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f\ IV PHAIDON

Boston,

MA

02116

THE ART BOOK

Phaidon Press Limited

Wharf

Regent's

All Saints Street

London ni 9PA published 1994

First

Reprinted 1995, 1996 This edition 1996

©

1994 Phaidon Press

Limited

ISBN

o 7148 3625 7

OP

A

catalogue record for

book

this

is

available

from

the British Library.

Library of Congress

Cataloging

Data

Publication

in

available.

All rights reserved.

of

this

publication

reproduced, stored

No

part

may be in a

retrieval system or transmitany form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Phaidon

ted, in

Press Limited.

Printed

in

Singapore

abbreviations:

C=circa

b=born h I

ii
id

in this painting. Set in

its

explicit reality,

which he interpreted

is

an otherworldly landscape,

the animated, heroic figures of the centaurs

canvas with their dramatic choreography.

The

dominate the

Much of

tension of this painting derives from the contorted poses

rich tones,

which convey

emotion. Bocklin spent inspired

him

to rake

up

a sense

Classical

Oil

in Italy.

This

and mythological themes

Arnold Bocklin b Basel, 1827. d Fiesole.

Centaurs" Combat. 1873.

career

artist's

in his day,

in

of heightened drama and

much of his

dream-like settings, menacing tones and

and

later inspired the

wl95 cm.

h41VS x

work of

the

German

Expressionists and the French Symbolists. His allegorical paintings were particularly admired for their strong impact

and

their challenging

demands on

i*" Delacroix, Gericault, Giulio

1901

on canvas. hl05 x

Romantic manner,

haunting emotional undercurrents brought him popularity

the

and haunted expressions of the centaurs, loosely painted

in a poetically

influenced by Kugene Delacroix and Theodore Gericault.

w76 3/S

in.

Kunstmuseum, Basel

the emotions.

Romano. Schmidt-Rottluff

Boltanski Christian

Reserve of

This large-scale installation consists of two walls of metal

specific

biscuit

boxes and a

series

on

of black-and-white photographs

illuminated by clamp-on electric lamps. Powerful sensations life

and death are evoked by

the dead, with stillness

its

this shrine to the

memory of

almost religious atmosphere of perpetual

and peace. In previous works, Boltanski had used

photographs of Jewish children. Here, by using images of the Swiss

-

a race associated with neutralitv rather than a

Christian Boltanski. b Paris.

Dead

Swiss

terrible fate

-

Boltanski lays greater emphasis

the universality of mortality. His unique style,

medium

and subject matter focusing on themes of death have made

taken from obituaries in a local newspaper, poorly

of

and

Boltanski one of the

most acclaimed

artists

of our time. His

other works include glass display cabinets containing

memories of childhood, 'Shadow' sculptures made of scrap materials

which are illuminated by candles, and rooms

with clothes which he also

«- Andre,

calls 'Reserves'.

Kiefer. Poussin. Teniers

1944

Reserve of Dead Swiss. 1990. Photographs, metal

tins

and

electric

lamps.

h203 cm. h80

in.

Marian

Goodman

Gallery,

New York, NY

filled

Bomberg At

first,

In fact,

this it

might seem to be

shows

a

a

exhibiting society formed in 191

completely abstract picture.

vapour bath, used by the Jewish

community of W'hitechapel figures josde

The Mud Bath

David

in

London. Blue and white

and leap around the bath's red rectangle shape,

throwing themselves around the central dark

pillar.

The son

abstract forms to express the vitality and

which were

all

their theories. In the 1920s

style,

Vorticists,

some moved away from more representational

active at the time, he did identify with

he

geometric forms and turned to a

dynamism of the

Although Bomberg kept

from the Cubists, Futurists and

of

of a Polish immigrant, Bomberg used angular and semi-

3.

his distance

often using vibrant colours and expressive

brushstrokes.

twentieth century and the excitement of the Machine Age.

He was

a

founder

«•

member of the London Group, an

David Bomberg. b Birmingham, 1890. d London.

The Mud Bath. 1914.

Oil

on canvas. hl52.5 x

Bellows. Boccioni, Braque, Lewis, Nash, Picasso

1957

w224 cm. h60 x w88VS

in.

Tate Gallery, London

Bonington The steeple of the great

of the boats create strong Watcrcolour allowed the

is

a lively,

artist to

Rouen from

ri chard Parkes

Rouen Cathedral and

the

tall

masts

immediate medium, which has

style

is

works,

characterized by a small

the

I

cole des Beaux-Arts in Paris.

artist

He was

Baron Gros

at

close friends

with the Romantic painter Eugene Delacroix,

modem

school, perhaps

in a certain sense,

who wrote of

paper. h40.5 x

earlier artis

in addition to city views,

most of

is

his life in

he also painted

landscapes and historical scenes. Shortly before his death

Bonington began to paint however, for

•"

in oil;

he

is

best

remembered,

his skill as a watercolourist.

Gentile Bellini. Bellotto. Cozens. Delacroix, Gros

Richard Parkes Bonington. b Arnold. 1802. d London, 1828

Rouen from the Quais. 1821. Watercolour on

no

diamonds, by which the eye

enticed and charmed'. Bonington spent

France and,

range of colours applied to highly textured paper. This work

was painted while he studied under the

the Quais

in the

possessed the lightness of execution which makes his

verticals in this picture.

capture the activity of the busy quays.

Bonington's watercolour

him, 'no one

w27.5 cm. hl5 7^ x wlCBi

in.

British

Museum, London

Bonnard The

interior

and open window, the sleeping

kitten are barely visible in a rich riot is

The ( )pcn Window

Pierre girl

of

and the

of colour. The viewer

encouraged to enter the room and join the scene, looking

out of the

window

at the trees

successfully conveys the

aimed

beyond. Bonnard

atmosphere of heat and

areas

Known

interiors, l.es

particularly for his intimate

Bonnard was

a

Pierre Bonnard. b Fontenay-aux-Roses. Oil

rejected the idea

As

colour.

well as a painter

He was one

of the few foreign

Academy

in

Bonnard was

artists to

be elected to

as

«-

Caillebotte. Denis.

Hassam. Matisse.

H46'/, x

w37 /i 3

in.

Phillips Collection.

Washington DC

a

line to great

London.

1867. d Le Cannet. 1947

on canvas. hll8 x v»96 cm.

of engaging

expressing feeling through form, often using broad flat

the Royal

Nabis whose aim was to simplify the outline and colour

The Open Window cl921.

at

of

effect.

domestic

member of the group known

The Nabis

master of lithography, using shapes, colour and

tranejuillirv

of the South of France by using warm and bright tones of colour.

their paintings.

the viewer purely through subject matter. Instead, they

Vallotton. Vuillard

Bordone A fisherman who saint's ring to the

Doge of Venice. The

the ri»ures in is

or"

said to

contemporary

dress,

St

Mark

artist

is

giving the

has depicted

even though the incident

have happened hundreds of

years earlier. Portraits

prominent Venetians, including the Doge of the time,

were used

as

models. Elaborate columns, arcades and apses

dominate the work, which Venetian

art.

Bordone was

painter of landscapes

is

a

good example of Renaissance

scenes.

He

originally studied

rivalled his

much

master

in the style

by Francois Renaissance

I,

under Titian, and

in popularity.

The

painting

in fact

shown

is

artists.

a great

While

in

admirer of

Italian

France, Bordone painted

of the prominent

political figures

of the

day.

a leading portraitist as well as a

and anecdotal and mythological

Paris Bordone. b Treviso, 1500. d Venice.

•-

Gentile Bellini. Clouet. Guardi, Sassetta, Titian

1571

Presentation of the Ring to the Doge of Venice. 1534.

Oil

on canvas. h370 x

w300

i

very

of Titian. Bordone was invited to France

who was

several portraits

fV

theDc

Presentation of the Ri ng

Paris

had been rescued by

hl45% x wll8

in.

Gallena dell'Accademia, Venice

BoSCh The

pic uis

The

Hie ronvmus

hermit St

Anthom

is

subjected to

the

all

all

temptations and tortures that Bosch's ghoulish imagination

can muster. Evil lurks around temptress hides in a huge, over-ripe

fruit,

even,-

cleft tree, a

background hints

succumb

The

at the fate that

to evil. Bosch's style

is

a

is rife

awaits

those

work

is

of the time, such

Most of

confronted bv

evil

folly

of

human

in

at

Oil

on panel. hl31.5 x

wl72

of Christ, or

Dali,

cm. h58 x

w67

in.

Museu Nacional de

Arte Antif

work

later, his

movement, and

Elsheimer, Van Eyck, Van der

a

allegories or

later in Surrealism.

W Beckmann,

van Eyck

beings. Bosch's

Hieronymus Bosch b s-Hertogenbosch, cl450. d s-Hertogenbosch, 1516 The Tribulations of St Anthony. C1505.

life

and temptation, or

influence emerged in the Expressionist

not

as [an

the subjects of Bosch's

seems strangely modern: four hundred years

who

and unparalleled

the Netherlandish tradition of painting. His

saint

proverbs about the

with menacing,

all

Anthony

paintings revolve around scenes from the a

raging inferno in the

unicjue,

similar to other artists

or Rogier van del Weyden.

seductive

monster bursts forth from

and the scene

supernatural-looking creatures.

corner -

Tribulations of St

Weyden

still

Botero Fernanda The

universal image

rotund figure

inflated,

created

a

Our Ladv of Cajica

of the Madonna in

is

portrayed here as an

Botero's unique

sense of the Madonna's

style.

He

worshipped

has

monumental hugeness

Catholic Latin American countries the

b\

works

as the

most important

are characterized

bv

their simplicity

contrasting her with tiny figures that peep out of the clouds

exquisite application of paint.

behind -

since 1971,

a

device frequently employed by the

addition, the snake at the

made

In

unnaturally long, in order to emphasize her largeness.

Botero was born this

artist.

bottom of the picture has been

painting

is

in

Colombia and

largely a

the religious sub|ect of

response to his upbringing. In most

recent

the female nude,

Oil

on canvas. H234 4

*

a series

le

•"

wl81.8 cm. h95% x w71%

of form and

has been living in Pans

to paint

and

sculpt. His

which were displayed down the length of

Bouts. Fouquet. Lochner. Spencer

in.

is

of monumental sculptures of

the Champs-Elysees.

Fernando Botero b Medellin. 1932 Our Lady of Cajica. 1972.

I

where he continues

work includes

Madonna

religious figure. Botero'*

Private collection

Botticelli suuho Tin- diaphanous

gowns of

the

Spring

combine

i"

make

this

one

the Italian Renaissance.

draughtsmanship that time,

and

thai

t

'golden age'. Man) of his paintings involve philosophical and

rhrec Graces, the elegani

bands of Venus and the flowered dress worn

In

Flora

allegorical

the most beautiful paintings

debate

i

Florentine

meanings; i its

spring in particular has

symbolic significance. Later

under the influence ofa charismatic

11k painting reflects the fine

was fundamental

.is

.in

priest called

Botticelli dw\\ in obscurity.

Botticelli's graceful line creates a sensitive,

He

w.i*-

rediscovered

nineteenth centur) In the Pre Raphaelites,

under Fra Filippo Lippi and went on to move

admired the Renaissance

in

the

«"

during the Florentine

Filippo Lippi. Millais.

artist's delicate

Pontormo. Rubens

1445. d Florence. 1510

Sandro

Botticelli b Florence.

Spring.

C1470/80. Tempera on

panel.

hl75.5x w278.5 cm. h6"

much

he came

Savonarola,

and painted fewer paintings with mythological themes.

.1

almost feminine atmosphere. Botticelli began his training

intellectual circles that flourished

sparked in life

«

Galleria degli Uffi/i. Florence

who

in

the

particularlj

linework.

Boucher Franks A young

gkl

lies

naked on

a

Odalisque

bed with lavish draperies

her. Blatandy provocative, she flirts with the

around

as she looks out

from her boudoir. Boucher's paintings

epitomize the frivolous excesses of the mid-eighteenth centurj

,

Rococo

making him one of the style.

In his youth he

truest

was

connected to

Madame

Odalisque. cl745.

Oil

on canvas. h53

x

his

to Louis

nymphs and goddesses,

usually in mythological and

pandered to the

taste

of the Parisian

upper classes whose elegant houses he decorated.

of nature that

•*

it

artifice

was

of the Rococo age, he allegedly said

'too green

and badly

Fragonard, Ingres. Moore, Watteau.

1770

w64

cm. H20V4 x

w25W

in.

»rs

charmingly coquettish pictures of naked

lit'.

de Pompadour.

Through her influence he became chief painter

Francois Boucher b Paris, 1703. d Pans.

and

Epitomizing the

Antoine Watteau, whose pictures he engraved, and in the i^40S obtained the patronage of

Boucher was one of the most sought-after decorar.

in Paris,

allegorical scenes,

exponents of the

closely

XV

all

viewer

Musee du

Louvre. Paris

Wesselmann

Boudin A crowd of formally sun

i:

dressed Parisians

at the fashionable seaside resort

Normandy

coast.

Boudin came

of beaches' and frequently throughout

The Beach

ugene

his career.

An

is

seen basking in the

of Trouville on the

to be

known

role. It

beach

a

particularly

some

Honfleur.

Trouville.

Claude Monet,

Oil

on canvas. h26 x

who

w48 cm. hlO

:

/>

k

«- Avercamp. Van Goyen.

wl8X

Boudin was

painted this very beach

years later.

1824. d Deauville. 1898

1864.

the tiny figures below.

the

surface of his paintings sparkle, evoking a glowing sky or a

Eugene Boudin. b

on

major source of inspiration for the Impressionists,

recorder of nature, he was able to capture the characteristic

The Beach at

seventeenth-century Dutch landscape

often takes up two-thirds of the picture, forcing the

gestures of people. I'sing a subtle and free brushwork,

make

in

viewer's eyes to focus

exceptionally gifted observer and

speckled with flecks of pure colour, he could

As

Trouville

painting, the sky in Boudin's paintings plays an important

as 'the painter

travelled to this particular

glittering sea.

at

in.

Musee

d'Orsay. Paris

Kroyer,

Monet

Bourdelle Power, strength and

Herakles

Antoine

tightly coiled

energy seem about to

hurst forth from the impressive form of Herakles.

The

sculptor has used muscular shapes and bold, expressive features to create a sense

shown

in

the bowstring,

of vitality. The tension

which

is

huge, powerful hand. Further tension archer's leg which, with

its

is

clearly

being pulled back by a is

created by the

bulging tendons, strains against a

studied Gothic and Ancient Greek sculpture. Inspired by the ir&agejj

feeling

of Antiquity, Bourdelle aimed to create

the popular sculpture of the time, which

was

style,

however, Bourdelle

Antoine Bourdelle b Montauban. 1861. d Vesinet, 1929 Herakles 1908. Plaster. h248cm. h97%in. Musee Bourdelle,

Paris

usually

concerned with graceful forms. Taut and heroic, sculpture epitomizes Bourdelle's quest for the in his art.

boulder. Bourdelle was a pupil of Auguste Rodin. Rather

than following his master's loose

a similar

of density and volume. This was very different from

'•" Bocklin, Giambologna, Rodin,

Rosso Fiorentino

this

monumental

Bourgeois Encased within feet are firmly

i

Here

L

of truncated human hewn block of marble.

a glass casket, a pair

placed on a roughly

Perhaps alluding to the triumphant order

man

has created

out of the disordered chaos of nature, the elemental cjualities

of the material - marble,

timeless world articulated bv

glass,

human endeavour. Great

Louise Bourgeois b Paris.

Here

I

Am. Here

I

glass.

Bourgeois' work

freejuently suggestive

abstracted context.

I

Stay

of the human form, often

The dynamic

moved

to

New

York from

Paris in 1958

remote,

where she had

Surrealists. Initially a painter

she turned to sculpture in the late 1940s.

to the is

W

Brancusi. Canova. Dali. Noguchi. Rodin

1911

Stay. 1990.

in a

tensions of opposing

materials and finishes raise provocative responses to the

worked with the

attention has been paid to the sensual surfaces, ranging

smoothness of the man-made

Am, Here

physical presence within the natural environment. Bourgeois

metal - evoke the

from the roughness of the stone hewn trom the earth

I

Mamie, glass and metal. h88.9 x W102.8 cm. h35

"

w40 /, :

in.

Galerie Karsten Greve. Cologne

and engraver,

Bouts

Virgin and Child

Dieric

This image of the Virgin and Child

nor pomp. The Virgin

austerity

Christ Child as any result

is

is

both

spiritual

half-length images of the Virgin art.

is

painted with neither

seen tenderly cradling the

mother would her new-born baby. The

a picture that

Netherlandish

is

They were

and human. Small,

and Child were popular

in

treated as objects of private

cast to the eyes characteristic

of the figures

in this picture

of Bouts' way of painting

made of two

angular, sharply defined

and sculptural approach to painting,

although some of his works hint

more

at

an understanding of a

sophisticated form of perspective.

panels, the second being a portrait of the at the Virgin, as if in prayer.

Dieric Bouts. Active in Louvain, Virgin

and

Child.

C1460-5.

Oil

The

sleepy

a quirky

Bouts was

undoubtedly influenced by Rogier van der Weyden's

devotion, and were kept at home. Such works were often

owner looking over

is

faces.

Campin. Fouquet, Schongauer, Van der Weyden

1457. d Louvain, 1475

and tempera on panel. h27.9 x w24.1 cm. hll x w9&

in.

Private collection

Boyd The

The

\rthi

swirling, radiant colours

of the sky converge

visionary nature of this picture give

at the

bright sun. In the foreground, a scraggy black beast, a hint

of

from

a tear falling

upturned ray as

if

its

its

demise.

out his tongue

at the sun.

Arthur Boyd, b Murrumbeena,

in

Australia,

Boyd belongs

to a family

mother

artists

England

of the sky, clashing violentlv

an

artist

•-

Burra, Heckel, Kitaj, Nolan, Schmidt-Rottluff

fiery,

like the goat,

a sculptor in

and potter,

his

Oil

on canvas. h259

)

w442 cm. hl02 x wl74

in.

Born

in

his father

a painter.

both there and

in his native land.

sucks

passionate colours and

—

He moved

1959 and has since had a high reputation as

1920

The Australian Scapegoat. 1987.

of

to

man who,

The

an expressionistic

was

in

reflect the red

it

paintings are concerned with

which they

is

perhaps a fisherman. The shallows of the sea

appear to stand

many of his

a farmer,

an unnatural pose holds the goat; perhaps he

with the yellow coat of the

A man

quality. In fact,

the emotions of sexual passion, guilt and betrayal.

sad eye, looks longingly at a dead,

he were the cause of

Australian Scapegoat

Collection of the artist

Brancusi Cons

The Kiss

tan tin

Tightly entwined, two lovers embrace in a passionate kiss.

The elemental power of

this

work

is

expressed by the bulk

as if

roused from

a

(the country

of

his birth) to Paris, a feat

timeless slumber. Brancusi

fuelled

by the law case he brought against

US Customs,

reduced his sculptures to their most basic, most abstract,

who wanted

[ending them

sculpture which they considered as nothing

a

primordial

\

itality.

Eschewing

all

surface

decoration, nothing but pure form remains. Brancusi had an

immense

effect

art in general.

Constantin Brancusi. b Hobitza. 1876. d Paris. 1956

The

Kiss.

to charge duty

on an imported bronze

more than

material, thus liable for tax.

on twentieth-century sculpture and abstract

The simple grandeur of his works evokes

1907. Stone. h28 cm. hll

in.

Muzeul de Arta, Craiova

which

gained him widespread admiration. His celebrity was further

of the stone from which the forms are only sketchily emerging,

sense ot freedom and strength. In 1904 he walked from

Romania

a

•"

Bourgeois, Gaudier-Brzeska, Moore, Noguchi, Rodin

raw-

Braque George Letters and lines, triangles

Clarinet

and rectangles, are scattered

across the canvas in apparently

random

order, in

seems to be an abstract composition. In been very carefully thought out. fireplace with a mantelpiece, a bottle

of rum.

A

It is

a painting

on which

page of sheet music

Rather than recreating the illusion of canvas with the use of perspective,

fact, the

all

is

light

Rum

of a

these

flat

once. Painted in muted tones of

shapes combine to create

invented by Braque and Pablo Picasso

and wall.

flat

and shade, Braque

They were

this century.

the

first artists

in the first

to

Oil

change

a

Cubist

decade of radically

the perception of art for five hundred years. With Cubism, art

no longer needed

around

•"

to be merely an imitation

us.

Archipenko, Gris. Morandi. Nicholson. Picasso

1963

Paris.

Mantelpiece

image. This revolutionary way of reproducing the world was

space on the

on a Mantelpiece 1911.

a

picture has

has suggested three-dimensionality and depth by displaying

Clarinet and Bottle of

at

on

brown and grey

pinned to the

Georges Braque b Argenteuil-sur-Seine. 1882. d

of the objects

Rum

what

are set a clarinet

real

sides

and Bottle of

on canvas. h81 x

w60 cm. h31 /* x w23% 7

in.

Tate Gallery. London

of the world

Brauner

Victor

Fascination

Muted browns and ochre tones decorate a spartan room a table - part furniture, part wolf— at which a

with

featureless for a

with

naked lady

sits

meal to be served. a

1

nonchalantly as ler hair

if

calmly waiting

curves up and forms a bird

swan-like neck which viciously confronts the wolfs

head growing out of the

table.

His

tail

and genitals are

at the

other end. Brauner produced a series of paintings such as this

inhabited by strange hybrids of

objects.

These absurd, hallucinatory

women,

fantasies spring

Victor Brauner b Piatra Neamtz, 1903. d Paris,

Fascination. 1939.

Oil

on canvas.

animals and

from

1966

h65xw54 cm. h25

-

w21V

the enigmatic world of Surrealist inug.'V.'ion logic.

The

is

freed

art, in

which the

visual

from the constraints of reason and

Surrealists' vision

aimed

to harness the

unconscious to produce revelatory, stimulating images.

Born

in

193

he painted

1

proved brawl

in

Romania, Brauner worked mainly

to

in France.

his Self-portrait with Extracted Eye; the

be prophetic, as the

artist lost his left

1938.

(•" Bellmer, Dali, Ernst, Magritte, Matta, Tanguy

In

work

eye in

.1

bar

)

Bronzino Venus aims

to kiss

Cupid,

An

\gnolo

who

fondles her breast.

A

Bronzino's work

bearded Father Time pulls a curtain over the scene. Jealousy clutches her head in her hands, and a

on the scene from above. part reptile holds a

end of her kind

or"

tail

A girl who

honeycomb

in the other.

allegory, but

what

The

is it

in

masked is

figure looks

part turn beast and

one hand and the stinging

painting

about?

No

is

obviously

one

is

cool light that bathes this bizarre scene and the

handling

or"

Allegory of Venus and Cupid

some

certain.

way he

the

is

a

wonderful example of Mannerism,

and emphasizes movement. his day,

A

Bronzino often placed

poses. His

sitters'

somewhat

compel the viewer

successful portrait painter in his

to look closely for a

of

Venus and Cupid. cl550.

Oil

on panel. hl46 x

Michelangelo. Parmigianino. Pontormo. Vouet

wll6 cm. h57M

x

w45

in

oddly

rigid

glimmer of emotion.

The

Agnolo Bronzino b Florence. 1503. d Florence. 1572

An Allegory

models

cold, detached expressions

smooth

the paint are typical of the artist's style.

in

distorts natural poses, exaggerates expressions

National Gallery. London

Broodthaers Marcel

Casserole and Closed Mussels

A

ideas behind his

pile

tall

upwards

on

the

home

in

shells

sea.

is

The

an explosion of

words

mould').

dish;

of mussel

evoking the

resin,

la

monk

The work

is

held together with green-tinted

shells

seem

vitality.

('the mussel')

to

The image

uses a

and k moule

pun

('the

intended as a metaphor for the ardst's

country of Belgium, where mussels are a nadonal

it is

also a sadre

on

the Belgian bourgeoisie.

probably Broodthaer's most famous image.

The

works

are

more important than

the

works

themselvts. Broodthaers was also greatly influenced by his

be surging

compatriot, the Surrealist painter Rene Magritte. Like Magritte he often delights in incongruous juxtaposidons and the creadon of visual paradoxes through the combination of

words, everyday objects and printed material.

It is

ardst's

sculpture can be categorized as Conceptual Art, in that the

'

Beuys, Duchamp, Magritte, Oldenburg. Rauschenberg

Marcel Broodthaers. b Brussels. 1924. d Cologne, 1976 Casserole and Closed Mussels. 1964-5. Mussel shells, polyester resin and

Iron casserole.

h30.5 cm. hl2

in.

Tate Gallery, London

Brown fo It is

rd

impossible not to get the

detail.

obvious

also

is

that the painting

between

in a style to

mimic the great

Renaissance.

became

Brown Paris

Ford

The

is

What

meant

and work.

idea of

the central settled in

art

message

artist's

packed picture crammed with

relationship

Work

Madox

It

is

in this action-

perhaps

combining

art

and work

later

theme of the Arts and Crafts movement.

England

in

1

Madox Brown, Oil

Brown was more

social issues than in purely artistic matters.

interested in

In

1

844 and

1845 he entered a competition to paint frescos for the

Houses of Parliament, which he

lost.

commission

Manchester

to paint frescos for

won a Town Hall.

Instead, he

845 after training at Antwerp,

•- Burne-Jones,

and Rome. He became associated with the Pre-

Work. 1852-65.

early Renaissance painters,

to celebrate the

was therefore painted

masters of the early

Italian

Raphaelite Brotherhood, but never joined them. Although

he shared their desire to return to the simple vision of the

less

b Calais. 1821. d London,

on canvas. H134.6 x

Hunt. Leger, Filippo Lippi, Millais, Rossetti

1893

wl96 cm. h53 x w77^

i

Manchester

City Art Gallery,

Manchester

Bruegelja:

The Garden of Eden

Exotic and everyday animals mingle in this Garden of Eden, richly

and meticulously endowed with

plants and flowers. Bruegel's

was the creation of figures

of

Adam

modern

profusion of lush

main concern

a mystical,

of

flora

their setting.

landscapes and Garden of

nickname

The

imbued

this

The Garden

of

Eden. cl620.

Oil

Eden

'Velvet' Bruegel. (an

w84

i

h20%

came from

flowers,

him

the

the great Bruegel

the Elder.

•- Bassano. P

Bruegel,

Hobbema.

Patenier. Ruisdael

1625

on panel. h53 x

subjects earned

sylvan

glade with a dream-like quality. His breadth of feeling and

Jan Bruegel. b Antwerp. 1568. d Antwerp,

Dutch landscape

manner of painting

dynasty of Flemish painters; his father was Pieter Bruegel

and fauna may seem comical to the

eye, but Bruegel has successfully

surroundings helped to develop the

painting. His highly finished

in this picture

imaginary landscape, and the

emphasize

sensitivity to natural

great tradition of seventeenth-century

and Eve have been reduced to

insignificance in order to limited selection

a

x

w33

in.

Victoria

and Albert Museum, London

1

Bruegel »*. The viewer

is

invited into an

Peasant

animated

feast to celebrate the

wedding of twO peasants. The painting figure filling the jug

of wine

brought to table on

a

peasants' earthiness.

Italian ideal

based on

show

the

the pies being

The drunken, bumbling

lively

characters

who

scenes are the very opposite of the

observation, that

is

Pieter Bruegel b Brogel. cl525. d Brussels.

Peasant Wedding Feast. C1566/7.

Oil

it is

the

Bruegel's work,

more

real

and

in

order to take part

this led to his

Bruegel's ability to capture the

of refined perfection. Yet

real-life

-

door, and the bagpipe player hungrily

staring at the food. All

animate Bruegel's

at the left,

rich in detail

is

Wedding Feast

human. Legend has

it

that Bruegel

would put on disguises

in the peasants' rollicking gatherings;

being given the nickname 'Peasant Bruegel'.

His technique, however, was

far

from crude;

richness and variety of colour. Pieter Bruegel headed family of painters

which flourished

in the sixteenth

seventeenth centuries.

•* Bosch,

J

Bruegel,

G

David, Ostade

1569

on panel. hll4.3

his carefully

applied thin layers of paint express a wonderful sense of the

W162.6 cm. h45 x w64

in.

Kunsthistorisches

Museum, Vienna

a

and

Buren What

is

seen here

Two

Daniel

is

colossal sculptural installation for the

column and

is

Cour d'Honneur of is

the Palais-Royal in Paris.

a rigid,

uniform sequence

The work's impact

is

entirely

surroundings, as Buren creates his

visible in the

background).

A

in the central

own

interpretation

columns

leading light in French

Daniel Buren. b Boulogne-Billancourt, Levels.

Each

governed by the

existing architectural space (the traditional

Two

especially

constructed of black and white strips of marble

placed in

square.

which was created

Levels

Conceptual Art, Buren acknowledges that meaning

only a small part of a spectacular,

determined by context.

He

reproducing his trademark settings.

Although neither

demonstrates

—

this

vertical stripes

his idea

nor

his

—

in a variety

apply his paint to different materials, including

of an

stone steps and walls.

i«- Andre, Christo, Judd,

Long

1938

1985-6. Black and white marble, surface area 67 x 50 m. 220

x

164

ft.

Palais-Royal, Paris

of

form of

expression have changed over the years, he did

are

is

bv

at

one time

flags, sails,

Burne-Jones \ lost

age nt chivalry and

elegant painting.

It tells

romance

the story

is

the picture,

and appears

to

is

Edward

rediscovered

of a king

and wide for the perfect woman, and disguised as a simple beggar. She

Sir

who

finally

in this

searched far

found her

the brightest object in

glow with heavenliness. Burne-

Jones was deeply affected by

artists

of the early

Italian

King Cophetua and the Beggar Maid original

work

members of

reflects

the Pre-Raphaelite Brotherhood, his

many of the

ideas associated with those

painters. Burne-Jones' rich colours, poetic subject matter

and meticulous attention

to detail give his paintings a

mystical, spiritual quality.

At the time, William Morris' Arts

and Crafts movement had swept the country, and

its

Renaissance, such as Sandro Botticelli and Andrea

influence can be seen here in the leaves, fabrics and designs

Mantegna, and was also inspired by

on

the staircase.

•-

Botticelli.

Dante Gabriel

Sir

Rossetti.

his association with

Although he was not one of the

Brown. Mantegna.

Millais, Rossetti

Edward Burne-Jones b Birmingham, 1833. d London, 1898

King Cophetua and the Beggar Maid. 1862.

Oil

on canvas. h76.2 x w63.5 cm. h.30 x

w25

in.

Tate Gallery, London

Burra The

artist

depressed figures its

I

Ldward

has captured the in this

>h

spirit

of the formidable and

haunting Cornish landscape, with

ruined tin-mine workings in the background.

that the

man

in the striped coat

(who

is

It is

known

painted twice) was

seen by Burra in a pub, and the two tattooed figures are

book. The strange, ghostly head,

direct copies

from

visible in the

top left-hand corner,

a

interest in Surrealism.

just

may reflect Buna's Although he knew a number of the

Surrealists while living in France,

he never

really allied

Lands cap( with Figures and Tin Mine

himself with

them or anv other movement.

during the F930S became

Grosz. Towards the end of his his

own

peculiar style.

watercolours of

which changed •-

Most of

women,

These were done

Boyd. Dali. Grosz.

work developed

life

his

famous works

into

are

or of people enjoying themselves.

throughout

Kitaj.

work

of George

his

in Burra's sharp, slightly

little

Burra's

satirical, recalling that

his

exaggerated

life.

Tanguy

Edward Burra. b London, 1905. d Playden, 1976 Cornish Landscape with Figures and Tin Mine. 1975. Watercolour on paper. h78.1 x wl35.9 cm. h30 3/4 x w53Vt

i

Private collection

style,

Burri

Sacc(

\lbcrt(

Materials that have been ravaged b\ time and discarded as

school ot abstract

waste, lacerated and unravelled, have been stitched back

composition and turned to new materials tor inspiration.

together and painted. Burn's early experiences as

handling blood-stained bandages and sewing up

a

doctor,

wounds

this

work. The coarseness ot the material used, and the it

has been torn, creates

tension between beauty and decay.

The

Sacco 1954.

di

Castello.

Burlap, linen,

oil

pictures using charred

conventional ideas ot

his fascination with surface

He

has

wood, iron

made

plates

a

sought after bv collectors.

•"

post-war

Dubuffet. Fautrier. Riopelle.

1915. d Nice. 1995

and gold paint on board. h33 x

w38

a series

and

of

plastic sheets,

burnt into gaping holes with a blowtorch, which are highh

powerful

picture reflects the

philosophy ot the Art [nformel movement,

Alberto Burri. b Citta

a

Bum's works demonstrate

texture and different media.

during the Second World War, provided the inspiration for

violence with which

art that rejected

I

.

Private collection

Still,

Tapies

Caillebotte Gustave

Young Man

The

working-class

us,

rue a

artist's

younger brother Rene stands with his back to

window of the family home at 77 de Miromesnil, Paris. The huge stone balustrade creates

looking out from the

strong division between the inside of the house and the

world beyond,

as

our eyes are drawn to the

streets

below

following Rene's gaze. This device of drawing the viewer into the picture via the Caillebotte's in

window-frame view makes

most compelling images.

views of Paris and

its

his

Window. 1876.

Oil

Paris.

one of

Caillebotte specialized

surroundings, and images of

Gustave Caillebotte. b Pans. 1848. d

Young Man at

it

at his

life.

An

Window

intimate and supportive friend of

Claude Monet, Pierre Auguste Renoir and Alfred

Sislev,

Caillebotte not only organized exhibitions of the

Impressionists' works but also bought paintings they found difficult to left his collection,

the state.

The

sell.

many of the

In his will Caillebotte

including 65 Impressionist paintings, to

collection

was

refused, and only after three

years of negotiations were 38 pictures finally accepted.

•" Bonnard. Matisse. Monet,

Renoir. Sisley. Vuillard

1894

on canvas. hll6.2 x w80.9 cm. h45 3/4 x

w31%

in.

Private collection

Calder

and twisting of the metal shapes

delicate balancing

an image of a lobster

e

Lobster Trap and Fish Tail

inder

ai.

jred fish and nine black elements suspended e J

below give

are looking at a fish skeleton.

The

elements gracefully swing independently of each other

nv

circles, set in

aines the ;auty ,

we

impression that

directions.

trap, while the stylized brightly

falls

motion by currents of air. Calder

humour of the marine images with

the sense

movement, have ranged over at J

•"

Alexander Calder b Philadelphia. PA. 1898. d Lobster Trap and Fish

Tail

in different

New

York. NY.

in the

actual

work makes

it

a

movement, or an impression of

plays an integral part. Calder

of the mobile, and made

and turns

varying speeds and

which

art in

and grace of a construction which continually at

The element of motion

prime example of Kinetic Art, a term applied to works of

F

s

in height

metres

(1

was the inventor

in 1932.

cm

(1

an example of the

New

in

one

from around 4

2 feet);

K Airport

his first

His mobiles

V2 inches)

latter

York.

Lissitzky, Miro, Tinguely, Vasarely

1975

1939. Steel wire and painted sheet aluminium. w289.5 cm.

wll4

.

Museum

of

Modern

Art.

New

to

can be seen

York.

NY

Campin Despite her rich

shown put

in a

down

details

homely

her

The

Robert

and elaborate fur-lined gown, the Virgin setting.

book

She looks

as

though she has

to nurse her child. Minutely

is

as clear

and precise

just-

observed

appear throughout the work; the townscape

background

is

in the

as the figures in the

Virgin and Child before a Fire-screen

with his contemporary, Jan van Eyck. Robert Campin's ideniin

he

is

is

the

shrouded

in mystery. It

same person

name given

is

generally thought that

as the so-called

to the painter

Master of Flemalle,

(wrongly) supposed to have

foreground, while the pages of the Virgin's book, the

thought that Rogier van der

decoration along the hemline of her dress and the rushwork

Campin's

come from Flemalle. It is Weyden may have been one of

pupils.

of the fire-screen have been painstakingly rendered. The artist's

technical

skill

Robert Campin. Active

and inventiveness

in

invite

Tournai. 1406. dTournai.

comparison

W

Bouts. Van Eyck. Fouquet, Schongauer, Van der

Weyden

1444

The Virgin and Child before a Fire-screen. C1425/30.

Oil

and tempera on panel. h63.5

>

w49.5 cm. h25

a

of a group of pictures that were

x w19'/j. National Gallery,

London

Canaletto

The Bucintoro Preparing

Seen from across the Basin of St Mark's, the Doge to

embark on the magnificent

celebrate Venice's symbolic great events

aboul

state barge, the Bucintoro, to

Wedding

of the Venetian calendar.

each year, the

is

Doge would throw

a

to the Sea,

On

one of the

/Ascension

Day

ring into the Adriatic

The event presented the artist with show all the pomp and splendour of

grand opportunity

Sea.

a

to

his native city's

festivals.

As the leading Venetian landscape painter of

lay, Canaletto's

works were very popular,

to

Leave the Molo on Ascension Day

the English nobility.

(

analetto's acutely

their

wealth of detail, even today evoke

romantic view of

beautiful city. Canaletto visited

I

a

England

shimmering

in 1746,

Castle,

Eton College and Whitehall.

his

especially with

The Bucintoro Preparing to Leave the Molo on Ascension Day. C1740.

and

this

while-

there painted a group of landscapes, including views of

Warwick

Bellotto, Gentile Bellini, Bonington, Guardi, Pannini

Canaletto (Antonio Canale). b Venice. 1697. d Venice, 1768

National Gallery. London

observed paintings

of Venice's canals and palaces, with

Oil

on canvas. hl22 x

wl83

cm. h48 x

w72

i

Canova Antonio With wings not

yet folded,

Cupid and Psyche

Cupid lands

lover Psyche with a tender embrace. sculpture love.

is

Their smooth bodies and delicate limbs create a sense

one of

fine

in all its

innocent purity; the enure scene

effortless, spiralling grace.

example of the Neo-Classical

form and

finish.

However, he

also

Canova's sculpture

ideal

was

Canova had

a distinguished career in his native Venice,

where he was commissioned

created by their interlocking arms and gaze of

of young passion is

to revive his dying

The focus of the

is

a

tombs and artists.

statues.

He

to create public

As an emissary of the Pope, he

travelled

Europe, demanding the return of works of

of perfection of

skin.

•-

Bernini. J-L David. Etty. Powers. Prud'hon. Rodin

Antonio Canova. b Possagno. Treviso. 1757. d Venice, 1822

Cupid and Psyche. 1787/93. Marble. hl55 cm. h61

in.

Musee du

Louvre. Paris

young

throughout

art that

looted during the Napoleonic wars.

able to express the

ardour that pulsates beneath the lovers' thin marble

monuments,

also established a school for

were

Caravaggio It

is

just after the

wounds

Doubting Thomas

Thomas is touching Christ's The heads of Christ and the

Crucifixion. St

to sec if they arc real.

The Thomas who,

idealization,

He

an approach that was revolutionary

three Apostles are the focus of the composition.

and Apostles, and

moment

Virgins from a

is

intense, as the Apostles look

on

St

with deeply furrowed brow, plunges his finger into Christ's side.

The drama of this shockingly

heightened by the harsh lighting and dark shadows (known as chiaroscuro); the

background

was renowned for

is

non-existent. Caravaggio

his vivid realism

even

said to

m~

have painted one of

his

prostitute fished out of the River

somewhat dubious personal reputation

in

a

revolution in

art.

Even today

have the power and immediacy to astonish

Bernini, Hals, Jordaens,

Rembrandt. Terbrugghen

Michelangelo Merisi da Caravaggio. b Caravaggio. 1571. d Porto Ercole, 1610

Doubting Thomas. 1599.

Oil

on canvas. hl07 x

wl46

cm.

h42'/4

x

w57H

in.

Stiftung Schlosser

(he

trouble with authority), Caravaggio almost

singlehandedly brought about his paintings

and rejection of

is

drowned

Tiber. Despite a

was frequently

realistic detail is

at the time.

often used coarse peasant types for his models of saints

und Garten Potsdam-Sanssouci. Potsdam

us.

Caro

Sir

Vast and powerful,

this

breathes with a

of

the

life

ground, and making any supports part of the sculpture

conglomeration of metal forms

its

ground from which

into

Rape of the Sabines

Anthony

own. Part of-

it

grows,

its

yet distinct

from -

would

lav

mood

of

out industrial objects their tide

He

or ambiguous. Caro

Sir

of the base or

pedestal.

Bv

laving his

Unlike Henry Moore, under

assistant,

Caro did not transform

their nuts

and

bolts.

The

sculpture

shown here now

Washington. •" Andre, Deacon. Moore.

works on the

Serra, Smith

Anthony Caro. b London. 1924

Rape

of the Sabines.

1985-6.

Steel, rusted

and varnished. h222 x

w603

cm.

h87^ x w2371S

in.

Metropolitan Life Building. Seattle,

his all

stands

outside the Metropolitan Life Building in Seattle,

wished to bring the spectator into the sculpture by getting rid

his sculpture.

he worked as an

materials into something else; his welded steelworks keep

in patterns that reflected the

- however remote

he allowed the spectator to come right up close to -

whom

one huge whole without form. Caro began making

metal sculpture using pre-fabricated objects in i960.

itself,

even onto -

dynamic planes fuse

WA

Carpaccio typical sit

on

of Venetian

these

ladies are

nobility in the fifteenth century.

neither a portrait nor a story. a larger

panel,

It

which would have put

His paintings are not as

his Florentine counterparts,

Vittore Carpaccio. Active

in

not clear -

is

The two

it

it

in

context and

Balconv

gaining ground in that

city.

His bright colours have

is

made

painting.

He

those of

Venice. 1472. d Venice.

1495/1500.

historical or religious subjects as

opportunity to depict everyday Venetian

life.

some of •* Alma-Tadema.

Gentile Bellini. Canaletto. Giorgione

1526

Oil

all

probably trained with Gentile Bellini and

him often used

a straightforward

realistic as

;

a

over the balanced intellectualism that was the

charm and vibrancy associated with Venetian Renaissance

however, favouring picturesque

Two Venetian Ladies on a Balcony

Venetian Ladies on

story-telling

has probably been cut from

more understandable. Carpaccio has

style.

two

a balcony, idly toying with the birds and animals

around them. The point of the picture

it

Two

Vittore

The pearl-covered gowns worn by

on panel. hl64;

w94 cm. h64^ x w37

in.

Museo

Correr. Venice

an

like

Carra Carlo In a low-ceilinged

of

a

The Metaphysical Muse

room, the main character

is

a plaster-cast

female tennis player with a mannequin head. She stands

next to a

map of Greece, which

Odvsseus. In the background,

cone stands behind

coloured geometric

a canvas painted with factories.

atmosphere. Carra had met

adopted

symbolizes the voyage of

a brightly

and mysterious images to create

The

his

spaces. His

From 1924 he

manifesto.

disturbing,

and

painting towards a

(

in >rgi


link this painting with the Pittura Metafisica

de Chirico, Pittura Metafisica used disconnected

Carlo Carra. b Quargnento, 1881. d Milan.

The Metaphysical Muse. 1917.

Oil

earlier

w65

cm. h35 x

set in claustrophobic

passed through a Futurist

Italian

in.

9 1 o Futurist

more heightened

realism, inspired

masters of the early Renaissance.

'*• Balla. Boccioni, Brauner,

w25%

1

turned away from 'Metaphysical'

De

1966

on canvas. h89 x

and often weird

phase; Carra was one of the signatories to the

juxtaposed and dream-like images are curiously

Founded by Carra and

a magical

Chirico in 1917, and swiftly

imagery of mannequins

work had

irrationally

('metaphysical painting') school.

De

Pinacoteca

di

Brera. Milan

Chirico. Kahlo.

Wadsworth

by the

Carracci Aannibale Christ

is

shown beating

to St Peter.

Upon

said to St Peter,

The

artist

shows

i

Christ Appearing to Saint Peter

the Cross as he appeared in a vision

being asked where he was going, Christ

am

going to

Rome

to

be crucified

again'.

particularly in the landscape.

and the beautiful figures

The harmonious composition

recall the

Michelangelo, and represent the

artist's

Bologna

desire to bring back

Rome. His

style

is

characterized bv a fusion of naturalism and Classicism. In a

Annibale Carracci. b Bologna. 1560. d Rome. Christ Appearing to Saint Peter on the Appian

and

yet

and

is life-like

his brother

and

Appian Way

in

1

595.

this purity that

is

natural, not artificial or forced."

The academy

many of whom were

to

academy of trained a

fine arts in

number of artists,

form the great school of

seventeenth-century Baroque Bolognese painting.

•"

Correggio, Michelangelo. Raphael. Reni. Titian. Vouet

1609 Way. 1601-

2. Oil

on panel. h77.4 x w56.3 cm. h30H x

w22

'I

not

Agostino and cousin Lodovico, Annibale

Carracci founded an important

work of Raphael and

the Classical spirit to seventeenth-century

reality

With

the

he spoke of his admiration for Correggio and Titian:

letter

like this straight- forwardness

great sensitivity to detail in this painting,

on

in.

National Gallery. London

Cassatt Man-

Woman

The woman here has been caught does her sewing. interpla}

It is

not

of colour and

light in

would have been painted from

formed

a close

great influence

stvle.

Impressionists at their 1874

Mary Cassatt. b

Pittsburgh. PA,

Woman Sewing. C1880/2.

as she

life.

The

at the

not found

artist's realistic

Oil

who had

classified as part

is

of the French

Many of her

mothers with children, painted with in

paintings show-

a feminine tenderness

other Impressionist work. Cassatt was very

influenced by Japanese woodcuts, and excelled in making

Pennsylvania

Edgar Degas,

American, she

Impressionist movement.

Eakins. Later, in Europe, Cassatt

association with

on her

moment

but a study in the

an outdoor scene, which

approach stems from her studies

Academy under Thomas

in a quiet

a portrait,

Sewing

a

woodcut

prints.

Impressionism

She

in

is

widely credited with popularizing

North America.

Cassatt exhibited with the

show and although an

•" Chase. Degas.

Eakins. Hiroshige, Monet, Morisot

1844. d Mesnil-Beaufresne. 1926

on canvas. h92 x

w63

cm. h36V4 x w24 7^

in.

Musee

d'Orsay. Paris

Castagno Anth Bold power and strength characterize

The Young David

dd this

image of David

present day. Castagno

He

with the head of Goliath. These were qualities that were

figures.

highly valued by Florentines at the time; they identified with

reflect his sculptural

the young, spirited warrior

with a sling-shot. to

who overcame

The image

is

the huge giant

painted on a leather shield,

he carried through the streets of Florence during festive

processions. Artists in fifteenth-century Italy

made such

painted

the

know

human

this story to

Botticelli,

He

in particular

did not pay

form. Castagno was

at

one time

be untrue, but

it

may

We now

reflect the artist's

Donatello. Ghiberti, Ghirlandaio. Signorelli

The Young David. cl450/57. Tempera on leather mounted on panel. hll5.6 x w76.9 cm.

DC

which

thought to have brutally murdered his teacher.

Andrea del Castagno. b Castagno. cl421. d Florence, 1457

National Gallery of Art. Washington

frescos,

approach to painting.

attention to either landscape or nature, choosing to

*~

to the

for his strong, powerful

on

violent nature.

most examples have not survived

known

focus

made

last,

is

number of

much

decorations regularly. However, because they were not to

a

h45& x w30Va

i

Catena The a

artist

simple meal.

kept to a

The Supper

\ incenzo

has used a straightforward composition to highlight

The

table,

minimum.

glassware and setting have

All, that

is,

all

been

except the cloth that hangs

at

Emmaus

of the time, colour and as

its

light are as

the right

elaborate cloth, drawing the viewer's attention to the Saviour.

appears to have entered into

The Cloth of Honour,

Giorgione

it is

known,

is

a feature

of other

Venetian Renaissance paintings and can be found, for example, in

many works by Giovanni

his paintings

Bellini, particularly in

of the Virgin. As with many Venetian paintings

shows the

at

artist's

one stage

Oil

on canvas. hl30

x

man on

inventive colour sense. Catena

some kind of partnership with

in his career.

His works show the

influence not only of Giorgione but of other Venetian artists

such as Titian and Palma Vecchio.

«- Giovanni

Bellini.

Champaigne. Giorgione.

Vincenzo Catena b Venice. C1480. d Venice, 1531

The Supper at Emmaus. 1520/30.

this picture

the servant's clothes and the vellow and purple of the

behind Christ. The simplicity of the picture contrasts with the

as

important to

composition: the play between the blue and yellow of

w241 cm. h51 x w94%

i

Galleria degli Uffizi. Florence

Titian

Catlin George

Ambush

Creating a pretty red-and-white pattern along a plain

a painting that

stretching out to the horizon, a flock of flamingoes attend

Catlin turned to portrait painting

to their nests.

Overhead

a

formation across the sky.

group of birds

A

is

meant

as a

reminder of

is

otherwise

among

studying and living

a looping

hunter and his servant lurk

behind a bush, waiting tor the perfect

The hunter

fly in

for Flamingoes

America.

moment to shoot. how the beauty of

Indians,

painted

and was an

of Indian

nature can so swiftly be destroyed by man. Cadin has taken

He

tribes.

many

early

fairly rigid.

A

lawyer by training,

and spent many years

the Indians of portraits

campaigner for the preservation

In 1841 he published Manners.. .of the North

American Indians, illustrated with some 300 of his engravings.

great care in presenting the flamingoes in different poses, so as to express variety

George

and movement and

Catlin. b Wilkes-Barre. PA.

Ambush

for

Flamingoes. cl857.

to create

1796. d Jersey

Oil

City. NJ.

rhythm

in

North and South

of native American

m~

Allston,

Audubon. Bingham, Cole

1872

on canvas. h48.3* w67.3cm. hl9x w26'/,

in.

Carnegie

Museum

of Art. Pittsburgh,

PA

Cellini Benvenuto This beautiful

and Ceres, legs

salt cellar is

who

figures

- Neptune

represent Water and Earth. Their intertwined

symbolize the combination of these elements, which

together produce

salt.

sculptor and engraver.

and princes; 1

made of two

Salt Cellar

Cellini

was

a celebrated

He worked

this particular object

of France. The splendour and grace of

was

Benvenuto Salt Cellar.

to appeal to the

Cellini,

work

popes

is

a

The aim of these

emotions through aesthetic

b Florence, 1500. d Florence,

is

known about

autobiography, which

King Francis

Cellini's

perfect example of the Mannerist school. artists

for

can be seen in the work of late sixteenth-century great deal

goldsmith,

for emperors, kings,

was made

This led to the use of elongated figures and sharp colours,

effect.

account of

his

Cellini's

is full

- were melted down. Many

however, have survived.

'•* Clouet. Giambologna. Parmigianino.

Rosso Fiorentino

1571

1540/43. Gold, enamel and ebony. h26 x w34 cm. hlO^ x i»13%

i

Kunsthistorisches

from

his

an

as

stealing the papal en

as

A

>wn

most of Cellini's smaller works —

medals, cups and daggers larger masterpieces,

life

of racy anecdotes such

imprisonment for

jewels. Unfortunately,

tempestuous

artists.

Museum, Vienna

i

if

his

Cezanne

Mont

Paul

Purples, blues, yellows and reels create this

mountain

Nature'.

in the

Sainte-Victoire

He

achieved

this b)

combining

direct studies of the

Mont Saintehome town of Aix-en-Provence, subject. He returned to it again and

South of Fiance. Rather than altering the tones of the

landscape with a Classical sense of form.

colours as they changed with the light and shade, Cezanne

Victoire, near the artist's

changed the colours themselves. The mountain and

was Cezanne's favourite

surrounding landscape have been simplified into geometrical

again throughout his career, producing paintings that were

shapes and planes of colour.

may not

faithfully

The

result

is

increasingly radical in conception. His reduction of nature

a painting that

reproduce the scene, but which evokes

its

tones and volumes through the interplay of light and shade.

Cezanne

said that

he 'wanted to do Poussin again, from

into simple geometric shapes,

and

his use

of bold colours,

point to the later work of the Cubists and the Fauves.

«" Braque.

Derain. Hodler. Picasso. Poussin. Vlaminck

~^ *&&mmji& 1

I

Cezanne, b Aix-en-Provence, 1839. d Aix-en-Provence, 1906 Sainte-Victoire. 1885/95. Oil on canvas. h72.8 x w91.7 cm.

it

h28% x w38!£ cm. Barnes

Foundation. Merion. PA

Chagall Marc Above

a

town made up of simple wooden houses and

barns, two fantastical figures

fly

hand gently cups the woman's lovers,

across the sky.

breast.

The man's

They seem

to

be

in

blocks of colour, with

its

pretty

tales

his

and

fantasy. Chagall

imagery

is

in

Russia and

reality

and dreams into colourful compositions. to leave Russia because the state

and France.

and came to divide

He was

a

very productive

and designing mosaics, stage

fairy-

much of

can be found

in

Opera and the

manv

UN

his time

sets

and

is

both sophisticated and

artist,

Vitebsk. 1887. d Saint Paul-de-Vence.

Above the Town. 1915.

Oil

1985

on canvas. h48.5 x w70.5 cm. hl9'/i x

w27 34

in.

Private collection

painting

His works

public buildings, including the Paris

Headquarters

«- Gontcharova, Hodgkin.

childlike,

He

demanded

between the

tapestries.

in

New York.

firmly rooted in the Jewish folklore of his

early years. His stvle

Marc Chagall, b

was born

blending

was compelled

US

wooden

fencing and warmish tones, shows Chagall's interest in

the

certain type of art,

perhaps eloping. The quaint and naively ordered

town, painted

Town

Above

Rodin. Soutine, Utamaro

a

Champaigne soon betray him. only light

A

mysterious

in the picture falls

ajr

The

Philippe d

and delicacy

actually

worn

as

Hiroshige Ando Trudging wearily across

a

wooden

Moonlight, Nagakubo

bridge over a river are

three figures and a donkey, silhouetted against the contrast, a comical

shown

group of

figures in the

moon.

foreground

shapes, which are artist

filled in

with solid blocks of colour.

The

more

realistic in

Hiroshige. b Edo, 1797. d Edo,

day

as

merely popular

on European

effect

when

West. The Impressionists

Monet :*

collected a large

print

on paper.

h22xw34cm. h8^xwl3&

i

Seen

landscapes had

artists at the

end of the

they began to be imported to the in particular

were profoundly

number of his

prints.

Degas. Hokusai, Monet, Utamaro, Whistler

1858

Moonlight, Nagakubo. 1840. Polychrome woodblock

art, his

influenced by Hiroshige's fresh approach, and Claude

much impressed by the older master's own works are freer and colour. His prints have come to epitomize

Hokusai, and was

austere style, although his

art in their unsophisticated, poetic simplicity.

own

nineteenth century,

Hiroshige was a younger contemporary of

more

in their

an electrifying

is

as if in daylight. Firm, rigid outlines define the

Japanese

Ando

Japanese In

Hobbema \\

arm brown tones dominate

Winding paths which illusion

of depth.

Road on

Meindert

this peaceful,

autumnal scene.

lead the eye into the picture create an

Hobbema was

accurately the play of light

meticulous

on every

leaf

in

reproducing

and blade of grass,

and the ripples made by the ducks on the pond. Animals

the

Dvke

a

same views, but Ruisdael tended

drama, while

Hobbema

to give the scene

preferred to give the impression of

a particular place. In the 1670s, at the height

of his powers,

he became, by marriage, collector of Amsterdam's wine

and from that

moment

his painting

dwindled almost to

and humans are secondary here to the beauty of the

nothing. For the

last

landscape

itself;

only a close look reveals the houses, half-

energy not to

but to inspecting casks of wine.

hidden by

trees.

Hobbema was men

•*

van Ruisdael, and the two

a friend

art

Oil

life,

he devoted

and pupil of Jacob

even occasionally painted

Bierstadt, Constable. Corot. Van Goyen, Ruisdael

Meindert Hobbema. b Amsterdam. 1638. d Amsterdam. 1706

Road on a Dyke 1663.

40 years of his

on canvas. hl08 x W128.3 cm. h42H x

w50&

in.

Private collection

his

tax,

Hockney David Under

A Bigger Splash

the intense, Californian sun, an unseen figure creates

a splash in a pool.

Hockney applied

small brushes for the splash to suggest in the stillness. In

its

skilled

technique that captured

it.

Kitaj,

moment with

A conscientious

and from

his earliest

art

Pop Art movement.

this

expensive, leisured world.

very

the

much

a painter

of a

city

Splash. 1967. Acrylic on canvas. h243.

varied

«* P

associated with

!

W243.8 cm. h96

A

and

work

brilliant

a

(where he

swimming

draughtsman, and

point in time, he

includes scenery for opera.

by fellow-student

work was

to California

sometimes works from photographs, even

objector

Blake. Hamilton. Hopper, Kitaj

David Hockney b Bradford. 1937

A Bigger

A visit

pool and lawn and sprinkler paintings, which coolly observe

as hospital orderly during his National Service,

he was persuaded away from abstract

RB

sound exploding

one of his most consciously planned and

evocative images, he contrasts the fleeting

who worked

the

eventually settled) inspired the famous series of

paint with rollers, using

x

w96

in.

Tate Gallery. London

for portraits. His

Hodgkin Howard Al

first

sight this painting

represents a lovers

is

colour.

memory of a

seems real

abstract, but in fact

encounter.

conveyed through the dramatic

As

is

his habit,

Lovi

The swirls

Hodgkin uses wood

must

it

into the picture.

relate to relationships,

captured

at a precise

He

in his use

of

scale works.

of intense

as a base for the

painting and carries the paint over onto the frame

incorporating

attracted by traditional Indian

it

ecstasy of the

personal.

An

developed

itself,

art. Its

influence can be seen

colour and his preference for small-

style,

however,

is

entirely individual

moment,

reflecting

some

strong reputation in this the

UK Turner Prize

field.

for

In 1985,

contemporary

intense,

on panel. hl71.5 x wl85.4 cm. h67?i x w73

i

Chagall. Heron, Kossoff, Matisse, Rodin, Rothko

Private collection

and

inventive and prolific printmaker, he has also

and he usually shows people

Howard Hodgkin b London, 1932 Oil

His

Hodgkin won

has said that painting

personal memory. During time spent in India, Hodgkin was

Lovers. 1984-9.

a

brilliant

art.

H OdlCr

Lake Thun

Ferdinand

Highly ordered and symmetrical, the formal elements of

this

calm. In the cool reflecting the

air

of early morning the lake

glow of the

restricted, flattened

rising sun.

and simplified

composed

in a

his paintings

pink,

Our view of it

has been

all

forms and colour. Hodler evolved a highly decorative

its

showed

hidden meanings

He was the

Oil

on canvas. h80.2 x

wlOO

cm. h31!^ x

of

his career

artist's interest in

in objects,

and

in

w39H

i

later

Art Nouveau, with

The

linear, flat style

as

style

parallel

but

Symbolism, with

an

important element, heralds the Expressionist movement.

>•- Bocklin, Corot, Courbet, Denis, Frankenthaler, Witz

Ferdinand Hodler. b Bern, 1853. d Geneva, 1918

Lake Thun. 1905.

influenced by Camille Corot

in the early part

which he eventually developed, using colour

unnecessary detail

rhythmic pattern of layers of

of landscape with strong colours and outlines, using

effects.

curling tendrils and stylized leaves.

as if to present us with

only the essence of the scene, with eliminated, and

is

motifs for his

and Gustave Courbet

painting have been carefully balanced to create a sense of

Musee

d'Art et d'Histoire,

Geneva

its

Hofmann

Hans

Fairy Tale

Swirling brushstrokes, applied with verve and panache,

mingle together

sought

He

in a

multitude of vibrant colours.

in this formless abstract to express the spirit or soul.

deliberately avoided

wanted the painting

would

how

he

to look, as if his artist's hand, left to

in his

mind's eye,

Hofmann even

Fairy Tale.

1944.

Oil

on wood. hl52 x

York. NY,

mood

teacher,

work

in.

artistic

conventions, was

was one of its most important advocates and

lived in

Jackson Pollock. Born

his

in Bavaria,

both Munich and Paris for several years

'«- Frankenthaler, Gorky,

Private collection

all

Expressionism. Hofmann, as painter and

greatly influenced

1966

w92 cm. h59H x w36

or emotion, free from as Abstract

before emigrating to the

eliminated the brush, pioneering the technique of pouring or

Hans Hofmann. b Weissenberg, 1880. d New

a

Hofmann

create the image he wanted. In his drive to

reproduce the visions

explosive patterns. This search for the ultimate expression of

known

both applying the paint with

conscious care, and having a preconceived idea of

itself,

dribbling the paint direcdy onto the canvas to create strong

Hofmann

USA

in 1932.

De Kooning,

Pollock

Hogarth w It is after

noon, a chair

lies

Breakfast Scene, from Marriage a

illiam

overturned, cards are strewn on

la

Mode

engraver, he learned the trade and eloped with the

the carpet and the debt collector rolls his eyes in

engraver's daughter. Tiring of conventional art forms, he

exasperation. Late nights of drinking and gambling,

specialized in scathing, even savage, visual commentaries

overspending on an opulent house and the whims of an

made up of a series of pictures which told a story. Engravings were made from the original oils and their immense popularity made him famous. Although his works parallel those of the Rococo painters in France, his

indolent wife are satirized in this portrait. For Hogarth, criticism

mocks

of

taste

florid, fantastical

more

was

also criticism

the grotesque objets d'art

like a

of manners and he

on

the mantelpiece, the

clock and the marble bust which looks

pig than a

Roman

noble. Apprenticed to an

William Hogarth, b London. 1697. d London,

Breakfast Scene, from Marriage a

la

social conditions,

comic wit and •" Boucher.

style are utterly English.

Chardin, Fragonard. Steen. Watteau

1764

Mode cl745.

Oil

on canvas. h71 x w91.5 cm. h28 x

w36

in.

National Gallery, London

on

Hokusai Majestically simple

much many,

venerated this

is

and unsophisticated,

Mount

Mount

Katsushika

Fuji

is

direct

this

woodcut designs of

view of the

the Ukiyo-e (or 'floating

which concentrated on ordinary things

and immediate. For

the ultimate representation of Japan's

Fuji in (Hear \\ eather

most

delighted in feats of artistic

skill,

in

worW)

everyday

dashing off

in a

school,

life.

He

few strokes

famous landmark. Rather than following the conventions of

of the brush the momentary landing of a sparrow on an ear

perspective, the Japanese artist Hokusai produced an image

of corn, for example. The bold simplicity of

straight

from

appeared engraver

his imagination, a

in his

who

illustration,

mind's eye.

view

He was

as fresh

and pure

apprenticed to a

as

it

wood

use of colour greatly influenced European particularly

Edouard Manet and

his designs

artists,

his circle.

taught him conventional painting and book

but he

later

abandoned

this for the

coloured

«

Hiroshige. Hodler. Manet. Utamaro. Whistler

Katsushika Hokusai. b Asakusa. 1760. d Honjo. 1849

Mount

Fuji in

Clear Weather. C1823-9. Polychrome woodblock pni

on paper. h27 x

w38 cm. hlO^

x

wl5

in.

British

Museum. London

and

Holbein Hans The two

sitters,

The Ambassadors

so confident of their importance, are Jean

de Dinteville, the French Ambassador to England, and friend,

George de

Selve,

Bishop of Lavaur.

collection of musical, astronomical

and

An

elaborate

Holbein shows that

must end

all

in the grave,

this

am on

1

1

on

the lute, and the distorted skull yawning before

which can be seen only picture.

if

official painter to the

The

portraits

April.

Holbein's masterful technique and

magnificence and arrogance

of Henry VIII,

character.

He

his

•"

queens and ministers

Oil

and tempera on panel. h207 x

w209

Claesz, Durer, Van Eyck, Hals, Massys. Sittow

cm. h81'/$ x w82'/$

in.

National Gallery, London

time

illustrate

gift for revealing

died in London, a victim of plague.

Hans Holbein, b Augsburg, 1497/8. d London, 1543 The Ambassadors. 1533.

his

English Court. His

however, by contrasting their

splendid richness with symbols of death: the broken string

them

standing to one side of the

Holbein was the greatest portrait painter of

and was appointed

scientific

instruments symbolizes their learning and power. sundial sets the scene precisely at 10.30

his

Homer Three young boys and side

of a sailboat

same year

Up evokes

as

it

W'inslow a

outside that

is

century. His

work

typical is

small boat

small

town on

is

air

of Homer's work of the mid-nineteenth

life

in the

1

86os and 70s.

registered in Gloucester, Massachusetts, a

the

New

England coast

that

amongst

artists

during the

and

his

1

and where

870s.

Oil

on canvas. H61.5 x

w97

: cm. h24 ^ x

:

w38 /6 in.

manv summers

honest representation of the world around him to the

is

work of the contemporary

Homer

them. With

Thomas

the leading

American representative of naturalism, the

realistic

Eaktns, W'inslow

depiction of the contemporary world.

Bellows. Bingham. Eaklns, Pissarro

Winslow Homer, b Boston. MA. 1836. d Prouts Neck. ME. 1910 Breezing Up. 1876.

spent

French Impressionists, he was never direcdy influenced by

W

was popular

Homer

Although Homer's choice of subject matter

sometimes compared

and summers

indeed considered the most authennc

expression of American country

The

the starboard

Huckleberry Finn, Breeding

of childhood, fresh

a sense

down

fisherman weigh

tacks against the breeze. Painted in the

Mark Twain wrote

that

Up

Breezing

National Gallery of Art. Washington

DC

is

considered

Honthorst Musical

frolics

and fun

spill

The Concert

Gerrit

out of

this lyrical painting

of

merry-making. Seen from below, a group of women sing in a

window, accompanying themselves on curtains

and bright

When

in

and colourful draperies and feathers of

Rome

in the early part

Honthorst was influenced by Caravaggio, chiaroscuro in his

works, with one intense

deep shadows. Subjects

like 'The Concert'

Gerrit van Honthorst. b Utrecht,

The Concert. 1624.

red

lighting suggest a theatrical setting,

reflected in the rich

the figures.

The

lutes.

Oil

of

the Night'. a tradition

On

he was nicknamed 'Gerard of

his return to Utrecht,

of painting

in this style

painted portraits of Charles

changed

I

and

he helped to establish

and, on

visits to

manner of Anthony van Dyck.

source and

were popular with

ttt Caravaggio. Dou,

hl68xwl78cm. h66xw70in. Musee

du Louvre,

Pari;

England,

his wife, Henrietta Maria.

again, so that he followed the

Later, his style

used strong

1590. d Utrecht, 1656

on canvas.

and Honthorst's night scenes

his followers,

liked in Italy that

his career,

who

light

Caravaggio and

were so well

Van Dyck, Greuze, Terbrugghen

De Hooch

Woman

Pi«cr

This peaceful picture of a domestic event

up of

tiny,

meticulously observed details.

gives the scene a sharp reality, in

would seem almost locked were

it

onto a

is

The

The doorway was

enclosed world

open door leading

to a brightly

favourite device of

a a

with

inner room. There

atmosphere of calm, of ordinary, everyday

Pieter de Hooch, b Rotterdam, 1629. d

and a Maid with a

De

dark foreground, with an

lit

life,

is

Maid with

a

its

a Pail in a

light.

De Hooch's His

simple

homes

people

in

later

Courtyard

quiet and simplicity are in themselves early paintings usuallv

showed two or

three people engaged in household tasks, in a

figures

not for the open door of the courtyard looking out street.

also a sense that beautiful.

clear light

which the two

in a timeless,

Hooch's: he would often paint

Woman

carefully built

and

room flooded

works abandoned these wonderfully

for rather forced scenes of high

them became

life.

The

richer, while the paintings

themselves were poorer, and lost the quality of

light.

an

but there

is

• Dou, Metsu,

Steen, Ter Borch, Vermeer

Amsterdam. 1684

Pail in a Courtyard.

1660-65.

Oil

on canvas. h53 x w42 cm. h20 3/4 x

wl6

I

.

Hermitage Museum, St Petersburg

lit,

HOpper Edward Fully clothed, silent

People in the Sun

and motionless, sun-worshippers

precisely staggered chairs, each person isolated next. light

The

stillness

and shadow,

of the scene, with is

was

in

all

is

the major

strongly contrasting

his later paintings,

theme

and he uses

in this it

unaffected by contemporary

European

Edward Hopper, b Nyack, NY. 1882. d New People

In

the Sun 1960.

Oil

art

to create

style

anonymous and

to stress their separateness

One of North

America's most popular

banality

and

also the

was •* Boudin, Hockney,

Segal. Wyeth

1967

on canvas. hl02.5 x wl53.3 cm.

h40%

artists,

unexpected beauty of the everyday

world.

movements or by

York. NY.

Hopper wanted

Hopper's work reveals the loneliness, the ugliness, the

as

jagged outlines and an oppressive atmosphere. Always

pursuing the oddness of the mundane, Hopper's

if

from each other, rather than what has brought them together.

work,

abstraction. His figures are

withdrawn, as

cold and uninviting. Hopper's

obsession with sunlight it

its

American

sit in

from the

;

w60%

in.

Smithsonian

Institution,

Washington DC

Houdon

i

Bust of Denis Diderot

ean-Antoine

This life-sized terracotta bust of the French philosopher

still

bears the marks of the sculptor's hands as he modelled the

wet

clay.

Diderot's eyes look away from the viewer,

separating his world from ours. Following the

the is

Roman

a study

is

model gives developed

same

include style

of

busts of Antiquity, the sculpture for which this

smooth and Hawless, but insight into the

this

mind of the

his ideas into three

rougher working

artist as

greatest

men

Denis Diderot. cl771. Terracotta. h41 cm.

in.

Musee du

which

of his time. His fame was

such that the Americans commissioned from him

in the

American War of Independence;

•-

Algardi,

1828

hl6^

are portraits,

of their general, George Washington, to honour

dimensions. Houdon, the

Jean-Antoine Houdon. b Versailles. 1741. d Pans. of

some of the

Capitol at Richmond, Virginia.

he

most celebrated French sculptor of the eighteenth century,

Bust

narrowly escaped imprisonment during the Revolution. His

most numerous works, however,

Louvre.

Pans

Canova.

Frink. Roubiliac

it

a statue

his victory

stands in the

Hunt Looking into

woman

start

William

this typical

up

guiltily

Holman

The Awakening Conscience

Victorian drawing room,

from her

suddenly aware that what she

is

lover's knee, in

doing

is

moral commentary. The patterned

see a

mid-song,

principles.

its

Of all

who

remained

the Pre-Raphaelite painters

Madox Brown were most

he and Ford

representing moral and social values in contemporary

fabrics, grainy

meticulous, almost obsessive, attention to

Dante Gabriel Rossetti and John Everett

to be

woods,

detail.

Millais

William Holman Hunt, b London, 1827. d London,

Victorian

life.

Hunt

tried to paint 'in direct application to

With

He completed few

lacked the motivation to finish

•*

pictures, spinning each it

one out

h29^xw21%

in.

Tate Gallery, London

as if

and begin another.

Fra Angelico, Botticelli, Brown. Millais, Rossetti

1910

on canvas, h76.2xw55.9cm.

interested in

Nature', using friends rather than professionals as models.

he founded

the Pre-Raphaelite Brotherhood, dedicated to observing

Oil

faithful to

was intended

busy wallpaper and garish colours are typical of Hunt's

The Awakening Conscience. 1853.

nature accurately, but was the only one

wrong. Victorian

values are reflected here, and the picture a

we

he

Ingres Jean Auguste Dominique Named

after the collector

Ingres' Bather of

who

/,

\

alpin$on

Classical beauty in the

is

first

bought the

a calm representation

human

The Bather of Valpincon showed

picture,

The

of

nude. Softened by the delicate

little

interest in the expression

polished perfection of his

Renaissance

Raphael.

idol,

A

of the human

work was

face.

inspired bv his

leading figure in the Classical

reflected light, the bather suggests a cold, languid eroticism,

tradition

of nineteenth-century France, Ingres painted many

made ambiguous by her refusal to meet the viewer's gaze. The only sound or movement is that of a small spout of

idealized

and exotic

although

all

water, and the spartan interior seems to freeze the scene in

oriental scenes with

the detail

travelled outside

voluptuous nudes,

was second-hand, since he never

Europe.

time and space. Ingres was a superb draughtsman, but

remained emotionally detached from

his subjects

«-

and

Boucher, Canova.

J-L David. Leighton, Maillol.

Jean Auguste Dominique Ingres b Montauban. 1790. d Paris. 1867

The Bather

of Valpincon

1808.

Oil

on canvas. hl46x w97.5 cm.

h57^xw38Min. Musee du

Louvre. Pans

Prud'hon

Ivanov Alexander St

John the

Baptist, wearing a cloak over his tunic

skins, raises his reed cross to the

him, and preaches the word of illustrates the

two things

visionary: his foretelling

bapusms he

The Appearance of Christ of animal

the

to his followers.

that mattered

most

to this

Ivanov

in

On

the

Biblical

was spent

the influence of the

paindngs never got beyond the drawing

combined

left,

some of the newly baptized can be seen clambering up

Rome, where he came under

as the great painters

his adult life

Nazarenes, a religious ardstic group. Although many of his

rough

of the coming of Christ and the

carried out in the river Jordan.

same noble grandeur and harmony

Raphael and Michelangelo. Most of

crowd, that presses around

God

to the People

a sense

of mysticism with

stage, they

historical accuracy

original visual imagery.

the

bank. Ivanov used Classical postures and dress, and adopted the restrained style of the Renaissance,

hoping to achieve

i x wll3

in.

the later

Gallena degh

Uffizi.

Florence

Monaco

Lissitzky m

Composition

Revolving geometric objects painted

in delicate

colours

sense of

appear to be floating

in the air, thus creating a

depth and an

of space. Some of the shapes are given

illusion

Marc Chagall appointed him professor of architecture and graphic art

at the art

school in Vitebsk, where he came

under the influence of Malevich. His

series

of 'Prouns'

is

three dimensions, and this suggestion of architectural forms

well-known -

was developed

dramatic architectural qualities and an overall flatness, with

in Lissitzky's later

works. In

its

concentration of pure form and colour, the drawing shows the influence of Suprematism, an abstract art

form invented

by Kasimir Malevich based on pure geometric Lissitzky trained

El Lissitzky

first as

an engineer, then

as

architect.

(Eleazer Lissitzky). b Smolensk, 1890. d Moscow,

Composition. C1920. Gouache, ink and pencil on paper. h41 x

number of abstract works of straight

no suggestion of depth.

lines,

Lissitzky's creative versatility

extended to designs for costumes, exhibitions, posters and books.

figures.

an

a

*

Chagall, Van Doesburg, Gabo, Malevich, Moholy-Nagy

1941

w33 cm. hl6& x wl3

in.

Private collection

;

Lochner

Doll-like angels serenade the Virgin

Christ child while

God

arbourcd rose garden

symbol

or"

The

Stefan and

in

which the Virgin

her purity. With

its

the

offer fruit to the

the Father watches from above.

The

sits is a traditional

grace and mysticism,

Virgin and Child in a Rose Arbour

Cologne school. The gentle modelling of

given the

name

Child painted by other

do the images of

painting, as

pure colours of the robes, the work has a number of

some contemporary

characteristics typical of Lochner. This

last

is

the earliest

the Virgin that can be found in

illuminated manuscripts.

known

who has been described as the and who was principal master at

this lyrical painter,

of the Gothic

artists,

Stefan Lochner. Active

in

Cologne. 1442. d Cologne.

The Virgin and Child

a

Rose Arbour cl440.

in

Oil

Botero. Campin, Van Eyck, Limbourg, Schongauer

1451

on panel. h50.5

was

the Rhine valley bear similarities to this pretty and poetical

its

subde technique, the sweetness of the Virgin's face and the

work bv

his figures

Many images of the Virgin and fifteenth-century German artists in

'soft style'.

w40cm. hl9*^xwl5'/4

in.

Wallraf-Richartz

Museum. Cologne

Long

Cornwall Slate Line

Richard

This linear sculpture has been created out of pieces of slate picked up on

a

walk through the Cornish countryside. Each

one has heen chosen straight line

at

random, but

which can be moved

accommodating

its

massive

size.

to

is

carefully placed in a

any place capable of

This work can be

considered as Conceptual as the installation of the

Long

line

has extended the definition of sculpture to

include a dimension of time; his sculptures are a record of

Richard Long, b

Bristol.

at

in different

all

corners of the world.

ways; he

may

brushwood or seaweed, using such as a

of

line

years.

basic shapes

Some of his

of rocks

Anthony d'Offay Gallery. London

He marks

his

leave a simple sculpture

laid

journey

of stones,

known

to

man

sculptures are permanent,

high in the Himalayan

wilderness; the less permanent are exhibited in the form of

photographs or maps.

* Andre, Buren,

Christo. Judd

1945

Cornwall Slate Line. 1990. Delabole slate. 12540

Now

taken him to

for millions

represents the idea of the walk, which has already taken place.

the artist's journey through a landscape. This approach has

xw230 cm. 1999 xw87

In.

Installed at Tate Gallery, London.

Longhi Painted with

almost

a

precise observation of detai] born of an

scientific curiosity, a

enclosure, placidly

rhinoceros stands

munching

bemused audience dressed carnival.

Exhibition of a Rhinoceros

Pietro

in

in

all

hay, an exotic spectacle for

costume

William

an a

capitals

by

pictures of middle-class Venetian

never

life

satirical (unlike, for

Pietro Longhi. b Venice. 1702. d Venice.

were

theatrical

and

example, those bv

One of the most charming of

Venetian eighteenth-century painters,

were imitated bv others or repeated by

Oil

on canvas. h60 x

somewhat

show no

great artistic genius, they

many

pupils,

form

paintings

and although

a valuable

record of an eighteenth-centurv Venetian society, long past its

peak and slipping into decadence.

•" Agasse,

Hicks, Hogarth. Teniers

1785

Exhibition of a Rhinoceros at Venice. cl751.

if

innocent, Longhi dispassionately recorded the everyday

they

its

captor, and brought to Venice in [751. l.onghi's small-scale

witty, but

Ver

events that captured his imagination. His

tor the Venetian

This odd painting commemorates the rhinoceros

which was toured around the F.uropean

logarth in England).

I

at

w47 cm.

h23'/S x

wl814

in.

National Gallery. London

LorenzettiAmbrogi Dominating the composition from sits

his magnificent

throne

Good Government. He is dressed and white — the colours of Siena. At his

the personification of

as a judge in black

feet sit the twins Senius a

Allegory of

and Ascanius, feeding greedily from

she-wolf- characters from

symbolize the

city's

Roman mythology

ancient origins.

On

the

used to

left is

Peace, a

Classically-inspired figure dressed in gauzy white robes

reclining are

on

a suit

of armour. Crowding round the platform

members of the

Sienese community. This fresco

Ambrogio Lorenzetti. Active Allegory of

and

in

Good Government

Siena. 1319. d Siena. (detail).

is

part

of

a cycle

Good Government

painted

on

Siena'-- tcrcagna (local slant; for 'archangel' ill

Cione) was the main master.

work was

finished

by his younger brother Jacop

of the workshop.

Duccio. Giotto. Masolino. Lorenzo

Monaco

1368

cl367. Tempera on panel. h291

his Life

painting was a collaboration

Ins assistants, (

name was Andrea

but he died before the

member

this

work of Giotto

Cione) b Florence. cl320. d Florence.

Matthew Surrounded by Scenes

Galleria degli Uffizl. Florence

Matthew Surrounded bv Scenes of

works. \s was customary,

Matthew, the

painting

xw265 cm. hll4%x wl04%

in.

lpleted,

Organ The

Prince of Wales

Charles, Prince of Wales

Bryan sits in

a relaxed pose, dressed in casual

clothes in front of a green fence. Painted almost entirely of

blue and green, only a few elements in the painting are not in these

his

two colours - the Union Jack, the Prince's

boots and

traditional

shirt collar.

Organ revolutionized

face,

and

the

sitter

with the

He has pomp and ceremony

Organ was commissioned

now hang

in

London's National

Portrait Gallery.

man who

has just finished a friendly

game of polo.

Organ was

non-French

commissioned

also the first

to paint a

•" Hockney. Kauffmann,

hl77

x

wl78

cm. h70 x w70Ve

in.

of

citizen to be

French President (Francois

Mitterrand).

Richter, Sutherland

Bryan Organ, b Leicester. 1935 Charles, Prince of Wales 1980. Acrylic on canvas.

A

insightful portrayer

associated with his position, but as an intelligent, aware and sensitive

to paint the portraits

consummate draughtsman and character,

approach to portraits of the monarchy.

not chosen to depict his

In the 1970s

of four members of the British royal familv, three of which

National Portrait Gallery, London

OrOZCO This sensational image portraying Christ as cross.

A mountainous

modern

is

artist

scene from

a

Orozco's large fresco

militant revolutionary destroying his

up behind him. While creating

developed

a

this

technique which evolved from

meticulous study of ancient Mexican mural paintings

and masonry. The evocative message seems to be that the all-powerful Creator-Destroyer figure of Christ

is

the total destruction of the prevailing forms of

modern

Jose Clemente Orozco b Jalisco. 1883. d Mexico

Modern Migration

of the Spirit

City,

politics, religion

this fresco

is

and

society.

implicit in

its

The

Spirit Expressionist nature of

principal

theme of dramatic

upheaval and change, subjects which OrOZCO had been

|unk heap of various remnants of

civilization rises

work, the his

a

Modern Migration of the

Jose Clementc

passionate about since the Mexican Revolution of 1910.

was

a politically

committed

artist

peasants and workers by painting large murals depicting

scenes from the

life

and history of the Mexican people.

calling for

•*

Botero, Grunewald. Rivera. Rouault. Siqueros,

1949

1933. Fresco. Dartmouth College, Hanover. NH

He

and promoted the cause of

Tamayo

Orpen Under

Sir

The Cafe Roval

William

the glittering ceiling of a fashionable meeting-point

for well-to-do Kdwardians, a congregation artists

gathers together.

The

stiff

of successful

demeanour and elegant

dress-code give a sense of formal bohemianism to this

of Orpen and

which includes the

group

portrait

artists

Augustus John, William Nicholson, James Pryde and

Alfred Rich.

two of the

Orpen has

diluted this stiffness by depicting

figures chatting

between

acclaimed society portraitist

Sir

his friends,

tables.

in his day,

in

London 1912.

Oil

London

success to his confident style and precise, angular technique

which captured the often haughty, 'upper-crust' Edwardian character of his pieces',

sitters.

which was

are engaged in

Orpen

a type

some everyday occupation. One of

famous of these

is

and other

grouped

artists

his

Homage

to

his

«

Bazille.

wll4

cm. h54/ x

w44 %

i

of Edouard Manet's

Manet. Renoir. Sargent. Sickert

MuseedOrsay,

Paris

sitters

the

most

Manet, with Walter Sickert

in front

1931

on canvas. hl38 x

specialized in 'conversation

of group portrait where the

Portrait of Eva Gonzales.

highly

Orpen owed

William Orpen b Stillorgen. 1878. d London.

The Cafe Royal

A

in

Van Ostade In a chittcred interior, a as three boorish

The household

men is

mother and

carouse noisily

clearly

Interior with Peasants

Vdriaen child

sit

by

a

window

offered to them'; although the overall tone of the painting

more decorative than

background.

in the

who

one of great poverty, emphasized

by the mussel- and egg-shells strewn around the untidy floor.

(

)ther objects in the scene, such as the spinning-

of the poor.

idle rich

The

its

mother's food

moral message "Poverty comes to those

who

Adriaen van Ostade b Haarlem. 1610. d Haarlem. Interior with

Peasants. 1663.

Oil

on panel. h34 /

may

what

is

One of his

this type

•- P

hl3V^

,

daily life (called

featured peasants in

pupils

was Jan Steen,

who

also depicted

of popular subject matter.

Bruegel.

De Hooch, Rembrandt. Steen. Vermeer

wl5/i m. Wallace

Collection.

London

i^

a prolific artist

works, his palette became more-

1685

w40 cm.

was

colourful and his peasants better behaved and their room'. tidier.

refer to a

refuse

many of which

interiors. In his later

but the instruments of hard labour for the

baby's refusal of

from

specialized in painting scenes

genre' paintings;,

wheel and wool-winding frame, represent not the pastimes

moralizing. Ostade

OVCrbCCKjohann Fnedrich Figures based

on simple geometric forms;

which recedes

into a hazy distance; colours

a

The Adoration of

landscape

all

are elements

more appropriate

to a fifteenth-

centurv Italian altarpiece than a nineteenth-century painting.

Overbeck

a

German

idolized the artists of the Italian

Renaissance and sought to recreate their

even painted on

wood

panel, in the

style.

This work

manner of

Renaissance altarpiece. After 1810, Overbeck

left

he was better able to studv the masters he

is

co-founded an 'Na.^arenes'. early

artistic

of the

Magi 1813.

Oil

on panel. h49.7 x

Roman

The Nazarenes aimed

in

influential

on

an abandoned

cloister.

set

«•

w66

cm.

in.

their

the Pre-Raphaelite Brotherhood in England.

Fra Angelico, Brown, Gentile

hl9^ x w26

up

Their work was

a

Germany

as the

to revive the spirit of

Medieval religious brotherhoods, and

workshop

Catholicism and

group which became known

Johann Frledrich Overbeck. b Liibeck. 1789. d Rome. 1869

The Adoration

Magi

so admired. There he converted to

dominated by

the blue and gold robe of the Virgin and the subject of the

Adoration:

Rome where

for

the

Kunsthalle,

Hamburg

da Fabriano, Gozzoli

Palma Vecchio Colour and its

subject.

fluctuate

light effects are as

The tones

from dark

in

important to

The Holy Family

this painting as

the Virgin's robe, tor example,

to light red as the

garment drapes "\er

her knees. In contrast to this realistic depiction, the Virgin's face

is

idealized into a cherubic image.

are deeply rooted in Venetian painting

painterly tradition

an

idyllic,

characteristics

and follow the

of Giorgione. Like the older

Vecchio specialized in

These

in

artist,

Sweet faced artist's style.

I

was an accomplished

le

also received a large

These included

pastoral setting.

These often featured plump,

Uffizi.

Florence

and

several large altarpieces depicting the Virgin saints (a

His most famous

is

composition called

Santa Maria Formosa, Venice.

«

Giorgione, Michelangelo, Sebastiano del Piombo, Titian

Oil

on panel. h87 x

wll7 cm.

h34V4 x

a sacra

the Santa Barbara altar in

Palma Vecchio b Serina, C1480. d Venice, 1528 degh

hallmark ol the

the placement of a religious subject

The Holy Family with Mary Magdalene and the Infant Saint John. C1520. Galleria

a

portrait painter

number of ecclesiastical commissions.

and Child surrounded by conversazioni).

Palma

with Mary Magdalene...

Monde women, who became

w46

i

Pannini Giovanni Paolo

Roi

Capriccio

Pannini has combined a selection of Rome's ancient

events, scenes of contemporary

monuments

combinations of actual buildings, but

in

glorious past.

one image, creating

The

a celebration

circular building to the left

Colosseum, with Trajan's column standing base

is

the figure of the

Arch of Constantine free in

Dying Gaul.

in the

On

is

of

its

(such as the

the

in front; at

specialize in views

its

the right stand the

background and

a set

moved

to

Rome where

Oil

the

painter to

tourists, equal in

own.

•*

Canaletto. Guardi, Poussin. Siberechts

1765

on canvas. h97.2 x wl34.6 cm. h38'/i x

wrong context first

kind and his enormous output of

the city's

Giovanni Paolo Pannini b Piacenza, cl692. d Rome. Capriccio 1734.

this

in the

He was

work became very popular among

at first similar to his

impressive ruins inspired him to paint views of historical

Roman

of

here).

and imaginary

ways to the views of Venice by Canaletto, whose

of three

-landing Corinthian columns in the foreground. Born

Piacenza, Pannini

work shown

life,

w53

i

Maidstone

Museum and

Art Gallery.

Maidstone

some

style

was

Parmigianino The

The Madonna with

elongated, languid features of the Virgin, Child and

attendant angels were purposeful!; exaggerated by the

- hence

this painting's

the static

harmony

popular

movement. This tendency

is

new vibrancy and

usually used compositions with a few figures,

crowd scenes, so his figures.

there.

A

as to lay

conscious srvlization and attempt to rework

of

artists

•"

Correggio,

in

Parma - from where

Rome, where he

El

wl35 cm.

h86Vi x w53i«

Palazzo

Pitti.

Florence

after

studied the

Greco, Pontormo. Raphael. Signorelli

in.

his life

made

such as Raphael.

1540

on panel. h219 x

emphasis on the grace

native of

This painting, however, was

had spent some time

the balanced proportions of the Renaissance. Parmigianino's

Oil

He

rather than

working

often called Mannerism,

Parmigianino. b Parma. 1504. d Casalmaggiore.

Style.

he took his name - Parmigianino spent most of

and Pcrugino, and

The Madonna with the Long Neck. C1532.

Long Neck

elegant and intimate paintings exemplify the early Mannerist

and languor of

associated with fifteenth -century

infused the composition with a

its

Parmigianino has taken

title.

paintings, such as those by Raphael

because of

artist

the

he

work

Patenier joachim Fantastic geological structures

Saint Jerome in a

dominate

genre whose popularity has never dimmed. The smooth

this visionary

landscape, which has been conjured up from Patenier's ferule imagination.

The

grand, sweeping vista

is

Rocky Landscape

finish

punctuated

and technical perfection of the painting are

typical

Patenier's style. His naively imaginative landscapes

on Flemish

had

by tiny figures and architectural confections. Carefully

great and lasting influence

observed and sensitively depicted, the detailed topography

extraordinary blend of fantasy and naturalistic detail they

of the scene makes

anticipate the

it

a

convincing setting for the

works of Jan Bruegel

painting; with their

in particular.

diminutive figure of the hermit saint to inhabit. Patenier has unified light, atmosphere and physical elements to create

what must be one of the

earliest real

landscape paintings - a

Joachim Patenier b Place unknown. cl485. d Antwerp. 1524 Saint Jerome in a Rocky Landscape. cl500. OH on panel. h36x

Altdorfer, Antonello,

w34 cm. hl4fcxwl3*i

in.

J

Bruegel, Van Eyck, Leonardo, Reni

National Gallery. London

of

a

Pechstein:Max Hermann All

elements of

perspective

is

this

Meadow

townscape are exaggerated. The and figures are

distorted, the buildings

reduced to basic shapes while the vivid pinks, blues, greens

and yellows heighten the emotion has been applied to the canvas thickness.

At times

it is

through the paint. The realities

type of

or"

the scene.

The

paint

varying degrees of

so thin that the white canvas shows artist

of the natural world art.

in

has deliberately ignored the in search

of a more expressive

Pechstein was part of a group of

artists

at

Moritzburg

similar, Expressionist, goals

with

who

linked themselves in a

movement

called 'Die Brucke' ('the bridge'). Pechstein

one of the

first artists

Perhaps

this

is

of

this

because his paintings tended to be more

decorative and less profound than those from other in the

was

group to achieve popularity.

artists

group, such as Ernst Ludwig Kirchner. His vibrant

sense of colour was greatly influenced by the

work of Henri

Matisse and other Fauvist painters.

*

Heckel, Kirchner. Matisse, Nolde, Schmidt-Rottluff

Max Hermann Pechstein. b Zwickaw. 1881. d Berlin. 1955 Meadow at Morrtzburg 1910. Oil on canvas. H70.2 x w80.3 cm. h27%xw31%

353 in.

Leonard Hutton Galleries.

New

York.

NY

Perugino

The

Virgin and Child with Saints

Altarpieces with a Virgin and Child surrounded by the

tilted

heads, are typical of Perugino's

patron saints of a family often adorned family chapels. Here

customarv

the saints Michael the Archangel, Catherine

of Alexandria,

saint's

life.

by his or her attributes, representative of the Apollonia, for example, holds the forceps that

were used to to

pull

out

all

her teeth in an attempt to get her

renounce the Christian

faith.

The

As was

compositions, such as the arrangement used here with the

worked throughout perhaps best

works

known

Italy, especially in

as the teacher

Umbria, but

and

are very close to his master's style.

«" Andrea

del Sarto, Delia Quercia, Raphael. Signorelll

Perugino (Pletro Vannuccl). b Citta della Pieve. 1445/50. d Fontignano, 1523 Oil on panel. H276 x w213 cm. hlOSfc x w83%

in.

is

of Raphael whose

gracefully elongated,

rather sentimentalized figures, with drooping postures

The Virgin and Child with Saint. cl497.

style.

time he generally employed simple

Virgin and Christ above and four saints below. Perugino

Apollonia and John the Evangelist are included, each identifiable

at the

Pinacoteca Nazionale, Bologna

early

Picabia Francs There its title

is

Amorous Parade

nothing inherently erotic about

triggers

this

machine, but

inanimate, un-erotic object with sexual undertones. This

our imagination. Within moments, the

gangling apparatus has

become charged with

non-conformist Dada movement. Picabia was

connotations of a hilarious, yet unsettling, nature. This fantastic,

complex contraption

comment on man's

activities

is

figure in this anti-art, anti-reason

with Marcel

primarily intended as a

and experiences.

It

USA. He

could be

interpreted as a parody of the noisy thrashing of love-

making. In

its

playful ambiguity

it

30s

Francis Picabia. b Pans. 1879. d Pans. Oil

Duchamp

•*

Davis,

a

helped create

a

Dadaist group

remarkable

series

of collages.

Duchamp, Grosz, Hausmann, Leger

1953

on canvas. h96.5 x w73.7 cm. h38 x

w29

in.

leading

in the

turned to Surrealism, and in the 1920s and

later

produced

a

movement, and together

displays Picabia's

innovative and unusual imagination, which has invested an

Amorous Parade. 1917.

and absurd humour connects the painting with the

irrational

sexual

Private collection

Picasso Pablo The

scaring

woman

is

\\

emotion of grief experienced by

reflected with great intensity

rigid paint-strokes.

The

m

viewer's attention

this distraught

the harsh colours

focused on the cold blue and white area around her teeth; her exes

with sorrow.

and forehead are dislocated -

The

figure

massacre of

women is

literally

and children

same in the

year,

Woman

by Picasso entitled 'W eeping Women'. The way the

woman's

been distorted and fragmented

face has

development of Cubist

a

Braqae was the inventor of Cubism, executed an immense

in Spain,

which portrays the

Picasso

his life in France.

Spanish Civil War. The

on canvas. N60.8 x

is

with Georges

body of work through

w50 cm. h24 x wl9'X
•" Gainsborough. Lawrence, Raeburn.

1802

h76xw63 cm. h30xw24/4

in.

Wallace Collection. London

where he

Ramsay, Reynolds

died.

ROSaSalv; Regarding us over expression, the

his

artist

Self"

shoulder with

words, 'Be

silent,

Ribera,

a rueful, disdainful

on

the tablet he holds are the

unless what you have to say

is

better than

appears to

Naples by [616, and

was evident even

threateninglj

above

us.

Romantic landscapists of

his

hand

to engraving, poetry,

•*

Durer, Kauffmann,

AVT

Salvator Rosa, b Naples. 1615. d

cl640.

Oil

Rome, 1673

on canvas. hll6 x

w94 cm. h45% x w37

in.

own

poetic

the later eighteenth and

nineteenth centuries. Rosa was not only

a

painter hut turned

music and acting.

Rosa was

of (usepe

his

in his

sinister quality; the strange, horizonless sky

make him loom

greatly influenced In the almost cruel realism

Self-portrait.

settled in

'savagery'

landscapes. This particular quality was to he important for the

The stern message of this sombre self-portrait is made even more real In Rosa's dark cloak and hat, giving

silence."

him an almost

who had

much-admired

appears to be admonishing us with

disapproval. Indeed, inscribed

portrait

National Gallery, London

Mengs, Ribera, Vigee-Lebrun

Rosenquist

Study for Marilyn

This striking image seduces the viewer with colours and erotic overtones.

The

its

Monroe) obscured by

brash

visual devices Rosenquist

has used are those of commercial advertising: the half-open lips,

perfectly

manicured

nails

and provocatively placed

stick

image and the

flat,

commercial colours used have an

immediate impact. These

facile

Forks. NO,

Study

on canvas. h95.2 x w91.5 cm. h37V6 x

1

962.

Oil

with the

is

society. Its use

Pop Art movement as a

in

Pop

of popular

America. artist: his

He

turned to painting as an art form in

i960. '•"

w36

painting

were spent painting billboards and gasoline signs

De Kooning,

Lichtenstein, Oldenburg, Warhol,

1933

James Rosenquist b Grand Marilyn

it

around the USA.

why

one-half of the woman's face (supposedly that of Marilyn

for

imagery Uoks

early years

images are undermined,

however, by the baffling composition of the canvas -

one of the foundations of urban

Rosenquist had impeccable credentials

give off suggestive signals, while the bold cropping of the

The

a large glass tumbler?

demonstrates the power of advertising, which has become

in.

Private collection

Wesselmann

Rosselli Cosimo The

simple harmony of

this

The

composition

is

fifteenth-century Florentine altarpiece design.

The presence

of saints |ohn the Baptist and /.cnobius (patron

dictated ease. St

more than

The

desires of Renaissance clients often

|ust the subject

Andrew and

St

in a

of an

altarpiece; in this

Bartholomew were probably

included because they were the patron saints of the

commissioning

Cosimo

client.

Blue paint,

made of ground

Rosselli b Florence. 1439. d Florence.

lapis

Virgin and Child Enthroned with Saints

lazuli (a

semi-precious stonej, was the most expensive of

tempera pigments, so the more blue included the

-

Florence) indicates that this altarpiece once stood Florentine church.

of

typical

more expensive

for the

it

an issue of great

Here

became. Blue was therefore reserved

most important passages

robes of the Virgin.

marble floor

•" Masaccio.

The

artistic

Rosselli's use tiles.

in a painting,

use of perspective

debate

in

in

such as the painting was

Renaissance Florence.

of one-point perspective

is

visible in the

Rosselli's pupils included Piero di

Piero della Francesca. Piero di

1507

The Virgin and Child Enthroned with Saints. C1478. Tempera on panel. hl90.5 x wl75.2 cm. h75 x The Rtzwilliam Museum. Cambridge

all

in a painting,

w69

in.

Cosimo

Cosimo.

Rossetti Dante Gabriel The

painting itself gives

no indication

The Day-dream

as to the nature or

subject matter of the absorbing day-dream of this beautiful

woman,

yet her reverie

and her flower

lie

is

so

green which surround her leaves

on

consuming

forgotten in her lap.

the branches

in the folds

which enshrine

overall sensuality of this painting. Rossetti's

works

womanhood.

it

that

both her book

was

a

artistic

aim was

to return to

High Renaissance

artist

Raphael, as a reaction against

contemporary Victorian

of her dress, and the

characteristic Pre-Raphaelite techniques, such as the use

her,

add to the

As with many of

co-founder of the Pre-

Dante Gabriel Rossetti b London. 1828. d Birchington on-Sea. 1882 1 880. Oil on canvas. hl59 x w93 cm. H62V6 x w36V, in.

The Day-dream

whose

The many hues of

presents us with an idealized vision of

Rossetti

Raphaelite Brotherhood,

the simplicity of paintings before the time of the Italian

artists.

This work

illustrates certain

of

luminous expanses of bright colour, meticulous attention detail

poetry which echoed the themes in his paintings.

'•

Fra Angelico. Botticelli, Burne-Jones, Hunt. Millais.

Victoria

to

and the study of outdoor subjects. Rossetti also wrote

and Albert Museum, London

Moreau

Rosso Fiorentino jethro's seven daughters their father's flock

by

a

were prevented from watering

group of obstinate shepherds

iught off single-handedly.

muscular body

is

seen

in the

fiercely beating a figure

daughter top

Moses and

on

development from the

whom

Moses' twisted and

right, the billowing

The

static,

pink cloak top

and the

Moses and the Daughters

di

left his

of France

native Italy to

at

work on the palace

Fontainebleau. Rosso,

earned his

name because of

rumoured

to

*

his

shock of red

have committed suicide;

Bourdelle, Bronzino. Giulio

Jacopo). b Florence. 1494. d Fontainebleau.

of Jethro c.1523. Oil

and order associated with

it is

who

hair,

more

was

likely that

show Rosso

Fiorentino at the height of Mannerism. This style was a

Rosso Fiorentino (Giovanni Battista

1

stability

such as Pcrugino. Towards the end of

he died from natural causes.

intertwined forms, contorted poses and oddly perverse scattering of truncated limbs in the foreground,

artists

Rosso

of Francois

stunned left,

Renaissance his career,

centre of the composition

the floor.

the Daughters of [ethro

on canvas. hl60 x

Romano. Pontormo.

1540

wll7 cm. h63 x w46

in.

Galleria degli Uffizi. Florence

Primaticcio

Rothko Mark

Untitled

ntense colour float canvas. Their blurred edges

make

upon

rgely a self-taught painter,

the

the colour masses appear

to vibrate with a misty, magical quality.

An

^urTuses the painting, dissolving

scale.

tension of

C

form and contrasts of tones into an inner glow. Restrained yet deeply evocative,

containing

Rothko's works give the feeling of

some burning

•hko emigrated to the

b Dvinsk. 1903. d New 1951-5.

Oil

USA with

Yorti.

on canvas. hl89

m

NY.

wlOl

of intimacy.

transaction;

it

*

w39fc

takes

in a total

A large picture

you into

it.'

is

an

Rothko was

spirit

a

of the movement — an ultimate

response to the unattainable mysteries of the

•-

Heron.

Kelly.

1970

h74*

he usually worked on a

immerse the viewer

reate a state

canvases evoke the true

Bom in

his parents in

cm.

to

leading figure in Abstract Expressionism, and his formless

truth, as if they represent the

embodiment of long and arduous meditation.

He wanted

colour experience, saying, i paint large pictures because

ethereal all

huge

in.

Tate Gallery.

London

Newman.

Pollock.

Ryman. Se

human

psyche.

ROUault Georges he

composibon and

fills

The

to the

power of this image of

effect, especially the

icbneate the coloured areas, .

cross dominates the

the ennre canvas. Rich colours and

drawn forms add

sahanon. The whole

glass

on

the Cross

cross and the surrounding figures are depicted in

simple, outlined areas of colour.

crudely

Christ

is

heavy black

lines

entering the studio

fluid, paint-like effects.

of his work

of Gustave Moreau

The

-

ic»:

stre_

»

-". r.c-

expressive, emotional content

contt

Rouauh

iCtenzed by br

to train as a

Rouault has used luminous

recalls

painting. Nevertheless,

reminiscent of stained

Rouault was indeed apprenticed in stained glass

painter. In this print

used the medium of aqu

_

-

i

harsh

IVOUblll£lC This statue

of Six Isaac

Louis Francois

Sir

Newton - mathematician,

astronomer and philosopher- proudly proclaims subject's status as a

marble to

is

man of unique

talent.

imposing and monumental,

presence.

The

France and setded

wished

towering

features are vividly sculpted with a superbly

vitality

The

Louis Francois Roubiliac b Lyons. 1702. d London, Sir

Isaac

Newton

1

755. Marble.

hl83 cm.

h.72

Gardens.

College,

of

men

England, where he made his

caned

for

native

name

London's Vauxhall

a highly acclaimed sculptor, gaining

of the Enlightenment and nobles, and

portrait busts

•- Canova. Houdon.

1762

in. Trinity

He became

the calm

left his

numerous commissions. His wide range of work includes numerous

befits the eighteenth-

in

with a statue of Handel

statues

resulting statue breathes an air of

and restrained exuberance. As

work exudes

grandeur of greatness. As a young man, he

confident technique, and brought to a smooth, highly polished finish.

Roubiliac's

its

as if Roubiliac his

Age of Reason,

century

The grandiose

convey Newton's supreme genius through

Newton

Is

physicist,

Cambridge

and monuments.

Moroni, Powers

Rousseau Ha Three

monkeys

The Monkeys

peer out from behind the thick foliage of

the jungle, while an unusual bird perches

on

a delicate

who

branch laden with heavy leaves. The uninhibited imaginativeness ol the scene the world.

The

is

typical

I

of Rousseau's view of

intense colours, crisply painted shapes and

meticulous attention to detail demonstrate his naive This imaginary jungle derives

Rousseau's numerous

its

visits to

Rousseau (Le Douanier) b

The Monkeys. 1906.

Oil

from

le

of the Parisian avant- garde

exhibited at the Salon des Independants in 1885.

became widely admired by Pablo Picasso and

for his fresh, direct vision, so obviously

academic

customs

Customs

training.

agent')

Rousseau's nickname

was an amateur painter

Laval.

1844. d

on canvas. hl45.5 x

Paris.

wll3

•*

l.e

stems from his profession

in

service.

Ernst, Gauguin, Hicks,

Lam, Picasso, Vlaminck

1910

cm.

H57H x w44VS

in.

Philadelphia

Museum

of Art. Philadelphia.

PA

his circle

untrammelled by

the Parisian botanical garden,

the Jardin des Plantes. Rousseau

Henri

inspiration

Style.

attracted the attention

when he

Douaniet

('the

the French

Rousseau Theodc \

simple forest scene

times.

Composed

painting

is

is

The Forest of Fontainebleau, Morning

marvellously fresh and inornate.

enveloped by the misty, early morning reflected in the silvery puddle in

the

its

un-academic

The cows,

pale, subtlv

1

which they stand. Rousseau

changing dawn

light.

damp

of

Paris.

1812. d

Paris.

840s he settled in the village of Barbizon, in the forest of

countrvside with intimacv and realism. Rousseau became

paint the scenery and peasant

life

of

their

an unprettihed, direct manner.

•" Constable.

landscapists of the seventeenth century, as well as by the

Theodore Rousseau b

to introduce a freer,

of landscape to French painting. In the

Corot. Daubigny.

Hobbema.

Millet

1867

Fontainebleau. Morning. 1850.

Oil

on canvas. h98 x

who aimed

to

adopted locale

in

one of the founders of the Barbizon School,

Inspired by

work of facob van Ruisdael and other Dutch

The Forest

style

Fontainebleau, where he began to paint the surrounding

are delicately

air,

has given careful attention to the depiction of the forest with

Englishman John Constable, he wished

painted in shimmering, pearly

within an encircling arch of trees, the

wl34

cm. h38V6 x

w52 3/S

in.

Wallace Collection. London

Rubens sn to P. ins.

They

The Judgement

Peter Paul

Mercury, with his billowing cloak,

h.is led

are |uno, with a peacock,

three goddesses

Venus, with Cupid,

and Minerva, with her helmet and shield bearing head. Attorned with jewels and very

stand before Pans to the

who

little

a

else, the

holds the golden apple he

most beautiful of the

three.

Gorgon's

women will

award

Rubens has displayed

this

most popular of mythological subjects with the verve and grandeur so typical

or"

the

Baroque

Style that

he pioneered.

Sumptuous colour and sinuous brushstrokes have been

Sir

Peter Paul Rubens, b Siegen. 1577. d Antwerp.

The Judgement

of Paris.

1632-5.

Oil

of Paris

used to evoke the rich sensual female figures. In i6^o

Rubens married the [6-year-old Helene Fourment After this date his Style

To

achieve

this,

became imbued with

Rubens used

a lyrical

tenderness.

rich colours inspired

Venetian masters, Titian and Veronese. Rubens'

brushwork and luscious colouring, and the his

compositions, contributed to

greatest

•* Van

Baroque painter north

ot"

1640 in.

National Gallery. London

emotion

his reputation as the

the Alps.

Dyck. Jordaens. Maillol. Titian. Veronese

on panel. H144.8 x wl93.7 cm. h57 x w76V4

rich

by the

riuid or"

Ruisdael Jacob van Warmlj spacious, with

a

A

celebrate the beauty of the countryside.

autumnal tones It is

not a

static

scene of chocolate-box prettiness, however; the restless, mi n ing skj suggests that the weather

is

about to change,

m

ns
x W112VS

in.

Galleria degli Uffizi. Florence

in this

Segal George Four ghost-like in

figures

the everyday acth

plaster casts

itj

Bus Riders

appear to have been frozen in time

mundane,

of riding on

society in

.1

bus. Segal created

of his friends and family and placed them

alienation in the

in

familiar settings to highlight the banal but necessary activities that are routinely

performed by

all

of

sit

Although

us.

rough on the outside, inside each cast bears the imprint of every detail of the

on

.1

sitter's

daily actions that are

which we

clothes and skin. Like real people

typical

plaster

men and women

diners and shave their legs.

activities

of Pop Art, a

America

imposed on us by the

and to capture mankind's sense of

modern world. His

in •* Donatello, Ghiberti, Delia Quercia,

in.

surmounted by

These

include the prophets Daniel and Isaiah, are seen as one of

Haarlem. cl380. d Dijon. 1405

The Prophets Daniel and Isaiah. 1404-5. Stone. hl69 cm.

Isaiah

Hopital la Chartreuse. Dijon

Van der Weyden

Smith David

VB XVII

This agglomeration of industrial parts has

become

a series

which enabled him

to

make much work

larger sculptures

quickly and easily. His

Smith, a former metal worker in

progress and destruction of the industrial age which

one of the most

influential

a car factory, is

considered

American sculptors of the mid-

twentieth century. Influenced by the welded Cubist

constructions of Pablo Picasso he was the

first

sculptor to use welding for sculptural purposes.

used 'found objects' for

his sculptures

American

He

VB

XVII

IA,

1906. d Bennington.

1962. Steel. h206.4 cm. h81V4

in.

dynamic compositions launched

Always

a pioneer,

and was influenced by many

styles yet

VT.

«-

Caro. Duchamp, Moholy-Nagy. Picasso, Tatlin

1965

Collection of Candida

and Rebecca Smith

new in

he always evoked an

expressive element within the form and structure of

later

a

Smith experimented

and from the 1950s

ordered industrial parts from manufacturers' catalogues

David Smith b Decatur.

fascinated him. His era in sculpture.

reflects the

more

power, movement,

of unstable volumes that are ripe with dynamic energy.

steel.

Snyders A man

in a i

market

stall.

this

whole

A Game a

plumed poultry and game

dead peacock amidst in this richly

stocked

His two dogs look on inquisitively, tempted by

effect

canvas

^s

dandified costume holds

ol

on

the tastv morsels the

i

Snyders was concerned with

of colour, texture and

is left

gourmet drama

display.

free

that

is

of meticulous

feeling.

No

in

specialize in animal fruit,

still lifes

(large

game and

flowers, dead

compositions featuring

so on). His talent and luscious

painting style were highly praised by his contemporaries,

including Jacob

Rubens with

part of

detail, creating a visual

marvellously rendered

Stall

J

ordaens and

whom

his close friend Peter Paul

he collaborated to paint the

animal parts of his exuberant hunting scenes.

sumptuous

colouring and with great craftsmanship. Snyders painted

manv vigorous hunting

scenes and was the

first

painter to

Frans Snyders b Antwerp. 1579. d Antwerp,

1657

A Game

w254 cm. h67

Stall.

1620s.

Oil

on canvas. hl70 x

x

wlOO

Fabritius,

i

De Heem,

York City Art Gallery, York

Kalf,

Rubens, De Troy

still-life

and

Sodoma

The Descent from group of

Billowing draperies of oranges, reds, greens and blues add \

ibranq to

from the

this

cross.

scene of Christ's body being taken

Sodoma's work

is

down

characterized by beautiful

The background

in this

painting

is

believed to

although

many

Italian artists, including

Vinci, also used landscape as a

Renaissance paintings such as

Sodoma

background this

Leonardo da

(Giovanni Antonio Bazzl). b Vercelli, 1477. d Siena, Oil

Despite

this

team

effort, the

Lombardy, he worked received

feature.

were often made by

The Descent from the Cross. C1505/10.

painting key elements of the work, while his assistants

painting

would

a

in

both Siena and

w264

in

Rome where

i«- Van Eyck, Leonardo, Memling, Signorelli, Van der

cm. hl63 x

have been

many important commissions.

1549

on panel. h414 x

figures.

still

considered a product of the master's hand. Born

have been inspired by Flemish painters such as Jan van I'.vek,

or workshop, working under one master. responsible for the composition and for

would complete the background and secondary

colours, subtle effects of light and a poetic feel for

landscape.

artists,

The master was

the Cross

wl04

in.

Pinacoteca Nazionale, Siena

Weyden

he

Soulages

Painting 16

p.cn-e

broad strokes of black paint sweep in a

heavy, bold formation.

The

In the contrasting small white-

painting

a

down

the canvas

large black mass, intensified

gleams of

monumental and serene

light,

aspect.

It is

gives the

Remonstrated

h\ the constrained

movement

i

is

in

in

w51

in

an

reminiscent of the prehistoric dolmens his native

as black

and shiny

Auvcrgnc.

as patent leather, intersecting

freedom of the

on canvas. hl62 x wl30 cm. h64 x

south west Prance,

1946 and started to work

Soulages' paintings often consisted of broad bands, usually

•-

Hartung, Kline, Riopelle, Da Silva, De Stael

Soulages b Aveyron. 1919 Oil

Pans

one

another to form latticed structures against bright colours.

is

brushstrokes which have been articulated to create a

Painting 16. 1965.

in

and Romanesque sculpture of

this skilful

which makes the picture so unique. The

work's connection to the \n Informd

Soulages settled

abstract style that

Humiliation, combined with the sculptural quality oi the distinctive tonus,

powerful abstract composition. Born

in.

Private collection

Soutine Chaim

The

Thick smears of paint animate the surface of

The

distorted forms

this picture.

and excited colouring give an

air

of

disjointed vivacity to the cook. Soutine's turbulent style

influenced by the expressive and dynamic

van Gogh, although he protested not to

work of Vincent

like the

Dutchman's work. Indeed, Soutine claimed

work of

his

own

Chaim Soutine The

Little

to despise the

unique

style

and declared

b Smilovitchi, 1893. d Paris.

Pastry Cook cl922.

Oil

He

preferred to

a close affinity

Cook

with Old Masters such as Rembrandt. Born in Lithuania,

Soutine lifes,

moved

to Paris in 191

moving

w54

His usual subjects were

stil

trees

- and

psychologically revealing portraits of

and bakers. The highly charged movement and

impulsive brushstrokes in his paintings anticipate the free

sale of Willem de Kooning and

embody

the spirit

as Expressionism.

«* Bacon, Van Gogh, De

Kooning, Rembrandt. Schiele

1943

on canvas. h72 x

3.

tempestuous landscapes - with dark clouds and

valets

contemporaries and was indifferent to the

experiments of the Fauves and the Cubists. paint in his

was

Little Pastry

cm. h28'/ / w21fc

in.

Musee de

I'Orangerie, Paris

known

Spencers

Saint Francis and the Birds

Sir Stanley

nd

enlarged figure of St Francis, his

Lip to

the skv.

back towards

with Ins arms outstretched

us, gesticulates wildlj

.is

he looks

Ducks, hens and birds on the roof gaze upon

him

as if in adoration.

cam

as;

strangely, his

has been applied

in

The

large figure

dominates the

a

tapestry-like pattern, while the figures are solid, almost cylindrical in form. This imaginative

rejected by the Royal

Sir

and

lively

Stanley Spencer, b Cookham. 1891. d Cookham.

as a living,

good

of

Cookham

in Berkshire. Francis

rather than his usual father,

as the

who wore model

his

brown

is

clad in green

habit because Spencer used his

dressing-gown and bedroom

for the saint.

x'>i

of

.

Iragon

Belgium

Museum

Koninklijk

voor

HP

243,

44570800 Limbourg, January

(52

Troy, Tht Oyster Lunch

place d'Unterlinden, 68000

1

(35

1)

Fouquet,

t

'irgin

©

(33)

89418923

Cook

Little Pastry

Musee d'Orsay

©

(55

1)

ilc

la

Woman

at

Trouville

Musees Royaux des Beaux-

77300 Fontainebleau

©

©

Dundas

317

©

(1

Street West,

ON, M5T

Toronto,

(33)

67660654

Courbet

26 bis rue Thiers, 76000

10 rue

Narodnf Galeric

© 15,

11904

(33)

Georges-Clemenceau,

40416565

Greuze, The

Guitarist

(35

1)

Woman

with Bent

58 rue de Richelieu,

75084

Paris

Km,

©

(33

1)

47058126

1

556

Copenhagen V

Musee Bourdelle 16 rue

G

David, Th< Marriage

©

at

Cam

with a Flow*

I

(33

Musee

©

la Ville

98446444

east

(55

50847400

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Delacroix, The oj the

Hussars

Houdon,

Bust

of

Denis Diderot

Ingres, The Ha/her

I

alp/iifon

La Tour, Tht Cheat with

Germany Schloss Charlottenburg

Vinci,

©

(49 50) 320911

tht

for Cythera

Mona

Lisa

Pisanello, Ginevra i/T.ste

Ludwig Roselius Sammlung Bottcherstrasse

45484727 /

Jerakles

d'Art

Moderne de

de Paris

Musee National Auguste Rodin 77 rue de Varenne, 75007

Pans

of

Watteau, The Embarkation

in/onds

Leonardo da

Ha/fli

TaiHebourg

Luisenplatz, 1000 Berlin 19 0/

Prud'hoii, The Empress Josephine

Museum

L.rondumsvej, 9990 Skagcn (45)

I

Poussin, The Arcadian Shepherds

Bourdelle,

Skagens

Musee National du Chateau

Anionic Bourdelle,

75015 Paris

Gauguin, Woman

Portrait of Yvonne LeroUt

Champaigne, The Last Supper

•

7,

59737787

(33

de Versailles 78000 Versailles

Psyche

Philip

Carlsberg Glyptotek

Dantes Plads

©

Arcimboldo, Summer

Canova, Cupid and

fordaens, The Four Evangelists

Beauneveu, Saint

Ny

Optevo%

rue Maurice Denis,

Denis,

40205050/151

lleem. Still Ufe of Dessert Honthorst, The (oncer/

571775 Seated

©

Paris

De

Bibliotheque Nationale Schiele,

at

78100 Saint-Germain-en-Laye

du Louvre, 75001

Gericault, Officer

1

z)

(35) 35712840 Daubigny, The Lock

Prieure

at Louveciennes

Boucher, Odalisque

Musee des Beaux-Arts 44000 Nantes

42

989H520

(33)

Rouen

Musee du Louvre Palais

Courbet, Bon/our, Monsieur

Czech Republic

(

©

2 bis

Bonne Nouvelle,

Oldenburg, Giant Hamburger

Hradcanskc nam

place Saint Corentin, 29000

i(,4

416) 9770414

Prague

Third

Musee Departemental du

Snow

Musee Fabre

c

Art Gallery of Ontario

to the

©

Million

Avignon

54000 Montpellier

Canada

Monument

international

Signac, The Papal Palace,

Primaticcio, Danai

39 boulevard

of the journalist

larc/en

Musee des Beaux-Arts

Morisot, The Cradh

Sisley,

Two Schoolboys

I

I'herbe

Pissarro, Landscapt at Chaponval

64222740

(32 2) 5083211

Vuillard,

44781235

1)

Vallotton, Landscape with Trees

Sewing

Orpen, The Cafe Royal in

Arts de Belgique

l-L David, The Death of Marat

(35

Dix, Portrait

Quimper

Condamine

Boudin, Tht Beach Cassatt,

I

du Musee. 1000 Brussels

de

Musee des Beaux-Arts

40494814

Bazille, The Artist's Studio on

Chateau de Fontainebleau

9 rue

©

Tatlin,

rue de Bellechasse, 75007

Millet, The Cleaners

and Child

(33)

ei

Pompidou,

reorges

(

rue Saint-Merri, 75191

Pans

42974816

Flag Over tht Town Hall

Manet, Dejeuner sur

Griinewald, The Crucifixion

Man

Hanged

a

oj

Musee d'Unterlinden Colrmr

2587809

3)

letons Fighting for the

Hod\

51

the rut

Leopold de Waelplein, 2000

©

Culture

Paris

Schone Kunsten Antwerp

d'Art

Centre National d'Art

Sylvia Von

(33)

De

Musee National Moderne

Concorde, 75001

1

©

Bleriot

to

l'Orangerie

la

Soutine, The

Chateau de Chanrilly,

Kiss

Tht

Place de

60631 Chantilly

Sittow, Kathenm

47050134

1)

Musee de

Musee Conde

/

(55

47236127

(33

L'trillo,

Mabuse, Saint Luke

©

Rodin,

16 Paris

Delaunay, Homage

©

Builders

Tht

1

Pans

Fall of Man

Van der Goes, The

ave du President Wilson,

1

75

13656361

Sab

Cellini,

1

Southern Beach

galleries

Bremen

©

4,

2800

1

(49 421J

5219'

Modersohn-Becker, Old Poorboust

Woman

Class Bottle

mtli a

Museum

Wallraf-Richartz

Bischofsgartenstrasse

Cologne

©

(49

5000

Michelangelo, The Doni Tondo

Potsdam

©

(49

irgin

and Child

a Rose Arbour

Family with

Konrad-Adenauer-Strasse 30-

the Infant Saint

©

Marc, Utile Yellow Horses

Dresden

(49 35') 495

56

3

Correggio, The Nativity

7") 2125050

(49

Philosophenweg 76, 7400

Sebasuano

The Death of Adonis

1

(49 7071)

Hamilton,

61444 What

fust

Today's

Museum

Different,

Diisseldorferstrasse 51, 4100

Italy

del

Vigee-Lebrun,

Piombo,

So Appealing?

40100

Campo,

Piazza del

5

3

1

00

(39 577) 292111

Good

Self-portrait

di Siena

1,

50100 Florence

del Sarto, Assumption

53100

31,

©

(39 577) 281 161

Sodoma, The

'irgin

]

Via San Pietro Siena

210323/6673

(39 55)

of the 56,

Rome

City,

6983333

Government

Pitti

Piazza Pitu

©

Via Belle Arti

(39 6)

Lorenzetti, Allegory of

Pinacoteca Nazionale

283^630

©

Pinacoteca Nazionale

Palazzo

Andrea

(49 2 °3)

00120 Vatican

Siena

1

That

is it

Homes So

Duisburg Meckel, Windmill, Dangast

Palazzo del Vaticano

©

Kunsthalle Tubingen

©

III

Palazzo Pubblico

Daughters of Jethro

Tubingen

Makes

Urbi

Raphael, The School of Athens

Rosso Fiorentino, Moses and Salviati, Chant]

Liotard, The Chocolate Pot

©

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Andromeda

Freeing

the

Wilhelm-Lehmbruck-

oj

Piero di Cosimo, Perseus

7000 Stuttgart

32,

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801 z

his Life

Mary Magdalene and

Staatsgalerie Stuttgart

Kunstsammlungen Dresden Georg [reu-Platz 1, PSF 450,

©

Surrounded by Scenes of

Palma Vecchio, The Holy

"'2379 I

of the Rule

Orcagna, Saint Matthew

96940

3 3

Caravaggio, Doubting Thomas

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Lochner, The in

i,

Fra Bartolommeo, Resurrected

Descent from

the Cross

Bologna Stadelsches Kunstinstitut

Parmigianino, The Madonna

and Child

irgin

I

Palazzo Schifanoia

6050980

(49 69)

Cranach,

Via Scandiana 'enus

I

23,

©

(

Del

rlockengiesserwall, 2000

Hamburg

©

(

5

Venice

Via del Proconsolo

62038

32)

©

May

lossa,

1

Inednch, The

U reck of the

Piazzale degli Uffizi, 50122

Florence I

lop,

Kirchner,

Self-portrait with

Overbeck, The Adoration

Model

©

(39 55) 218341

Botticelli, Spring a) tie

Lmmaus

Cimabue, The Santa Madonna

Staatliche

illielmshohe, 3500

(Monet, Portrait

oj

Francois

Thi

Madonna

Kucellai

Kassel r,

M

Algardi, Rust of Cardinal Paolo

Galleria dell'Accademia

hmilio Zacchia

Campo

301 21 Venice

I

Gentile da Fabriani

560II

\doration oj the dt,

©

Child between Two Angels

Gentile Bellini, The Miracle

Woman

Holding a Nosegay

Bordone,

Pinacoteca di Brera

©

Brera

2 (44 282)

Museu Nacional de Amiga Rua das

The d'Art et d'Histoire

of Fishes Capilla,

Munch, The Madonna Portugal

Portrait of

The Miraculous Draught

W'itz,

Memling, Descent from

200404

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t

2,

47s, 481, 500, 501, 502;

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her, Pans:

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