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
CONTENTS: SURNAMES BEGINNING WITH LETTERS:
dadd:
The Fairy-Feller’s Master Stroke, c1855-64 (Tate)
daddi:
Trip, 1328 (Uffizi)
Tabernacle, 1338 (Courtauld)
bono da ferrara:
St Gerome (NG)
Virgin & Child, c1455 (Fine Art/Szepmuveszeti Museum, Budapest)
dagnan-bouveret:
Wedding at the Photographer’s, 1878-9 (Musee des Beaux-Arts, Lyons)
R P dahl, johan:
Frederiksholm Canal in Copenhagen with Christian IV’s Brewery, 1817 (NPin, Munich)
Morning After a Stormy Night, 1819 (NPin, Munich)
Storm Clouds Near Dresden, 1830 (Kunsthistorisches, Hamburg)
Copenhagen Churchtowers Against an Evening Sky, c1830 (Kunsthistorisches, Hamburg)
Mother & Child by the Sea (Barber Institute of Fine Arts, University of Birmingham)
dahl, michael:
Rachael RussellJ, Duchess of Devonshire, c1696 (Petworth House). She has a sexy & relaxed contrapposto pose Solkin2015 p46
Henrietta Maria, Baroness Ashburnham, 1717 (Walker)
dalmau:
The Virgin of the Councillors, 1443-5 (Museo de Arte de Catalunya, Barcelona). This is his only authenticated work OxDicArt. Although it is modelled on van Eyck’s Ghent Altarpiece & Madonna of Cardinal van der Paele, Dalmau has rejected his flowing plasticity in favour of a stifly linear design & replaced rich chromatic colouration with a dusty, earthy palette Moffitt p70
danby:
Clifton Rocks from Rownham Fields, 1822 (Bristol Museum & art Gallery). This is an example of the detailed manner Danby adopted for the Bristol market Vaughan1978 p216
The Deluge, 1940 (Tate). This is his largest & most dramatic work WoodC1976 p21
The Enchanted Castle -Sunset, 1841 (V&A). Here is an example of Danby’s depictions of lyrical calm R&J p154
Caernavon at Sunset (Cragside, National Trust)
The Evening Gun, 1857 (Private). This is an example of his later more gentle & romantic tranquil work WoodC1976 p21
Dandridge:
The Price Family, c1728 (the Met)
The Noel Sisters, c1740 (Manchester Art Gallery)
Lady Reading ‘Belinda’ Beside a Fountain, c1743 (Yale Center for British Art)
P danhauser:
Violin Player, pencil, 1830s (Albertina)
Expulsion of Hagar, 1836 (Belvedere). An example of his early religious work Grove8 p503
Eye Specialist, 1837 (Historical Museum, Vienna)
A Mother’s Love, 1839 (Belvedere)
The Reading of the Will, 1839 (Belvedere). Observe the overturned objects: money is the only concern Norman1987 p32
Liszt at the Grand Piano, 1840 (Neue Nationalgalerie, Berlin)
Child’s World, 1842 (Historical Museum, Vienna)
d’arpino:
Fresco c1592 (S. Prassede, Rome). Richly & boldly coloured figures, no longer pale Mannerist wraiths or muscle-bound Michelangelesque figures Waterhouse1962 p5
daubigny:
Fields in the Month of June, 1874 (Herbert F. Johnson Museum of Arts, Cornell University, Ithaca)
daumier:
R&J pp 186-68
giovanni da paolo:
Christ Suffering & Triumphant, early 1420s (Pinacoteca Nazionale, Siena)
The Pecci Altarpiece, 1426:
Virgin & Child with Angel Musicians, (parish church Castelnuovo Beradenga)
St John the Baptist & St Domenic, (Pinacoteca Nazionale, Siena)
Passion of Christ, four predella sections (Walters Art Gallery Blatimore)
Crucifixion
St Gerome, c1426 (Pinacoteca Nazionale, Siena)
Branchini Altarpiece, 1427 (Norton Simon Museum, Pasadena)
Paradise, c1440 (The Met)
Creation, & the Expulsion from Paradise (The Met)
Crucifixion, 1440 (Pinacoteca Nazionale, Siena)
Coronation of the Virgin, 1445 (S. Andrea, Siena)
Coronation of the Virgin, c1455 (The Met)
Presentation in the Temple, 1447-9 (Pinacoteca Nazionale, Siena)
S. Maria della Scala Altarpiece, 1447-9:
Presentation in the Temple (Pinacoteca Nazionale, Siena)
The Crucifixion (Rijksmuseum Het Catharijneconvent, Utrecht)
Scenes from the Life of St Catherine (Met; Museum of Art, Cleveland: Detroit Institute of Arts)
Life if St John the Baptist, 11 surviving panels (Art Institute, the Met, Louvere, Norton Simon Museum, WestfalishesLandesmuseum fur Kunst undKulturgeschichte)
St Nicholas, altarpiece 1553 (Pinacoteca Nazionale, Siena)
SS Peter Damian, c1453 Thomas, Calre & Ursula (Pinacoteca Nazionale, Siena)
Life of St Clare, predella panels c1453 (Gemaldegalerie, Berlin; Museum of Fine Arts, Houston; Yale University Art Gallery)
Altarpiece, 1463 (Cathedral, Pienza)
Last Judgement (Pinacoteca Nazionale, Siena)
San Galgano Altarpiece, c1470 ((Pinacoteca Nazionale, Siena)
S. Silvestro di Staggia Altarpiece, 1475 ((Pinacoteca Nazionale, Siena)
P da varallo:
Battle of Sennacherib (S. Gaudenzio, Novara). Rather hysterical masterpiece Waterhouse1962 p141
Portrait of a Man, c1613 (Brera)
Portrait of a Woman, c1613 (Brera)
S. Anthony of Padua, c1615 (Pinacoteca, Varallo)
David with the Head of Goliath, c1625 (Pinacoteca, Varallo)
Madonna & Child with S. Carlo Borromeo & Francis of Assisi (Pinacoteca, Varallo)
S. Rocco Interceding on Behalf of the Piople of Comasco, c1631 (Pinacoteca, Varallo)
david, gerard:
The Judgement of Cambyses, 1498 (Groeningemuseum, Bruges) 1001
david, jacques-louis:
Portrait of Mademiselle Guimard as Terpsichore, 1773-4 (Private).
Andromache Mourning Hector, 1783 (Paris). Tranquility of death in contrast to the grieving wife & bewildered child Honour1968 p150
Dr Leroy, 1783 (Musee Fabre, Montpellier). Obstetrician represented realistically, not as aristocrat Honour1968 p89.
Oath of the Horatti, 1785 (Louvre). Commissioned for Crown by Angiviller & accepted despite size; not a Republiclicn scene; no political allusions seen at time; patriotisim yes but this implied loyalty to King Honour1968 pp 70-1
Brutus, 1789 (Louvre). Bought for Crown by Angiviller; Republiclican story but later episode; David gives no hint of political message in letter Honour1968 p72
Dead Marat, 1793 (Brussels). No hint of immortality: horizontality & downward arm removes any suggestion of apotheosis Honour1968 pp 155-6
Portrait of Madame Recamier, 1800 (Louvre)
Napoleon crossing the Alps, 1801 (Louvre)
Napoleon in His Study, 1812 (NG Art) Honour1979 p179. Propaga ndistic elements: 4.13 in morning, has been working on Code, volume of Plutarch
Coronation of Napoleon (Louvre) R&J, p50
davis, stuart:
Lucky Strike, 1921 (MoMA)
Egg Beater No. 1, 1927 (Whitney Museum of American Art)
Odol, 1924 (Cincinnati) Hughes p433
House & Street, 1931 (Whitney Museum of American Art)
Men without Women, 1932 (MoMA)
Swing Landscape, 1938 (Indiana University Art Museum)
Owh! In San Pao, 1951 (Whitney Museum of American Art)
da volterra:
Deposition, c1545 (SS Trinita del Monti). A powerful & moving with composition based on Rosso’s Deposition OxDicArt, L&L
de bles:
The Copper Mine (Uffizi)
?Mountain Landscape with the Holy Family & St John (Offentliche Kunstammulung, Basel)
The Conversation (Rijksmuseum)
jan de braij/bray:
Portrait of a Boy, 1654 (Mauritshuis, The Hague)
Judith & Holofernes, 1659 (Rijksmuseum, Amsterdam)
Regents of the Children’s Charity Home, Haarlem, 1663 (Frans Hals Museum, Haarlem)
Regents of the Leper Hospital, Haarlem, 1667 (Frans Hals Museum, Haarlem)
Regentesses of the Leper Hospital, Haarlem, 1667 (Frans Hals Museum, Haarlem)
The Banquet of Anthony & Cleopatra, 1669 (Currier Gallery of Art, Manchester, New Hampshire)
solomon de braij/bray:
Rebecca & Eliezer at the Wall, 1660 (Musee de Douai)
Part of Frederik Hendrik’s Triumphal Procession, with Musicians, c1650 (Oranjezaal, Huis ten Bosch, The Hague)
decamps:
de chalons:
Adoration of the Shepherds, (Saint Pierre Church, Avignon). [Spirited composition & colouring, but curious figures with awkward hands, & they are looking in all directions; Mannerist?]
de chirico:
The Song of Love, 1914 (MoMA). Unlikely meetings of dissimilar objects. This was to be a strong theme in modern art. It is said to be unsettling [though I do not agree] MOMAH p74
Gladiators, 1928-9 (Civico Museo d’Arte Contemporanea, Milan)
de heem, david:
Still Life of Fruit, c1670 (Ashmolean) 1001 p277
P de fabriano, gentile:
Adoration of the Magi, 1423 (Uffizi). This is a work of exquisite decorative beauty & displays a naturalist treatment of light in the predella’s night scene with its three different light sources OxDicArt. The Flight into Egypt tackles action in a panoramic landscape L&L
Madonna & Child, the central panel of the dismembered Quaratesi polyptych, 1525 (Royal Collection?). Other sections are in the Uffizi, Vaticn & NG Art (Murrays1959).
Madonna & Child, damaged fresco (Orvieto Cathedral)
Quaratesi Polyptych, 1422-25 (Vatican Pinacoteca, Vatican City, Italy) 1001
Valle Romita polyptych, c1411 (Brera)
P de ferrari, giovanni:
Esau Selling His Birthright (PalBianco, Genoa). Strozzi’s colours with Van Dyke’s refinement, poetic feeling for psychology Waterhouse1962 p212
R P de ferrari, gregorio:
The Rest on the Flight into Egypt, early (S. Siro, Genoa). Rococo-like with S.Joseph in almost pastel soft blue, rose & orange [?], & a tender lyrical mood Waterhouse1962 p220-2
Cupid & Psyche (Palaace Granello). This almost anticipates Fragonard Waterhouse1962 p223
Decorative Fresoes, 1684 (Palace Balbi-Groppallo)
Death of S. Scolastica, c1700 (S. Stefano, Genoa). Masterpiece.
defregger:
Final Call to Arms,1874 (Belvedere)
jacob de gheyn II:
Poseidon & Amphitrite, 1592 (Waleslraf-Richartz Museum, Cologne). This is Mannerist & includes shells which are marvels of realistic observation Fuchs p34
Vanitas, 1603 (The Met)
The White Spanish War Horse Captured From Archduke Albert of Austria & Presented to Prince Maurits, 1603 (Rijksmuseum, Amsterdam)
Flowers in a Glass Vase, 1612 (Gemeentmuseum, The Hague)
Vanitas Still Life with Books, 1621 (Yale University Art Gallery)
pieter de grebber:
The Raising of Lazarus, 1632 (Galleria Sanauda, Turin)
The Adoration of the Magi, 1638 (Musee de Beaux-Arts, Caen)
Family in a Landscape (Museu Nacional der Arte Antiga, Lisbon)
deineke:
Defence of Petrograd, 1928 (Central Armed Forces Museum, Moscow). On top level weary human fighters returning from front; on bottom resolute replacements RA Exhibition caption; NB women in central fi
P del cairo:
Dream of Joseph (S. Antonio Abate, Milan)
Agony in the Garden, c1628 (Brera)
S. Francis in Ecstacy, c1630 (Castle Sforzesco, Milan) 1001
Vision of S. Andrea Avellino, c1631 (S. Antonio Abate, Milan)
Agony in the Garden, c1636 (Castle Sforzesco, Milan)
Portrait of the Poet Fulvio Testi, 1650s (Brera)
de lelie:
The Collection of Jan Gildemeester, 1794 (Rijksmuseum)
del mazo:
The Artist’s Family, c1645 (Kunsthistorisches)
del varga:
Marcurio Parla a Glauros & other erotic prints (Gabineto Nazionale delle Stampa). See Frantz pp 123, Pl 8-13
da volterra:
Deposition, c1545 (SS Trinita del Monti). Powerful & moving with the composition based on Rosso’s Deposition OxDicArt, L&L
degas:
A Carriage at the Races, 1870-2 (Museum of Fine Arts, Boston) R&J R&J p336
P de glehn:
Jane Emmet de Glehn by a Stream, Val d’Aosta, 1905 (Private)
New England, 1911 (National Gallery of Victoria, Melbourne)
Gwendreath Blossom – Jane Sitting in the Shade (Private). It has a dynamism & expressive urgency rivalling the early Fauves McConkey1989 p133
Sisters, 1932 (Walker)
Fishing, c1932 (RA)
Sir Arthur George Tansley, 1940 (National Portrait Gallery)
Resting (Atkinson, Southport)
P delacroix:
Massacre of Chios, 1824 (Louvre). Contrasting & merging colours replace discrete elements Honour1979 p49
The Death of Sardanapalus, 1827 (Louvre). Despite its Antique subject, no more Romantic picture was ever painted Honour1979 p53. Dark & sombre intention, but Delacroix’s entrancement with the pink & gold of the slave led to the picture becoming a blaze of sensuous colour; hence picture’s disunity Clark1973 p208
X Algerian Women in Their Appartment, 1834 (d’Orsay). Finest North African painting L&L
Entombment of Christ, 1848 (Museum of Fine Arts, Boston). James = inexpressible beauty; extraordianarily harmonius colour; only modern religious picture he had seen painted in good faith James p113
Appolo Destroying Python, 1850-1 (Louvre Gd’Apollon). Perhaps his finest secular mural L&L
Jacob Wrestling with the Angel (S.Sulpice Church). Finest religious work L&L
della vecchia:
Two Warriers (Private?). Superb example of melodramatic style Waterhouse1962 pp 117-8
(S. Stae)
demuth:
Buildings, Lancaster, 1930 (Whitney Museum of American Art)
My Egypt, 1927 (Whitney Museum of American Art)
de la porte:
La Petite Collation, 1787 (Louvre). [He was Chardin’s rival & very like him]
delaroche:
Little Princes in the Tower, () R&Z pp 119-21
de la tour:
St. Joseph the Carpenter, 1635-40 (Louvre) 1001
?The Education of the Virgin, c1650 (Frick). Virgin’s face abraded & restored Frick
P robert delaunay:
Une Fenetre, 1912 (Centre Pompidou). [Obvious interest in textures; merging & overlayed colours.]
Simultaneous Contrasts: Sun and Moon, 1914 (MoMA)
Forms Circularies Soleil No 2 (Centre Pompidou). [Obvious interest in textures; merging & overlayed colours].
P deineka:
Building New Factories, 1926 (Tretyakov)
Defence of Petrograd, 1928
A Mother, 1932 (Tretyakov). The new Soviet person is shown as having vigour but not elegance Bown pp 114-5
A Race, 1933 (Russian Museum)
Lunch-Break in the Donbass, 1935 (State M of Latvian & Russia Art, Riga)
Three Large Oil Sketches for Murals at the Paris International Exhibition, 1937 (Perm State Art Gallery). The parade scene was the only mural that was painted. It includes various members of the Stakharnovite movement & a celebrated test pilot G&S p71
Sketch for a Ceiling Painted in the Red Army Theatre, 1937 (Deineka PicG, Kursk). Fine Bown1991 p81
The Defence of Sebastopol, 1942 (Russian Museum)
After Battle, 1944 (Deineka PicG, Kursk)
Berlin, 1945 (Tretyakov)
Mosaic ceilings (35) in Mayakovskaya metro station. Gloriously successful Bown1991 p81
denis:
Catholic Mystery, 1890 (Alencon) Denvir p121
{2}de hooch:
Cardinal-Players in a Sunlit Room, 1658 (Royal Collection)
The Courtyard of a House in Delft with a Woman & Child, 1658 (NG) 1001 p266
Woman Drinking with 2 Men, c1658 (NG)
Interior of a Courtyard in Delft, c1660 (Mauritshuis)
Mother, 1660 (Gemaldegalerie) Fuchs p58
The Cardplayers, 1663-5 (Louvre)
Couple with a Parrot, c1676 (Waleslraf-RichartzM, Cologne). The man opening the bird cage in front of the woman is symbolically encouraging to succumb to his advances NGIreVermeer No 40
Musical Party in a Courtyard, 1677 (NG). Shows ability to create outsanding work even in year of decline TurnerRtoV p166
de kooning, 1904-97:
{2}de loutherbourg:
Landscape with Figures, 1763 (Walker)
Landscape with a Waterfall, 1767 (Nationalmuseum, Stockholm)
Llanberis Lake, 1786 (Strasbourg). This conveys the austere gradeur of mountain scenery with a power unequalled by any contemporary artist Wakefield p165
View of Snowden from Capel Curig, 1787
Coalbrookdale by Night, 1801 (Science Museum, London)
R del piombo:
St Louis, c1508, organ door (St Bartholomeo a Rialto, Venice)
St Sinibald, c1508, organ door (St Bartholomeo a Rialto, Venice)
Salome, 1510 (NG)
Judgement of Soloman, c1511 9 (Kingston Lacy). Unfinished & badly damaged Murrays1959
Flagellation (St Pietro in Montorio, Rome). Michelangelo provided drawing Murrays1959
Raising of Lazarus, 1517-9 (NG)
Pieta, c1520 (Viterbo). Michelangelo provided the drawing Murrays1959. In this work he followed Raphael’s lead & adopted an emotional maniera devota style NCMH1 pp 138-9, See maniera devota.
Nativity of the Virgin Mary, 1530- , painted on stone (Chigi chapel, S. Maria del Popolo, Rome). Untraditional gravity & sombre tonality; not a Renaissance palace bedroom or contemporary costume; more naturalistic poses in preparatory drawings versus Stylised pose of bottom left attendant; figures delineated with usual hard-edged & sculptural clarity; somber mood of post-Sack Rome HallM1999 p131
Cardinal Pole, c1537 (St Petersburg)
Christ Carrying the Cross (SzepmuveszetiM, Budapest)
de molyn/molijn:
The Sand Dune, 1626 (Brunswick)
{2}de predis:
Portrait of Bianca Maria Sforza, c1493 (NG Art).
An Angel in Red with a Lute, c 1495 (NG). [Folds of drapery stylised: they do not hang realistically & float in air. Drapery remisniscent of Leighton].
Bartolommeo Archinto (NG). Under Leonardo’s influence, his finest achievement Clark 1939 p105
de rochenchouart
Fresco, 12th century (church ,Les Salles Lavauguyon, Haute Vienne, France)
de smet:
Village Fair, c1930 (Museum voor Schone Kunsten, Ghent)
{2}de troy, francois:
The Astronemy Lesson of the Duchess de Maine, c1703 (M Ile-de-France, Sceaux). Intimate scene contrasting with pomp of court painting Allen p209
Charle Mouton, 1690 (Louvre)
Unknown Lady (Private)
{2}de troy, jean-francois:
Niobe & Her Children, 1708 (Musee Fabre, Montpellier)
The Surprise, 1723 (V&A). Deftly painted with considerable virtuosity Wakefield p52
The Birth of Romulus & Remus, 1723 (Musee Neuchatel)
Coriolanus Yields to his Mother’s Entreaties, 1723 (M Neuchatel)
The Rape of the Sabines, 1723 (M Neuchatel)
Continence of Scipio, 1723 (M Neutchatel)
The Declaration of Love, 1725 (P. Wrightsman Collection, New York). Note the erotic picture on wall Wakefield p52
The Garter, 1725 (Private Wrightsman Collection, New York)
S. Genevieve & the Aldermen of Paris, 1726 (S. Etienne-du-Mont)
Bathsheba, 1727 (MDBA, Angers). De Troy depicts/places real women’s bodies, unlike Pelligrini’s Basheba Levey1966 pp 42-3
The Bath of Diana, 1727 (MDBA, Nancy). Somewhat feeble Wakefield p46
The Reading from Moliere, c1728 (Cholmondeley). Variety of poses & without stiffness of 17th century group portraits; one of T’s most delightful scenes of fashionable life Wakefield pp 51-2
The Oyster Dinner, 1735 (MConde, Chantilly)
The Hunting Breakfast, 1737 (Wallace Collection)
Esther at her Toilet, 1737 (Louvre). Brilliant sketch for tapestry in greys & browns with a touch of yellow Wakefield p48
Esther Fainting, 1737 (Louvre). Brilliant sketch for tapestry in greys & browns with a touch of yellow Wakefield p48
{2}de vlieger:
Stormy Sea, c1630 (Narodni Gallerie, Prague)
Estuary witrh Ships in Rainy Weather (National Maritime Museum, Greenwich)
Beech Scene, 1643 (Mauritshuis). The setting of the darker foreground against the delicate greys of the middle ground creates an impression of enormous distance Haak p308. [The placing & grouping of the figures, & their relationship to the sky, is perfection.]
Ships on a Calm Sea (Szepmuveszeti Muzeum, Budapest)
{2}de volaire:
Landscape with a Waterfall (Museum of Art, Toulon)
Shipwreck, 1765 (Nationalmuseum, Stockholm)
L’Eruption du Viseuve, 1767 (Louvre). [This is very similar to Wright of Derby]
Eruption of Vesuvius, 1771 (Museum Beaux-Arts, Nantes)
Nocturnal Marine at Naples, 1784 (Palace Reale, Naples)
de wint:
Gloucester, 1840 (V&A)
Bridge Over a Branch of the Witham, Lincs (V&A)
de witte:
Church Interior, Amsterdam Wolfflin1915 p213
maso di banco:
Legend of S. Sylvester. late 1330s? (Bardi chapel, S.Croce, Florence). See DI BANCO in Section 1.
Pieta di S. Remigio Uffizi). Attributed L&L
dicksee:
Harmony, 1877 (Tate). It was immensely popular & a Chantrey Bequest purchase Maas p15
Academy Reverie (Walker)
After Chevy Chase, 1894 (Cragside, National Trust). [At first this seems awful but with if paid concentrated attention it turns out to have merit. It is not over the top (no melodramatic blood, body face down) & has a nice central grouping of dogs & corpse, together with a suitably grim background. It has atmosphere]
La Belle Dame Sans Merci, 1902 (Britol Museum & Art Gallery)
The Crisis
The Confession
di bartolo:
Seven Deadly Sins, fresco cycle c1396 (Basilica Collegiata di S. Naria Assunta, San Gimignano). Horrifying use of nude to show sin’s corrupting consequences Frantz p127. This is his major surviving work OxDicArt
Adoration of the Magi (Pinacoteca, Siena)
bartolo di fredi:
The Adoration of the Magi , c1367 (Pinacoteca, Siena)
R {2}di marcovaldo:
Crucifix, probably late 1250s (Palazzo Comunale, San Gimignano). The schematized muscalture of Christ’s abdomen & ribs is Byzantine, together with the stif drapery; but the empty eye sockets, agonized face & shadow obscuring the shape of the chin are innovations Eimerl p68
Madonna & Child, c1267 (S. Maria dei Servi, Orvieto). This is no longer the Byzantine static [& flat] Madonna due to the use of contrapposto to give a sense of action, & of dark shadows & bright highlights to give a sense of form. Moreover Mary is corporeal with obvious thighs & knees, & her sitting not floating posture. She is more maternal than regal with her arm suppoting her Child, & her face expresses gentle sadness. There is also an illusion of depth due to the angels behind the throne Eimer pp 60, 66 Madonna & Child Enthroned (Madonna del Bordone), 1274 (Maria dei Servi Siena)
di’menabuoi:
Virgin & Child with Four Saints & a Donor, fresco1349 (S. Pietro Abbey, Viboldone near Milan)
Last Judgement, fresco after c1355 (S. Pietro Abbey, Viboldone near Milan)
Four Doctors of the Church, fresco after c1355 (S. Pietro Abbey, Viboldone near Milan)
Coronation of the Virgin etc, polyptych 1363 (NG)
Frescos, 1375-6 (Baptistry, Padua):
The Creation of the World/Christ Pantocrator (on the wall supporting the dome)
The Evangelists (on the pendentives)
Scenes from the Life of St John the Baptist (wall)
Scenes from the Life & Passion of Christ (wall)
Cruxifiction (wall)
Virgin & Child, Life of St John the Baptist, Saints (polyptych, altarpiece)
Pentecost (small cupola)
These frescos feature impressive sometimes twisting, monstrous or gesturing in a lively manner; an advanced use of architectural settings often with glimpses through half-open doorways; subdued colours accented by worm green & pink with some shot colour. Some of the scenes have a Byzantie flair but others are more freely painted.
Frescos, 1382 (Belludi Chapel, Il Szanto, Padua). Here the architectural backdrops are even more adventurous & fantastic than those in the Baptistry
Frescos on the tomb of Nicolo & Bonzanello da Vigonza (cloister passage, Il Santo, Padua)
Source: Grove21 pp111-3, Wikip etc
dionysius & his workshop:
The Incredulity of St Thomas, c1500, tempera (Russian Museum). This is from the Pavio-Obnorsky Monastery in Vollogda Region G&P p33
The Virgin Hodgetria, 1502-3, tempera (Russian Museum). This is from the Cathedral of the Nativity in the St Therapont Monastery G&P pp 29, 33
dix:
Three Prostitutes on the Street, 1925 (Private) Turner p268
Portrait of the Artist Sylvia Von Harden, 1926 (Centre Pompidou) [Dracula-like mouth, bad teeth, witchlike white face with purplish hue under eyes]
{2}dobson,
Endymion Porter (Tate)
Sir Charles Cotterell & Nicholas Lanier (AlnwickCastle). One of finest & most interesting British paintings of first half 17th century Waterhouse1953 p82
Prince Rupert, Colonel William Murray & Colonel John RussellJ (Private). One of finest & most interesting British paintings of first half 17th century. It shows RussellJ being peruaded not to abandon the Royalist cause, with men being about to drink toast & Murray dipping cockage into glass Waterhouse1953 p82
Charles II as Prince of Wales (NPGScot). Has hideous mask of envy & Civil War Waterhouse1953 p82
dolci:
Martyrdom of S. Sebastian (Pitti). Scafold erectors & S. brought well forward with figures, seen through legs, providing depth
d’Oggiono:
Altarps (Brera). Monstrous Clark1939 p171
Ascension of the Virgin (Brera)
domenichino:
St. George Killing the Dragon, c1610 (NG) 1001
Landscape with Sylvia & Satyrs (Pinacoteca Nazionale, Bologna)
donatello:
S. George & the Dragon, 1417, relief (Bargello, Florence). Perspectival convergence of parallel lines into distance Grove24 p487
Feast of Herod, c1423-7, relief (MDBA, Lille). Tiled floor displaying linear perspective Grove24 p487
dossi:
Sorcery, or the Allegory of Hercules, 1535-40 (Uffizi, Florence) 1001
Stregomeria (UF)
‘Bambbocciata’ (Uffizi)
{2}dou:
Interior with a Younger Violinist, 1637 (Duke of Sutherland)
The Quack, 1652 (M Boijmans Van Beuningen, Rotterdam). NB underlying emblematic signs with woman cooking (underdone) pancakes a metaphor for quack’s half-baked bragging; greedy boy tring to catch bird; dead tree fronting quack versus blooming behind signifies choice between the genuine & false Fuchs pp 39-40
The Younger Mother, 1658 (Mauritshuis). This is an outstanding example of his paintings of domestic scenes. The brilliant suface was created with up to 12 layers of paint Franits p120
The Dropsical Woman, 1663 (Louvre)
Younger Woman Making Lace, 1663 (StatKunst, Karlsruhe)
Woman Asleep, c1663 (Liechtenstein Collection, Vienna)
Woman at the Clavichord, c1665 (Dulwich Picture Gallery)
Astrologer by Candlelight, c1665 (Getty)
Lady at Her Toilet, 1667 (M Boijmans Van Beuningen, Rotterdam)
Triptych: Nursery, Night School, Man Cutting a Quill, copy by Willem Laquy (Rijksmuseum)
A Couple by Candlelight (Royal Collection)
The Trumpeter (Louvre)
Self Portrait (Rijksmuseum)
Hermit Praying (Staatliche Kuntsammlungen, Dresden)
The Night School (Rijksmuseum)
doughty:
dow:
di arpo/guariento:
di Betto. See Pintoricchio
di Stefano. See Pesellino
douglas, aaron:
Aspects of Negro Life, murals, 1934 (New York Public Library)
dow:
di arpo/guariento:
di Betto. See Pintoricchio
di Stefano. See Pesellino
P draper:
The Lament for Icarus, (Lady Lever Art Gallery, Port Sunlight, Tate). Magnificent Maas p232
The SIrens (Ferrens Art Gallery, Hull)
The Golden Fleece (BradfordAG)
The Pearls of Aphrodite (Private). At best his sea nymphs as entrancing as Waterhouse’s
Murals (Draper’s Hall, London). Among most successful late Victorian Wood1999 p243
driggs:
(Whitney Museum of American Art)
P drost:
Portrait of a Man, 1653 (the Met)
Portrait of a Woman, 1653 (M Bredius, Haarlem)
Bathsheba with Daniel’s Letter, 1654 (Louvre)
Portrait of a Young Woman, c1654 (Wallace Collection)
Young Daniel (Statens Museum Kunst, Copenhagen)
Ruth & Naomi (Ashmolean)
drouais:
Marius at Minturnae, 1786 (Louvre) R&J p28
du bois:
The Doll & the Monster (the MET?)
dubuffet:
Joe Bousquest in Bed, 1947 (MoMA)
R P duccio:
Madonna of the Franciscans, c1295-1300 (Pinacoteca, Siena)
The Crucifixion with Saints Nicholas & Gregory the Great, c1300 with assistants (Museum of Fine Arts, Boston)
The Virgin & Child, c1300-5 (Galleria Nazionale dell’Umbria, Perugia)
Madonna (Rucellai Madonna), 1285 (Uffizi). This is in many ways very like Cimabue’s nearby Trinita Madonna. However, there are significant differences. Duccio’s angels & throne are more graceful; Ducio’s Child is riggling whereas Cimabue’s is grave & dignified; Duccio’s Madonna is more gracefully posed & has garment with sinuous gold edging. Cimabue is making a blunt statement in the Florentine style, whereas Sienese painting was more beautiful & charming Eimerl pp 61-2 . [When compared with Giotto, Duccio’s Madonna gives less sense of space & depth, & has a less individualised face.]
The Virgin & Child with Saints Dominic & Aurea of Ostia, c1300 (NG)
The Virgin & Child, c1300-5 (Galleria Nazionale dell’Umbria, Perugia)
The Marriage Feast at Cana, 1308, tempera (Museo dell’Opera del Duomo, Siena) 1001
The Virgin & Child with Saints, c1305 with assistants (Pinacoteca, Siena)
The Healing of the Blind Man, 1308-11 with assistants (NG)
The Annunciation, 1308-11 (NG)
The Virgin & Child Enthroned with Angels & Saints, c1308-11 (Museo dell’Opera de Duomo, Siena)
The Adoration of the Magi, c1308-11 (Museo dell’Opera del Duomo, Siena)
The Crucifixion c1308-11 with assistants (Museo dell’Opera del Duomo, Siena).
duck:
Sleeping Woman, 1650s (Private)
P dughet:
Landscape with St Jerome, 1639-40 (Musee des Beaux-Arts, Marseilles) 1001
View of Tivoli, c1645-50 (Hatton Gallery, University of Newcastle-upon-Tyne). This painting, with its impenetrable vegetation, displays his feeling for the fertility of nature H&P p114
Storm, Elijah & the Angel, around 1660 (Museum of Fine Arts, Boston). This shows his love of romantic & even sublime effects Allen p202
dujardin/du jardin:
Landscape with Cattle, 1655 (Louvre)
The Conversion of St Paul, 1662 (NG)
Regents of the Spinning House, 1669 (Rijksmuseum?)
P dunstan:
Richmond Terrace, 1948 (Private)
Hyde Park Corner, 1961 (Museum of London)
Bathroom, Spoleto, distemper on canvas,1983 (Private)
P dupre:
Plateau of Bellecroix, 1830 (Art Museum, Cincinnatti)
The Duck Pond, watercolour 1832 (Louvre)
The Sluice (The Duckpond), about 1846 (Louvre).
The Floodgate, c1857 (d’ Orsay)
The Headland, c 1875 (Art Gallery & Museum, Glasgow)
P durer:
Apocalypse, woodcut?, 1498
Self-Portrait with Gloves, 1498 (Museo del Prado, Madrid)
Self-Portrait, 1500 (Alte Pinothek, Munich)
Paumgartner Altar, 1504 (Alte Pinothek, Munich)
Hieronymous Holzchuler, 1529 (Gemaldegalerie)
The Women’s Bath, 1496 (Bremen). Both Classical & North women Clark1956 p324.
Four Witches, engraving, 1497. Classical & German nude mixture Clark1956 p324.
Adam & Eve, engraving, 1504. Entirely Classical Clark1956 p324
Feast of the Rose-garlands, 1506 (Narodni Galerie, Prague)
Eve, 1507 (Prado). This is essentially northern Clark1956 p324
Great Passion, engraving?, 1510
Life of Virgin, engraving?, 1510
Adoration of the Trinity, 1511 (Kunsthistorisches)
?The Knight & the Devil, engraving, 1513
S. Jerome in His Study, engraving, 1514
Melencolia I, engaving, 1514
Agony in the Garden, etching, 1515
{2}dyce:
Madonna & Child, 1838 (Castle Museum, Nottingham). Inspired by Raphael’s Tempi Madonna seen in Munich in previous year R&J p167
The Meeting of Jacob & Rachel (Kunsthalle, Hamburg). Draws on Schnorr’s design but in contast Dyce has tried to make scenery & costumes realistic Vaughan1980 p183
Titian’s First Essay in Colour, 1856-7 (Aberdeen Art Gallery). Delightfully sentimental OxDicArt
Pegwell Bay,1860 (Tate)
{2}eakins:
Max Schmitt in a single Scull, 1871 (the Met)
Pushing for Rail, 1874 (the Met)
The Gross Clinic, 1875 (Jefferson Medical Collection, Philadelphia). Juxtaposition of bloody hand of rational male & Irrational woman screening eyes Bjelajac p252
William Rush Carving his allegorical Figure of the Skuylkill River, 1876-7 (Museum of Art, Philadelphia). The model was a prominent merchant’s daughter reflecting Eakins’ belief that respectable women might pose. Rush was not gorping at model, while Washington looks on. Nevertheless titillation is conveyed by means of the model’s discarded clothes Bjelajacp254
The Swimming Hole, c 1885 (Amon Carter Museum, Fort Worth). Nostalgia for simpler & less complicated life ; figures pushed back towards lus & regenerative nature Bjelajac p256
The Agnew Clinic, 1889 (University Pennsylvania)
Between Rounds, 1898-9 (Museum of Art, Philapdelphia). In late 1890s began painting such pictures after attending boxing matches: revolutionary subject matter Museum of Art Philadelphia
The Thinker, Louis N. Keyon, 1900 (the Met)
{2}eardley:
Street Kids, c1949-51 (NG Modern Art, Edinburgh)
Catterline in Winter, 1963 (NG Modern Art, Edinburgh)
{2}eckersberg:
View over the Pont Royal from Quai Voltaire, 1812 ()
Portrait of Emelie, 1813 ()
View of the Via Sacra, Rome, 1814 (Ny Carlsberg Glypotek, Copenhagen). Dispassionate realism JacksonD pp 26-7
View through the Colosseum Arcade, 1815 (Statens Museum for Kunst, Copenhagen). This is matter of fact topography together with irradiating light R&J p176.
Roman Courtyard, 1813-6 (Ribe Kunstmuseum)
A View Through Three of the North-Western Arches of the Colossuem, 1813-6 (Statens Museum for Kunst, Copenhagen). Here & in the following painting, the unusual angles & rigid forms, together with a sky depicted with all its momentary characteristics, sky give the work an almost mystical dimension Kent p31
The Steps & Facade of S. Maria in Aracoeli, 1813-16
The Nathanson Family Portrait, 1818 (Statens Museum for Kunst, Copenhagen). This is a successful example of the portraits Eckersberg painted to make money Kent p31
A View Towards the Wharf at Nyholm With Italians Crane & Some Men-of-War, 1826 (Statens Museum for Kunst, Copenhagen). One of series painted for pleasure around Copenhagen & its harbour; shows mastery of pearly northern light where dispersion in damp blurs hard edges Norman1987 p87
Bella & Hanna, the Eldest Daughters of M. L. Nathanson, 1820 (Statens Museum for Kunst, Copenhagen). This displays a Classical influence with its shallow composition which is like relief carving on sarcophagi Norman1987 p88
The Russia ship ‘Assow’, 1828 (StatensM for Kunst). Supreme example of fusion of Classical & Nordic elements Kent p31
The Brickworks at Renbjerg on Flensborg Fjord, 1830 (). Brilliant handling of light Kent p32
Christian I Inaugurates the Order of the Elephant in 1457, (). East’s famous History; one of series painted 1817-41 for Christiansborg Palace Kent p32
{2}edelfelt:
Ellen Edelfelt, 1876 (Ateneum, Helsinki)
Queen Bianca, 1877 (Ateneum, Helsinki). This was a triumph but Edelfelt nevertheless gave up history painting Ateneum p71
A Child’s Funeral, 1879 (Ateneum, Helsinki). For Finland this quite new with respect to its subject matter Ateneum p72
Children Playing on the Shore, 1884 (Ateneum, Helsinki)
Portrait of Louis Pasteur, 1885 (Ateneum, Helsinki)
From the Luxembourg Gardens, 1887 (Ateneum, Helsinki)
Women Outside the Church at Ruokolahti, 1887 (Ateneum, Helsinki)
Christ & Mary Magdalene, 1890 (Ateneum, Helsinki)
efanov:
An Unforgettable Meeting, 1936-7 (Tretyakov). Received a Stalin Prize, 1941 Bown p241
At Sick Gorky’s Bedside, 1946. Recieived a Stalin Prize Bown p241
{2}egredius:
Storm Appoaching, 1896 (Nasjonalmuseet). One of the most beautiful Nordic works on the subject Kent p133
√ egg:
The Life of Buckingham, c1854 (Yale Center for British Art)
The Death of Buckingham, c1854 (Yale Center for British Art)
Past and Present, triptych , 1858 (Tate). Shows sympathy for woman; never sold Treuherz1993 pp 113-4
The Night Before Naseby, 1859 (RA)
The Travelling Companions, 1862 (Museum & Art Gallery, Birmingham). [Identikit women & dressed exactly the same; both ignoring beautiful view outside railway carriage: one sleeping, other reading]
egley:
Omnibus Life in London, 1859 (Tate)
ekels:
The Writer, 1784 (Rijksmuseum). Exquisite Fuchs p146
[complete] elle:
Henri de Lorraine, Marquis de Mouy, 1631 (Musee St-Denis, Reims)
el greco:
The Repentant Magdalene, c1577 (Worcester Art Museum) 1001
The Immaculate Conception, c1613 (MSVicente, Toledo). Late Baroquesque (continuous upward soaring movement & emotions through fluttering draperies & ecstatic expressions in The Immaculate Conception) Kitson1966 p11
elmore:
On the Brink, 1865 (Fitzwilliam Museum, Cambridge)
elsheimer, adam:
St. Paul on Malta, c1600 (NG) 1001
Flight into Egypt, 1609 (Alte Pinakothek) 1001
enckell:
Reclining Boy, watercolour & charcoal 1892 (Ateneum, Helsinki)
Boy with Skull, charcoal 1893 (Ateneum, Helsinki)
The Awakening, 1894 (Ateneum, Helsinki)
ensor:
Entry of Christ into Brussels (?) R&J pp 417-9
Fall of the Rebel Angels (Antwerp) R&J p419
Haunted Furniture (Destroyed) R&J p417
ehrenstrahl, david klocker:
Negro with Parrots and Monkeys, 1670 (Nationalmuseum, Stockholm) 1001 p280
etchells:
Stilts, c1914 (British Council Collection?)
{2}etty:
The Sirens & Ulysses, 1837 (Manchester Art Gallery). East said picture showed importance of resisting sensuality Treuherz1993 p12
The Triumph of Cleopatra, (Lady Lever Art Gallery, Port Sunlight). [This is a poor work with a confused composition & stilted facial expressions]
Bather Facing Right & Bather Facing Left, 1840s (Lady Lever Art Gallery, Port Sunlight). [Unlike the large works, this is well painted with striking chairascuro, colour and eroticism]
{2}eurich:
Withdrawl from Dunkirk, 1940 (Natioanl Maritime Museum)
Survivors from a Torpedoed Ship, 1942 (Tate). NB contrasting free seagull; originally censored by War Artists Advisory Committee, but admired by Churchill, who used it as book illustration OxDicMod
Men of Straw, 1957 (Nottingham Castle Museum & Art Gallery)
{2}allart everdingen:
Stormy View of Flushing, (Hermitage)
Mountain Landscape with a River Valley, 1647 (Statens Museum for Kunst)
Scandinavian Waterfall with a Water-mill (Alte Pinothek, Munich). Best of early upright waterfalls TurnerRtoV p107
Swedish Scenery, 1655 (Ri). Shift to more decorative & fluid brushwork & a lighter palette TurnerRtoV p107
caesar everdingen:
The Triumph of David, 1644 (Organ shutters, Grote Kerk, Alkmar)
Diogenes Searching for an Honest Man, 1652 (Mauritshuis, The Hague)
Count William II of Holland Issuing a Charter, 1655 with Pieter Post (Rijnlzndshuis, Leiden)
Officers & Ensigns of the Old Civic Guard. Alkmaar, 1657 (Stedelijk Museum, Alkmaar). The otherwise static arrangement I broken by having the captain step forward Haak p312.
Bacchus with Two Nymphs & Amor (Gemaldegalerie Alte Meister, Dresden)
Socrates, His Wives & Alcibiades (Musee des Beaux-Arts, Strasbourg)
{2}evergood:
Dance Marathon, 1934 (Blandon Museum of Art, University of Texas). By the 1930s these were at best commercially driven endurance contests or at worst outright cons which prayed on the unemployed & idle Barter p155
American Tragedy, 1937 (Whitney Museum, New York). This was influenced by the beating he received on the Artists’ Union picket line ShapiroD pp 11, 12
Lily & the Sparrows, 1939 (Whitney Museum, New York). This has a Magic Realist feel OxDicMod
New Lazarus, 1954 (Whitney Museum, New York). This illustrates his continuing social concern OxDicMod
{2}eworth:
Turk on Horseback, 1549 (Broklesby Park)
Mary Tudor, c1553 (Fitzwilliam Museum, Cambridge)
Sir John Luttrell, 1550 (Courtauld)
Queen Elizabeth Confounding Juno, Minerva & Venus, 1559 (Windsor Castle)
Lady Dacre, c1559 (NG Canada)
Duchess of Norfolk, 1562 (Audley End). Elisabethan costume style Waterhouse1953 p31
Henry Lord Darnley & His Brother, 1563 (Royal Collection)
fabriano, Gentile:
Flight into Egypt, 1423 Clark1949 p29
The Virgin & Child, fresco 1425.
fabritus:
The Raising of Lazarus, c1645 (National Museum, War)
The Goldfinch, 1654 (Mauritshuis, Haarlem)
faed, Thomas:
The Mitherless Bairn, 1855 (NGVictoria, Melbourne)
falk:
Likbez. This reveals Falk’s attempt to conform to the official line Bown1991 p62
In a White Shawl, 1946-7 (Russian Museum).
In a Black Shawl
ferneley:
Hunters Intrepid, Conquerer & Bay Bolton with Silkman & Darnley in the Background
The Horse Fair, Melton Mowbray (Private)
{2}fearnley:
From Sorrento, 1834 (Billedgalleri, Beergen). The atmosphere of the Italian coastal scene is conveyed through luminous pale yellow & blue tonalities Kent p66
From Labrofossen, 1836 (NG Oslo)
Labro Falls, 1837 (NG Oslo). Masterpiece; brilliant light & shadow; NB man’s presence Kent p66
Birch Tree at Slinde, 1839 (Nasjonalgalleriet, Oslo)
{2}fedotov:
The Fresh Cavalier/An Official the Morning After Receiving His First Award, 1846 (Tretyakov). This was his first complete oil painting 50Rus p102
The Fastidious Bride, 1847 (Tretyakov)
The Major’s Marriage Proposal, 1848 (Tretyakov). This was the painting that brought Fedotov widespread fame 50Rus p102
The Aristocrat’s Breakfast, 1849 (Tretyakov)
N. P. Zhdanovich at the Piano, 1849 (Russian Museum). His best portrait 50Rus p104
Encore! Encore!, 1850-1 (Tretyakov)
Zherbin Children, c1851 (Russian Museum)
The Gamblers, 1852 (Museum of Russian Art?, Kiev)
The Young Widow, 1852 (Tretyakov)
feininger:
Cycle Race, 1912 (NG Art) Dube p169
Zirchow V, 1916 (Brooklyn) Dube p176
Bathers II, 1917 (London) Dube p172
{2}feke, robert:
Isaac Royall & Family,1741 (Harvard Law School)
James Bowdoin, 1748 (Museum of Art, Brunswick, Maine)
Mrs James Bowdoin, 1748 (Museum of Art, Brunswick, Maine)
{2}fendi:
Open-air Mass in the Outer Palace Square, 13 April 1826 (Belvedere). This was his first significant work Grove10 p883
Shivering Little Boy Selling Pretzels on the Bastion, 1828 (?)
Girl at the Lottery, 1829 (Belvedere). This was his first genre work Grove10 p883
The Milkmaid, 1830 (Historisches Museum, Vienna)
The Poor Officer’s Widow, 1836 (Belvedere)
Sad News, 1838 (Historisches Museum)
Evening Prayers, watercolour, 1839 (Albertina). This shows the Archduchess Sophie with the future emperors Frans Joseph & Maximilian (kneeling). Such a picture of royalty would have been unthinkable in any other period Norman1987 p34
ferguson:
ferrari, Bernardino:
Due Devoti Genuflessi (Brera). [Strange semi-Gothic work starkly simple & simplified; Germanic looking figures]
{2}ferrari, gaudenzio:
Crucifixion , 1520-30 (SacraM= XXXVIII, Varallo)
Flying Angels (SacraM=XXXVIII, Varallo)
Procession of the Magi, pre1528 (SacraM, Varallo)
Presentation of the Virgin at the Temple (Brera)
Adoration of the Kings (Brera)
Martyrdom of S. Catherine (Brera)
Nativity of the Virgin, 1541-43 (Brera)
{2}fetti:
The Music Master, c1618 (Castle Howard). [Striking effect but achieved by imporobable light effects]
The Good Samaritan, c1622 (the Met)
The Blind Leading the Blind (Barberinst & Alnwick)
Moses Before the Burning Bush (Kunsthistorisches)
fetting:
Large Shower, acrylic, 1980 (Private)
erastus field:
Historical Monument of the American Republic, 1876 (MFA, Springfield, MA)
field, Robert
{2}fildes:
Applicants for Admission to a Casual Ward, 1874 (Royal Holloway & Bedford New College)
The Widowers, 1876 (Art Gallery, Sydney, Australia)
The Return of the Penitent, 1879 (City Hall, Cardiff)
Alfresco Toilette, 1889 (Lady Lever Art Gallery, Port Sunlight)
The Doctor, 1891 (Tate)
The Widower, 1904 (Walker)
{2}filonov:
Spring’s Formula, 1928-9 (Russian Museum). This has a violent effect on the retina Bown1991 p63
Collective Farm Worker, 1931 (Russian Museum). According to an RA exhibition caption his face displays resignation. [The
colours are cold with lifeless greens & blues] RARev Pl 113
Tractor Workshop at the Putilov Factory, 1931-2 (Russian Museum). [At first sight this is a dull picture. However it is an interesting composition which is centred on the steering wheel with tractors that radiate outwards. These are non-heroic workers that are hearded in by the tractors] RARev Pl 20
Portrait of Stalin, 1936 (Russian Museum)
Two Male Figures, 1938 (Russian Museum)
finnie, john:
Chester from Boughton, (Grosvenor Museum, Chester). [Accomplished naturalism said to be inspired by late Corrot]
finsonius:
Resurrection, 1610 (S. Jean de la Malte, Aix). The picture introduced Caravaggesque painting in France Blunt1954 p134, L&L, Wikip (for date)
Self Portrait, 1613 (M, Marseilles)
{2}firenze:
Frescos illustrating Triumph of the Faith & Dominican doctrine, 1366-8 (Spanish Chapel, S. Maria Novella, Florence). A remarkable series which, despite Gioto-like detail, represent a return to a more Byzantine style in their more rigid composition & impassive countenances OxDicArt. One of the series, The Way of Salvation, shows St Dominic encouraging dogs to attack wolves, ie heretics, that are carrying off faithful sheep HallJ p213
St Agnes, c1370 (Accademia, Florence)
St Domitilla, c1370 (Accademia, Florence)
fjaestad:
Winter Evening By a River, 1907 (Nationalmuseum, Stockholm)
flicke:
Portrait of Unknown Man, 1547 (NG Scotland)
Archbishop Cranmer (National Portrait Gallery)
{2}flinck:
Samuel Manasseh ben Israel, 1637 (Stichting, KunstBezit)
Isaac Blessing Jacob, 1638 (Rijksmuseum)
Allegory in Memory of the Prince of Orange, with the Portrait of His Widow Amalia van Solms, 1654 (Rijksmuseum)
fontana, prospero:
The Annunciation, 1570 (Brera). Significant example of Counter Reformation painting in 1570s Bologna when Fontana actively collaborated with Paleotti; iconogtaphic ambiguity between Virgin intently kneeling at prayers recalling Paleotti & her indecorous & grand prie-dieu; angel’s feet touch
ground & shadow cast NGArt1986pp 137-8
S. Alexis Giving Arms to the Poor, 1573 (S. Giacomo Maggiore, Bologna). More dignified/Classical than Annunciation NGArt1986p138
Crucifixion, 1580 (M del Convento di S. Giuseppe, Bologna)
{2}fosse:
Rape of Proserpine, 1673 (EcoleBA). Diploma piece; Venice-like landscape, late Pousinesque figures Blunt1954 pp 271-2
The Presentation of the Virgin, 1682 (M des Augustins, Toulouse)
Salon death’Apollon, later 1670s (Versailles)
The Finding of Moses, 1675-80 (Louvre). Trees reveal study of Rubens’ landscapes Blunt1954 p272
Sunrise, 1681 (Salon d’ Apollon Versailles; oil sketch M Rouen). Design/figures/luminosity derive from Corregio, bright colour/spirited brushwork from Venice; lightness/animation anticipate Rococo H&P pp 165-6
Presentation of Virgin, 1682 (Musee des Augustins, Toulouse). Closer to mature Rubens/more fully Baroque than anything previously produced in France Blunt1954 p272
Apollo & Thetis, 1688 (Versailles). Nymphs’ slender eleganc&rosy flesh foreshadows Boucher Blunt1954 p273
Clyte Changed into a Sunflower, c1688 (Versailles)
Bacchus & Ariadne, 1699 (MDBA, Dijon)
Dome (Invlides, Paris). Figyress at the edge & the open sky in middle givea Rococo lightness to an otherwise Baroque composition Blunt1954 p273
{2}foster, myles birket:
The Milkmaid, 1860, watercolour (V&A). This is a favourable example of his style painted from the fields around Hampstead before he became careless Reynolds p 156
The Hayrick, c1862, watercolour (Yale Center for British Art)
Lane Scene at Hambledon, 1863 watecolour (Tate)
Burnham Beeches, watercolour (Private?)
The Hillside, watercolour (Guildhall Art Gallery)
{2}fischl:
Sleepwalker, 1979 (Private). [Painted same year as Roth’s Portnoy’s Complaint published]
Bad Boy (Saatchi) Renner p92; NB he is stealing her purse OxDicMod
Brief History of North Africa, 1985 (New York) Renner p92
Girl with Doll, 1987
The Evacuation of Saigon
{2}lavinia fontana:
Elemosina di S. Alessio, 1576 (Sangiaccomo Maggiore). [S.’s unrealistic drapery; gesticulating figure & odd visionary figure]
Gozzardini Family, 1583 (Pinacoteca Nazionale Bologna). [Ugly people in beautiful clothes; jumped up nouveaux riche or was F trying to show that a woman could paint? NB ordinary dog in background V dog with earrings on table]
San Francesco di Paolo Benedice di Luisa di Savola, 1590 (Pinacoteca Bologna). [Cleverly composed with figures descending stairs becoming clearer/brighter as they become closer with very cler/glowing woman at bottom offering baby for blessing.]
Minerva Dressing, 1613
{2} prospero fontana:
The Annunciation, c1570 (Brera). Example of Counter- Reformation painting in Bologna & Fontana’s collaboration with Archbishop Paleotti NGArt1986p137
S. Alessio Distributing Alms, 1576 (S. Giacomo, Bologna). Example of Fontana’s late naturalistic/expressionistic tendency L&L
fontanesi:
The Little Stagnant Marsh , c1855 (Museo Civico)
{2}fra angelico:
Linaiuoli Madonna, 1433 (S. Marco, Florence).
Frescos (c50) in friars’ cells S. Marco (c1440), especially Apparition of Jesus to Penitent Mary Magdalene (first on left), Transfiguration (sixth on left), Coronation of Virgin (ninth on left)
Madonna & Saints, c1440 (altarpiece S.Marco). Early sacra conversazione Murrays1959
Virgin & Child, c1450 (S. Marco, Florence). Note subtle cast shadow Gomb1995 p23
Polyptch of Dominicans (NG Umbria)
Annunciation (Museo Diocesano, Cortona) 1001
Madonna & Saints (Museo Diocesano, Cortona)
Apocalypse, helped by Gozzoli, c1447 (Orvieto Cathedral)
Christ among Angels & Prophets (Orvieto Cathedral)
fra bartolommeo:
The Madonna appering to S. Bernard, 1506 (Academy, Florence). Wolfflin1899 pp 141-2
God the Father & Two Saints, 1509 (ALucca). Wolfflin1899 pp 142-3
Mystic Marriage of S.Catherine, 1511(Louvre)
Mystic Marriage of S. Catherine, 1512 (Pitti). Contrasting blocks of light & dark, steps to give varied outline for figure groups Wolfflin1899 p144
Madonna & Child Enthroned with Saints/Pitti altarpiece, 1512 (Pitti). [Glowing colours & dark tonality; numerous figures but most downplayed; limited number of highlights.]
Madonna & Child, (MBesancon). Wolfflin1899 p146
The Madonna of Mercy, 1515 (ALucca). Wolfflin1899 pp 146-7
The Risen Christ with the Four Evangelists, 1517 (Pitti). His most successful work Wolfflin1899 pp 149-150
Madonna & Child with S. Anne & the Baptist, 1516 (RA)
Pieta, (Pitti). Restrained; S. John’s exertion gives dramatic touch; contrasting emotions Wolfflin1899 p150
S. Paul (Vatican)
Holy Family & Saint John the Baptist (Corsini). [Might almost be be by Raphael, especially composition, but colour slightly more subdued.]
Presentation of Jesus in the Temple (Musei Capitolini). [Use of niche; clear broad design with relieving detail on priest’s sash.]
{2}fragonard:
Waterfalls at Tivoli, 1862 (Louvre) Ashton pp 76-78. [Fresh & vibrant piece of work. Unafected with washerwomen & washing on the line]
The Progress of Love: Love Letters, 1771-73 (Frick). [Despite their formal dress they are children of nature as symbolised by the great over-arching trees]
The Progress of Love: The Lover Crowned, 1771-73 (Frick)
The Progress of Love: The Meeting, 1771-73 (Frick)
The Progress of Love: The Pursuit, 1771-73 (Frick)
The Bolt, 1777 (Louvre). [Apparant rape, no indication of compliance. Attention well focused on couple. Limited & effective pallete. Skillful & polished facture. Influenced by second Italian visit & Neo-Classicsm?]
Ball () Ashton p219
Coresus Sacrifices Himself to Save Callirrhoe (Louvre) Ashton pp 109-11, 115-6 [Splendidly over dramatic=melodrama. Yes a picture within a picture; carefully composed; but light effects not sufficiently pronounced. Croesus androgenous. Somehow doubt if F had his heart in picture]
Fete at St Cloud Ashton (the Met) pp 169-75,180
Fete at Rambouillet (Lisbon) pp 180-2
Invocation of Love (Cleveland) Ashton p217
Italian Family (the Met) Ashton p78
Jereoboam Sacrificing to the Idols (BeauxA) Ashton p38
Swing (Wallace Collection) Ashton pp 12-16
Women Bathing (Louvre) Ashton pp 119-21
frampton, Meredith:
Marguerite Kelsey, 1928 (Tate). Disquieting because insistent particularity of every part wars against harmony of whole Spalding1986 p88
{2}francesca:
Baptism of Christ, early (NG). Traces of Florence & Sienese influence, but its calm is totally opposed to Florentine ideas Murrays1959. The confrontation of absolute frontality with absolute profile are also pure Francesca. Pale bright colour & even light without shadows must come from Veneziano, while the man undressing & the landscape are Florence Murray1963pp 124-5
Madonna della Misericordia, after 1450 (Museo Civico di Sansepolcro). Very old fashioned design, not a Sacra Conversazione Murrays1963 p123
Madonna del Parto, c1460 (Cemetery Chapel, Arezzo). A rare example of the pregnant Virgin See Virgin Mary
Portraits of Frederico da Montefeltro and Battisa Sforza, 1465-66 (Uffizi, Florence, Italy)
Polyptch of S. Anthony, 1467-9 (NG Umbria). Old fashioned look due to terms of commission NGUmbria. [Annunciation at top has marvellous perspectival arcade for background; clear shadows with consistent light source, as shown by angel’s wing & shadow down roof of arcade; predella contains interesting night scene of Stigmatisation of San Francesco.]
S. Jerome, 1450, damaged (Berlin)
Mary Magdalene, fresco (Arezzo Cathedral)
Legend of the Holy Cross, fresco, 1452-9 & certainly by 1466 (San Francesco, Arezo). Skilled use of linear & aerial perspective; realistic not idealised figures; admirable anatomy & natural action, eg in Amsterdam’s burial; best painter of nudes in his age, eg youth in Amsterdam’s death; draperies broadly treated; grand Florentinian composition, eg arrival of Queen of Sheba; horses in quick motion not mastered, eg battle of Constantine & Maxentius; absence of female comeliness, eg V of the Annunciation; daring foreshortening in Dream of Constantine C&5th century pp 9-10; A passion for symmetry about a central axis, eg Finding of True Cross, Restoration to Jerusalem, & Annunciation; reiterated contrast between full faces & profiles; rejection of movement/dramatic jestures or expressions, even in the Dream of Constantine with its plunging angel; no attempt to achieve depth but simple flat forms & pale even colours; no stylistic development in the series Murrays1963 pp 125-6
Resurrection, probably at thr end of his San Francesco era (Borgo Sansepolcro). Moment of salvation unheeded by sleeping humanity Murrays1963 p128
Madonna & Child with Angels & six Saints/the Brera Altarpiece (Brera). Among earliest fully developed Sacra Conversaziones where its architectural setting continues chapel’s actual architecture Murrays1963 p131
Brera Madonna, 1472-74 (Pinacoteca di Brera, Milan) 1001
franceschini, baldassare. See Il Volterrano
{2}franceschini, marcantonio:
Noli Me Tangere, early 1690s (GNat di Palace Spinola, Genoa). Beautiful figure poses with balletic Christ; drapery passages elegantly placed; muted tonality with magenta hue of Mary Magdalene’s mantle over robe of shaded gold & Christ’s dep-toned blue robe NG Art1986 p451
Jacob & Rachel at the Well, 1691 (Lichtenstein Collection?)
Solomon Adoring Idols, 1697 (GN di Palace Spinola). Probably Franceschini’s finest Old Testament picture & one of the most elegant pictures of the 17th century NG Art1986 p452
Lot & His Daughters (Dulwich Picture Gallery)
Armaida Abandoned by Rinaldo (Christ Church)
franciabigio:
Portrait of a Man, 1514 (NG)
Marriage of Virgin, fresco (courtyard SS. Annunziata, Florence). Painted virtually in competition with Sarto &, when he excelled, Franciabigio destroyed part of his work Murray pp 161-2
Fres, c1518 (Chiostro dello Scalzo)
Madonna & Child with Infant S. John/Madonna of the Well, c1610 (Uffizi). [Very Raphael-like]
Venus (Borghese). Enrichment through shadowing Wolfflin1899 p278
Jacopo Cennini, 1532 (Hampton Court). Early portrait of lowish class man Bayer p121
francis:
Towards Disappearance II, 1958 (MoMA)
{2}francisque:
Regulus Returning to Carthage (Museum & Art Gallery, Birmingham). [Mistakable for Poussin]
Classical Landscape (MDBA, Marseilles)
Mercury & Battus (the Met)
Mountain Landscape with Lightening, (NG). Enlivened by Rosa-like touches; atypically original OxDicArt
{2}francken II, frans:
The Crucifixion of Christ, 1600 (Niedersachsiche Landesmuseum, Hannover)
Hexenversammlung/Witches’ Sabbath, 1607 (Kunsthistorisches)
A Ball at the Court of the Archdukes Albert & Isabella, c1610 (Mauritshuis)
Preziosenwande (walls of treasure), c1610 (Kunsthistorisches)
Picture Gallery (Courtauld). The figures were added by David Tenniers II Vlieghe p203
Croesus Showing his Riches to Solon (Kunsthistorisches)
{2}friedrich:
Monk by the Sea (AlteNG) Vaughan2004 pp 117-21
Abbey in the Oakwood, 1809 (AlteNG) Vaughan2004 pp 122-8
Cross in the Mountains, 1808 Craske pp 97-8. Flouted 18th century landscape conventions: no aerial perspective, no foreground, high viewpoint; contrast with a painting of the sublime –Wolf’s Lauternagletscher with its recession, worried dogs but humans having rational discussion Honour1979 pp 28-9. Friedrich’s own interpretation: unshakable cross with Christ turned to sinking sun=God p30. But does picture express doubt with Christ turning his back on world & God sinking? p31
Morning in the Riesenbirge (AlteNG) Vaughan2004 p131. Contrast to Cross in Mountains; no doubt here: rising sun etc Honour1979 pp 31-2
Griefswald Harbour (CharlotB) Vaughan2004 pp 162, 165
Two Men by the Sea at Moonrise (AlteNG) Vaughan2004 pp 175-8
Village Landscape in Morning Light/Lonely Tree (AlteNG) Vaughan2004 p251
Cliffs of Rugen, 1820 (Winterthur). Academy figure seeing more than we can Honour1979 p79
Arctic Shipwreck, 1821 Craske p104
Large Enclosure near Dresden, 1832 (Dresden). Mid-air viewpoint Honour1979 p78
Watzmann, 1825 (AlteNG)
Woman at the Window, 1822 (AlteNG)
frith:
Life at the Seaside, 1854 (Royal Collection). Lightly & delicately painted Treuherz p107
Derby Day, 1958 (Tate)
The Railway Station, 1862 (). Shows Frith to be a citizen artist from Sodom & Gomorrah Fry1934 p109; an interesting, amusing,
thought provoking document, not badly painted & containing pretty passages of colour, but not a work of art: incapable of providing aesthetic rapture Bell pp 18-9
Salon d’Or, Homburg, 1871. Wooden Treuherz p107
The Private View at the Royal Academy, 1883. Wooden Treuherz p107
fruehauf, Rueland the Elder:
Altarpiece panels, 1490-1 (Belvedere, Vienna). These are his only works that are firmly known Grove11 p806
Crucifixion, c1470 (Belvedere, Vienna)
Virgin of the Ears of Corn, c1495 (Carolino museum, Salzburg)
Man of Sorrows, c1500 (Alte Pinakothek, Munich). This painting reveals Pacher’s influence Brigstocke
frueueauf, Rueland the Younger:
The Boar Hunt, c1505 (Belvedere, Vienna). This is probably the first German spring scene to be observed from nature Brigstocke.
St Leopold with Anna Selbdrill, 1507 oil & tempera (Belvedere, Museum Mittelalterlicher Kunst, Vienna)
St Anne, the Virgin & the Christ Child, 1508 (Belvedere, Vienna)
{2}fuger:
Death of Germanicus, 1789 (Belvedere)
Antiochus & Stratonice, c1790 (Staatsgallerie, Stuttgart)
Count Franz Joseph Saurau, c1797 (Belvedere)
Princess Galitzine, 1799 (Alte NG, Berlin)
Death of Virginia, 1816 (Belvedere)
{2}fugeron:
Martyred Spain, 1937 (Tate)
The Pensioner, 1950. One of Fugeron’s pictures of miners OxDicMod
Civilization Atlantique, 1953 (Tate)
{2}fuller:
Unknown Mam, 1644 (Tate)
Self-portraits (BodL; Queen’s; National Portrait Gallery). Bravura suiting larger than life character OxDicArt
Charles II after Worcester, 5 pictures (National Portrait Gallery)
Edward Pierce, c 1665 (SudeleyC)
fuseli:
The Incubus, both drawing & oil, 1781 (Kunsthaus, Zurich)
Half-length Figure of a Courtesn with Feathers, a Bow & a Veil in Her Hair, pen/pencil/watercolour, 1800-10 (Kunsthaus, Zurich)
The Debutante, 1807 (Tate)
Symplegma: A Man with Three Women, pencil, c1809 (V&A)
Woman by a FIreplace, c1817
Couple by Candlelight, c1817
Lesbian couple, c1817