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Image of 2002.1.3 - Paalen, Wolfgang

2002.1.3 - Paalen, Wolfgang

Color variotype titled "The Cosmogons," c.1940-45 by Wolfgang Paalen (Austrian painter and graphic artist, active in Mexico, 1905-1959), edition number 3/45.

Image of 2002.2.1 - Magritte, Rene

2002.2.1 - Magritte, Rene

"Une Porte s’ouvre sur la nuit veloutee" [A Door Opens onto the Velvety Night] from "Les Enfants Trouvés" [The Foundlings] series, 1968. The series of prints was created from the murals Magritte painted for the Municipal Casino at Knokke-le-Zoute in Belgium in 1953.

Image of 2002.2.2 - Magritte, Rene

2002.2.2 - Magritte, Rene

"La Traversée Difficile" [The Difficult Crossing] from "Les Enfants Trouvés" [The Foundlings] series, 1968. The series of prints was created from the murals Magritte painted for the Municipal Casino at Knokke-le-Zoute in Belgium in 1953.

Image of 2003.14.2 - Durer, Albrecht

2003.14.2 - Durer, Albrecht

The Flagellation (B33) by Albrecht Durer (German printmaker and painter, 1471-1528), signed in the block; from the Small Passion, edition 1511 with Latin text. This woodcut is a print from Dürer’s series known as the “Small Passion,” an illustrated narrative of the passion of Christ told in 36 prints. It depicts the moment where Christ is physically scourged. In this particular image, Christ appears to be reserved and tolerant of the brutality with which he is faced. This particular series was created prior to the Protestant Reformation, but many Reformation ideologies are already present here, especially the preference for religious storytelling Dürer is rightly heralded for his remarkab

Image of 2004.8.1 - Durer, Albrecht

2004.8.1 - Durer, Albrecht

Christ Nailed to the Cross (B39) by Albrecht Durer (German printmaker and painter, 1471-1528), signed in the block; from the Small Passion, edition 1511 with Latin text. This signed print is one of 36 from the series known as the “Small Passion.” Out of all of Dürer’s series, the “Small Passion” is the largest and one of his most popular. Dürer began the series sometime in 1508 or 1509, completed it in 1510, and published it in 1511 with Latin verses by Benedictus Chelidonius facing each plate. Between 1506 and 1512 Dürer devoted himself to the study of the human form. In tackling this problem, he drew upon the resources of arithmetic and geometry, reflecting the rigorous scientific obse

Image of P91 - Rembrandt van Rijn

P91 - Rembrandt van Rijn

Rembrandt's Jews in the Synagogue depicts Jewish life in mid-17th century Amsterdam. It is indicative of the interconnection and mutual respect of different cultures at the beginnings of the pluralistic society pioneered by the Dutch at that time. Much of Holland's development occurred during Rembrandt's life, including the settlement of various Jewish groups attracted to the Netherlands in the early 17th century by the promise of religious tolerance and a thriving economy. The two largest groups were the Ashkenazic and Sephardic Jews, who no longer had to feign the belief in Christianity that had been forced upon them in their adopted homelands. By 1796, Jews were granted full citizen rights

Image of 73.93 - Golyscheff, Jefim

73.93 - Golyscheff, Jefim

Untitled drawing by Jefim Golyscheff (Ukrainian painter, graphic artist, and composer, 1897-1970)

Image of 73.39 - Arp, Hans

73.39 - Arp, Hans

Color lithograph titled "Composition with Red and Yellow Forms" by Hans Arp (French sculptor, painter, and collagist, 1886-1966), numbered 15/100.

Image of 2015.14.3 - Dali, Salvador

2015.14.3 - Dali, Salvador

Etching by Salvador Dalí (Spanish painter and printmaker, 1904-1989) titled, "Sous le Pin Parasol" [Under the Umbrella Pine] from "Tristan et Iseult" series.

Image of 57.1 - Rubens, Peter Paul

57.1 - Rubens, Peter Paul

During the 16th century Charles V, Holy Roman Emperor, was pivotal for the appreciation and dissemination of art from Flanders, where he was born, to Spain, where he ruled as King Charles I. Consequently, Flemish prints and paintings were exported to the Spanish empire in the Americas during the age of exploration (c. 1400-1600). The art of the Baroque master Peter Paul Rubens, in particular, may be the most significant Flemish influence in the development of Andean painting during the colonial period, with many of the artist's works already distributed to the New World during his lifetime. Paintings like the Madonna and Child became essential compositional aids for Andean artists in Cuzco an

Image of P89 - Potter, Paulus

P89 - Potter, Paulus

Etching "Cows" by Paulus Potter (c.1625-1654).

Image of 57.2 - Froment, Nicholas

57.2 - Froment, Nicholas

Froment, along with Enguerrand Quarton, was responsible for introducing Flemish naturalism into French art. Froment is known for his often subdued color, awkward designs, and rough style. His "Lamentation" clearly uses Flemish models, such as the sparse rural background and the depiction of clothing with typically Flemish, sharp drapery folds. Froment paints an emaciated Christ who contrasts with the stocky figures gathered closely together in two separate groups. The Virgin Mary kneels over to hold the body of her dead son while Mary Magdalene grieves at Jesus' feet; a bearded male figure, either Joseph of Arimathea or Nicodemus, stands solemnly in the background looking down at the lifel

Image of 57.4 - Grimmer, Abel

57.4 - Grimmer, Abel

This small landscape painting by Abel Grimmer titled "Autumn Scene," is characteristic of his style. He specialized in small landscapes, often roundels that are dotted with figures passing through villages or open countryside. Many of these scenes also contain biblical themes. Grimmer often created his paintings in series, usually the seasons or months of the year. The I. R. R. study of this painting confirmed that it could be part of such series. (See notes). Grimmer was largely a derivative artist who based many of his works on prints after compositions by Pieter Bruegel the Elder (c. 1525-1569) and Hans Bol (1534-1593).

Image of 57.5 - Grimmer, Abel

57.5 - Grimmer, Abel

This small landscape painting by Abel Grimmer entitled "Winter Scene," is characteristic of his style. He specialized in small landscapes, often roundels that are dotted with figures passing through villages or open countryside. Many of these scenes also contain biblical themes. Grimmer often created his paintings in series, usually the seasons or months of the year. Grimmer was largely a derivative artist who based many of his works on prints after compositions by Pieter Bruegel the Elder (c. 1525-1569) and Hans Bol (1534-1593).

Image of 65.5 - N/A

65.5 - N/A

Panel painting of St. John the Evangelist's marthyrdom by being boiled alive in oil by the Roman Emperor Domitian, John is depicted as a half nude figure issuing from a large cauldron while a solgier pours oil over him and another works the bellows by the fire; the Emperor looks on from behind John.

Image of 58.23 - Mor, Antonis

58.23 - Mor, Antonis

Though portrait painting can trace its roots back to antiquity, Antonis Mor's (North Netherlandish painter, born 1512-1516, died ca. 1576) portrait of Charles shows the royal patronage to which artists attached themselves, rather than continuing to work in the guild system. Mor's success as an artist was analogous to his rise in society, and being more socially prominent than his Netherlandish contemporaries, he enjoyed patronage that allowed him access to the political world. His master, Jan van Scorel (1495-1562), had nurtured much of Mor's success, including his knowledge of classical antiquity and associations with royalty and high clergy. Rivaled in skill by Titian at the time (ca. 1488-

Image of 58.16 - Bernini, Gian Lorenzo

58.16 - Bernini, Gian Lorenzo

The revival of the classical tradition of the independent portrait bust was one of the more noteworthy accomplishments of Italian Renaissance art. Unlike the typical ancient Roman bust, an idealized, abstract form that is envisioned only from the front and set apart by a supporting base, Renaissance busts are merely a fragment, which can evoke both physical and mental characteristics of a whole person for the viewer. In addition, this bust, with the head turned slightly to the right and tilted to the left, and the left shoulder higher than the right, differs from the stiffer forms seen in classical busts. Renaissance artists allowed for the illusion of mobility and movement in portrait busts.

Image of 58.74 - Ruysdael, Salomon van

58.74 - Ruysdael, Salomon van

Landscape painting attributed to Salomon van Ruysdael (Dutch painter, born ca. 1602, died 1670 AD), set in an 18th century frame.

58.51 - Ostade, Adriaen van

This etching of a genre scene shows how an artist could create related works in different media. What is immediately striking in this work is the brawly scene inside of the cottage and the magic light which emphasizes the main figures. The artist shows us his talents of observation. Nothing decorates the patchwork of the interior, the tumble-down chimneys or the ladder staircases, characteristic of the rustic Dutch house in those days. In this print, we see cross-hatching in many places: on the ceiling, chimney piece, rear wall and the door, and below the suspended chair. Several places are lighter: the lower part of the chimney, the upper half of the open door, the boards above the suspended

Image of 58.70 - Anonymous

58.70 - Anonymous

Pair of needlework panels framed together depicting a figure in a landscape with a city background and four men in a landscape, could be some unidentified narratives. 1533-1603 AD