, but agreed with Slive that the period was before 1620.
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. [4] Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
Palma Vecchio is known mainly for religious scenes and portraits of women, and Gould (1975) thinks this example of the latter group characteristic of his style. [ 10 ] [ 11 ] The subject is a young woman of that "opulent voluptuous type" which was much admired in Venice at the beginning of the sixteenth century, and was represented in works by ...
In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides ...
The Bar (painting) A Bar at the Folies-Bergère; The Bathers (Renoir) Bathers with a Turtle; The Bathers (Cézanne) Beatrice Hastings in Front of a Door; The Beauty; Beijing 2008 (painting) The Beloved (Rossetti) Berlin Street Scene; Bertha Wegmann Painting a Portrait; Bharat Mata (painting) The Black Brunswicker; Black Woman with Child
The painting depicts a nude woman standing upright between an opening in the rocks and holding in her hands a pitcher, from which water flows.She thus represents a water source or spring, for which source is the normal French word, and which, in classical literature, is sacred to the Muses and a source of poetic inspiration. [7]
The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy.
The painting underwent restoration at some point before 1984. [17] In the late 2010s, it became known that the painting, which had been held on deposit in Cambrai for 90 years, would be moved to Paris and exhibited at the Musée d'Orsay. Due to French laws regarding important art works, it was unlikely the painting would return to Cambrai.