Priority has been given to oils, frescos & watercolours. However works in other media were included where they were particularly significant. Watercolours were sometimes ignored where lists would have otherwise been excessively long & the artist was not a specialist in this type of painting. Works in private collections were ignored unless they were especially important. However stately homes were regarded as being in the public domain. NB all towns where no country is mentioned are in Europe.
Work on this Section is being suspended, & when resumed will only be extended to major artists. However, readers will often be able to discover the most significant works of an artist in whom they are interested by going to Section 1 & clicking on works that are preceded the words as in & have their titles in blue type. (If the reader is interested in artworks that are particularly notable irrespective of artist these can be found subject by subject by going to Section 3 & clicking on the appropriate box in LIST/INDEX.)
CONTENTS: SURNAMES BEGINNING WITH LETTERS:
aachen:
Alterpieces (two), 1587 (St Michel, Munich)
Gaspar Rem, c1574-5 (Kunsthistorisches, Vienna)
The Triumph of Truth & Dominion, 1598 (Alte Pinakothek, Munich)
Triumph of Dominion Over Time, 1598 (Staatsgalerie Stuttgart). This is an allegory of the benificent rule of Rudolf II Grove1 p7
Truiumph of Truth & Dominion, 1598 (Alte Pinakothek, Munich). This is an allegory of the benificent rule of Rudolf II Grove1 p7)
Bacchus, Ceres & Cupid, c1600 (Kunsthistorisches, Vienna)
Brothel Scene with Two Ill-matched Lovers, c1600 (Kunsthalle, Karlsruhe & also Oberosterreich Lnndesmuseum, Linz)
Bartholamaus Spranger, c1608-9 (Uffizi Gallery, Florence)
Bathsheba Bathing, 1612-5 (Kunsthistorisches, Vienna)
Card Players etc, fresos, c1550 (Palazzo Poggi, Bologna)
Landscape with Orpheus & Eurydice, c1550 (NG). This has all the Mannerist tricks Clark1949 p95
Landscape (Bologna, Palazzo Poggi).
Henry II & Catherine de Medici, 1553 (Louvre)
Continence of Scipio, c1555 (Louvre)
Roger Assails Armed Guards (Pinacoteca Nazionale, Bologna)
Stories from Roman History (Palazzo Municipale, Modena)
abbot:
Sir William Herschel, 1785 (National Maritime Museum)
Francisco Bartolozzi, c1792 (National Portrait Gallery)
Joseph Nollekens, c1797 (National Portrait Gallery)
Lord Nelson, 1798 (National Maritime Museum)
Alterpieces (two), 1587 (St Michel, Munich)
Gaspar Rem, c1574-5 (Kunsthistorisches, Vienna)
The Triumph of Truth & Dominion, 1598 (Alte Pinakothek, Munich)
Triumph of Dominion Over Time, 1598 (Staatsgalerie Stuttgart). This is an allegory of the benificent rule of Rudolf II Grove1 p7
Truiumph of Truth & Dominion, 1598 (Alte Pinakothek, Munich). This is an allegory of the benificent rule of Rudolf II Grove1 p7)
Bacchus, Ceres & Cupid, c1600 (Kunsthistorisches, Vienna)
Brothel Scene with Two Ill-matched Lovers, c1600 (Kunsthalle, Karlsruhe & also Oberosterreich Lnndesmuseum, Linz)
Bartholamaus Spranger, c1608-9 (Uffizi Gallery, Florence)
Bathsheba Bathing, 1612-5 (Kunsthistorisches, Vienna)
alberli:
View of Erlach on the Lake of Berne (Kunstmuseum, Berne)
abilgaard, nicolai:
The Wounded Philoctetes, 1774-5 (Statens Museum for Kunst, Copenhagen). This ambitious & expressive work was his principal picture in Rome L&L
achenbach, andreas:
Westphalian Watermill, 1863 (Kunsthalle, Bremen)
achenbach, oswald:
Landscape, 1846 (Kunstmuseum, Dusseldorf)
Landscape in the Campagna, 1855 (Kunstmuseum, Dusseldorf)
By the Porta Capuana in Naples, 1875 (Neue Pinakothek, Munich)
Social Gathering on a Garden Terrace, 1889 (Neue NG, Berlin)
adami:
aertsen, pieter:
The Egg Dance, 1557 (Rijksmuseum, Amsterdam)
john, augustus:
Portrait of Lady Margarita Howard de Walden, before 1914 (Chirck Castle). [This shows that sometimes even his earlier work was slipshot. Her right hand is poorly painted.]
The Way Down to the Sea, pre-war (Lamont Art Gallery, Exeter, New Hampshire)
T. E. Lawrence in Arab Dress, 1919 (Tate)
Thomas Hardy, 1923 (Fitzwilliam Museum, Cambridge)
W. B. Yates, 1930 (Kelvingrove Art Gallery, Glasgow)
john clayton adams:
The Evening Sun – View on Ewhurst Hill, near Guildford, 1878 (V&A)
Surrey Bluebells
john otis adams:
adeney:
yules adler:
yankel adler:
adshead:
The Cruise, 1934 (Tate)
aelst, willem von, 1627-c83:
aerts. See Steenwijk
pieter aertsen:
Farmers’ Wife, 1543 (Palais des Beaux Arts, Lille)
Peasants’ Feast, 1550 (Kunsthistorisches)
Butchers’ Shop, 1551 (Uppsala University)
Farmers’ Table (Museum Mayer van der Bergh, Antwerp)
Egg-Dance, 1557 (Rijksmuseum). Note the slender slender torsos & elegant poses of the figures. They contrast with Breugel’s coarse, earthly peasants GibsonWS p166
Peasants’ Kitchen (Statens Museum for Kunst, Copenhagen)
Pankake Bakery, c1560 (Boijmans Van Beuningen, Rotterdam)
Christ in the House of Martha & Mary (Boijmans Van Beuningen, Rotterdam)
Christ & the Woman Taken in Adultery, (Nationalmuseum, Stockholm)
Still-life with Christ In the House of Martha & Mary (Kunsthistorisches)
Market Scene (Kunsthistorisches)
pietersz aertsen:
The Anatomy Lesson of Dr. Sebastiaen Egbertsz de Vrij, 1603 (Historisch Museum, Amsterdam)
afro/basaldella:
agar, eileen:
agasse:
The Playground, 1830 (Musee d’Art et d’Histoire, Geneva)
aikman: Sir John Clerk of Penicuik, c1720 (Private)
Sir Hew Dalrymple, 1722 (Faculty of Advocates). Note the careful placing of the hands Macmillan1990 p96
Self-portrait (Scottish National Portrait Gallery)
John 2nd Duke of Argyll (Royal Collection)
Marquess of Bute, 1727 (Private)
John Hamilton, Lord Bellhaven (Private)
aivazovsky:
The Tenth Wave, 1850 (Russian Museum)
The Black Sea, 1881 (Tretyakov)
The Wave, 1889 (Russian Museum
albani:
Assumption (Palazzo Doria Pamphilj, Rome). His first ideal landscape NGArt1986p366
Madonna Enthroned with S. Catherine of Alexandria & Mary Magdalene (Pinacoteca Nazionale, Bologna)
Venus in the Forge of Vulcan, c1617 (Borghese). Part of Albani’s first cycle of mythological landscapes NGArt1986p369
The Toilet of Venus, c1617 (Borghese). Part of Albani’s first cycle of mythological landscapes NGArt1986p369
Venus & Adonis, c1617 (Borghese). Part of Albani’s first cycle of mythological landscapes NGArt1986p369
Triumph of Diana, c1617 (Borghese). Part of Albani’s first cycle of mythological landscapes NGArt1986p369
Four Elements, 1626-8 (Pinacoteca, Turin)
albers:
albertinelli:
Visitation, 1503 (Uffizi). His best work Murrays1959
alejo:
Last Supper, c1505 (El Pilar, Zaragonza)
Adoration of the Magi, 1508 (Cathedral, Seville)
Virgin of the Navigators, 1530-40 (Alcazar, Seville)
albertinelli:
Visitation, 1503 (Uffizi). His best work Murrays1959; beautiful grouping with problem of hand positioning successfully handled Wolfflin1899 p152
? (Courtauld). Charming Murrays1959
The Madonna & Child with Two Saints, 1506 (Louvre)
The Holy Trinity, 1510 (Academy, Florence). Innovatory/Classical Christ on cross with one leg resting on other (previously separated) & head in answering opposite direction Wolfflin1899 p153
Annunciation, 1506 (Academy, Florence). Anticipatory; aristocratic Virgin Mary Wolfflin1899 pp 153-4.
john alexander:
Pluto & Proserpine, sketch, 1720 (NG, Scotland)
john white alexander:
Walt Whitman, 1886-9 (The Met). This is one of his finest works of the 1880s Grove1 pp 611-2
Repose, 1895 (the Met). Example of his idealised women in elegant interiors; aestheticism NGArtinP p223
Isabella, or the Pot of Basil, 1897 (Museum of Fine Arts, Boston). This evokes contemporary Art Nouveau forms Grove1 p612
The Ring, 1911 (The Met)
allen:
The Timber Dump, c1936 (Private)
allingham:
The Orchard, 1887 (Walker)
Feeding the Fowls, Pinner, 1890 (Bankside Galery, London)
alessandro allori:
Last Judgement, 1560 (Montauti Chapel, SS Annunziati, Florence)
Pearl Fishers, oil on slate c1670 (Palazzo Vecchio). This is a masterpiece. It has playful nudes & combines Michelangelo with Bronzino’s sveltness & enamelled colouring OxDicArt
Rape of Prosepina, c1571 (Getty Museum, Malibu)
Christ & the Samaritan Woman, 1575 (S Maria Novella, Florence)
Scipio Entertained by Syphax & Oration of Titus Falaminius, frescos 1578-82 (Salone Grande, Medici Villa, Poggio a Caiano)
Jesus & the Sumerian Woman at the Well, 1577 (Santa Maria Novella, Florence)
Last Supper, 1582 (Pinacoteca dell’Accademia Carrara, Bergamo)
Last Supper, fresco 1582 (S Maria del Carmine, Florence)
Virgin & Child with Saints, 1583 (National Museum, Cardiff)
Life of St Anthony frescoes, c1583-88 (S Antonino chapel, S Marco, Florence)
Descent into Limbo, altarpiece (S. Marco, Florence)
Las Supper, 1584 (S Maria Novella, Florence)
St Fiacre Healing the Sick, 1596 (S Spirito, Florence)
Vision of St Hyacinth, 1596 (S Maria Novella, Florence)
Sacrifice of Isaac, 1601 (Uffizi)
cristofano allori:
Count Davanzati (Ashmolean).
Judith with the Head of Holofernes, c1620 (Pitti, Royal Collection). Masterpiece influenced by Caravaggio; portrays Allori’s unkind mistress with Allori perhaps portrayed as Holofernes. [This is splendidly tennebrism with yellows, off whites & scarlet glowing out of the gloom. Holofernes’ head with its black surrounding hair is placed against a yellow-gold frock. The sevant is worried servant but Judith is super calm. The drapery painting is masterly drapery painting & the composition is well focused on the central section.]
lady alma-tadema:
Sweet Industry, 1904 (Manchester Art Gallery). [She is engaged on embroidery & is yet another woman of this period with time on her hands. It is almost Veremeer-like.]
Lawrence alma-tadema:
An Apodyterium, 1886
A Favourite Custom, 1909 (Leighton House)
Roman, Gardens; The Way to the Temple;
Unconcious Rivals
Coign of Vantage
The Voice of Spring
allston:
Diana & Her Nymphs in the Chase, 1805 (Fogg Art Museum, Cambridge, Massachusetts)
Self-Portrait, 1805 (Museum of Fine Arts, Boston)
Samuel Taylor Coleridge, 1806 (Fogg Art Museum, Cambridge, Massachusetts)
The Poor Author & the Rich Bookseller, 1811 (Museum of Fine Arts, Boston)
Dead Man Revived by Touching the Bones of Elisha, 1811-3 (Academy of Fine Arts, Philadelphia)
Uriel in the Sun, 1817 (Mugar Memorial Library, University of Boston)
Belshazzar’s Feast, 1817-43 (Institute of Arts, Detroit)
Jeremiah Dictating His Prophesy of the Destruction of Jerusalem to Baruch the Scribe, 1820 (Yale University Art Gallery)
Spanish Girl in Reverie, 1831 (The Met)
Italian Landscape, c1829 (Institute of arts, Detroit)
alt:
Stephansdom, Vienna,1833 (Belvedere, Vienna)
Harbour of Como, 1837 (Albertina, Vienna)
Peasant’s Room in Seebenstein, 1853 (Kunstmuseum, Dusseldorf)
Stephansdom, Vienna, watercolour & gouache, 1855 (Staatliche Graphische Sammlung, Munich)
Promenade at the Spa of Teplitz, 1876 (Staatliche Graphische Sammlung, Munich)
Kitchen Garden in Liezen, 1879 (Albertina, Vienna)
Great Pine Tree near Gastein, 1892 (Albertina, Vienna)
Ironworks in Skodagasse, 1903 (Albertina, Vienna)
altdorder, albrecht:
The Battle of Issus, 1529 (Alte Pinakothek, Munich) 1001
altichiero:
Frescos ,1379 (Chapel S. Felice, Basilica di S. Antonio, Verona)
Frescos, c1377-84 (Oratory of S. Giorgio, Verona). These were painted in collaboration with the otherwise unknown Avanzo L&L
Cavalli Family Adoring the Virgin & Child, fresco, late 1380s (Cavali Chapel, S, Anastasia, Verona)
The Baptism of the King by Saint George, fresco before 1384 (Oratory of San Giorgio, Padua)
altobello:
Flight into Egypt, c1517 (Cremona cathedral). This & the Massacre are remarkable works characterised by pervasive energy & propulsive rhythms combined with ornamental power & expressive sense. However, the subsequent images are increasingly conservative Freedberg p252
Massacre of the Innocents, 1517 (Cremona Cathedral)
Christ on the Road to Emmaus, c1518 (NG). This is another backward looking work Freedberg p252
Triptych from Torre dei Picenardi, c1620 (NG Arts & Ashmoleun Museum). This is once again a work of distinction. The threads of light instil the quiet forms with power & a shimmering illumination suffuses the colours Freedberg p253.
Annunciation, c1535 (Isola Dovarese, church). Here we see a Mannerist influence Freedberg p253
amberger:
Christoph Baumgarter, 1543 (Kunsthistorisches). This is an example of his modern but earlier style derived from Durer & Burgkmair Benesch p170
Christoph Fugger, 1541 (Alte Pinakothek, Munich). This reveals his switch to Mannerism under the influence of Bordone’s portaits Benesch p170
Virgin & Child Between Saints Ulrich & Afra, 1554 (Augusburg Cathedral)
amerling:
The Widow, 1836 (Historical Museum, Vienna)
Rudolf von Arthaber with His Children, 1837 (Belvedere). They are looking at a portrait of his dead wife, but the picture is not sad & the daughter’s attention has wandered Norman1987 p30. This picture is often seen as the epitome of Viennese Biedermeier culture in its concern for both emotional & material comfort Grove1 p774
The Painter Eduard Bendemann, 1837 (Belvedere). This is an example of Amerling’s spontaneous & remarkable portrait studies Grove1 p774
The Flute Player, 1838 (Belvedere)
amigoni:
Venus & Adonis (Academy, Venice)
Farinelli with a Group of Friends (NG of Victorian, Melbourne). Farinelli was Amigoni’s castrato friend. This is unique for its period & unrepeated in Venice because it shows friends as ordinary beings, not the usual Venetian impersonal portraits of rank Levey1959 pp 147-8
Fresco Cycle (Schloss Schleissheim, Bavaria). Here he painted two vast & eight smaller ones in a brilliant new style Grove1 p784
Fresco cycle (Schloss Nympenburg, Bavaria)
Fresco Cycle (Benedictine Monastery, Ottobeuren, Bavaria)
Story of Jupiter & Io, four frescos (Moor Park, Rickmansworth).
Altarpiece (Emmanuel College, Cambridge)
anna ancher:
Lars Gaihebe Carving Wood, 1880 (Skagens Museum, Skagen)
The Maid in the Kitchen, 1883-6 (Hirchsprungske Samling, Copenhagen)
Interior with a Young Girl Plaiting Her Hair, 1901 (Statens Museum for Kunst, Copenhagen)
michael ancher:
Younger Woman Ill in Bed, 1883 (Hirchsprungske Samling, Copenhagen)
Portrait of Anna Ancher, 1884 (Hirchsprungske Samling, Copenhage
Andrea del Sarto. See Sarto
andrews:
August for the People, 1951 (Slade School of Fine Art). This was typical of his early work Grove2 p24
The Deerpark, 1962 (Tate)
Melanie & Me Swimming, 1978-9 (Tate)
Angelico. See Fra Angelico
angillis:
View of Covent Garden Market, c1726 (Woburn Abbey)
anguissola:
Isabella of Valois (Prado). Suaver & finer than Sanchez Coello’s portrait Brown1998 p50
The Chess Player, c1556 (Museum of Fine Arts, Boston)
annon:
Adam & Eve, 1235 (Bamberg). First full sized, independent medieval nudes; strikingly unsensuous Clark1956 p311
Archangel Gabriel, 12th Century (State Museum, St. Petersburg, Russia) 1001
Boson de Rochechouart, 12th Century (Les Salles Lavauguyon, Haute Vienne) 1001
Eldrad Leaving for Santiago de Compostela, c12th century (Chapel of St. Eldrad and St. Nicholas, Abbey of Novalesa, Piedmont, Italy 1001
Eton College Chapel, wall-paintings, c1490. These are close to the late (International) Gothic style with their graceful figures & flowing lines. They reveal a resistance to the more painterly approach & naturalistic space that appeared on the Continent from c1450 Grove10 p245
Last Judgement, 13th century (Bourges). Revived interest in body Clark1956 p314
Legend of the Three Dead and the Three Living, 14th Century (St. Benedict Sacro Speco, Subiaco, Italy) 1001
Mosaics, Capella Palatina, Palermo, 12th century. Medieval decorative Clark1949 p6
Maiestas Domini, San Clemente de Tahull, 12th Century (Museu d’Art de Calunya, Barcelona, Spain) 1001
The Cobham Portrait (of Queen Elizabeth), c1575
The ‘Sieve Portrait’ (of Queen Elizabeth), c1581
The ‘Ermine Portrait’ (of Queen Elizabeth), c1585
The ‘Armada Portrait’ (of Queen Elizabeth), c1588
The ‘Rainbow Portrait’ (of Queen Elizabeth), c1601
The Wilton Diptych, c. 1399 (National Gallery, London) 1001
Triumph of Death, c. 1450 (Galleria Regionale, Palazzo, Abbetellis, Palermo)
Scene of a Pork Butcher’s Shop, c. 1510 (Castle Issogne, Aosta) 1001
Anne of Austria with Her Son Louis XIV, c1640 (Chateau de Versailles)
anquetin:
The Mower, 1887
Avenue de Clichy, 1887 (Hartford) Denvir p78
anselmi:
Visitation, early (Church of Fontegiusta, Siena)
Frescoes from 1520 (S. Giovanni Evangelista, Parma, viz the apses of both transepts, SS Agnes & Catherine in the north transept chapel, & the Four Doctors of the Church in the sixth chapel on the left of the nave}
Christ Carrying the Cross, altarpiece, (S. Giovanni Evangelista, Parma)
Virgin & Child with Four Saints, altarpiece (Cathedral, Parma)
St Agnes, altarpiece (Cathedral, Parma)
Baptism, 1530, oil on panel (S. Prospero, Reggio Emilia). This probably his best altarpiece Grove2 p128
Apollo & Marsyas, c1540 (NG Art). [Titian’s flaying is far more horrible].
Decorations, 1541-2 (S Maria Steccata, Parma)
anshutz:
They Way They Live, 1879 (The Met)
The Ironworkers’ Noontime, 1885 (Fine Arts Museum, San Francisco). This is an exceptional picture of (unsentimentalised) working men Bjelajac p257. t probably owes less to Socialism than to the ethic of manliness & toughness that was later to climax with Theodore Roosevelt Hughes1997 pp 302-3
Academy Rose, 1907 (The Met). [She is a beautiful young woman but with a contorted face, & hence an unconventionalwork.]
anthonisz:
Banquet of the Amsterdam Civic Guard/The Brass Penny Banquet, 1533 (Historisch Museum, Amsterdam)
appiani:
General Desaix, 1800 (Versailles)
apt:
Adoration of Christ Child by the Shepherds & the Magi, 1510 (Louvre & Kunsthalle, Karlsruhe)
arcimboldo:
Summer, 1573 (Louvre)
arentino, Spinello:
F (ArezzoCathedral)
St Mary of Grace (Arezzo, S. Maria della Grazie)
arentsz:
Winter Scene on the Y in Amsterdam (Historisch Museum, Amsterdam)
Fishermen Near Muiden Castle (NG)
arkhipov:
On the Volga, 1889
Down the Oka, 1890
Quasimodo Sunday (Before the Mass), 1892
Women Day Labourers at a Castlet-Iron Foundry
Homeward Bound, 1896
Lanundresses, 1901. His masterpiece Lebedev p22
Visitors, 1914
Portrait of Mikhail Kalinin, 1927
Girl with a Pitcher, 1927
diana armfield:
Christamas Rose on the Studio Table, 1971 (Private). For a colour image see McConkey2006 p 214
Spring Flowers & Camellia, 1988 (Private). For a colour image see McConkey2006 p 225
Flowers in a Victorian Jug (Royal West of England Academy)
Farmhouse Near Pienza (Royal West of England Academy)
Farmouse on Le Crete, Sienna (Royal West of England Academy)
The Vaucluse Seen Over Oak Saplings (Government Art Collection)
A Summer’s Day (MOMA Machynlleth)
Still Life with Rose & Wild Flowers (RA)
maxwell armfieldl:
Pacific Portrait, 1929 (Private). For a colour images see E&L p58
hans asam:
Life of Christ & Last Judgement, frescoes, c1687 (Benediktbeuen Abbey)
Ceiling frescoes, 1718-20 (Weingarten Abbey)
Cuppola fresco etc, 1689-93 (St Quirin, Tegernsee)
cosmas asam:
asselijn/asselyn:
Panoramic Landscape, c1649 (Akademie der Bildenden Kunste, Vienna)
Repairing the St Anthony Dike near Amsterdam…, c1651 (Statliche Museum, Berlin?)
Threatened Swan (Rijksmuseum)
Italian Coast Scene (Fitzwilliam Musuem, Cambridge)
asserto:
Circumcision, early (Brera)
SS John the Baptist, Bernard, Catherine, Lucy & George, 1626 (S Giovanni Battista, Recco)
S Peter Healing the Lame Man, c1625-30 (SS Annunziata del Vastato & S Maria di Carignano, Genoa)
Alexander & Diogenes, c1630 (Gemaldegalerie, Berlin)
SS Cosmas & Damian Curing the Sick (SS Cosma e Damiano, Genoa)
Ecstasy of St Francis, c1636 (Cassa di Risparmio, Genoa)
Cain & Abel, 1640s (Herzog Anton Ulrich Museum, Brunswick)
Christ & the Woman Taken in Adultery, 1640s (Corsham Court)
Esau Selling his Birthright, c1645 (Galleria di Palazzo Bianco, Genoa)
Death of Cato (Galleria di Palazzo Bianco, Genoa)
atkinson:
Painting, 1918 (Arts Council). One of best Vorticist works Lynton p94.
atwood:
Interior of the Coach-Wheelwright’s Shop at 4 Marshall Street,
Soho, c1897 (Museum of London)
The Saloon Bar at the Theatre Royal Drury Lane (Smallhythe Place)
Olympia in War Time, Royal Army Clothing Depot 1918 (Imperial War Museum)
Devonshire House 1918 Voluntary Aid Detachment Workers Filing Papers in the Ballroom, 1919 (Imperial War Museum)
Victoria Station 1918 The Green Cross Corps (Women’s Reserve Ambulance) guiding Soldiers on Leave, 1919 (Imperial War Museum)
Luxembourg Gardens Paris (Smallhythe Place)
Finis (Victoria Art Gallery, Bath)
Dame Ellen Terry, 1926 (Smallhythe Place)
Edith Ailsa Craig, 1940 (Smallhythe Place)
audron:
auerbach:
Head of Laurie Owen, 1972 (Whitworth Art Gallery, Manchester)
Euston Steps, 1980-1 (Hayward Gallery)
J. Y. M. Seated, 1980-1 (Huddersfield Art Gallerey)
√√√barent avercamp:
Fun on the Ice Near Kampen, 1654 (High Museum of Art, Atlanta)
Landscape Near Kampen, 1663 (Stadhuis, Kampen)
Winter Landscape (Gemaldegalerie, Berlin)
√√√hendrick avercamp:
Winter Landscape, 1608 (Billedgalleri, Bergen)
Winter Scene with Skaters Near a Castle, early (NG)
A Scene on the Ice Near a Town, c1615 (NG)
avery:
Sea Grasses & Blue Sea, 1958 (MoMA)
Spring Orchard, 1958 (Smithsonian American Art Museum, Washington)
ayres:
Distillation, 1957 (Tate)
Mushroom, 1958 (Manchester Art Gallery)
Papua, 1988 (Laing Art Gallery)
Helios, 1990 (Leeds Art Gallery)
Sandbank Blues, 1994 (Tate)
ayshford/lord methuen:
St Paul’s, pen & ink, pastel & wash on paper, 1942 (V&A)
Putney Bridge, during Restoration, 1951 (Brighton Museum & Art Gallery)
baburen:
Incredulity of St. Thomas (North Church)
baccioni:
States of Mind, The Farewells, Those who Stay, Those who Go, 1911 (MoMA). Sensations of rail travellers, Cubist style but curves rather than rectangles Lynton pp 88-9
adriaen backer:
Regentesses of the Burgher Orphanage, Amsterdam, 1683 (Amsterdam Historich Museum)
jacob backer:
Portrait of a Boy in Grey, 1634 (Mauritshuis, The Hague)
Portrait of Johannes Uyttenbogaert, Remonstrant Minister,1638 (Rijksmuseum?)
Regents of the Nieuwe Zijds Huiszittenhuis, Amsterdam (Rijksmuseum?) A pinnacle of group portraiture in Amsterdam Haak p286
bacon, John:
The Wedding Morning, 1892 (Lady Lever Art Gallery, Port Sunlight). [This is typical Newlyn: it is back lit and the people are relatively humble.]
bacon, sir john:
Self Portrait, c1620 (Gorhambury). More coherent space, subtler colouring, greater characterisation than hithero in England OxDicArt
Landscape, on copper, minature (Ashmolean Earliest autonomous landscape painted by England-born painter L&L; curiosity rather than art Waterhouse1953 p66
The Cookmaid (Gorhambury)
bailly:
Portrait of Count Ulrik, Bishop of Schwerin, 1627 (Det Nationalhistoriske Museum pa Frederiksborg, Hillerod, Denmark)
bakhuysen:
The Haarlem Lake (Historisch Museum, Amsterdam)
Guard Duty on a Town Wall (Museum der Bilden Kunste, Leipsig)
bakhuyzen:
Self Portrait The Artist Painting a Cow In a Meadow Landscape, 1850 (Rijksmuseum, Amsterdam)
baksheev:
Blue Spring, 1930 (Tretyakov)
bakst:
Portrait of Sergei Diaghilev with His Nurse
baldovinetti:
Nativity fresco, 1460-2 (SS. Annunziata, Florence). Example of unfortunate fresco experiments Murrays1959
Annunciation, 1466 (S. Miniato Florence). Example of unfortunate fresco experiments Murrays1959
Three door panels (Museo di S. Marco, Florence)
baldung See Grien
balestra:
Nativity, 1704-05 (S. Zaccaria, Venice)###
balke:
Landscape study from Nordland, 1860 Konstmuseum, Gothenburg). Example of Balke’s painterly weightiness produced by use of sponges/fingers/anything to hand Kent p67
Vandobus Fortress, 1860 (Billedgalleri, Bergen). Foreground which looks like thick impasto painted in thinly applied flat brushstrokes Kent p67
balthus:
Alice, 1933 (Centre Pompidou). [This is a disturbing image. She has one big breast & no room for the other, blank eyes, an excessively thin waist, an ugly brown red vagina & adjoining upper inside leg. The Similarity of the background colour & nude is also somehow disconcerting.]
barabas:
Rumanian Family Setting out for the Fair, 1843 (Museum of Fine Arts, Budapest)
Ferenc Liszt, 1846 (Museum of Fine Arts, Budapest)
The Arrival of the Bride,1856 (Hungarian National Gallery, Budapest)
Portrait of Mme Bitto, 1874 (Museum of Fine Arts, Budapest)
barlow, francis:
Southern-mouthed Hounds with a Hare, c1665 (Clandon Park, Surrey)
An Owl Mocked by Small Birds, 1673 (Ham House)
Two Honey Buzzards About to Attack Some Owlets (Tate).
barendsz:
Fourteen Guardsmen of Squad G, 1562 (History Museum, Amsterdam}
Adoration of the Shepherds, c1562 (Steddelijk Museum Het Catherina Gasthuis, Gouda)
Perch Eaters, 1566 (Rijksmuseum)
barna da sienna:
Life of Christ (Collegiata, San Gimignano)
barocci/barocchio:
Deposition, 1566-9 (Cathedral Perugia). Struts/beams appear to support/organise this earlyish (Mannerist?) painting H&P p71
Crucifiction, early. It is evidence here of Counter-Reformation pressures. The preliminary drawings show a sagging naked body & nailed wrists. The painting shows a weightless Christ in a loincloth, nailed through the palms & with cute cherubs catching blood in silver dishes through Robin Blake FT 2/3 March 2013
Institution of Eucharist. Theological correctness with wafer instead of bread/expungment of bare breasted mother & devil whispering in Judas’ ear Robin Blake FT 2/3 March 2013
La Riposo in Egitto (Pinacoteca, Vatican). [This is a happy scene with a happy young Christ. The bright colours are similar to those of Rubens, viz reds, oranges, blues.]
Annunciation (Pinacoteca, Vatican). [Another happy, bright picture with an untroubled Mary, & an angel holding a big, cheerful flower.] It was based on drawings of a nude female model Spear p342
Beata Michelina (Vatican) Friedlaender1925 p74
Stigmatisation of St. Francis (Pinacoteca. Vatican). [It is proto-Baroque with S. Francis making expansive jesture with one hand thrust towards viewer.]
Martyrdom of S. Vitalis, 1583 (Brera)
Stigmatisation of S. Francis (Urbino) Friedlaender1925 p74
Vision of S. Dominic, c1592-3 (Bishop’s Palace, Sinigaglia)
Last Supper, 1590-99 (Cathedral, Urbino). [A splendidly composed work in which the boy’s arm (bottom left) is parallel to the table edge, & together they make a left-right diagonal.]
Nativity, 1597 (Prado). Strong chirascuro; diagonal element
Assumption, late (Palace Duke, Urbino)
barret, george the elder:
Academy Distant View of Welbeck Abbey, 1766 (Welbeck Abbey)
Lake District Panorama, c1780 (Norbury Park)
barret, george, the younger:
Windsor Castle (V&A)
?barrett, george:
Chester from Boughton (Grosvenor Museum, Chester). [This is accomplished lyrical Realism.]
barter:
Drought Stricken Area, 1934 (Museum of Art, Dallas)
Mother Earth Laid Bare, 1936 (Philbrook Museum of Art)
bartolo, andrea di:
bartolo, domenico di:
Virgin & Child Enthroned with SS Peter & Paul (NG Arts)
Madonna of Humility, 1433 (Pinacoteca Nazionale). This is his masterpiece & a highpoint of 15th century Sienese painting. It is a beautifully balanced composition with refined expression & broad cultural references in its synthesis of Uccelo, Masaccio, Donatello & Luca della Robbia. The extraordinary range of greens, pinks & blues shows a Sienese sense of colour heightened by a clear light Grove9 p94, Murrays1963 p119
Virgin & Child, 1437 (Museum of Art, Philadelphia)
S.Giuliano Polyptych, 1438 (Galleria Nazionale, Perugia). Here he sems to turn back to Gothic solutions Grove9 p98
Coronation of the Virgin fresco (Sala della Giunta, Palazzo Publico, Siena). He only completed the four angel heads at the top Grove9 p95.
Frescos at S. Maria della Scala:
Reception & Marriage of Foundlings, 1441-2
Care & Management of the Sick, 1442
Distribution of Alms, 1442
Pope Celestine III Granting Autonomy to the Hospital, 1442
Extension of the Hospital, 1442-3
Dinner Offered to the Poor, 1443-4
barry:
The Progress of Human Culture, 1777-83 (RSA)
Hugh, Duke of Northumberland, c1784 (Syon House)
baschenis:
Still-life (Pinacoteca dell’Accademia Carrara, Bergamo)
Still-life with Musical Instruments (Ambrothersiana, Milan). [A very harmonious work with muted colours & soft tones.]
baselitz:
The Great Piss-up/Big Night Down the Drain, 1962-3 (Museum Ludwig, Cologne)
The Great Friends, 1965 (Museum Ludwig, Cologne)
Stilleben, 1976-7 (MoMA)
The Abgar Head, acrylic, 1984 (Louisiana Museum of Modern Art, Humlaebaek, Denmark)
basiati:
Madrid (NG). Uses Bellini’s types Murrays1959
Calling of the Sons of Zebedee (Accademia)
bassa, ferrer:
The Scourging of Christ before Pontius Pilate, c.1333 (Monasterio de Pedrables, Barcelona, Spain)
feancesco bassano:
Holy Trinity Adored by Saints, 1591 (Tinity Chapel, Gesu)
jaclopo bassano:
Rest on the Flight into Egypt
- Martin & the Beggar with S. Anthony Abbot
Susanna & the Elders
Christ Crowned with Thorns (Christ Church). [This is tennebrist, indeed almost Caravagisste. It is said to be very late when he was under the influence of late Titian.]
leandro bassano:
Andrea Frizier, 1581 (Museo Civico, Padua). Early Tintoretto influenced portrait Grove3 p349
Orazio Lago with his Wife & a Customer , c1590 (Kunsthistorisches). Example of his own portrait style, ie a new naturalismGrove3 p349
Doge Marino Grimani, c1595 (Gemaldegalerie, Dresden). Impressive Grove3 p350
Months cycle, late 1580s (Kunsthistorisches etc)
Podesta Cappello at Feet of Virgin, 1590 (Museo, Bassano). This is an example of new style involving clearer composition, colour distinct, smooth forms but a certain academic coldness Grove3 p350
St Augustine & Other Saints, altarpiece (S. Geremia, Venice)
Portrait of an Old Woman, said to be his Mother (Castle Howard). [A striking work.]
Miracle of the Immobility of St Lucia (San Giorgio Maggiore, Venice)
bastiani:
Adoration of the Magi, the 1460s (Frick Collection). This has splendid costumes & jewel-like colours Frick p16
bastien-lepage:
Harvesters, 1877 (Louvre)
Les Foins/Haymakers, 1878 (d’Orsay)
Nothing Doing, 1882 (NG of Scotland) ###
bazzani:
The Imbecile (fragment?), c.1740 (Museum of Art and Archeology, University of Missouri) ###
bateman:
Comotion in the Cattle Ring, 1935 (Tate)
Haytime in the Cotswolds, 1939 (Southampton City Art Galleries). When exhibited it was observed at the time that it was a synthesis of all that was charming E&L p62
batoni:
Portrait of William Cavendish, fifth Duke of Devonshire, 1768 (Chatsworth). [It is competent but not inspired in comparison to Gainsborough’s Georgiana]
Meekness (Upark). Magnificent 1000BH p791
Purity of Heart (Upark). Magnificent 1000BH p791
battistello/caracciolo:
Liberation of S. Peter, c1607 (Chisa del Monte Misericordia, Naples)
Judith (Uffizi) Waterhouse1962 pp 171-2
Washing of the Feet (North Church) Waterhouse1962 p172
baugin:
Books & Paper by Candlelight (Galleria Spada, Rome)
The Five Senses (Louvre)
Desert with Wafers (Louvre)
Still-life with Plums (Musee des Beaux-Arts, Rennes)
baugin, lubin:
Childhood of Jupiter (Musee des Beaux-Arts, Troyes)
Rape of Helen (Musee Magnin, Dijon)
Holy Family (NG)
Martyrdom of St Bartholomew (Notre-Dame, Paris)
Pieta (Notre-Dame, Paris)
bazille:
Artist’s Family, 1867-8 (d’Orsay)
beauclerk:
Group of Gipsies & Female Rustics, watercolour (V&A)
beardsley:
beaux, cecilia:
Les Derniers Jours D’Enfance, 1885 (PennsylvanniaAFA). Successful Salon entry encouraged Beaux to pursue painting/train in Paris NGArtinP p225
Country Woman, Concarneau, France, 1888 (Pennsylvania Academy of Fine Arts)
Sita & Sarita (Jeune Fille au Chat), 1893-4 (d’Orsay)
Mother & Daughter, 1898 (Pennsylvania Academy of Fine Arts) New England Woman (Pennsylvania Academy of Fine Arts)
Ernesta (Child with Nurse), 1894 (the Met)
beccafumi:
Stigmatization of St Catherine, c1514-5 (Pinacoteca Nazionale, Siena)
St Paul, altarpiece c1515 (Opera del Duomo, Siena)
Nativity, c1524 (S. Martino, Siena)
Ceiling, c1535 (Sala del Concistoro, Palazzo Publico, Siena)
The Story of Papirius, 1540 (NG) 1001
Birth of the Virgin, altarpiece c1543 (Pinacoteca Nazionale, Siena)
Nativity of the Virgin, c1543 (Pinacoteca Nazionale, Siena) 1001
beckmann:
Large Deathbed Scene, 1906 (Munich) Dube p162
Self-portrait with a Red Scarf, 1917 (Stuttgart) Dube p164
Deposition, 1917 (MoMA) Dube p164
The Night, 1918 (Dusseldorf) Dube pp 165-6
Carnival, 1920 (Private) Dube p166
The Synagogue, 1919 (Private) Dube p166
Family Picture,1920 (MoMA) Lynton p165
Before the Masked Ball, 1922 (Munich) Dube p166
beechey:
Lady Herbert, Elizabeth Beauclerk, 1789 (Wilton House). [The handling of paint is lively & somewhat Sargent-like, especially her dress.]
The Dashwood Children, 1791 (Toledo). This is an example of his final style Waterhouse1953 p314
Princess Elizabeth, 1797 (Royal Collection). [She has a strikingly direct stare & is smiling]
Princess Mary, 1797 (Royal Collection).
George III Reviewing the 10th Dragoons, 1798 (Royal Collection). This has a romantic narrative force which invests a a review with the drama of a battle scene Burke p278
Portrait of Sir Francis Ford’s Children Giving a Coin to a Beggar Boy, 1793 (Tate). [This is an unusually frank depiction of rural poverty with the young over-dressed boy drawing away from the beggar, whereas she stretches forward with a coin.]
Horatio, Viscount Nelson, 1801 (Castle Museum & Art Gallry, Norwich). This is a display of that inner calmness which is a feature of British military portraiture Solkin2015 p295
bega:
Weaver’s Family, c1652 (Hermitage). Early freely executed/dark/coarse work TurnerRtoV p16
Two Men Singing, 1662 (NG Ireland). Late finely executed, colourful work with fewer figures, psychologically expressive TurnerRtoV p16
Woman Playing the Lute (Uffici). Late finely executed, colourful work with fewer figures, psychologically expressive TurnerRtoV p16
The Alchemist, 1663 (Getty). Exquisite TurnerRtoV p16
The Duet, 1663 (MdePetitPal)
begas:
Portrait of Frau Wilhelmine Begas, 1828 (Nationalgalerie, Berlin)
bell, graham:
The Cafe, 1937-8 (Manchester Art Gallery)
Dover Front, 1938 (Tate). One of his best pictures Grove3 p629
bellini, gentile:
Procession in Piazza S. Marco, 1496 (Accademia)
Miracle of the Cross at Ponte di Lorenzo, 1500 (Accademia)
The Doge Leonardo Loredan, 1501-04 (NG) 1001
P bellini, gentile & giovanni:
St Mark Preaching at Alexandria, 1507 (Brera). [Although it is huge, it is held together by the wings of the mosque etc & is spelendidly composed.]
P bellini, giovanni:
St Gerome in the Wilderness (Barber Institute, University of Birmingham). One of his first independent works Grove3 p661
Crucifixion (Correr, Venice). This glitters with light; analogy between religious subject & mood of landscape where the beauty of creation reflects the Creator Steer p51
Virgin & Child (Lehman & Davis pictures), early 1660s (MET). These are among the earliest of his magnificent half-length Madonnas. Both show a grandeur of conception & spiritul depth that signal his artistic maturity Grove3 p661
Agony in the Garden, c1460 (NG). This is derived from a drawing in Jacopo’s sketchbook. It has a lyrical & spacious landscape contrasing with Mantegna’s work (same title & date) OxDicArt. Though Bellini’s picture is also linear he makes light pivotal by choosing moment when the plain is in shadow but the rising sun strikes the hilltops Clark1949 p40, Steer p50. This first known evocation of dawn in Italian art suggests the salvation that will succeed the Agony Grove3 p661
- Christopher from altar polyptych, c1466 (S. Giovanni e Paol, Venice)
Pieta, tempera, later 1460s (Briera). An outstanding example of his emotionally charged Passion pictures. Note the way in which the half-length format brings the specator close to the figures & the cold landscape & steely sky Grove3 p661
Coronation of the Virgin, probably before 1475 (Museo Civica, Pesaro). Here the figures have a new three dimensional aspect, although his later work makes the figures seem wooden Grove3 pp 662-3
Madonna & Child, c1475 (Accademia). [She has a pure, simple & sad face. The light & gentle colours provide unity. This work must have been echoed in a thousand kitch versions, but Bellini’s painting has freshness & sincerity.]
St Francis in the Wilderness, after 1475 (Frick) Clark1949 p53
Virgin & Child Enthroned, Three Musician Angels & Saints Francis, John the Baptist, Job, Dominic, Sebastain & Louis/St Giobbe Altarpiece, c1480-5 (Accademia). The combination of a pyramidal figure group in a tall arched structure became a model for Venetian altarpieces Grove3 p663. Mary expresses the dogma of Immaculate Conception, which was at the time being resisted by the Dominicans. Hence Dominic is shown not looking at Mary but deep in a book gaining necessary instruction GG&C p17. In this work the Mantegna-like linearity has largely disappeared & is replaced by the more fluent modelling of St Sebastian Grove3 p663
St. Francis in Ecstasy, c1480 (Frick Collection, New York)
St. Job Altarpiece, 1480 (Galleria dell’Accademia, Venice) 1001
Transfiguration, probably early 1480s (Capodimonte). This has charm of colour & detail but displays the difficulty of a subject combining standing figures with those half reclining at their feet Wolfflin1899 p136
Madonna of the Pear, c1485 (Pinacoteca dell’Accademia Carrara, Bergamo)
Madonna degli Alberetti, 1487 (Accademia)
Votive Picture of Doge Agostino Barbarigo, 1488 (S. Pietro Martire, Murano)
Resurrection (Berlin). It has an evident geometric & rectangular construction Clark1949 pp 130-1
Madonna of the Meadow, c1505 (NG) Exact rendering of the seasons Clark1949 p53
The Baptism of Christ, 1501 (S. Corona, Vicenza). This is probably the first painting in Bellini’s late style. It is distinguished from the Transfiguration by the subordiantion of spatial & intellectual logic to pictorial concerns. Instead of a step by step movement from foreground to background the landscape is almost vertical with no peoper middle-ground, & it consists of large, luminous, interlocking planes. The draperies no longer convey the previous rounded volume but are softer & warmer patches of colour which combine with the landscape to form an integrated decorative & atmospheric unity Grove3 p665
Doge Leonardo Lorendano, c1503 (NG). One of Bellini’s official portraits where the lack of interest in idiosyncrasy & idealisation becomes a strength Pope-H p52
Virgin & Child with the Baptist & a Female Saint.., c1504 (Academy)
Virgin & Child Enthroned with Saints, 1505 (S. Zaccaria, Venice). Here the illusionism is less rigorous than in the S. Giobbe altarpiece. The soft chromatically saturated forms appear to float weightlessly as if transfigured by the presence of the divine Grove3 p665
Virgin & Child with Saints Peter & Mark & a Donor, 1505 (Birmingham Museums & Art Gallery)
Feast of the Gods, 1514 (NG Art). This is unusual in the Renaissance for its affectionate & erotic humour. This picture was substantialy reworked by Dossi & then Titian. However, the more or less compised the vivid idiosyncratic green on the left, the steep mountian probably & probably the pheasant MET2006 pp172-4
Drunkenness of Noah, c1514 (Musee des Beaux-Arts, Besancon). The facial types, glowing colour, deep shadows, & above all the enigmatic mood reveal Bellini’s interest in the work of Giorgione Grove3 p666
Young Woman with a Mirror, 1515 (Kunsthistorisches). This is probably the first Venetian nude without biblical or mythological motivation, though it has been seen as having a Vanitas aspect. Only unmarried women were allowed to wear their hair lose MET2006 p219
Dona del Rose Pieta (Accademia)
belliniano:
Kneeling Man in a Landscape (Pinacoteca dell’Accademia Carrara, Bergamo)
Portrait of a Young Man (Szpmuvezeti Muzeum, Budapest)
P bellows:
A Stag at Sharkey’s, 1907? (Cleveland Museum of Art). “I’married just painting 2 men trying to kill each other”; remarkably vital sense of movement OxDicMod
Forty-two Kids, 1907
North River, 1908 (Pennsylvania Academy of Fine Arts)
Excavation at Night, 1908 (Crystal Bridges Museum of American Art, Bentonville, Ark)
nude Girl, Miss Leslie Hall, 1909 (Terra)
Blue Morning, 1909 (NG Arts)
Both Members of this Club, 1909 (NG Art). Title alludes to circumvention of law against public prizefighting by saloons converted into athletic clubs; though fighters anonomous refers to black Jack JacksonD winning 1908
championship Bjeljac p290
The Palisades, 1909 (Terra)
The Lone Tenement, 1909 (NG Arts)
Big Snow, the Battery, 1910 (ColumbusMArt)
Three Rollers, 1911 (NAM, New York)
Men of the Docks, 1912 (NG)
The Big Dory, 1913 (New Britain Museum of Art, Conn)
Monhegan Is, 1913 (Worcester Art Museum, Massachusetts)
Cliff Dwellers, 1913 (LaCountyMA)
Builders of Ships, 1916 (YaleU ArtG)
bencovich:
Madonna del Carmine, c.1710 (Parish Church, Bergantino) ###
Blessed Pietro Gambacorti (S. Sebastiano, Venice). It has an almost uncouth force & expressive originality with agitating chirascuro. It is Piazzetta-like Levey1986 p7
bendemann, eduard julius friedrich:
The Jews in exile, 1832 (Wallraf-Richartz Museum, Cologne)
bendixen:
River Landscape, 1815-32 (Kunsthalle, Hamburg)
bencovich:
Blessed Pietro Gambacorti (S. Sebastiano, Venice). Almost uncouth forc&expressive originality; agitating chirascuro; Piazzetta-like Levey1986 p7
benois:
Lake in the Park at Versailles
P benton:
Bubbles, 1917 (Baltimore) Hughes p443
Louisiana Rice Fields, tempera, 1928 (Brooklyn Museum)
America Today, murals (the MET)
Arts of Life in America, murals (Museum of American Art, New Britain, Connecticut)
Social History of Missouri, 4 murals, 1935 (Capitol, Jefferson City, Missouri). It combines rhetorical energy, self-confidence, vulgarity, low humour, tawdrily emphatic colour, & disconcerting rhythmically distorted limbs parodying Michelangelo & El Greco Hughes1997 pp 445-6.
Achelous & Hercules, 1947 (National Museum of American Art, Smithsonian Institution)
beraud:
At the Ambassadeurs, 1880 (Musee des Arts Decoratifs, Paris) ###
Interior of a Patisserie, 1889 (Musee Carnavalet, Paris)
P berg, richard:
Vision, 1894 (Nationalmuseum, Stockholm)
The Dying Day, 1895, charcoal with oil (Nationalmuseum, Stockholm)
Nordic Summer Evening, 1899-1900 (Goteborgs Konstmuseum, Gothenburg)
P bermejo:
Archangel Michael, c1468 (NG). This is a quintessential example of Hispano-Flemish art. His figures are hard-edged Brown1998 p8
St Domingo de Silos, 1474 (Prado). Attention is concentrated on the face to create an iconic central focus & almost hypnotic frontality, which is a perenial Hispanic trait Moffitt p74
Triptych of Virgin of Montserrat, (Church Osanas), 1481-6 (Genoa, Cathedral). Impressive Brown1998 p9
bernard:
Buckwheat Harvest, 1888 (Josefowitz Collection) Denvir p178
Breton Women with Umbrellas, 1892 (Louvre)
bernini:
Blessed Ludovica Albertoni () Martin p105
berruguette, alonso:
Madonna & Child with the Young St John, 1510-5 (Palazzo Vecchio, Florence)
Nativity, 1526-32 (Museo National de Escultura, Valladolid)
P berruguete, pedro:
Beheading of the Baptist, c1480 (parish church of Santa Maria del Campo, near Burgos)
King Solomon, c1485
Auto de fe, c1498 (Prado)
Temptation of St Thomas Aquinas, c1500 (Santo Tomas, Avila)
St Dominic Pardons a Heretic, c1500 (Prado)
Agony in the Garden, c1503 (Cathedral, Avila)
bertin:
View of a hermitage in an ancient Etruscan excavation, 1837 (Musee des Beaux-Arts, Tours)
P bertram of Minden, Master of:
Altar for St Peter/Grabar Altarpiece, 1379 (Kunsthalle, Hamburg)
besnard, paul albert:
The happy Island, 1900 (Musee des Arts Decoratifs, Paris)
john bettes the elder:
Portrait of a Man in a Black Cap (Tate)
Sir William Cavendish, attributed (Harwick Hall)
Thomas Wentworth, 1st Baron Wentworth of Nettlestead, attributed (National Portrait Gallery)
john bettes the younger (attributed):
Portrait of a Girl, 1587 (St Olave’s & St Saviour’s Gramar School Foundation, London). An attractive work in which the decorative treatment of costume is Hilliard-like Grove3 p886.
P beuckelaer:
Kitchen Piece with Christ in the House of Martha & Mary, 1552 (Rijksmuseum)
The Four Elements, 1569-70 (NG). Sumptuous display of food related to the elements of earth, water, air & fire. Each of the four pictures contains background Biblical scene, though in Water & Earth there is no obvious connection between the foreground & the religious scene JonesS p140
Fish Market, 1570 (Nationalmuseum, Stockholm)
Fish Market with a Scene of the Miraculous Draught of Fishes (Capodimonte)
[Walker picture]
P bevan:
The Cabyard Night, 1910 (Art Gallery, Brighton)
The Cab Horse/Putting To, 1910 (Tate)
The Town Field, Horsgate, 1914 (Art Gallery, Reading)
antonio bibiena:
Presbytery, completion 1730-32 (St Peter, Vienna)
Vault, fresco 1730-32 (St Peter, Vienna)
Dome (Trinitarian Church, Bratislava)
Decorations, c1753 (S Agostino Siena)
Dome (S. Maria della Vita. Bologna)
bickford, nelson:
In the Tuileries Garden, Paris, 1881
bidauld:
Francois I at the Fountain of Vaucluse, 1803-25 (Musee Calvet Avignon)
biefve:
Scene of the Banquet at the Hotel Cuylenborg, 1566 (Koninklijkm Museum voor Schone Kunsten, Antwerp)
P bierstadt:
The Rocky Mountains, Lander’s Peak, 1863 (The Met)
Donner Lake from the Sumit, 1867 (New York Historical Society)
Emigrants Crossing the Plains, 1867 (National Cowboy Hall of Fame & Western Heritage Center, Oklahoma City)
The Last of the Buffalo, c1889 (NG Art). It was white hunters & skinners that massacred the buffalo herds. Of the 3,700,000 buffalo destroyed in 1872-7 only 150,000 were killed by Indians & then only enough to supply their needs BrownD pp 264-5, 269
big:
A Lady & Her Children Relieving a Cottager, 1781 (PhilMA)
P bilders:
Swiss Landscape, c1859 (Gemeentemus, The Hague)
Landscape Near Saint-Ange, 1860 (Kroller-Muller, Otterlo). This is not a grand image of God’s creation like so many Dutch 17th century works. It is just a specific fragment of nature & one of the truly radical paintings of Dutch 19th century art Fuchs p156
Polder Landscape with Cows, c1861 (Gemeentemus, The Hague)
The Herdswoman, c1864 (Rijksmuseum)
bingham:
bird:
The Old Soldier’s Story, 1808 (Wolverhampton Art Gallery)
Village Choristers Rehearsing an Anthem for Sunday, 1810 (Royal Collection)
birchfield:
Six O’Clock, 1936 (Syracuse) Renner p88
blake:
The Simoniac Pope, pen, ink & watercolour, 1824-7 (Tate)
blanchard, jacques:
Angelica and Medoro, early 1630s? (The Met) ###
Charity, c.1636-37 (Toledo Museum of Art, Toledo, Ohio) ###
P blechen:
Daybreak, 1824-7 (Westfalisches Landesmuseum, Munster?)
Sea at Evening, c1828 (Oskar Reinhart Foundation, Winterthur)
Forest Ravine with Red Deer, 1828 (Niedersachsisches Landesmuseum, Hannover?)
Southern Gorge with Caves, c1829 (Sammlung Georg Schaffer, Schweinfurt)
The Interior of the Former Palm House on the Peacock Island, 1832 (Kunsthalle, Hamburg)
Sans Souci Palace, 1830-32 (Nationalgalerie, Berlin)
Gallows Hill, c1833 (Gemaldegalerie, Dresden)
Iron Rolling Mill, Neustadt, c1834 (Nationalgalerie, Berlin)
View of Rooftops & Gardens, c1835 (Nationalgalerie, Berlin)
In the Park at Terni, c1836 (Schafer Collection, Schweinfurt)
Rocky Gorge in Winter, 1825 (Mationalgalerie, Berlin)
abraham bloemaert:
Death of the Children of Niobe, 1591 (Statens Museum for Kunst, Copenhagen)
Moses Striking the Rock, 1596 (the Met)
Adoration of the Magi, 1624 (CentM, Utrecht)
adriaen bloemaert:
Mysteries of the Rosary, 8 canvases 1637 (Aula Academica, University of Salzburg)
blume, Peter:
South of Scranton, 1931 (MoMA)
Eternal City, 1934-7 (MoMA)
blondeel:
The Martyrdom of Saints Cosmas & Damien, triptych, (S.Jacques, Bruges)
boccaccino, boccaccio:
boccaccino, camillo:
Raising of Lazarus, 1637-9 (S. Sigismondo, Cremona)
Christ & the Adultress, 1637-9 (S. Sigismondo, Cremona)
P boccati:
Virgin & Child with Angels & Saints, c 1446 (NGUmbria) Warm tempera; enamel like, note weasel indicating chastity licking Christ; long necked & slender waisted Mary with small hands & hair lines at sharp angels which show its Umbrian character C&C p218 . New square Renaissance altarpiece with Flemish-like predella NGUmbria. [This is International Gothic as shown by the flowering trees above the figures.]
Madonna delli Orchestra, post 1448 (NGUmbria). [The colours are extraordinary vivid, the perspective is strong & the flowers are International Gothic]
P bocklin:
Villa by the Sea, 1877 (Kunstmuseunm Winterthur)
Land of the Dead, 1880 (the Met)
Battle of the Centaurs (Basel) R&J pp 329-30
bogdanov-belsky:
Oral Reckoning at Rachinsky’s People’s School, 1895
At the School Door, 1897
Visiting a Sick Teacher, 1897
Barsukov, 1902
Writing Composition, 1903
Professor Rachinsky, 1903
At the Landing Ferry, 1915
Shaliapin, 1916
Maxim Gorky, 1940
boissard:
The Retreat From Russia, 1835 (RouenMDBA)
boldini:
Gertrude Elizabeth, Lady Colin Campbell, c1897 (Mational Portrait Gallery)
James A. McNeill Whistler, 1897 (Brooklyn Museum)
√√√boll, hans:
Town Panorama, 1578 (County Museum of Art, Los Angeles)
Gantstrekken, etching
The Skaters, etching
bologna, Giovanni:
Rape of the Sabine Sharman pp 86-8
Mercury Sharman pp 89-90
boltraffio:
Virgin & Child/Esterhazy Madonna, c1496 (Budapest M). Beautiful Clarke 1939 p101. [It is beautifully painted, but lack’s Leonardo’s mystery because it is too sharply drawn & the colour & tone are insufficiently modulated. This can be seen where the Virgin’s hair is partly obscured by the dark background.]
Virgin & Child (Milan).
bombelli:
Paolo Querini, c1685 (G Querini-Stampalia, Venice). Best portrait showing Bombelli’s new intimate treatment of head in otherwise formal Baroque portrait Waterhouse1962 p133
bomberg:
The vision of Ezekiel
Ju-Jitsu
In the Hold, 1913-4 (Tate).
The Mud Bath, 1914 (Tate). [It was inspired by Russian vapour baths in Whitechapel & has great energy NG]
Barges, 1919 (Tate)
bonnard:
bone, stephen:
Evening, 1930 (Private). For a colour image see McConkey2006 p146
Demonstration of the Church Socialist League, 1922 (?). For a colour image see McConkey2006 p148
bonfigli:
(NGUmbria)
(PerugiaTH)
P bonington:
View of the Normandy Coast, c1625-6 (Woburn Abbey). [The horizon is notably low & the contrasting dark, light &vibrant colours are reminiscent of early Corot.]
Francis I & Marguerite of Navarre, c1826 (Wallace Collection)
Henry IV & the Spanish Ambassador, 1827 (Wallace Collection)
bonheur:
Ploughing in the Nivernais, 1849 (Musee d’Orsay) R&J p222
Horse Fair, 1853 (The |Met). This is her masterpiece. It combines Realism & romantic sensitivity to colour & dramatic movement rare in her work Grove4 p318
bonnard:
bernaerts:
bernini:
berrio:
berruguete, alonso:
berruguete, pedro:
bertin, francois:
bertin, jean:
bertoia/zanguidi, jacopo/giacomo:
bortoloni:
Dome frescos,1745-50 (Sancturay.Vicoforte di Mondovi). These are reputedly the largest in the world L&L
Decorations (Villa Cornaro, Piombino Dese). They are remarkable Wittkower p577
bonnat:
Robert-Fleury, 1865 (Louvre)
bonvin:
Woman Ironing, 1858 (Museum of Art, Philadelphia)
Servant Drawing Water, 1861 (Louvre)
L’Ecole Regimentaire, 1853 (). This was the picture that Napoleon commissioned Weisberg1982 p100.
Interior of a Tavern, 1859 ().
P bordone:
St Jerome in a Landscape, early 1520s (Museum of Art Philadelphia)
Two Lovers, c1525 (Brera). This shows the influence of Titian’s on early Bordone but his treatment is banal seduction, stylised & dull, not Titian’s rich & painterly brushwork, vibrant colour, lyricism & sensuality RAVenice p156
Mystic Marriage of St Catherine, c1525 (Palazzo di Andrea Doria, Genoa)
Portrait of Nicolas Korbler, 1532 (Gemaldegalerie, Vaduz)
Presentation of the Ring to the Doge, 1534-5 (Accademia). With this picture Bordone reached maturity Grove4 p398
Knight in Armour, late 1530s (North Carolina Museum of Art)
Portrait of Man Holding Letter, 1540s (Palazzo Rosso, Genoa)
Baptism of Christ, late 1540s (Brera). Mannerist monumality & the exaggeratedly twisted main figures RAVenice p159
Family Group, late 1540s (Chatsworth)
Venus, Flora, Cupid & Mars, c1550 (Hermitage). Venus indicates fertile love & Flora virginal love. The picture shows the triumph of pacifying love over force, & displays rather self-consious erudition together with Mannerist female beauty which is sensual but cold & artificial RAVenice p158
Perseus Armed by Mercury & Minerva, c1550 (Birmingham, Alabama, AG)
Portait of a Young Woman, (NG)
Portrait of a Cavalier, (Uffizi)
A Pair of Lovers, 1555-60 (NG). The caption says she is encouraging his advances. [This does no appear to be case but they are certainly lovers & it is not a scene of violence.]
Mars & Venus in Vulcan’s Net (B)
Bathsheba (Cologne)
Bathsheba (Hamburg, K)
Bathsheba (Walters Art Museum, Baltimore)
Battle of the Gladiators (Kunsthistorisches)
Tibertine Sibyl (Hermitage)
borrani:
Il Mugnone, 1865-8 (Galleria Nazionale d’Arte Moderna, Rome)
borrassa:
- Clara Altarpiece, 1412-5 (Vich Museum, Barcelona)
P borisov-musatov:
Self-Portrait with Sister, 1898 (Russian Museum)
Spring, 1898-1901 (Russian Museum)
The Pool, 1902 (Tretyakov)
Ghosts, 1903 (Tretyakov)
P borovikovsky:
Portrait of O. Filippova, 1790 (Russian Museum). One of his best early works. She is without any trace of affectation or coquetry & her face has an expression of almost childlike tenderness & dreamy thoughtfulness 50Rus p48
Lizanka & Dashenka, c1795 (Tretyakov). They were serfs (owned by Lvov) & are portrayed in his customary manner 50Rus p48
Kristinia, the Peasant Woman of Torzhok, c1795 (Tretyakov). Another serf (owned by Lvov) 50Rus p48
Yekaterina Arsenyeva, c1795 (Russian Museum)
Catherine II Walking in the Park at Tsarskoye Selo, c1795 (Tretyakov). Although not devoid of sentimentality, she is portrayed in a normal situation, not as a goddess 50Rus p48
Murtaza-Kouli-Khan, 1796 (Russian Museum)
Maria Lopukhina, 1797 (Tretyakov)
Portrait of Major-General Fiodor Borovksy, 1799 (Russian Museum). He was a lover of Catherine II G&P p50
Paul I, 1800 (Russian Museum)
A.B. Kurakin, 1801 (Russian Museum). He was known as the peacock because of his arrogance & love of ostentation 50Rus p51
bosboom;
Vestry at Nijmegen (Rijksmuseum)
bosschaert, ambrosius:
Vase of Flowers, 1609 (Kunsthistorisches)
Vase of Flowers, c1620 (Mauritshuis, The Hague)
RP botticelli:
Fortitude, 1470 (Uffizi).
Primavera, c1478 (Uffizi). The figures are dressed in the quasi-theatrical costumes for masquerades of the type Lorenzo de’ Medici invented for civic festivals & tournaments. The picture’s conception was almost certainly devised by the collectionhumanist & poet Angelo Poliziano Grove4 p498
Birth of Venus (Uffizi). Differing opinions re picture’s eroticism: curvaciousness awakening desire (Clark); a bloodless sculpture (Vaudoyer) Clark1956 p103, Webb p109
Life of Moses 1481-2, fresco (Sistine Chapel)
Temptation of Christ, 1481-2 (Sistine Chapel)
St Banabar altar, (Sistine Chapel)
Pallas & the Centaur, c 1482 (Uffizi)
Mars & Venus, c1485 (NG)
Birth of Venus, c1485-6 (Uffizi, Florence) 1001
St. Augustine in the Cell, 1490-94 (Uffizi, Florence) 1001
X Calumny of Apelles, c1494 (Uffizi). Truth is symbolised by the nude Panofsky1939 p159
Lamentation, (Alte Pinothek, Munich). This & the following painting are in his presumed late almost hysterical style Murrays1959.
Crucifixion, damaged (Fogg Art Museum, Cambridge, Massachusetts)
Mystic Nativity, 1500 (NG). Botticelli’s inscription referrs to its being painted during time of Italy troubles during the “loosing of the Devil” preceeding the Apocalypse BurkeP p187.
Crucifixion, damaged (Fogg Art Museum, Cambridge, Massachusetts). As for the Pietas.
- Zenobius series (NG, Dresden, The Met). As for the Pietas
Madonna & Child with Infant St John, c1506 (Pitti). [The Virgin & Christ have almost right angle bend & have sad faces. Is this a post-Savonarolla effect?]
Adoration of the Kings (Uffizi). Difficult to distinguish heads Wolfflin1899 p263.
Madonna & Child with S. John the Baptist & S. John the Evangelist, (Berlin). Little axial contrast; flattish figures Wolfflin1899 pp 274, 276.
P bosch:
Epiphany (Philadelphia)
Ecce Homo (Kunstinstitut, Frankfurt)
Christ Carrying the Cross (Kunsthistorisches)
Marriage Feast at Cana (Benuningen Museum, Rotterdam)
Tabletop of the Seven Deadly Sins and the Four Last Things (Prado)
The Stone Operation (Prado)
The Ship of Fools (Louvre)
Death of the Miser (NG Art)
Allegory of Gluttony & Lust (Yale University Art Gallery)
Last Judgement, triptych (Akademie der Bilden Kunste, Vienna). The inclusion of the Fall is unusual, attention was normally focused on the act of judgement itself & equal attention as given to the saved & the damned. Here, however, the divine court is small & the majority have been damned. Some of the punishments, monsters & topographical details show that Bosh was familiar with traditional literary descriptions of hell, but he has also introduced new & frightening creatures, many of which are bizarre fusions of animal & human elements WGibson1973 pp 55-7
Terrestial Paradise (Doges’ Palace, Venice)
Ascent of the Blessed (Doges’ Palace, Venice)
Fall of the Damned (Doges’ Palace, Venice)
Hell (Doges’ Palace, Venice)
Haywain, triptych (Prado & Escorial). There is disagreement as to which version is the original but the outer wings must have been executed by a rther clumsy workshop hand. The haywain in the central panel is followed by the great, including Alexander VI ; in the centre the lower classes snatch hay from it or fight for it; while on the right devils are pulling the wagon towards hell. Except for an angel nobody notices the tiny Christ, below which there are lovers symbolising Lust. At the bottom there is a quack physician, representing Avarice, & nuns stuff hay into alarge bag supervised by a corpulent monk. Hay was a traditional symbol with a Netherlandish song of about 1470 saying that God had provided good things for all men like a stack of hay but that each man wanted to keep them all. Since hay is of little value, it probably also symbolises the worthlessness of earthly gain, as in subsequent pictures. The great, who are already possessors, are not fighting but are guilty of Pride WGibson1973 pp 69-72.
Garden of Earthly Delights, triptych, c1503 (Prado). This is about Lust with many of the forms in the central panel having been decoded & found to have an erotic connotation. Many of the fruits nibbled or held by the lovers are metaphors for the sexual organs & picking fruit was a euphuism for copulation.
The fruit peelings, into which into which some of the figures have crept, signify worthlessness. The circular pool harks back to the traditional love garden but here the women frisk naked while excited men ride around on animals. Female power was often represented by a woman surrounded by a circle of male admirers WGibson1973 pp 81-5. There is (says Janson) a contradiction between the innocence & haunting beauty of sinful mankind & the intended stern moralistic sermonising. Bosch must unconsciously have been enraptured by sensuous appeal of the world of flesh Frantz p127. However, medieval man was taught death & damnation lurk behind physical lovliness WGibson1973 p87
Garden of Earthly Delights, c. 1504 (Museo del prado, Madrid)
R boucher:
Rinado & Armida, 1734 (Louvre) Ternois p7
A Lady on Her Day Bed, 1743 (Frick). [This is Chardin-like & extremely controlled & finished.]
Chinese Fishing Scene, 1742 (Musee des Beaux-Arts, Besançon)
Nude Girl, 1752 (Munich) Ternios p8 Many versions
Mars and Venus Caught by Vulcan, c.1754 (Wallace Collection, London) ###
Pastoral, 176 (Wallace). Erotic arcadia contrasing with Greuze’s Village Betrothal also exhibited at 1761 Academy Rosenblum1967 p51
boudin:
boughton:
Winter Morning Walk, 1864 (Wolverhampton Art Gallery)
Pilgrims Going Church, 1867 (New York Historical Society)
Godspeed Pilgrims Setting Out for Canterbury, 1874 (Van Gogh Museum, Antwerp)
P bouguereau:
Destitute Family, 1865 (Museum & Art Gallery, Birmingham)
Nymphs & Satyr, 1873 (Sterling & Francine Clark Art Institute, Williamstown, MA). Playful painting typical of 1870s TurnerMtoC p39
Donkey Ride, 1878 (CummerG, Jacksonville). Playful painting typical of 1870s TurnerMtoC p39
Birth of Venus (d’Orsay)
boulanger, Louis:
Mazeppa, 1827 (MDBARouen)
boulenger:
Avenue of Elm Trees, 1871 (Musees Royaux des Beaux-Arts, Brussels)
P bouts, dieric the elder:
Portrait of a Man, 1462 (NG)
Virgin Nursing the Child, 1460-5 (NG)
Last Supper Altarpiece, 1464-7 (St Pierre, Louvain) 1001
Justice of Emperor Otto III, 1470-5 (Musees Royaux, Brussels)
Ascent of the Blessed into Paradise, before 1470? (Louvre?)
Fall of the Damned
bouts:
The Virgin & Child, c1465 (NG). Despite the splendour of the setting, the figures are humanised, made close & accessible. The Virgin is unadorned, the child is animated with an open jesture & the cusion & cloth protrude into our space JonesS p64
Christ Crowned with Thorns, c1470 (NG)
P boyer, william:
Self-Portrait, c1980 (Private). For a colour image see McConkey2006 p 210
Burning Boat, Walberswick, c1990 (Private). For a colour image see McConkey2006 p219
brabazon brabazon:
The Pink Palace (Tate)
branson:
Selling the Daily Worker Outside the Projectile Engineering Works, 1937 (Private)
Portrait of a Worker, c1930 (Tate). [This is Social Realism. The warm colours make him look attractive.]
braque:
Antwerp Docks, 1906 (Von der Heydt Museum, Wuppertal) ###
L’Estaque, 1906 (Musée de l’Annonciade, St Tropez) ###
L’Estaque, 1906 (Centre Pompidou) ###
Paysage de l’ Estaque, 1906 (Centre Pompidou). [Harmonious if odd colours; pleasant.]
Countryside at La Ciotat, 1907 (Kunstammlung, Düsseldorf) ###
La Ciotat, 1907 (MoMA) ###
Olive Trees, 1907 () Antliff/Leighton p55
The Small Bay, 1907 (Centre Pompidou) ###
Houses and Trees, 1908 (Kunstmuseum, Bern) ###
Large Nude, 1908 (). It was seen as ugly & horrific, even by
sympathisers Antliff/Leighton pp 24-5, 44
Houses at L’Estaque, 1908 () Antliff/Leighton p57
Chateau de la Roche-Guyon, 1909 (Moderna Muset, Stockholm). This & the following picture are not painted in the typical dull,dark Cubist colours & appear from reproductions to be rather beautiful See Hughes1991 p28
La Roche-Guyon, 1909 (Van Abbemuseum, Eindhoven)
P bratby:
Still-life with Chip Fryer, 1954 (Tate)
Window Darmouth Row, Blackheath, 1954-6 (Museum & Art Gallery, Birmingham). [The paintwork is very crude & heavy; & the sky, as seen through windows, is not consisten which must be deliberate. There is a striking absence of depth & vigour partly because of the strong earth colours.]
braekeleer:
bramer:
AGroup of Musicians (Private)
bree:
breenbergh:
Moses and Aaronn Changing Waters of Egypt into Blood, 1631 (Getty) ###
Landscape with Silvio & Dorinda, 1635 (Musee Municipal, Brest)
breitner:
Self-Portrait, 1885-6 (Gemeente Museum, The Hague)
Dam Square in the Evening, c1890 (Koninklijk Museum, Antwerp)
Two Maids, pastel, c1890 (Vincent Van Gogh Museum, Amsterdam)
Girl in a White Kimono, c1893 (Rijksmuseum Twenthe, Anschede)
bresdin:
P breslau:
Portrait of Friends, 1881 (Musee d’Art et d’Histoire). This is a moment of snug & silent fellowship & the contast between the vivid details & the vague expressions suggests that they take comfort in being together with their separate creative thoughts BudickFT28-9/7/18
Five o’Clock Tea (Kunstmuseum, Berne)
Under the Apple Trees, 1885 (Palais de Rumine, Lausanne)
At Home, 1886 (Musee d’Orsay)
Bergliol Bjornson, 1889 (NG Dublin). This displays her skill & empathy as a portraitist Grove4 p751
Pensive Life, 1908 (Palais de Rumine, Lausanne)
breton:
brett:
The Glacier of Rosenlaui, 1856 (Tate). A cold & clinical picture; his attempt to paint a distant & sublime Alpine storm is not wholly convincing & the fir trees in the upper left corner do not properly convey the distance Barrington p74
The Stonebreaker, 1857-8 (Walker)
Val d’Aosta,1858
breu, Jorg the elder:
The Battle of Zama (Alte Pinothek, Munich)
breu, Nicolas:
Altarpiece, c1520 (Pulkau Church)
Nativity (Artinst)
briulov
Last Days of Pompeii, 1833 (Michael) Craske p104
P brockhurst:
Seule, watercolour, 1916 (Boston Public Library)
Dorette, 1933 (Harris Museum & Art Gallery, Preston). She was his mistress & future wife E&L p66
By the Hills, 1919 (Ferens Art Gallery, Hull). It was observed at the time that the contradiction between the open-air setting & the studio lighting rendered the painting somewhat disturbing E&L p37
P brodski/y:
- I. Lenin & the Demonstrations, 1919 (Central Lenin Museum, Moscow)
The Shooting of the 26 Baku Commissars, 1925 (Lenin Museum, Baku)
Portrait of Joseph Stalin, 1927 (Russian Academy of Fine Arts, S. Petersburg). [This is idealised but Brodsky’s Realism is shown by the slightly pock-marked skin.]
Lenin’s Speech at a Workers’ Meeting at the Putilov Factory, 1929 (Central Lenin Museum, Moscow)
Lenin at Smolny, 1930 (Central Lenin Museum, Moscow)
Voroshilov Skiing, 1937
broederlam -c1409:
Dijon alterpiece, 1399 (Dijon). Note delicacy, clear bright colours, play of light, the picturesque eg spikey castles on jagged pinnacles, tiled pavings Murrays1963 p18
P bronzino:
Cosimo I de’Medici, as Orpheus, Philadelphia Museum of Art, c1539. Orpheus was regarded as a civilizing agent & reconciler & this image suggested that Cosimo would be a healing force following Flornce’s political turmoil. The picture is in the new Maniera style with the figure pushed against the plane & flattened with frontal lighting. The flesh is marble-like & the figure is abruptly twisted Hall1999 p222
An Allegory with Venus and Cupid, 1540-50 (NG) 1001
Chapel of Eleanora of Toledo, fresco, c1541 or after. The frescoes represent scenes where the people rebel against Moses but then turn to him again as their chosen leader Hall1999 p222. He uses a linear Michelangelesque style in which each figure is isolated with a firm sculptural contour & each gestur&pose tells Pope-H p182, Hall1999 p224. The extensive use of ultramarine derived from expensive lapis lazuli is exceptional Hall1999 p222
Cosimo I de’Medici, Grand Duke of Tuscany, 1545 (Uffizi). Linear Michelangelesque style; human features painted like still life Pope-H pp 182-3
Allegory of Love, c1546 (NG). Neutralised eroticism; cold/polished/unreal colour Shearman pp 64, 101. This is the quintessence of Maniera. The flattened contortions of Venus & Cupid create a tension that mirrors our discomfort with this unnatural image of mother & son Hall1999 p229
Giovanni di Cosimo de’Medici, 1551 (Ashmolean). Bronzino delighted to paint the “angelic” Medici children Pope-H pp 184-5. [Nevertheless it is a cold & haughty face with somewhat narrow eyes & small mouth.]
Christ in Limbo, 1552 (S. Crose Museum, Florence). Cold, polished & unreal colour Shearman p101
Ludovico Capponi, c 1553 (Frick). [Utterly cold & formal with no trace of his love & devotion. The eyes are sinister with the pupil of right eye centered & that on the left in the corner.]
Venus & Cupid with Fan, c1555 (Galleria Colonna, Rome) The colour is sensuous & harmonious achieved with brilliantly saturated artificial croma, unlike the closely harmonized & neutralized tones preferred in Venice Hall1999 p230
Martyrdom of St. Lawrence fresco, 1569 (S. Lorenzo, Florence). Extreme Mannerism with empty, elegant posturing L&L, OxDicArt. It was the last major sacred work to be painted in the High Mannerist style Hall1999 p238
Eleanora of Toledo, Wife of Cosimo I de’ Medici (Uffizi). Incredible realism/detail; human features painted like still life Pope-H p183
Altarpiece, (S. Maria Novella). It has a new Counter Reformation sobriety/simplicity/piety/realistic colour Shearman p169
Portrait of Lorenzo Lenzi (Castle Sforzesco, Milan). [The effect is striking with a black robe on a bottlish green background, a half-face & shadowing.]
brooks, James:
History of Flight, c1935 (Marine Air Terminal, La Guardia)
Boon, 1957 (Tate)
brouwer:
The OPERATION, 1630s (Alte Pinothek, Munich). Contrast with Wilkie’s Cut Finger, 1809, where all details orchestrated into concentrated/coherent narrative; in Brouwer’s picture background dentistry & woman looking round distract attention from main action; moreover pointless for viewer to become too involved because faces show poor too lumpen to avoid suffering Solkin2008 p69
brown, ford madox:
Manfred on the Jungfrau, 1841/61 (Manchester Art Gallery). It was repainted in brighter colours, particularly sky. Now not typical of Parisian pictures ManchesterAGExhibition2011
Seeds & Fruits of English Poetry, 1845-51 (Ashmolean)
Seraph’s Watch, 1847 (Private).
First Translation of the Bible into English:Wycliffe Reading his
Translation of the Bible to John of Gaunt, 1847-8, 1859-61.
An English AutumnAfternoon, Hampstead – Scenery in 1851, 1852-4 (Birmingham Museum & Art Gallery)
Pretty Baa-Lambs, 1851-9 (Birmingham Museum & Art Gallery)
Last of England, 1852-5 (Birmingham Museum & Art Gallery). Painted when Brown was “very hard up & a little mad”, and thinking of moving to India; the figures are Brown & his wife; painted outdoors, rejoicing “intensely cold…High wind, but this seems the sweetest weather possible, for it Made my hand look blue with cold, as I require it in the work” 1001 p429
Carrying Corn, 1854. This took over 20 sessions; Brown wrote that it was a scene “of surpassing loveliness” ManchesterAGExhibition2011 [Extraordinary vibrant colours; a combination of warm greens & yellows, & of colder greens in shadow.]
Waiting: An English Fireside of 1854-6, 1855 (Walker)
Jesus Washing Peter’s Feet, 1851-6 (Tate). Christ is depicted as a muscular Christian Socialist workman Barringer p114
Hayfield, 1855-6 (Tate). Brown spent over 100 hours on this scene ManchesterAGExhibition2011
Walton-on-the-Naze, 1859-60 (Birmingham Museum & Art Gallery). [There is too much background detail. Brown seems to have been carried away by desire to capture everything.]
Work, 1852-65 (Manchester Art Gallery).
Take your Son, Sir!, ?1851-92 (Tate)
brown, frederick:
Hard Times, 1886 (Walker)
breughel, jan 1;
Departure of St Paul to Caesarea. 1596 oil on copper (North Carolina Museum of Art, Raleigh)
Boquet with Irises after1599 (Kunsthistorisches)
Paradise, c1610-20 (Dahlem Museum, Berlin) ###
RP bruegel, pieter the elder:
View of the Bay of Naples, c1552 (Galleria Doria Pamphili, Rome)
Parable of the Sower, 1557 (NG Art)
Landscape with the Fall of Icarus, c1558 (Musees Royaux des Beaux-Arts, Brussels) 1001
The Fight Between Carnival & Lent, 1559 (Kunsthistorisches)
Children’s Games, 1560 (Kunsthistorisches)
Fall of the Rebel Angels, 1562 (Musees Royaux des Beaux-Arts, Brussels)
Dulle Griet,1562 (Museum Meyer van der Bergh, Antwerp)
The Suicide of Saul, 1562 (Kunsthistorisches)
The Tower of Babel, 1563 (Kunsthistorisches)
Landscape with the Flight Into Egypt, 1563 (Courtauld)
The Triumph of Death, c1563 (Prado)
The Procession to Calvary, 1564 (Kunsthistorisches)
The Adoration of the Magi/Kings, 1564 (NG)
The Hunters in the Snow (January), 1565 (Kunsthistorisches)
The Gloomy Day (February)/ Winter, The Dark Day (Kunsthistorisches). Mannerism & naturalism are here combined Clark1949 pp 56-7
Hay Making (July), (NG Prague)
The Corn Harvest, 1565 (the Met)
The Return of the Herd (Kunsthistorisches)
Woman Taken in Adultery, 1565 (Courtauld)
Massacre of the Innocents, c1566 (Kunsthistorisches; also Royal Collection). This could be the one Bruegel painting displaying overt anti-Spanish feelings. The grim central commander could be Alva who also had a long white beard GibsonWS p178
The Return of the Herd (November?), 1565 (Kunsthistorisches)
The Numbering at Bethlehem, 1566 (Musees Royaux des Beaux-Arts, Brussels)
The Adoration of the Kings in the Snow, 1567 (Reinhart Collection, Winterhur)
The Wedding Dance in the Open Air, 1566 (Detroit Institute of Arts)
The Sermon of St. John the Baptist, 1566 (Museum of Arts, Budapest)
The Conversion of S. Paul, 1567 (Kunsthistorisches)
The Land of Cockaigne, 1567 (AltPin, Munich)
Peasant Wedding (The Wedding Banquet), (Kunsthistorisches) Wollflin 1915 pp 89-90
Peasant Dance (Kunsthistorisches)
The Cripples, 1568 (Louvre). Cripples had long been regarded as scoundrels who often faked their deformities GibsonWS pp 183-4
The Peasant & the Birdnester, 1568 (Kunsthistorisches)
X Parable of the Blind, tempera on linen,1568 (Capodimonte). This was the culmination of Bruegel’s long interest in blindness. The parable refers to spiritual blindness being worse than physical & blindness to religion which is indicatred by the church with its spire pointing heavenwards Grossmann p203
The Magpie on the Gallows, 1568 (Hessisches Landesmuseum, Darmstadt)
Misanthrope, tempera on linen, 1568 (Capodimonte)
Storm at Sea, 1569 (Kunsthistorisches). This is a grimly appropriate testatment to his times WGibson p197
Orpheus in the Underworld, 1594-1600 (Galeria Palatina, Florence)
brueghel, pieter the younger:
Whitsun Bride, tempera & oil (The Met). This is an original composition Grove4 p912
brullov:
bruni:
Moses & the Brazen Serpent, 1826-41 (Russian Museum)
bruyn:
Christ Carrying the Cross, c1513 (Alte Pinakothek, Munich)
Arnold von Brauweiler, Mayor of Cologne, 1535 (Wallraf-Richartz Museum, Cologne)
buchser:
buckner:
Adeline 7th Countess of Cardigan, 1858-68
bubnov:
Oktyabryny (?). Best example of pictures celebrating birth in accord with Soviet policy Bown1991 pp 115-6
Morning on Kulikov Field, 1943-7 (Tretyakov). Stalin Prize 1948 Bown1991 p240
Corn, 1948 (Russian Museum). But for distant pylon could be 19th century scene; appears to relect nostalgia for a pre-revolution past unravished by war & unaffected by present discontents, like Mylnikov’s In Peaceful Fields (1950) Bown pp 194-5
The Country Party
P bunker:
Portrait of Kenneth Rome. Cranford, 1884 (Private)
Brittany Town Morning, Larmor, 1884 (Terra)
Chrysanthemums, 1888 (Isabella Stewart Gardner M)
Roadside Cottage, 1889 (Private)
The Pool, Medfield, 1889 (MFineArts). [There is not a discordant note in this work. It is heavenly harmony.]
burkel:
P burkmair:
- John altarpiece, 1518 (Alte Pinothek, Munich)
Crucifixion Triptych, 1519 (Alte Pinothek, Munich)
Madonna & Child, 1509 (M, Nuremberg)
Madonna & Child, 1510 (M, Nuremberg)
Mystic Marriage of S. Catherine (LandesG, Hanover)
burne-jones:
Phyllis & Demophoon (Lady Lever Art Gallery). Both figures are modelled on Maria Zambaco Times 6/10/18 (Campbell-Johnson)
The Story of Arthur in Avalon, 1881-98 ( Musee de Arte de Ponce). He was still working on this the day before he died Corbett2004 p68
burra:
Venez avec Moi, c1930 (Leeds Art Gallery). Surrealist inspired collarge with hybrid figures & unexpected juxtapositions Spalding1986 p86
The Snack Bar, 1930 (Tate)
Harlem scenes (Tate, Bedford G)
Dancing Skeletons, 1934 (Tate). New mid-30s fascination with bizarre & fantastic OxDicArt
burrini:
The Martyrdom of Saint Victoria, 1682-83 (Musée National du Château de Compiègne) ###
The Virgin Immaculate with Saints Petronius and Dionysius the Areopagite, early 1680s (Chiesa Parrocchiale, Monghidoro, Bologna) ###
butler, lady elizabeth:
The Roll Call, 1874 (Royal Collection)
Balaclava, 1876 (Manchester Art Gallery). The central figure, the actor William Pennington, was involved, as were others who were used as models The Gallery
The Return From Inkerman, 1877 ()
Scotland For Ever!, 1881 (Leeds Art Gallery)
buys/master of alkmaar:
Seven Works of Mercy, 1504 (Rijksmuseum). Early example in Dutch delight in everyday life OxDicArt
buytewech:
Banquet in the Open Air, 1615 (GamaldG) Fuchs pp 46-7
P cabanel:
Triumph of Flora (Louvre ceiling). It is Rococo-like & its composition & colour display a talent for sumptuous decorative effects TurnerMtoC p52
Nymphe Enlevee par un Faune, 1860 (Musee des Beaux-Arts, Lille)
Birth of Venus, 1862-3 (Louvre & the Met). It has little in common with the earlier works that Cabanel has in mind. Neither the lines of the body nor the soft shadows impart any real pasticity & attention is thereby concentrated on sensuality & the harmonious tender, warm colouring which lacks boldness Celebonovic p11
Death of Francesca da Rimini & Paolo Malatesa, 1870 (dOrsay). This shows Cabanel’s undercurrent of strong feeling TurnerMtoC p53
cadell:
The Black Bottle, 1903 (NG of Scotland, Edinburgh)
The Feathered Hat, c1912 (The Flemings Collection)
The Dunara Castle at Iona, 1929 (The Flemings Collection)
cadmus:
The Fleet’s In!, 1934 (Collection of the US Navy)
cagnacci/canlassi:
Calling of Saint Matthew, 1630-35 (Musei Communali di Rimini) ###
The Death of Cleopatra, before 1658 (Kunsthistorisches Museum, Vienna) ###
cagnaccio di san pietro:
calderon:
By the Waters of Babylon, 1853 (Tate)
Broken Vows, 1857 (Tate)
Her Most High, Noble & Puissant Grace, 1865 (Leeds City Art Galleries)
St Elizabeth of Hungary, 1891 (Tate)
caillebotte:
cairo:
Oration in the Garden, 1633-5 (Castle Sforzesco, Milan). [This is very dramatic & Caravaggesque.]
- Francesco in Ecstasy, 1633-5 (Castle Sforzesco, Milan). [The paintwork is fluid & the brown figures on a black background are effective.]
calame:
calderon:
callcot:
callot:
Paysage Italien avec Vue sur l’Arno, c1618 pen with brown & black ink, brown & grey wash on black chalk (Louvre)
pace del campidoglio:
Animal Paintings (4) (Palazzo Chigi, Arricia)
Depictions of Fruit (2) (Hermitage)
Still-Life with Marrows, Grapes & Pomegranates, c1660 (Museum of Art, Rhode Island Scahool of Design)
cano:
St Francisco de Borja, 1624 (Seville). This & the following work are very close to Pacheco’s meticulous style Grove5 p618
An Ecclesiastic, c1627 (Hispanic Society of America, New York)
St John the Evangelist’s Vision of Heavenly Jerusalem, c1635 (Wallace Collection)
Christ on the Road to Calvary, 1637 (Worcester Art Museum, Massachussets)
Christ’s Descent into Limbo, 1645-50 (Los Angeles Museum of Art)
St Isidoro & the Miracle of the Well, 1645-50 (Prado)
Annunciation, 1652-6 (Cathedral, Granada)
Birth of the Virgin, c1664 (Cathedral, Granada). Opinions differ about the quality of this & the two following paintings. Inspired by the royal Venetain paintings, they have been seen as displaying Cano’s ability to create large-scale, solemn figures, illusionistic heavenly vistas & monumental architectural settings BrownJ p223, Grove5 p620
Immacualte Conception, c1664 (Cathedral, Granada)
Asumption of the Virgin, c1664 (Cathedral, Granada)
Virgin of the Rosary with Saints, 1665-7 (Cathedral, Malaga). His final masterpiece BrownJ p213
cappelen:
Waterfall in Lower Telemark, 1851 (Nasjonalmuseet for Kunst, Oslo)
Dying Forest, unfinished 1852 (Nasjonalmuseet for Kunst, Oslo)
carlone:
Allegory of Peace & Justice, c1717 (Belvedere, Vienna)
carnovali:
Landscape, 1845 (Galleria d’Arte Moderna, Milan)
Girl Bathing, 1868 (Civiche Raccolte d’Arte)
caron:
Augustus & the Sibyl, 1575-80 (Louvre)
Massacres Under the Triumvirate, 1566 (Louvre). It is heartless Lucie-S1971 p42
carpioni:
Bacchanal, before 1650 (Museum of Art, Columbia, South Carolina)
cals:
Peasant Woman & Her Child, 1846 (Bowes Museum, Barnard Castle)
The Meal at Honfleur, 1875 (Musee d’Orsay)
Portrait of Mother Boudoux at the Window (Dixon Gallery & Gardens, Memphis)
The Cotton Waste Breakers, 1877 (Musee d’Orsay)
calvaert:
Holy Family with the Archangel St Michael, in collaboration with Sabatini S. Giacomo Magiore, Bologna)
Assumption, in collaboration with Sabatini (Pinacoteca Nazionale, Bologna).
Vigilance, 1568 (Pinacoteca Nazionale, Bologna).
Noli Me Tangere (Pinacoteca Nazionale, Bologna) 1001
Flagelation of Christ, c1577 (Pinacoteca Nazionale, Bologna). [He is obviously suffering but is not emaciated or degraded.]
Mystic Marriage of St Catherine, 1490 (Musei Capolitini, Rome)
Virgin Appearing to SS Francis & Dominic, 1598 (Gemaldegalerie alte Meister)
calvert:
cammarano:
Winter Landscape, 1857 (Accademia di Belle Arts, Naples)
Idleness & Work, 1863 (Capodimonte). This begins his concern with social problems Grove5 p527
Piazza San Marco, 1869 (Galleria d’Arte Moderna, Rome)
Charge of the Bersaglieri, 1871 (Capodimonte)
Game of ‘Briscola’ , 1887 (Accademia di Belle Arts, Naples). This intensely dramatic work follows his abandonment of Naturalism Grove5 p528
domenico campagnola:
Joachim & Anna, fresco c1520 (Scuola del Carmine, Padua)
Virgin & Child Engthroned with Saints & a Donor (Sternberg Palace, Prague)
Landscape with a Dragon, drawing (Albertina
giulio campagnola:
Venus Reclining in a Landscape, c1510 (BM). This is the best example of his innovative stipling technique Grove5 pp 534-5.
campbell:
campeche:
Portrait of Governor Ustariz, 1792 (Instituto de Cultura Puertoriquena, San Juan, Puerto Rico)
P antonio campi:
Beheading of S. John, c1580 (San Paolo, Milan). This, like his other paintings, breaks new ground & to some extent anticipates Caravaggio Friedlaender1955 pp 11-2, 37-8, 42
Nativity, 1580 (S. Paolo, Milan). Note the dirty feet Friedlaender1955 p42
The Martyrdom of S. Lawrence, 1581 (S. Paolo Converso, Milan)
Visit of the Empress Festina… , 1583 (S. Angelo, Milan)
P bernardino campi:
Assumption of the Virgin, 1542 (S. Agata, Cremona)
Prophets etc, frescos 1646 (nave, S Sigismondo, Cremona)
Holy Family with SS Benedict & Francis, 1548 (Museum, Cremona). This is in his early eclectic style Freedberg p406
Transfiguration, altarpiece 1560s (S. Fidele, Milan). This & the following work were executed with Carlo Urbino Grove5 p547
Virgin & Saints, altarpiece, 1565 (S. Antonio, Milan).
Assunta, 1568 (Museum, Cremona)
Glory of Saints, fresco, 1570 (S. Sigismondo, Cremona)
Annunciation, 1572 (S. Omboro, Cremona). His mature style Freedberg p406
Pieta, 1574 (Briera). This is a delicate, muted echo of Corregio & has a silvery sfumato Freedberg p406
P giulio campi:
Game of Chess, c1532 (M Civico d’Arte Antica e Palace Madama, Turin)
Life of S Agatha, fresco cycle 1537 (S. Agata, Cremona)
Transepts, 1539-52 (S Sigismondo, Cremona).
Pentecost & Prophets (two), 1557 (first bay, S Sigismondo, Cremona)
Decorations, c1547 (S Margherita, Cremona)
Crucifixion, 1560s (S Maria della Passione, Milan)
SS Philip & James, altarpiece (Cathedral, Alba)
St Lawrence, 1560s (Cathedral, Alba)
Organ Shutters, etc (Cathedral, Cremona).
P vincenzo campi:
Pieta (Chapterhouse, Cathedral, Cremona). This attempts to express Counter-Reformation naturalism & illusionism Grove5 p546
Prophets, fresco on nave arches 1573 (Cathedral, Cremona)
Christ Being Nailed to the Cross, 1575 & 1577 (Museo della Certosa in the Ducal Palace, Pavia; & Prado). The Pavia work has a richer & mellower palette than previously Grove5 p546
Fruit Seller, 1578-91(Brera)
Fish Sellers/Market, c1580 (Brera)
Fish Market (Fugger Collection????)
Annunciation, 1581 (Oratory, S Maria Annunciata, Busseto). Here Venetian colour & chiaroscuro are emphasised Grove5 p546
Kitchen, 1590-91 (Brera). [This and the Fish Sellers are interesting genre with a Breughel-like Kitchen although neither picture really hangs together. There is a lack of coherence & emphasis with all parts of equal importance.]
Still-life (Private). This was his only still-life & it was not cut down Bayer p168.
St Matthew with the Angel, 1588 (S. Francesco Maggiore, Pavia). It has an intensity of feeling that anticipates Caravaggio Grove5 p547
P campin-flemalle:
The Entombment, c1415 (Courtauld). Traditional Med gold background but figures with sculptural solidity/gramatic force OxDicArt
The Nativity, 1425 (M, Dijon)
Portrait of a Woman, c1444 (NG)
Merode Altarpiece (the Met)
Marriage of the Virgin (Prado)
Virgin & Child Before a Firescreen (NG). Homely naturalistic detail with firescreen forming halo OxDicArt
Annunciation with Donors & St Joseph, triptych (the MET). Previously the Annunciation had been shown in elaborate surroundings. Here we have a domestic interior with a walled garden on the left & Joseph at carpentry in his workshop to the right. The picture is clearly symbolic. That Mary is an impeccable housekeeper is shown by the cloth with which she is protecting the book from which she is reading. Her purity is shown by the vessel of clear water & the lilies in the jug, while the petals enclose a golden heart representing Christ in her womb. Note the mousetrap at the open window behind Joseph. It was believed that the Devil must believe Christ to be an ordinary man for the original sin of Adam & Eve to be wiped out by the Crucifixion. The mousetrap shows that the Devil would be caught CanadayEHH pp 21-2
campin, robert:
Entombment Tripych, c. 1410 (Courtauld Institute, London, UK)
The Annunciation, 1430-40 (Museo del Prado, Madrid, Spain)
campidoglio:
camuccini:
Sacrifice of Noah, 1785 (Palazzo Camuccini, Canalupo in Sabina)
Joseph Interpreting the Dreams, c1795 (Uffizi)
Finding of Paris, c1796 (Borghese)
Death of Virginia, 1804 (Capodimonte)
Pius VII, 1815 (Kunsthistorisches). This is the most sensitive 0fficial portrait Grove5 p555)
Continence of Scipio, c1833 (Kunsthistorisches)
P canaletto/canal:
Stonemason’s Yard, 1730 (NG). His masterpiece Levey1959 p82; Steer p203
Bacino of S. Marco (Museum of Fine Arts Boston) Steer p203
Piazza S. Marco (NG)
View of London from Richmond House, 1746 (Goodwood House)
The Thames, London, from the Terrace of Someset House…, c1750 (Yale Center for British Art)
canal:
cnogar:
Painting No 41 (Museo Espanol de Arte Contemoraneo)
Composition with Soldier, early 1960s (Museo Espanol de Arte Contemoraneo)
Portrait of a Woman, After Rubens, 1966 (Museo Espanol de Arte Contemoraneo)
cannon:
P canova:
(a) Paintings:
Venus with a Mirror, c1785 (Gipsoteca Canoviana e Casa Natale del Canova, Possagno)
Lamentation, altarpiece 1798-9 etc (The Temple, Possagno?). This is his masterpiece: a sublime meditation on death as marked by the fall of Venice & the imprisonment of Pius VI. It displays a marked Itlian painting of the 14th century & john Flaxman’s line engravings Grove5 p631
(b) Sculpture
Theseus and the Dead Minataur, 1782 (V&A) Honour1968 p37. His new severe style
Monument to Clement XIV, 1787 (Rome Church). Calm simplicity: no billowing draperies/coloured marbles/intricate symmetry Honour1968 pp 39-40. Academy beautiful/ languorous youth symbolises Death (Honour1968 p150)
Monument to the Archduchess Maria Christina, 1805 (Vienna Church). Horizontal figures give earthbound thrust; lion of fortitude & Mourning on right; figures symbolising the three ages of man going into tomb Honour1968 pp 156, 158
P cantarini:
Santa Rita da Cascia (Sant’ Agostino da Cascia)
Madonna of the Girdle with Saints Augustine & Monica (Pinacoteca Civica\, Fano)
Saint Stephen, 1637 (Chiesa di San Stefano, Bazzano). This marks his most adventurous assimilation of Reni’s style NGArt1986 p398.
Transfiguration, c1637 (Palazzo della Cancelleria, Rome)
The Risen Christ, c1638 (Private). For a colour image see NGArt1986 p401
Lot & His Daughters (Private). For a black & white image see NGArt1986 p403
Saint James In Glory, 1639? (Pinacoteca Comunale, Rimini)
Joseph & Potiphar’s Wife, c1640 (Staatliche Kuntsammlungen, Dresden)
Rest on the Flight into Egypt, c1640 (Brera). This & the following work reflect Cantarini’s encounter with the classicism of Andrea Sacchi NGArt1986 p398
Saint Matthew & the Angel (NG Art)
Portrait of Guido Reni, c1640 (Pacoteca Nazionale, Bologna)
- Anthony of Padua & Francis of Paola, c1642 (Pinacoteca Nazionale, Bologna?)
canuti:
Ecstaasy of St Celia (S Maria di Valverde, Imola). This is considered to be his first work. It shows his debt tom Reni & the Carracci Grove p651
Universal Judgement, 1658 (S. Girolamo della Certosa, Bologna). It shows the development of Baroque style Grove6 p651
The Fall of the Rebel Angels, fresco c1659 (Monastery of San Michele in Bosco, Bologna)
Apothesis of Hercules on Olympus, fresco (Vault of main salon, Palazzo Pepoli Campogrande, Bologna)
Apotheosis of St Dominic, fresco 1674-5 (open centre of the ceiling, SS Domenico e Sisto, Rome). The ceiling has the novelty of being enframed by a rich quadratura design, executed by Enrico Haffner Wittkower1973 p334
caporali
(NGUmbria)
capelin:
P caravaggio/merisi:
Basket of Fruit (Ambrothersiana, Milan)
Boy Bitten by a Lizard Friedlaender1955 pp 86-7
Conversion of S. Paul Friedlaender1955 pp 22-8
Magdalene Friedlaender1955 pp 94-5, 246-7
The Conversion on the Way to Damascus, 1601 (Cerasi Chapel, Rome)
The Entombment, 1602-04 (Pinacoteca Vaticana, Vatican)
Madonna of the Pilgrims/or Loreto, 1606 (S. Agostino, Rome). This is a turning-point in the history of art Clark1978 p40. [There is a strong top right to bottom left diagonal of light; & reverse diagonal formed by the Madonna’s neck & Christ’s head, the heads of the pilgrims & also their staves. There is also a horizontal step which provides stability. She ia an aristocratric Madonna in strong contrast to the humble pilgrims.] According to a contemporary the picture was painted from life & caused indignation because of the muddy feet, etc Clark1978 p40
- John the Baptist (Corsini). [This has a very limited palette confined to red browns, flesh colour, a little grey & browns mostly in background.]
- John the Baptist (Musei Capitolini)
Deposition (Pinacoteca. Vatican). [Extremely dramatic; curve upwards from bottom left to top right formed by cloth, Christ’s arm & then figures, also by hands; similarity between Christ’s face & that of top boy, though one dead & other very expressive.]
Seven Acts of Mercy, 1607 (Capella del Monte Misericordia, Naples)
Flagellation (Capodimonte)
The Burial of S. Lucy, (GRegionale Ballomo, Syracuse)
Adoration of the Shepherds, (MN Messina)
Resurrection of Lazarus, (MN Messina)
Nativity, (S. Lawrence Oratory, Palermo)
Supper at Emaus (Brera). [He must have been a believer.]
cardorin:
bartolommeo carducho:
Death of S. Francis, 1593 (Museu Nacional de Arte Antiga, Lisbon). The still-life objects anticipate the naturalism of the Zurbaran generation Grove5 p735
Descent form the Cross, 1595 (Prado). The light fluid in the Venetain manner & refined palette of pinks, mauves, & deep greens anticipates that of other Madrid artists Grove5 p736
Life of St Lawrence (series), 1598 (The Escorial)
Adoration of the Magi, 1600 (Alcazar chapel, Segovia). Here & in the following work there is Venetian colouring & intense facial expression Grove5 p736
Last Supper, 1605 (Prado).
P vicente/vincencio carducho:
- John Preaching, 1610 (Real Academy de S. Fernando, Madrid). With its pastel colours, complexity & studied poses this has a vestigial Mannerist air Brown1991 p82
Annunciation, 1616 (Convento de la Encarnacion, Madrid). This reflects the Florentine reform style Brown1991 p82
Adoration of the Magi, 1619-20 (Convent of Las Bernardas, Alcala de Henares)
Death of Brother Lauduino, 1626-32 (Poblet monastery). This & the following paintings are from a series on The Life of St Bruno. They are major works of religious painting in a classical style. Although the paintings are elevated & dignified, the actors, with their individualised features, are not ideal types employed by French & Italian classicists, as derived form antique sculpture & the High Renaissance. The scenes of miracles & martyrdoms are sometimes dramatic as in this work Brown1991 p112.
- Bruno Refuses the Archbishopric of Reggio da Calabria, 1626-32 (Prado)
Finding a Miraculous Spring, 1626-32 (Prado)
Battle of Rheinfelden, 1622, 1634 (Prado)
P cariani:
The Concert (Warsaw). Giorgione-like RAVenice p160
The Lutenist (Musee de Beaux-Arts Strasbourg). Giorgione-like RAVenice p160
The Resurrection of Christ with Saints Jerome & JohnBap, c1620 (Brera)
Allegory of a Venice Victory (Private?)
Courtesans & Gentlemen (formely thought to be Albani Family), (Private)
Portrait of Antonio Caravaggi, c1522 (NG Canada)
Portrait of Giovanni Benedetto Caravaggi, c1522 (Pinacoteca dell’Accademia Carrara, Bergamo)
The Concert, c1520 (Heinemann Collection, Lugano). Foreshadows Caravaggio RAVenice p161
The Madrid Cucitrice (Seamstress Madrid), c1526
carlevaris/carlevarijs:
Seaport & Piazetta (Museo Civico, Udine in the castle)
Arrival of the 4th Earl of Manchester in Venice in 1707 & Boats & Figures (City of Birmingham Museum & Art Gallery)
annie carline:
Elsie, 1929 (Brighton & Hove Museums & Art Galleries) [but is this by Annie?]
george carline:
hilda carline:
richard carline:
sydney carline:
The Destruction of an Austria Machine in the Gorge of the Brenta Valley, Italy, 1918 (Imperial War Museum)
carlo innocenzo carlone/carloni:
Allegory of Peace & Justice, bozzetto c1717 (Belvedere, Vienna)
giovanni andrea carlone/carloni:
Old Testament Scenes, frescos 1662-9 (S Fillipo Neri, Perugia)
Life of St Francis, frescos 1673-8 (Gesu, Rome)
Four Seasons, frieze 1674-7 (Sala Verde, Palazzo Altieri, Rome). This has brilliant oranges, pinks, greens & golds Grove5 p770.
Allegory of the Arts & Age of Mankind, 1691-2 (Palazzo Rosso, Genoa)
giovanni battista carlone/carloni:
carlovali:
carolus-duran:
Mrs Greville, (Poleseden Lacy). [A bravura portrait which gives the lie to accusation that Carolus Duran was third rate.]
carosfeld:
Chamonix & Mount Blanc, 1848 (Belvedere,Vienna). The Romantic Wanderer Honour1979 p111
caron:
P carpaccio:
Scenes from the Life of St Ursula, 1490s (Accademia, Venice). MIracle of the Cross anticipates Canaletto/Guardi OxDicArt
Scenes from the Lives of St George & St Jerome, 1502-7 (Scuola of S. Giorgio).
The Meditation on the Passion, 1503-4 (the Met)
Preparation for the Entombment, 1505-7 (Gemaldegalerie)
Presentation at thre Temple, 1510 (Accademia)
Knight in a Landscape, 1510 (Lugano, Thyssen). The earliest known full-length portrait Murrays 1959, Pope-H p320
Two Courtesans (Venice, Correr). Delightful; a Ruskin favourite OxDicArt
St Stephen Preaching (Brera)
carpione:
Bachanal, b1650 (MofA, Columbia, S. Carolina)
carr:
carra:
P agostino carracci:
L’Arretin d’ Augustin Carraache: abundant display of male & female genitralia & actual or imminent penetration; some views straight or almost straight at vulva; faces usually expressionless & unimportant; [but love making clearly a co-operative & enjoyable activity, eg with woman manually assisting entry.] Frantz pp 124-5, Figs 13-20
Satyr Copulating with a Nymph, 1584-7 (BM Print Room 1867-14-13-548); only Arretin work. [Beautifully/delicately engraved, as befits love-making; great clarity due to clossoney-like edging of figures who are emphasised/brought forward by relative absence of internal detail/shading; NB his gentle smile, her caressing hand, their touching foreheads.]
Satyr viewing crotch of sleeping woman (BM Print Room 1867-4-13-145). [Satryr’s concentrated looking; no suggestion of impending impoper approach.]
Satyr wipping naked woman (BM Print Room 1867-4-13-547). [It is unclear what is happening but it looks nasty.]
Satyr & sleeping nude woman (BM Print Room 1867-4-12-543).
[Finger to mouth in keep quiet jesture; merely voyeurism.]
Younger/small satyr with erection putting finger in nude woman’s vulva (BM Print Room 1867-4-13-546). [Her ambiguous expression; possibly indicating that she is not being offered much.]
Old satyr suspending cord with bobble at end over nude woman’s vulva (BM Print Room1867-4-18-549). [ Symbolism unclear but she does not look unhappy; neither alluring nor well drawn (stomach).]
Nude woman on carrying fishes surrounded by putti (BM Print Room) 1867-4-13-544
Love in the Golden Age, series of 4, 1588-9 (Kunsthistorisches)
Last Communion of S. Jerome, c1592 (Pinacoteca Nazionale, Bologna). This is a masterpiece combining Venetian colourism & rigorous stability L&L
Assumption of the Virgin (Pinacoteca Nazionale, Bologna)
Christ & the Adulteress (Brera, Milan)
Scenes on the Ceiling, frescos 1598-9 (Gallery, Palazzo Farnese, Rome). He painted the two scenes above the gallery’s long walls Grove5 p862
P annibale carracci:
Boy Drinking, c1582 (Private). Uncompromising directness/
spontaneity; unusually free handling; novelty recognised at time as shown by replicas/copies NGArt1986p264
Bean Eater, c1583-4 (Galleria Colonna, Rome)
Butcher’s Shop, c1583 (two versions: Christ Church & Kimbell Art Museum, Fort Worth). Butchers’ shops had been depicted earlier by Aertsen & Passarotti but this is down-to-earth naturalism & revolutionary Realism. It probably shows Ludovico’s butcher cousin Waterhouse1962 p85, NGArt1986p269. [The Christ Church picture is evenly lit, & displays no interest in colour for own sake. The foppishly dressed figure of fun customer on the left, who is fingering his purse, contrasts with the serious butcher. The meat table tilted forward, presumably because of Annibale’s ’s interest in what was thereby displayed. ]
Crucifixion with the Virgin & Saints, 1583 (S. Maria della Carita, Bologna)
Crucifiction with Virgin Mary & Saints (Pinacoteca Nazionale, Bologna)
Two Scenes from the Story of Jason, fresco, 1584 (Societa Majestic Baglioni, Bologna)
Baptism of Christ, 1585 (San Gregorio, Bologna). This is the first of his Correggesque paintings, although there is a clutter of figures on the picture plane & even two twisted Manneristic boys Posner1971 pp 30, 32, Friedlaender1925 p61
Pieta with SS Francis & Claire, 1585 (Galleria Nazionale, Parma). This is more tightly constructed, & the lower figures move within a belivable space, & through pose & gesture they engage the viewer. The fall of light generates an expressive impact, there are warm, earthy browns & reds, & Correggesque sfumato. It has with good reason been called the first fully formed example of Baroque painting Grove5 p860, NGArt1986 p237.
Landscape with a Fishing Scene, c1588 (Louvre)
Self Portrait with Other Figures c1685 (Brera).
Assumption of the Virgin (Dresden) Friedlaender1925 pp 62-3
The Assumption of the the Virgin, c1590 (Prado)
Landscape, c1590 (NG Art). This is probably his most enchanting landscape NGArt1986 p278
Male Head, c1591 (Pitti). [Splendid informal painting with the head & face well modelled. It is very painterly.]
The Crucifixion (Berlin)
Venus Adorned by the Graces, (NG Art)
Madonna & Child in glory with Six Saints, the San Ludovico Altar, 1588 (Pinacoteca Nazionale, Bologna)
Coronation of the Virgin, c1597 (NG Art)
Christ in Glory with Saints, 1597 (Pitti) Friedlaender1925 pp 63-5
Landscape with the Rest on the Flight into Egypt, c1597 (Private). There is a black & white image in NGArt1986 p288
Flight into Egypt (Galleria Doria Pamphili, Rome) Waterhouse1962 p 10-11
St John the Baptist in the Wilderness
Vision of S. Francis Martin pp 101-2
Pieta, c1599 (Capodimonte)
Apotheosis of the Virgin, c1600 (S. Maria del Popolo, Rome) Friedlaender1925 p65
The Dead Christ Mourned, c1604 (NG)
Last Communion of S. Gerome (Pinacoteca Nazionale, Bologna)
Crowning with Thorns (Pinacoteca Nazionale, Bologna)
Ceiling, fresco 1497-1600 (Gallery, Palazzo Farnese, Rome)
antonio carracci:
Vision of St Francis, probably 1609 fresco (lower oratory, S Colombano)
Burial of Christ, c1609 (Borghese)
Passion, Life of the Virgin, Carlo Borromeo, 1614 frescos (chapels S Bartolomeo all’Isola, Rome). This is his major public work Grove5 p870
Deluge, 1616-7 (Louvre). This is his best known easel painting Grove5 p870
Death of St Cecilia (Musee Fabre, Montpellier). This one of his last works & it strikingly anticipates the classicism of Poussin & Eustace Le Sueur Grove5 p870.
P antonio carracci:
Birth of the Virgin (Corsini). [ It is somewhat stitled; sensuous (& non-religious?) picture with a young & desirable boy]
R P ludovico carracci:
Jason Battling the Men Born of the Dragon’s Teeth, 1584 (Palazzo Fava, Bologna). Unlike Annibale’s nearby work, this is backward-looking with tall, thin men create elegantly decorative surface patterns in the manner of Abate & Parmigiano Posner1971 p26.
Annunciation, c1585 (Pinacoteca Nazionale Bologna). More Mannerist/elegant/licked than Ann [at this time?] L&L. [Good simple composition with homely Virgin, not idealised like those of Raphael with her ordianaryness shown by work basked; does not look Mannerist.]
Conversion of S. Paul, 1587-8 (Pinacoteca Nazionale Bologna). [Continuing Mannerist influence or proto-Baroque? probably former because of curious central background/landscape & figures lack of clartity.]
Madonna & Child with Angels & Saints (Bargellini Madonna), 1588 (Pinacoteca Nazionale Bologna). This is derived from Titian’s Pesarro Madonna but monumental gramdeur has been replaced by maternal sweetness with the foreground figures almost out of picture with S. Dominic pointing us to the Madonna. It reflects the Counter Reformation belief in the absence of a barrier between natural & supernatural H&P pp 73-4
Holy Family with S. Francis, 1591 (M. Cento). Baroque altarpiece L&L
Martyrdom of S. Ossola, 1592 (Pinacoteca Nazionale Bologna). [Striking; again not clear whether proto-Baroque or pseudo-Mannerism]
Preaching of S. John, 1592 (Pinacoteca Nazionale Bologna). Baroque altarpiece L&L
Madonna degli Scalzi, c1593 (Bologna). High Renaissance regularity of general design but Manneristic Irrationality of space Waterhouse1962 p86. Simple design & spirituality, with the latter warm & human, in stark contrast to Vasari’s Immaculate Conception with its crowded & crossed bodies, lack of spirituality, restricted use of colour, abstract symbolism . Ludvico’s pioneering iconographic treatment of the Immaculata with the Madonna against light coloured clouds, surrounded by angels & standing on a crescent moon. The Purissima herself replaces allegorical representations of her conquest of Original Sin as in Vasari. S. Francis’ inclusion significant because of the Franciscans stress on the Immaculate Conception. Corregio’s influence: foreshortening of Christ, handling of light eg S. Jerome’s head Friedlaender1925 pp 55-8
- Hyacinth, 1594 (Louvre?). Baroque altarpiece L&L
Transfiguration (Pinacoteca Nazionale, Bologna) Friedlaender1925 p60
Conversion of S. Paul (Pinacoteca Nazionale, Bologna) Friedlaender1925 p70
Madonna of the Rosary (Pinacoteca Nazionale, Bologna) Friedlaender1925 p75
Martyrdom of S. Andrew (Bologna) Friedlaender1925 p75
Madonna appearing to S. Hyacinth (Bologna) Friedlaender1925 p75
- Charles Borromeo before the Sarcophagus (Bologna) Friedlaender1925 p75
Madonna & Child with Saints & Donor (Pinacoteca Nazionale, Bologna)
- Rocco, 1602 (Sangiacomo Maggiore Church Bologna). [Simpl&worthy/dull]
Assumption of the Virgin, c1609 (NG Parma). Shows Ludvico’s astonishing inventive handling of traditional subjects; Assumptions nearly all have large Virgins with apostles looking up but here Mary is tiny & only noticed by one backgrounder; L’s apostles not surprised at empty tomb but astonishedly gesticulating, or struggling to support heavy tomb lid H&P p75
- Peter Crucified, 1613 (Pinacoteca Nazionale Bologna). [Simple & Reni-like]
Christ Crucified above Figures in Limbo, 1614 (Sta Francesco Romana, Ferrara). Almost Expressionist force OxDicArt
The Adoration of the Kings, 1616 (Brera). [Tenebrist; strong diagonal thrust of highlighted figures; proto-Baroque]
Flandersgellation (Pinacoteca Nazionale, Bologna)
P carreno:
Balshazzar’s Feast, 1647 (Bowes Museum, Barnard Castle)
St Sebastian, 1656 (Prado)
Mass of St John of Matha, 1666 (Louvre)
Apotheosis of St Anthony of Padua, 1665-8, with Francisco Rizi (San Antonio de los Alemanes, Madrid)
Charles II, 1671 (Prado)
Charles II as Grandmaster of the Golden Fleece, 1677 (Palais Harrach, Vienna)
Peter Ivanovich Potemkin, 1681-82 (Prado)
carriera:
Girl with Dove, c1705 (Accademia Nazionaledi S Luca)
Self-Portrait (Windsor Castle)
Man in Armour (Gemaldegalerie Alte Meister)
Philip Duke of Wharton (Buckingham Palace)
Antoine Watteau?, 1720 (Museo Civico Luigi Balo, Treviso). This is a work of increased maturity & refinement in which faces have deeper expression Grove5 p877
Louis XV as a Child, c1721 (Gemaldegalerie Alte Meister, Dresden; & Museum of Fine Arts, Boston)
Mlle de Clerment (Musee Conde, Chantilly)
Nymph of the Train of Apollo, c1721 (Louvre)
Daughter of the Duke Rinaldo, three paintings & different versions 1723 (Gemaldegalerie Alte Meister, Dresden; Uffizi; Residenz, Munich)
Empress Amalia, 1730 (Residenz, Munich, & Gemaldegalerie Alte Meister, Dresden). This & the following work represent a new stage of greater austerity & less Rococo playfulness Grove5 p878
Pietro Metastasio, 1730 (Gemaldegalerie Alte Meister, Dresden)
Allegory of Painting (NG of Art)
Horace Walpole (Wolterton Hall). His epicene silliness is not concealed Waterhouse1959 p144
P carriere:
The Younger Mother, 1879 (Musee Calvet, Avignon). [Strong, effective & atmospheric chiaracuro]
P dora carrington:
Bedford Market
leonora carrington:
P carstens:
P carus:
View of Mount Blanc, 1824 (Museum Georg Schafer, Schweinfurt)
Woman on the Terrace, 1824 (Gemaldegalerie, Dresden)
Pilgrim in a Rocky Valley, 1841 (Berlin)
casorati:
P cassatt,:
In the Loge, 1877 (Museum of Fine Arts, Boston)
Reading “Le Figaro”, 1877-8 (Private). Cassatt’s mother reading newspaper, not a romance = woman-like Bjelajac p267
Little Girl in a Blue Armchair,1878 (NG Art)
Woman with a Pearl Necklace in a Loge, 1879 (Museum of Art, Philadelphia)
The Cup of Tea, 1879 (the Met)
Five O’Clock Tea, 1880 (Museum Fine Arts, Boston). [Could this show young & non-interacting women bound by convention; note left figure’s hand fingers in distancing position & prison bar-like wallpaper; sugar boll badly painted] as noted at time Museum of Fine Arts, Boston; Nochlin sees Cassatt as divided between her own professionalism & celebration of the feminine sphere of activity for the leisure class, with its decorous sociability; & uses picture as illustration Nochlin1999 p181
Lydia Crocheting in the Garden at Marly, 1880 (the Met)
Young Woman in Black, 1883 (Museum of Art, Baltimore)
Lady at the Tea Table, 1883-5 (the Met)
Mother About to Wash Her Sleepy Child, 1880 (Los Angeles County Museim of Art)
Portrait of Alexander J. Cassatt & His Son Robert Kelso Cassatt, 1884-5 (Museum of Art, Philadelphia)
Mrs Robert S. Cassatt, the Artist’s Mother, c1889 (Fine Arts Museum , San Francisco)
Mother & Child, c1889 (Wichita ArtM)
Woman Holding a Child in Her Arms, c1890 (Museo de Bellas Artes, Bilbao)
Baby’s First Caress, 1891 (New Britain Museum of American Art)
The Bath, 1891-2 (Art Institute)
The Boating Party, 1893-4 (NG Art)
Mother & Child (the Oval Mirror), c1899 (the Met)
Mother & Child (Mother Wearing a Sunflower, 1905 (NG Arts)
castagno, andrea del:
Boccaccio, c. 1450 (Uffizi, Florence) 1001
castello:
Allegory of Fame, & the Virtues of Loyalty, Gratitude & two ohers (Fame is on the ceiling, Palazzo Reale, Genoa)
S Peter Baptising Saints James & John & Calling of S James (Oaatorio di S Giacomo della Marina, Genoa)
The Marriage of the Virgin (Galleria Spinola, Genoa)
Frescos (Palazzo Balbi di Piovera, Genoa). These must be his finest frescos Waterhouse1962 p213
francesco castiglione:
giovanni castiglione/grechetto:
P catena:
Martyrdom of St Christina, c1620 (S. Maria Mater Somini, Venice)
Adoration of the Shepherds, c1620 (the Met)
Christ Saving St Chrisina from Drowning, 1520-2 (S Maria Mater Domini, Venice)
Portrait of Giangiorgio Trissimo, c1527 (Louvre)
catlin:
Four Bears, Second Chief, in Full Dress (Mandan), oil on fabric 1832-4 (National Museum of American Art, Smithonian Institution)
caulfield:
Red and White Still Life, 1964 (Museum & Art Gallery, Birmingham). The composition is a sophisticated & subtle balancing act; influenced by Leger, Gris & other Cubists 1001 p809
P cavallini:
Life of the Virgin, mosaics, 1291 (S. Maria in Trastevere, Rome)
The Last Judgement & part of a fresco cycle (S. Cecelia in Trastevere, Rome) 1001
Fresco Cycle (S. Maria Donnaregina, Naples). He was probably responsible for the design & possibly some of the painting OxDicArt
P cavallino:
Martyrdom of St Batholomew, early (Capodimonte)
Adoration of the Magi, c1640 (Kunsthistorisches)
Esther and Ahusuerus (Uffizi). Here we have drama, subtle facial expressions & the shadowed, silvery colouring Cavallino loved Waterhouse1962 p182
Finding of Moses (NG). The colours are brilliant & remarkable & used expressionistically without concern for naturalism Waterhouse 1962 p183
P -cavedone:
Saint Stephen in Glory,1601 (Galleria Estense, Modena)
Death of St Peter Martyr (Pinacoteca Nazionale, Bologna).
Baptism of Christ, c1611-2 (San Pietro Martire, Modena). This shows his more monumental & Classical style after his stay in Rome NGArt1986 p408.
Adoration of the Shepherds, preparatory oil sketch (Louvre)
Adoration of the Shepherds, c1613 (Arrigoni Chapel, S. Paolo Maggiore, Bologna). This & following Adoration have a new immediacy because the figures are placed closer to the spectator & are focused on the Child NGArt1986 p410
Adoration of the Kings, 1614 (Arrigoni Chapel, S. Paolo Maggiore, Bologna). There is here a splendid harmony of dark blue, crimson & dull gold with dramatic diagonal lighting Waterhouse1962 p92. Note the way in which the profile of the kneeling king dissolves into the soft evening shadows NGArt1986 p410
Circumcision, Christ Among the Doctors, & Flight into Egypt, c1613, vault frescoes (S. Paolo Maggiore, Bologna)
Madonna with SS. Aloe & Petronius, 1614 (Pinacoteca Nazionale, Bologna). Magisterial climax of Cavedone’s painterly/rich Venetian period NGArt1986 p408
Discovery of the Miraculous Crucifix of Beirut, 1622 (San Salvatore, Bologna). This shows his transition to slighter forms & more restricted space NGArt1986 p408
cazin:
chardin, jean-simeon:
The Young Schoolmistress, 1735 (NG) 1001 p298
ce-cu*
ceresa:
Lady with a White Handkerchief, c1640s (Brera). Masterpiece Waterhouse1962 p144
P ceruti:
Spinner & Rustic with a Basket, c1765 (Castle Sforzesco, Milan). [Light & conventional depiction; almost Victorian in feeling; did Ceruti deteriorate?]
The Peasant Family (Glynde Place). Depicts toil’s dulling effects Levey1966 p132
A Beggar (Savadego College, Brescia). Genuine Realism, neither sympathy nor disgust Waterhouse1962 p150
cesi:
Life of the Virgin, 1574 (Vezzi chapel, S Stefano, Bologna)
Crucifixion with Saints, 1584-5 (S Martino, Bologna)
Saint Benedict Listening to the Celestial Harmony, 1588-90 (S Procolo, Bologna)
St Benedict, 1590 (Ospedele Roncati, Bologna)
Portrait of a Gentleman, Pinacoteca Civico, Imola)
Assumption of the Virgin, 1594 (Cathedral, Siena)
Virgin & Child Adored by SS Benedict, John the Baptist & Francis (S Giacomo Maggiore, Bologna)
Virgin In Glory with Saints, c1589 (Pinacoteca Nazionale, Bologna)
Adoration of the Magi with SS Nicholas & Dominic, 1595 (S. Domenico, Bologna)
St Nicholas, 1599 (S Mariain Regola, Imola)
Aeneid, 1598 (Palazzo Favia, Bologna)
Agony in the Garden, Crucifixion & Deposition, alterpieces 1595-1600 (S Gerolamo della Certosa, Bologna)
Crucifixion with SS Matthew & Peter1625 (S Giovanni in Monte, Bologna)
cezanne:
The Black Clock, c1870 (probably in the Niarchos collection). This is a lagte example of Cezanne’s eafrly work before he changed course in 1872 Reyburn p58
Montagne Ste Victoire, 1887 (Courtauld) R&J p391;
Antliff/Leighton p51
P champaigne:
Adoration of the Shepherds, c1630 (Wallace Collection)
Richelieu, 1635-40 (NG)
The Echevins of the City of Paris, 1648 (Louvre). Contrast with Largillier’s ostentatious court-dependant bourgeoisie The Echevins of the City of Paris before S. Genevieve Blunt1954 p279
Omer Talon, 1649 (NG Art). Rubensian pose & setting but Classical clear light, colours & outlines with severely restrained gesture & expression Kitson1966 p54
Unknown Man, 1650 (Louvre)
Two Nuns of Port Royal, 1662 (Louvre)
chaplin:
chaplin:
chardin, jean-simeon:
The Young Schoolmistress, 1735-36 (NG) 1001 p298
charlet:
chase:
James Abbott McNeill Whistler, 1885 (the Met)
Shinnecock Hills, c1895 (Cleveland Museum of Art)
P chasseriau:
Aline Chasseriau, 1835 (Louvre). This is Chasseriau’s sister [& the picture is very like Ingres.]
Toilet of Esther, 1841 (Louvre). Here we have Ingres’ idealisation together with sensuality TurnerDtoI p47. [There is a mysterious, Oriental background reminiscent of the Pre-Raphaelites. She has an erotic & supple, backwards bending pose, together with a thin waist which contrasts with her fleshy arm.]
Jean Baptiste Henri Lacordaire, 1840 (Louvre). This is an Ingres-like painting together with an intensity of feeling reflecting the growing interest in Romanticism TurnerDtoI p47
Le Reverend Pere Dominique, 1840 (Louvre). [This displays spiritual intensity.]
Two Sisters, 1843 (Louvre). This is another Ingres-like painting & also has an intensity of feeling reflecting the growing interest in Romanticism TurnerDtoI p47. [The expressions are in subtle contrast expressions: waryness on left, openness on the right. The colour combination of the green background, red shawls & brown-orange frocks is excellent. The picture is reminiscent of Sargent’s sisters.]
Ali Ibn Hami Followed by his Escort, 1845 (Versailles). This shows Delacroix’s influence TurnerDtoI p47
- Philip Baptitizing the Eunach of the Queen of Ethiopia, (Parish Church, S. Roch). It is a History painting together with Orientalist exoticsm TurnerDtoI p48
Tepidarium of Pompeii, 1853 (d’Orsay). This forshadows Ingres’ Turkish Bath but it is warmer & more colourful TurnerDtoI p48
chelmonski:
cheret:
P churberg:
Still-Life with Vegetables, 1876 (Ateneium, Helsinki)
Moonlight Study, 1878 (Ateneum, Helsinki)
Winter Landscape, Sunset, c1878 (Ateneum, Helsinki)
Winter Landscape, c1880 (Ateneum, Helsinki)
chodowiecki:
Calas’ Farewell to His Family in Prison, painting & etching, 1767
Minuet in the Park (National Museum, Warsaw)
christus, edward:
Edward Grimston, 1446 (National Gallery, London) 1001
chuikov:
A Daughter of Soviet KIrgizia, 1948 (Tretyakov). Paradigm for Soviet art at time; girl a proud creation; viewers made to look up to her as she makes resolute progress across her once backward nation Bown pp 201-2
church:
The Heart of the Andes, 1859 (the Met)
P ciampelli:
Mary Queen of Martyrs, c1600 (Gesu)
- Andrew Praying Before the Cross of His Martyrdom, c1600 (Gesu)
Martrydom of S. Catherine, c1600 (Gesu)
Martyrdom, c1600 (Gesu)
cignani:
Joseph & Potiphar’s Wife, c1675 (Gemaldegalerie, Dresden)
cigoli:
Pieta, 1599 (Kuntshistorisches). This is a straightforward non-Mannerist composition & the darkness, in which the tomb opening is faintly discernible, that surrounds the central group closes them off & intesnsifies their grief Hall1999 p255
P cima:
Rest on the Flight into Egypt, after 1496 (Gulbenkian Foundation). Giorgionesque poetic mood but quattrocento conception Steer p90
Baptism of Christ (S. Giovanni in Bragora, Venice)
- Elena & Constantino at the Cross (S. Giovanni in Bragora, Venice)
P cimabue:
- Trinita Madonna, early 1280s (Uffizi). Compare with Giotto’s Ognissanti Madonna (Uffizi) & Duccio’s Rucellai Madrid (Uffizi)
S.John in Christ Enthroned with the Virgin & S.John, mos, 1302 (Pisa Cathedral)
Madonna with Four Angels & S. Francis (S. Francesco, Assisi)
Crucifix, 1287-88 damaged (Santa Groce, Florence) 1001
circignani. See pomarancio, Cristoforo & Nicolo
P claude:
Seaport with Embarkation of the Queen of Sheba, 1648 (NG). Italians Classicim is evident from a comparison with Turner’s Dido Building Carthage (1815): Claude had no sense of boundless space. In his picture space was conceived as a cube with a terra firma foreground & a left hand building up to the picture ceiling, sky does not suggest boundless spac&light, it is a backcloth forwardly illuminating the defined architectural space; Turner was a Romantic with a sense of infimity & little architectural conception of a picture, his picture has no solid foreground or indication of a top plane but a central light path up to the horizon & beyond into boundless space Wilenski p103
Landscape with the Arch of Constantine & the Colosseum, 1651 (Grosvenor Estate). Illustates Claude’s nostalgia for lost world of antiquity eg Martin p249
Sermon on the Mount, 1656 (Frick). [Exceptional because of centrality , absence of framing trees; good/animated figures]
Landscape with Acis & Galatea, 1657 (Gemaldegalerie, Dresden). Sea-nympth Galatea & Acis embrace oblivious of piper Cyclops Polyphemus who is to kill Acis; fragility of human happiness indicated by erupting volcano & fading light Martinp218. Peak work Clark1949 pp 128-9
Ascanius & the Stag, 1682 (Ashmolean). Typical late century: Asymetry, cool together with chalky, silvery colours, immateriality of a dream; [achieved, I think, by reduced tonal variation] L&L; elongated figures OxDicArt
Times of Day (Hermitage). Peak work Clark1949 pp 128-9
Landscape with the Flight into Egypt (Dresden, Pinacoteca). Peak work Clark1949 pp 128-9
Drawing of Mist Effects (BM no. Oo. 6-87, H177?). Here Claude the romanticist anticipates Corot & Claude the impressionist anticipates Whistler Fry p159
Drawing of Tiber View (BM no. Oo. 6-8, H177?). Spontaneous grasp of bold contrast between transparent gloom & dazzling light Fry p159
P closterman:
Sir Christopher Wrenn, c1695 (Royal Society). Well balanced composition juxtaposing West with complicated combination of attributes; enlivened by freely painted draperies; epitomizes England Baroque portrait Grove7 p461
Children of John Taylor of Bifrons Park, c1697 (National Portrait Gallery). Masterpiece ; rhythmic arrangement of interrelated figures harmomnized by rich colours & flowing curvilinear forms Grove7 p461
Marlborough Family, c1697 (Blenheim Palace). Worthy successor to Van Dyck’s painting Grove7 p461
Hon Alexander Stanhope, 1698 (Chevening Park). Masterpiece Waterhouse1953 p143
Anthony Ashley, 3rd Earl of Shaftesbury, & the Hon Maurice Ashley, c1702 (National Portrait Gallery). New portrait style Grove7 p461
cogniet:
Tintoretto Painting His Dead Daughter, 1845
coke:
War Allotments in a London Suburb, watercolour (Imperial War Museum)
The Garden Party, 1929 (Private). For a colour image see McConkey2006 p161
coldstream:
Bolton, 1838 (NG Canada, Ottowa)
- H. Auden, 1938 (University of Texas)
Westminster II, 1974 (Museum & Art Gallery, Birmingham). [There are unappealing black, cloissonist lines around buildings producing a ruled effect. It has washed out mostly biscuit colours; &disconcertingly some of the perspective, eg on Big Ben, is faulty]
P cole, george vicat:
Harvest Time, 1860 (Bristol Museum & Art Gallery). This was painted on the spot & made his reputation Barringer p82
Arundel, 1877 (Sydney Art Gallery, New South Wales)
Haymaking in England (Private?)
The Pool of London, 1888 (Tate). This was purchased for the Chantry Bequest Grove7 p548
Westminster, 1892 (Guildhall Art Gallery)
cole, thomas:
Lake with Dead Trees, 1825 (Allen Memorial Art Museum, Oberlin College)
coleman, glen:
Downtown Street (Whitney Museum of American Art)
Bonfire, lithograph (Whitney Museum of American Art)
collet:
collins:
May Day, 1812 (Yale Center for British Art)
collinson:
Answering the Emigrant’s Letter, 1850 (). This is the first Pre-Raphaelite modern-life subject Treuherz1993 p84
The Empty Purse, 1857 (versions Tate, GravesAG). The best known example of his later pretty & sentimental genre OxDicArt
P cologne school:
Paradise Garden (Frankfurt) Clark1949 p16
R P constable:
The Bridges Family, 1804 (Tate)
Mrs Pulham, 1818 (The Met)
The Hay Wain, 1821 (NG). [Horses are drinking & men talking while waiting. There is evidence here to support the Neo-Marxist argument See Social History.]
The Cornfield, 1826 (NG). [Shepherd boy pausing to have drink; no support here for Neo-Marxist case See Social History]
Dedham Vale, 1828 (NG Scotland). This is Non-Claudian (unlike a much earlier sketch) because the willow is slanting out of frame & the farmhouse on right edge Honour1979 p93
P cope:
Almsgiving, 1840 (V&A)
Poor Law Guardians: Board Day Application for Bread, 1841
The Younger Mother,1845 (V&A)
Evening Prayer, 1849 (Harris M&AG, Preston)
Academy life Well Spent, 1862 (Private). Quinticential Victorian domesticity WoodC1999 p252
Night Alarm: the Advance, 1871 (RA)
P copley:
Col Epes Sargent, c1760 (NG Arts)
The Boy with the Squirrel, 1765 (Museum of Fine Arts, Boston)
Brook Watson & the Shark, 1778 (Museum of Fine Arts, Boston). This is the first of a multitude of romantic collisions of man & beast DIA p11
P corbet, matthew:
Val d’Arno, Evening, 1901 (Tate)
corbusier:
Still Life with Pile of Plates, 1920 (Basle).
corinth:
Salome (Leipzig) R&J pp 458-9
cormon:
Return from a Bear Hunt During the Stone Age, 1882 (Musee des Beaux-Arts, Carcasonne)
cornelius:
Reconciliation of Joseph & His Brothers, 1817 (Alte Nationalgalerie, Berlin). This was his Michelangelesque conclusion to the cycle of Bartholdy frescos. The embrace reverberates with energy Vaughan1984 p179.
corneille, michel the elder:
The Sacrifice of Lystra, 1644 (Musee des Beaux-Arts, Arras)
P corot (1796-1875):
View of the Colosseum, 1826 (Louvre). This was the first of Corot’s plein air oil studies to be exhibited at Salon, 1847 TurnerDtoI
The Forum Seen form the Farnese Gardens, 1826 (Louvre) R&J p177
Le Pont de Narni, 1826 (Louvre). [It has a splendid bluish distance & shadow of the bridge, on which the picture nicely focused. The painting reads well from its left side to more emphatic centre & right.]
Bridge of Narni, 1827 (Zurich). This is a Claudian picture & the first of Corot’s exhibits at Academy TurnerDtoI
The Cassud Houses at Ville-d’Avray, 1835-40 (Louvre)
Breton Women at the Well, 1840 (Louvre) R&J pp 178-9
Geneva, Quai de Paquis, 1841 (Geneva) Vaughan
1978 p211
The Arch of Constantine & the Forum, Rome, 1843 (Frick). [There is a beautiful balance between big arch on left foreground & the more distant structures at right with a linking small central tower. The palette of browns & dull green is limited but effective]
Souvenir of Montefontaine, 1864 (Louvre). This is a typical later painting TurnerDtoI
correggio:
Virgin & Child with St Francis, 1514 (Dresden). An example of his earlier classical type of painting NCMH1 p139
Ginevra Rangone, 1519 (Hermitage). Symbolism explained Pope-H p220.
Madonna della Scodella (Parma). This is a sweeping composition with a bold use of light which adopts Raphael’s new visionary style NCMH1 pp138-9.
Nativity, 1522 (Dresden). As for the previous painting.
Cupola Decoration, 1520-4 (S. Giovanni Evangelista, Parma). It has been seen as the first monumental painting which makes supernatural events a powerful realistically-felt experience NCMH1 p139.
The School of Love, c1525 (NG, London) 1001
Ganymede (Kuntsthistoriches) Forster p6
Jupiter and lo, c1530 (Kunsthistorisches Museum, Vienna) 1001 p165
Leda & the Swan, 1532 (Gemaldegalerie) Forster p6; Levey 1966 pp 19–20
Mystic Marriage of S. Catherine (Capodimonte)
Rest on the Flight into Egypt (Uffizi)
The Nativity with S. Elizabeth & the Infant John the Baptist (Brera). [It is dark & stark; almost Caravaggiesque; unlike other Corregios]
RP cortona:
Sacrifice of Polyxena, early 1620s (Capit). Frieze-like, dark ground Waterhouse1962 p48
Rape of the Sabines, c1629 (Capit). This is composed in depth with gay colours Waterhouse1962 p48
XGran Salone Palazzo Barberini, fresco (Rome). Landmark of Baroque ceiling painting : wonderfully exuberant yet disciplined L&L; All fresco, no stucco; intricate corners with struggling figures allow scenes to meld. His aim was impact, not elegance. The subject represents Divine Providence achieving ends through Barberini Pope Waterhouse1962 pp 48-9
Battle of Issus, c1635 (Capit). Baroque violence & ordered confusion Waterhouse1962 p54
Rooms in Pitti Palace, 1637 & 1641-7. Aim: elegance rather than impact Waterhouse1962 p162
David & the Lion (Vatican). [Rococo-like with pastel colours, whispy trees & absence of real emotion]
Madonna appearing to S. Francesco [Rather Rococo-like with absence of real emotion]
P costa:
Women Stealing Wood on the Shore Near Ardia on the Evening when the Libeccio Blows (Castle Howard)
The Fariglioni Rocks – An October Morning (Castle Howard)
Evening at Amara Lunga, Lerici (Castle Howard)
A Morning at Botri Lereici – Italy Girls Picking Flowers (Castle Howard)
Frate Francesco e Frate Sole (Castle Howard)
- John Lateran, Rome, from Villa Mattei or Spring on the Coelian Hill (Castle Howard)
Twixt Summer & Autumn (Castle Howard)
Bocca d’Arno – An Italy Peasant Girl on the Shore of the Med (Castle Howard)
cotan, juan sanchez:
Still Life with Game Fowl, c1602 (Art Institute of Chicago)
P cotes:
Sir Richard Hoare, pastel,1757 (Stourhead National Trust)
Unknown Lady, 1768 (Tate)
Two portraits (Chirk Castle)
P cotman:
The Ploughed Field, c1807 (Leeds Art Gallery)
The Dismasted Brig (V&A)
Chirk Aqueduct (V&A)
courbet:
After Diner at Ornans, 1849 (MDBA, Lille). Praised Ingres & Delacroix Grove 8 p51
| The Stonebreakers, 1849-50 (destroyed). There is a good colour image in Nochlin2007 p71. According to Linda Nochlin, it is the most direct & unvarnished image of contemporary work of the 19th century, & of all time Nochlin1971 p117. |
Berial at Ornans, 1849 (Louvre) R&J pp 242-3;
Nochlin 1971 p48
The Bathers, 1853 (MFabre, Montpellier). Fat nudes rejecting academic Concepts angering middle class critics (unFr) Grove8 p53
The Wrestlers, 1853 (MFA, Budapest)
Bonjour Monsieur Courbet, 1854 (MFabre, Montpellier)
Painter’s Studio, 1854-5
The Grain-Sifters , 1855 (MDBA, Nantes)
Sleep or according to Courbet Laziness & Sensuality, 1866 (MPetitPal, Paris). It was commissioned Khalil Bey who was a Turkish diplomat, art collector, cosmopolitan Webb p165, Wikip
The Origin of the World, 1866 (d’Orsay). This was also commissioned by Khalil Bey, but was then long lost despite exhaustive & exhausting searching Webb p165, Nochlin2007 pp 145-7. Comments range from a woman extraordinarily convulsed with emotion (Maxime du Camp) to an embarrassing but non-arousing gynoclogical study which does not produce the goosey feelings of good literary porn Nochlin2007 p12. It is probably Courbet’s most brilliant rendering of fleshFried1990 p209.
Sleep or according to Courbet Laziness & Sensuality, 1866 (MPetitPal, Paris). This was also commissioned by Khalil Webb p165
The Younger Ladies on the Banks of the Seine, 1857 (NG)
The White Stockings, 1861 ().
jean cousin the elder:
Eva Prima Pandora, c1550 (Louvre)
Charity (Musee Fabre, Montpellier). Attributed Grove8 p67
jean cousin the younger:
Last Judgement, 1585 (Louvre)
couture:
The Little Princes in the Tower, 1831 (Louvre)
Romans of the Decadence (d’Orsay). Static & studied Classical figures, not a snapshot of a moving scene, as in Gerome’s Death of Caesar; statues of non-decadent Romans, with righthand one seemingly being offered wine; righthand pondering Gers R&J pp 171, 266-7
Blowing Bubbles, 1859 (the Met). Sentimental in comparison to Chardin & Manet’s pictures of bubble blowers R&Z p127
Landscape Near the Sea, 1876 (Mof Art)
cox:
The Pont des Arts & the Louvre from the Quai Conti, Paris (V&A)
The Challenge (V&A)
coypel, antoine:
The Peace of Nijmegen, 1681 (Musee Fabre, Montpellier). Illustrated emptiness of allegorical compositions of period; Albani-like with exaggeratedly sweet expressions & gay colouring Blunt1954 p274
Democritus, 1692 (Louvre). New Rubenism L&L; almost pastiche Blunt1954 p275
Bacchus & Adrriane on the Isle of Naxos, c1693 (Museum ofArt, Philadelphia). [Rococo-like]
Athalie Driven out of the Temple, 1699 (Louvre). It is marred by theatrical gestures & affected expressions Wakefield p18
Rebecca at the Well, 1701(Louvre). Reworking of famous silent & solemn Poussin: Coypel’s simering & sentimental Rebecca & over-emphatic Eliezer Allen p196
Assembly of the Gods, c1703 (MDBA, Angers). Sketch for destroyed Palace royal ceiling: one of most completely Baroque schemes in France art Blunt1954 p275
The Death of Dido, c1703 (Musee Faber, Montpellier). Panel from Palace royal Wakefield p17
Esther Before Ahasuerus, 1704 (Louvre). This is marred by theatrical gestures & affected expressions Wakefield p18
Ceiling, 1708 (Chapel, Versailles). It is in a Roman Baroque style & one of the most completely Baroque works of the era in France Blunt1954 pp 273-4, Wakefield p17. It is modelled on Baciccio’s Gesu ceiling & has melodramatic trompe-l’oeil Baroque features together with God surrounded by the sun’s rays, angels hovering & perching & the illusion of heaven bursting earthwards. It is Coypel’s only surviving major decorative work Blunt1954 pp 273-4, Wakefield p17
coypel, Antoine:
Negro with Fruit (Louvre)
coypel, Charles-Antoine:
Supper at Emmaus, 1746 (S.-Meery, Paris). Inept OxDicArt
coypel, Noel-Nicolas:
Mythological (M, Phil). The transluscent colour & curving rhythms anticipate Boucher L&L
Mythological (M, Geneva). His transluscent colour & curving rhythms anticipate Boucher L&L
cox:
Crossing the Sands, 1848 (Museum & Art Gallery, Birmingham). Travellers leaving dark skies behind with soaring symbolic birds 1001 p413
P cranach, lucas the elder:
Lucretia (Gemaldegalerie)
Johannes Cuspinian, c1502 (Winterthur) Pope-H pp 223-5
Anna Cuspinian (Winterthur), c1502 Pope-H pp 223-6
Crucifixion, 1503 (Alte Pinothek, Munich)
Stigmatization of S. Francis, c1503 (AVie)
Rest on the Flight into Egypt, 1504 (Statliche, Berlin). NB beauty of landscape characteristic of Danube School OxDicArt
Holy Kinship Altarpiece, 1509 (StadelM, Frankfurt)
Venus & Cupid, 1509 (Hermitage). Early isolated Italy inspired nude Clark1956 p332
Duke & Duchess of Saxony, 1514(Gemaldegalerie, Dresden)
Bathsheba in her Bath, 1526 (Statliche, Berlin)
Dr Johannes Schuring, 1529 (M, Brussels)
The Law & the Gospel, 1529 (SchlossM, Gotha). Commissioned by Luther & the first Lutheran altarpiece Hall 2011 p34
Schneeberg Altarpiece (Landesamt fur Denkmalfledge Sachsen Bildsammlung, Schneeberg)
Judith & Holofernes, c1530 (the Met)
Judgement of Paris, 1530 (Karlsruhe). Same seductive postures as Indian 8th century painting; aphrodisiac art which succeeds because of precis&delicate style Clark1956 p334
Venus, 1532 (StadelM, Frankfurt). Cloth clearest in front of black background where not required to conceal anything; delicate pubic hair visible Brinkmann p48
Wittenberg Altarpiece, 1547(Stadtkirche S. Marien, Wittenberg)
Selfi, 1550 (Uffizi)
Allegory of Redemption, 1553-4 (Stadkirche, Weimar). Finished by Lucas the Younger L&L
√√√crane:
At Home: A Portrait, 1872 (Leeds Art Gallery)
Renaissance of Venus, 1877 (Tate). Because his wife objected to his use of nude female modelhe had to use a man Wood1999 p226
The Laidly Worm, 1881 (Galleria del Levante, Milan)
The Horses of Neptune, tempera on canvas 1892 (Neue Pinakothek, Munich)
cremona:
RP crespi:
Martyrdom of Mark, 1626 (S. Marco Navara)
Fresco cycles, 1629 (Certosa di Garegnano, Milan). Notablest Fresco cycle in Milan during Borromeo era Waterhouse1962 p139
Nave pillars (S. Maria della Passione, Milan)
Meal/Fast of S. Charles Borromeo (S. Maria della Passione, Milan). Crespi’s masterpiece & major masterpiece of Italy 18thcentury painting Waterhouse1962 p138, Friedlaender1925 p76, C-B p213
Ecstasy of S. Margaret
Raising of the Cross & also Deposition (della Passione chapel, paintings inside the organ shutters, Milan)
The Baptism of Christ, c1624 (Brera)
Washing of Feet (with della Passione on the outside of the organ shutters, Milan)
Last Supper (Brera)
Madonna & Child with S. Carlo Borromeo (Ambrothersiana, Milan)
- Francis Appearing to Dying Man, 1610-20 (Castle Sforzesco). [Impresive small realistic in dull colours]
- Francis Healing a Sick Man, 1610-20. [Impressive small Realistic in dull colours]
Adoration of the Shepherds, c1623 (Castle Sforzesco, Milan). Shepherds common folk ie Caravaggesque
Portrait of the Surgeon Enea Fioravanti, c1625 (Castle Sforzesco, Milan). [Effectively restrained; tightly focused on his head & a skull]
Jesus Led to Calvary, c1622 (Brera)
The Madonna & Child with S. Carlo Borromeo & S. Francis of XAssisi, Putti & Male Donor, c1628 (Brera). The Virgin & Child are painted with strong, subtle Leonardesque sfumato; donor probably later addition C-B p209
- Filippo Benezzi with Two Putti, c1627 (Ambrothersiana, Milan)
P cristall:
The Fish Market, 1808 (V&A). Classical Claude inspired structure, also restraint, a bustling but not a vulgar scene; rustic permanence & healthy industriousness in marked contrast to Heapy’s Fish Market Solkin2008 pp 59-61
Girl Peeling Vegetables, c1812 (Yale University Art Gallery). Typical of exhibition watercolours Grove8 p163
Academy Girl Seated by a Wall (MAG, Berlin)
P crivelli:
Madonna with a Candle (Brera)
The Annunciation, with St. Emidius, 1486 (NG)
The Vision of the Blessed Gabriele, c1489 (National Gallery, London)
crome:
cucchi:
Ferocious Painting, 1980 (Detroit Institute of Arts). NB ballpoint pen, train 1001 p863
Stupid Pic, 1982 (Marx Collection, Berlin)
Painting of the Precious Fires, 1983 (Private)
currie, john:
Primitives, Madame Tisceron, 1912
{5}currie, ken:
Woman from Drumchapel, 1984 (British Council)
The People’s Palace Murals, 1987 (Glasgow), They begin with the massacre of wears in 1787 & end with a future in which enlightenment is suggested by miners’ lamps OxDicMod
Edge of the City, 1987 (Manchester)
The Troubled City, 1991 (Private)
P curry:
Baptism in Kansas, 1928 (Whitney Museum of American Art) Hughes pp 442-3
Hog Killing a Rattlesnake, 1930 (Art Institute)
Murals (Department of Justice, Washington)
Murals, 1938-40 (State Capitol, Topeka)
P aelbert cuyp:
Dordrecht from the North, 1650 (Anthony de Rosthcild Collection) 1001 p261
Cattle Watering, c1653 (Szepmuveszeti Museum, Budapest). The cattle are given shape & life by by fine lines & fleck of light & sharp streaks of light define the foreground reads. His manner is direct & assured Haak p415
View of Dordrecht, c1655 (National Trust). Mood & light, & exquisite contrasts of light & dark with brushwork adapted to attain the desired effect Haak p416
River Landscape with Horsemen and Peasants, 1658-60 (NG) 1001 p268
River Valley, c1660 (Museum Boymans-van-Beuningen, Rotterdam)
View of Nijmegen, c1660 (Indianapolis Museum of Art)
The Maas at Dordrecht (NG). A masterpiece of visual truth Walker p196
Herdsmen Tending Cattle (NG)
Landscape with a Canal (Kunstinstitut Frankfurt am Main)
benjamin cuyp:
The Angel & thye Tomb of Christ (Nationalmuseum, Stockholm)
jacob gerritsz cuyp:
Portrait of a Child, 1630 (Musee de Picardie, Amiens)
Family Portrait, 1631 (Museedes Beaux-Arts, Lille)
Family in a Landscape, the latter by Aelbert, 1641 (The Israel Museum, Jerusalem)