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Dutch Golden Age painting. Dimensions. 44.5 cm × 39 cm (17.5 in × 15 in) Location. Mauritshuis, The Hague, Netherlands. Girl with a Pearl Earring ( Dutch: Meisje met de parel) [1] [2] is an oil painting by Dutch Golden Age painter Johannes Vermeer, dated c. 1665. Going by various names over the centuries, it became known by its present title ...
A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge (1851–52) is the full, exhibited title of a painting by John Everett Millais, and was produced at the height of his Pre-Raphaelite period. It was accompanied, at the Royal Academy of Arts in London in 1852, with a long quote ...
This painting, as well as its pendant, has been attributed to Rembrandt since the 19th-century, but doubts have been raised by the Rembrandt Research Project. This painting came into the collection via Mrs. Frederick L. Ames, in the name of Frederick L. Ames. This painting was documented by Hofstede de Groot in 1914, who wrote; "848. A YOUNG ...
The absence of women from the canon of Western art has been a subject of inquiry and reconsideration since the early 1970s. Linda Nochlin's influential 1971 essay, "Why Have There Been No Great Women Artists?", examined the social and institutional barriers that blocked most women from entering artistic professions throughout history, prompted a new focus on women artists, their art and ...
Owner. Virginia Museum of Fine Arts. Portrait of a Creole Woman with Madras Tignon ( c. 1837) is an oil painting traditionally attributed to George Catlin. It is best known from a c. 1915 copy made by Frank Schneider, an art restorer working for the Louisiana State Museum. The portrait was historically known as Portrait of Marie Laveau as it ...
Girl in a Chemise is the portrait of a girl wearing a white chemise. It is an oil painting on canvas measuring 72.7 cm x 60 cm and is signed and dated Picasso '05' on the lower left corner. The date of the painting remains unclear as Picasso's art dealer Daniel-Henry Kahnweiler disputed the date in a letter to the Tate Gallery in 1953.
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