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:
gaddi, andrea:
True Cross, panels, early 1380s? (S. Groce, Rome)
Panels, 1393-6 (S. Miniato al Monte, Florence)
? (NG)
? (Courtauld)
{2}gaddi, taddeo:
Crucifiction, fresco (Sacristry, S. Groce, Florence)
Life of the Virgin, fresco, 1332-38 (Baroncelli chapel, S. Groce, Florence). His most Important work; Giotto-like with differential impulse Murrays1959
Tripych, 1334 (Berlin)
Polyptych, 1353 (S. Giovanni Fuorcivitas, Pistoia)
Life of Christ & S. Francis, panels (Academy, Florence, Berlin, Munich)
Mr & Mrs Andrews, 1750 (NG). Artistic controvery has raged aroung picture; traditionally seen as painted with love & mastery (Clark); (Marxist) Berger sees Andrews as landowners whose proprietary attitude visible from stanc&expressions; Professor Gowing protested that Andrews were doing more than simply owning the land; they were probably engaged in philosophic enjoyment of uncorrupted Nature; Berger replies that this may be so but they also had the pleasure of seeing themselves depicted as landowners Berger1972 pp 106-8; Vaughan points out that G would have known them from childhood having been at Sudbury Grammar, but not Oxford, with him; her father had bailed out G’s father from bankruptcy; hence G was son of a charity case; notably unfriendly picture with the Andrews having smug expressions of hauteur & he posing almost indifferently beside her; it being a marriage arranged to secure estate’s integrity Vaughan2002 pp 54-7. [The Andrews appear to be coldly staring at the painter & not enjoying the beautiful countryside.] Her blank lap is a mystery Vaughan2002 p57. [Their acceptance of unfinished picture seems to show their unfeeling natures.]
John & Ann Gravenor with their Daughters, 1754 (Yale) pp 53, 56
Major John Dade of Tannington, Suffolk , 1755 (Yale) Vaughan 2002 p63
Painter’s Daughter Chasing a Butterfly, 1756 (NG) Vaughan 2002 pp 65, 68-9
Portrait of William Wollaston, 1759 (Ipswich) Vaughan 2002 p72
Ann Ford (Mrs Philip Thickness, 1760 (Cincinnati). Intended to show new Bath audience his capabilities Vaughan 2002 p74; stylish contraposto elongated pose & flowing yet crinkling dress; strikes a new note of authority in fashionable portraiture taken from Van Dyck BurkeJ p214, Vaughan2002 p74
Lady Ashton, 1762 (Louvre) Vaughan 2002 p111
Mary, Countess Howe, 1764 (Kenwood House). Hauteur, sensual delight Vaughan 2002 pp 6, 111
The Harvest Wagon, 1767 (Barber Institute of institute of Fine Arts, Birmingham). Though figures arranged as in Rubens Descent From the Cross, there is a pervasive upward thrust indicating vitality of country life Barrell pp 60-62
Mary, Duchess of Montagu, 1768 (Duke of Buccleuch) Vaughan 2002 p115
Blue Boy, 1770 (Huntington Library, San Marino, California) Vaughan 2002 pp 102-5
Going to Market, 1770 (Kenwood House) Vaughan 2002 p128
Henry 3rd Duke of Buccleuch, 1770 (Duke of Buccleuch) Vaughan 2002 p120
Woodcutter’s Return, 1773 (Belvoir Castle) Vaughan 2002 p130. [NB witchy tree with dead branch & non-idealised woodcarryer, but young boy eating/wearing shoes & idealised women, despite lots of children.]
Sir Benjamin Truman, 1774 (Tate) Vaughan 2002 p122
Watering Place, 1777 (NG) Vaughan 2002 p125
Henry Duke of Cumberland, 1777 (Royal Collection) Vaughan 2002 p149
Anne Duchess of Cumberland, 1777 (Royal Collection) Vaughan 2002 pp 149, 151
Queen Charlotte, 1780 (Royal Collection) Vaughan 2002 p152
Girl with Pigs, 1782 (Castle Howard). 5th Earl of Carlisle who bought picture (1795) thought girl as beautiful/interesting as possible R&H p40
The Mall in St James’ Park, 1783 (Frick). [Fraggonard-like; humourous with the women eying/guying each other]
Mr & Mrs William Hallett (The Morning Walker), 1785 (NG). Companionate married indicated by way in which they compliment each other, their identities combining into a single entity Solkin2015 p234
The Cottage Girl, 1785 (NG Ireland). [Rosy cheeks but poverty indicated by ragged clothing & broken pitcher.]
Mrs Richard Brinsley Sheridan, 1786 (NG of Art) Vaughan 2002 pp 181, 3
Market Cart, 1786 (NG) Vaughan 2002 p192
Portrait of Georgiana Duchess of Devonshire, 1787 (Chatsworth). [Captures her vigour, zest & sensuality, partly through over the top hat & fleshiness.]
Georgiana, Duchess of Devonshire, & Her Daughter, Lady Georgina Cavendish, 1784-6 (Chatsworth). 1784 Duchess criticised for street support for Fox in Westminster election; satirised Rowlandson for saying she would breastfeed daughter; Rome here helping her mount a counterattack Solkin2015 p234
The Wood Gatherers (NG). [Figs posed as if in Grand Manner picture of grandees.]
fra Galgario:
Portrait of G.B. Caniano, c1740 (Alzano Church, Canonica)
{2}gallego, fernando:
Pieta, 1470 (Prado). This is based on the central panel of van der Weyden’s Miraflores altarpiece. However, Gallego has compressed the space, exaggerated the expression, omitted the complicated architectural surround & used tawny yellow & dusty tans in place of Weyden’s rich reds & lush greens. Delicate emotion has been replaced by a sterner, starker image BrownJ p16
Retable of S. Ildefonso, c1477 (Cathedral, Zanora?)
Triptych (New Cathedral, Salamanca)
Altarpiece (Santa Maria, Trujillo)
gallego, francisco:
Retable of St Catherine, 1500 (Old Cathedral, Salamanca)
{2}gallen-Kallela:
Decaying Fish, 1884 (Ateneum, Helsinki)
Demasquee, 1888 (Ateneum, Helsinki). She is a Manet-like woman self-possessed & unashamed of her sexuality WoodG p14
The Aino Triptych, 1891 (Ateneum, Helsinki)
The Death of Leminkainen, 1897 (Ateneum, Helsinki)
The Fratricide, 1897, tempera (Ateneum, Helsinki)
Head of a Girl, Little Anna (Ateneum, Helsinki)
Kullevero’s Curse, 1899 (Ateneum, Helsinki)
garofolo:
An Allegory of Love (NG)
{1}gauermann:
Landscape near Miesenbach, c1830 (Belvedere)
White Fallow Deer & Doe in a Mountain Landscape, 1833 (Weisser Damhirsch mit Kuh von einen Gebirglandschaft)
Meadow Flowers, c1835 (Kupferstichkabinet der Akademie bildnen Kunste, Vienna)
{2}gaulli:
Portrait of Clement IX, c 1667 (RomeNG). Admirable
Temperance etc, 1668-71 (S. Agnese a Piazza Navona). Masterpiece of elegance: it combines Corregio’s female charm, lovely colour & Bernini’s form & expression Waterhouse1962 p70
Adoration of the Name of Jesus, (Gesu). It creates the illusion that Heaven is opening & is the chief monument of the Late Baroque Waterhouse1962 p70
{1}geertgen tot sint jans:
Glorification of the Virgin, c1480 (Museum Boijmans van Beuningen, Rotterdam). This breathtakingly mysterious & luminous painting was commissioned by a Cardinal. The Virgin is shown as the Woman of the Apocalypse with a moon under her feet. Angels in the outmost ring carry musical instruments & Christ is ringing a little bell back to them Sekules pp 107, 109.
gennari, benedetto il:
Joseph & Potiphar’s Wife, c1674 (Houghton Hall)
Holy Family (CAGBIr)
{2}gentileschi, artimesia:
Judith Beheading Holofernes, 1612 (Capodimonte). Here Judith’s grasp is weker than in the later version, & her face is not strined. It is journeyman work Dell p209.
Judith Beheading Holofernes, c1614-20 (Uffizi). It is a mistake to treat this picture as Artemesia’ revenge on Taso. She was a professional artist painting what her patrons demanded Dell pp 208-9.
Self-Portrait as ‘La Pittura’, 1638-9 (Royal Collection). She did not idealise herself. Painting is shown as hard work requiring concentration & involving disordered hair. Nevertheless Artimesia is fashionably & inappropriately dressed; with an allegorical role West pp 155-6
Decapitating Holfernes (Capodimonte)
Bathsheba Bathing (Capodinonte)
Death of Cleopatra (Capodimonte)
Judith (Pitti). [Having done the deed she is a worried & slightly dishevelled woman]
{2}gentileschi, orazio:
Judith with her Maid-Servant, c1611 (Wadsworth Atheneum). Masterpiece cultmination of Caravaggesque phase Grove12 p305
Stigmatization of S.Francis, c1615 (S. Silvestro in Capite, Rome). Caravaggesque masterpiece of Counter Reformation art Grove12 p305
Younger Woman Playing a Lute, c1616 (NG Arts)
V & Child (Corsini). [Glowing deep colours; tender face; nice childlike jesture by Christ.]
Judith (VatPic). [Focused on the worried faces of the women with only small spots of blood.]
{2}gerard, francois-pascal:
Mme Lecerf, 1794 (Louvre). Superb brushwork & control of tone TurnerDtoI
Belisarius, 1795 (Private). Soft/sentimental features V David’s simple & virile representation Friedlaender1930 p39
Isabey & His Daughter, 1795 (Louvre). Free & graceful but lacks David’s strength /directness Friedlaender1930 p40
Cupid & Psyche, 1798 (Louvre). Neo-classicism’s decline into coy eroticism Honour1968 p171; a foolish, staring Psyche Friedlaender1930 p39 [Yes, she looks empty, though remember she is not meant to be able to see him, but what wonderful emptiness!! Note the butterfly indicating her inconstancy. She has Canova-like marmorial flesh. It must anticipate Ingres.]
Madame Regnault de Saint-Jean-d’Angely, 1798 (Louvre). [A masterly painting of an interesting looking & slightly sad woman. Her see through top above her breasts is beautifully painted. Lovely harmonious colours.]
Mme Recamier, 1805 (Carnavalet). This is more feminine & sentimental than David’s portrait Friedlaender1930 p40
Corina at Cape Misenum, 1819 (Lyon). It is a classical treatment but with Greuzian elevated eyes & exaggerated jestures together with the romantic elements of passionate emotion & wild jestures TurnerDtoI. His colouring is a failure Friedlaender1930 p40
Marat (). Splendid Friedlaender1930 p41
gerard, marguerite:
Bad News (Louvre) R&J p73. [Smallish; meticulous paintwork; nicely painted mirror /reflection. Swooning woman paler than maid applying smelling salts; concerned dog.]
gerasimov, aleksandr:
The Slaughter, 1929 (Gerasimov M, Michurinsk). Unsentimental; the younf G watched/particiapatred in slaughtering Bown1991 p50
Lenin on the Tribune, 1929 (Central Lenin M, Moscow)
A Russian Communal Bath, 1938 (Private)
Stalin & Voroshilov in the Kremlin, 1938 (Tretyakov)
There is a Metro, 1949 (
Artists at a Meeting with Stalin & Voroshilov, 1938-51 (Private)
Generalissimo Stalin
{2}gerasimov, sergei:
A Collective Farm Festival, 1936-7
Winter, 1939 (Tretyakov)
The Mother of a Partisan, 1943 (Russian Museum). This was attacked at the Academy of Arts in 1949 for impressionism & Gerasimov repainted the picture making the heroine more conventionally handsome Bown1991 pp 215-6
{2}gericault:
Wounded Cuirassieer, 1814 (Louvre). Heroic defeat Kraske pp 53-4.
Severed Limbs, 1819. Not a traditional study: amputated arm carefully/gracefully arranged, dramatic lighting. Abolition of the traditional subject, as Delacroix recognised R&Z p46
Raft of the Medusa, 1819 (Louvre). Relection of G’s tormented lovelife?; twin triangle es of bodies & mast/rigging; subversion of heroic history painting R&J, pp 120-21. Ordinary people first given heroic scale; healthy starvlings! Honour1979 pp 40, 45; no hero R&Z p41; no doubt of political intention R&Z p41; complimented by LouisXVIII R&Zp43
Madwoman, 1822 (). This, & his other insanityworks, do not fit into traditional painting categories: too rough to be portraits, too monumental to be studies R&Z p44.
London lithographs R&J, p122
{2}gerome:
The Cockfight, 1846 (d’Orsay)
Michelangelo Showing a Student the Belvedere, Vienna) Torso, 1849 (DaheshMA, New York)
Prayer in the House of an Arnaut Chieftain, 1857 (Najd Collection)
Egyptian Recruits Crossing the Desert, 1857 (DaheshMA, New York)
Death of Caesar, 1859 (Walesters AG, Baltimore). Move from History Painting, in which hero central, to eyewitness report where focus switched form humans to inanimate objects, which become principal narrative agents) A&M pp 85-6; shift from static/studied Classical figures (as in Couture’s Romans of Decadence) to moving scene; senator seems to have slept R&J pp 266-7; not sleeping (eyes open/fist clenched) but angry/petrified A&M p71
Ave Caesar Morituri Te Salutant, 1859 (Yale University Art Gallery)
Dance of Almeh, 1863 (Art Institute, Dayton)
The Snake Charmer, c1870 (Sterling & Francine Clark Art Institute, Willimastown).
Pollice Verso, 1872 (PhoenixAM). Seemingly clas History Painting focused on compelling moment, but effect undermined by implicit visual field’s extension beyond borders with cropped view of Vestal Virgins (satirized by ferocious jestures/ineleganc& inebriation) & light bands (from slits roof slits); scene witnessed from arena floor, in impossible position from narrative point of view, viewer not part of crowd (as in Degas/Manet); Emperor unconcernedly eating = extension of temporal field (contrasting with Delacroix’s motionless one in Sardanaplus A&M pp 61-3
Eminense Grise, 1874 (Museum of Fine Arts, Boston) R&J pp 355-6
Chariot Race, 1876 (Art Institute)
The End of the Session, 1886 (Frankel Family Trust)
Moorish Bath, 1880s (Museum of Fine Arts, Boston). Black sevant enhancing mistress’ whiteness (cf Ingres, Manet’s Olympia); passivity of lovely white woman, contrasted with active & ugly black servant, suggesting preparing for sex; the light & dark female bodies are a traditional indication of lesbianism Nochlin1989 p49
The Christian Martyrs’ last Prayer, 1863-83 (WalestersAM, Balt)
Pigment Seller in North Africa, 1991 (Museum of Fine Arts, Boston). [This has extraordianry vivid colours & is pure Realist genre.]
Working in Marble, 1890 (DaheshMA, New York)
Guards at Door of a Tomb (NG Ireland)
The Gulf of Aqaba, c189 (NG Ireland) []
{2}gerson:
Lamentable Mission, 1866 (National Museum, Krakow)
Princess’s Dowry: Polish Prisoners Released from Lithuanian
Captivity, 1894 (National Museum, Warsaw)
Mountain Cemetery, 1894 (National Museum, Warsaw). This is among the foremost achievements of Polish Realism Grove12 p490
Rest after a Bathe, 1895 (National Museum, Warsaw)
{2}gerstl:
Self-Portrait, Seminude, against a Blue Background, 1901
The Sisters, c1907 (Belvedere)
(Leopold) Schroder p54. Christlike
Portrait of Arnold Schoenberg & Family (Belvedere)
Mathilde Schonberg, before summer 1907 (Belvedere). [She has an unhappy face & the colouring is a rather bilious combination of unpleasing off white frock & yellow-green background. Note the puzzling & disconcerting smudgy blue streak down her right side.]
Laughing Self-Portrait, 1908 (Belvedere) West pp 34-6
gertler:
The Apple Woman & her Husband, 1911 (National Gallery of Victoria, Melbourne)
The Fruit Sorters, 1914 (Leicester Museum & Art Gallery)
The Mother of Eve
The Merry-Go-Round, 1918 (Tate)
The Queen of Sheba, 1922 (Tate)
gheeraerts, marcus the younger
Ditchley Portrait of Elizabeth, attributed, c1592 (National Portrait Gallery)
Thomas Lee as a Hibernian Knight, attributed, 1594 (Tate)
Barbara , Lady Sidney, & Her Six Children, 1596 (Penshurst Place)
{2}ghirlandaio:
Last Supper, 1480 (Florence, Orgnissanti) Compares unfavourably with Leonardo’s Wolfflin1899 p25. Inferior to Sarto’s picture: S. John’s posture more agitalinated, crowd a confusion of heads, failure to emphasise S. John Wolfflin1899 pp 161, 3
Francesco Sassetti & His Son Teodoro, 1487? (the Met). The father heavily repainted 1001 p121
Old Man with a Young Boy, c1490 (Louvre, Paris) 1001
- John the Baptist Preaching (FlorenceChurch)
Birth of S. John the Baptist (Florence Church) Wolfflin1899 p276 Stratification, flattish seated woman
giambono:
Madonna & Child (Correr). [Giambono was onbviously interested in the way in which eyes were looking & seeing. She is looking out of corner of her eyes & Christ, who has a nicely painted bird in his hand, is squinting upwards. A harmonious & elegant painting with a tapestry background & with Mary’s shoulder having a wavering line. A picture that conveys the feeling that it was painted with love.]
- Chrisogno on Horseback, tempera (SS. Gervasio & Protasio, Venice). The softly modelled horse glow white against the dark green trees whose trunks catch the light. The golden sky conveys a glowing atmospheric effect. A picture of great beauty & atmosphere relected also in the nervousness of the Saint’s expression Steer p32
gianpetrino:
Abundance (GBorromeo? Milan)
Mary Magdalen, c1525 (Castle Sforzesco, Milan). [Creditable Leonardism with good sfumato treatment of skin & hair melting interestingly into background.]
gifford:
A Gorge in the Mountains, 1862 (the Met).
Isolla Bella in Lake Maggiore, 1871 (the Met).
gillot:
The Two Coaches, c1707 (Louvre)
gillray:
?The London Corresponding Society Alarm’death, 1798, etching & aquatint (V&A)
gilman:
The Kitchen, c1908 (National Museum of Wales)
The Eating House, c1914 (Sheffield City Art Galleries)
{2}ginner:
The Circus, 1912 (Leeds City Art Gallery)
Leeds Canal, 1914 (Leeds City Art Gallery)
Emergency Water Storage Tank, 1941-2 (Tate)
{2}giordano:
Deposition, c1657 (Accademia). This anticipates Venetian Rococo but looks back to Titian & Veronesse. It is a fine example of his early style, more passionate than most later works. It had an immediate influence in Venice Waterhouse1962 pp 192-3
Rubens Painting the Allegory of Peace, c1660 (Museo del Prado, Madrid) 1001 p269
Presentation in theTemple, 1675 (S. Maria della Salute, Venice). Profoundly influential in Venice Waterhouse1962 p196
Christ Chasing the Merchants from the Temple, 1684 (Gerolomini, Naples)
The Conversion of St Paul (Wilton House)
{2}giorgione. [Debatable works have only been included where bulk of modern authorities attribute picture to him, except for problematic Concert Champetre.]
Trial of Moses, c1496-99 (Uffizi). Widespread agreement that at least partly by Giorgione because of innovative landscape RA Giorgione p16; stylistic inconsistencies/difficult to assign to single artist Grove12 p673. [non-innovatory figures, static & linear especially black woman; partly by Giorgione?]
Portrait of a Younger Man (Giustiniani Portrait), c 1497-9, (StatM, Berlin). With few exceptions attributed to Giorgione by modern scholars RAGiorgione p41, Grove12 p671
Madonna &Chrrist with St Francis, (Castletlefranco Altarpiece), tempera, c1500, c1500 (CastletlefrncoChurch). Unanimously accepted by modern scholars as Giorgione’s work & it is listed in Ridolfi’s 1648 biography. Note the light play on the Virgin’s flesh which contrasts with impasto the blobs of gold brocade & the matt green dress. However the figures are old fashioned figures & the composition is assembled from discrete units Grove12 pp 671, 673. The Madonna’s elevantion on her altar-throne is improbable together with the landscape setting & the posture, gesture & expression of the figures bespeak withdrawl, as if preoccupied with a remembered dream Freedberg p79
Boy with an Arrow, c1500 (Kunsthistorisches). By Giorgione according to Michiel RAGiorgione p27. Lionardo-like sfumato Grove12 p673
Holy Family (NG Art). Reasonably attributable to Giorgione Grove12 p673
Adoration of the Magi (NG). Reasonably attributable to Giorgione Grove12 p673
Three Ages of Man, c1500 (Pitti). Following enhancing cleaning, its attribution is now agreed; Leonardo-like Grove12 pp 671, 673
Portrait of an Archer, c1501 (NG Scotland). Many scholars now attribute to G, but continuing doubt RAGiorgione p7
Vurgin & christ in a Landscape, c1500-5 (Hermitage). Attribution to Giorgione widely accepted since 1955 (or before) RAGiorgione p105
Il Tramonto, c1502-5 . Authoratively attributed to Giorgione, & with a reduction in the argument over its authorship. St George was inserted in 1934 to cover damaged area RAGiorgione p83
Portrait of a Man (Terris Portrait), (Museum ofArt, San Diego). Attributed to Giorgione on the back, probably by its commissioner. Now authoratively attributed to Giorgione & argument over its authorship has ceased RAGiorgione pp 48-9. Giorgione has exploited the suggestive qualities of oil paint to evoke the play of light on forms, especially in the impasto streaks describing his untidy bunches of hair Grove12 p672. No contemporary Vienetian portrait has its emotional intensity & there had ben nothing comparable since Messina’s 1478 work RAGiorgione p48
Portrait of a Young Man & His Servant (Museo Nazionale del Pallazzo di Venizia, Rome). Attribution to Giorgione is increasingly widespread, though not universal RAGiorgione p43
Tempesta, c1504-8 (Accademia). By Giorgione according to Michiel RAGiorgione p8. The soldier & gipsey girl are traditional familiars of Fortune with storm alluding to its vicissitude Lucie-S1972 p15. The absence of literary subject is shown by the radical alteration of its design & the elimination of nude figure. Italians mysterious tension is due to sides that seem to slope away from each other & the intervening storm, with the bridge providing precarious unity. The male figure provides complementary psychological tension. It should be compared with Lotto’s Allegory, 1505, to appreciate Giorgione’s distictiveness Steer pp 85-7. Recent interpretations of its allegorical meaning assign it to 1509 or after. Whether it is earlyish or late is important because if it is early the way is open for a late style that could include the Concert Champetre & the Prado’s Virgin & Saints Grove12 pp 673-4
Three Philosopers, c1504-8 (Kunsthistorisches). Michiel says it was begun by Giorgione but finished Titian RAGiorgione p27
Laura, 1506 (Kunsthistorisches). Painted by Giorgio from Castletlefranco appears on its back Hale p94. This is possibly the first Venetian portrait of an anonymous seductive woman & she could be one of the city’s courtesan-poetesses Hale p94, Pope-H p218. The paintwork is severely abraded & the bottom has been cut off. It has delicately free paint handling & warm colourism together with selective highlights of thin imasto ribbons & points. The flesh is modelled through broken touches which tend to dissolve linear boundaries & provide radiance of light Grove12 pp 671-2
Virgin & Child (Tallard Madonna), c1500-5 (Ashmolean). Since its 1949 acquistion by the Ashmolean most scholars have agreed with its attribution to Giorgione RAGiorgione p107
Warrior, c1506-8 (Kunsthistorisches). By Giorgione according to Michiel RAGiorgione p28
Christ Carrying the Cross, 1508-9 (Scuola Grande S. Rocco, Venice). Michiel attributes this to Giorgione but it is ambiguous whether he was referering to the original or a copy. It is severely abraded Grove12 pp 670-1
La Vecchia, c1508-10 (Accademia). Widely attributed to G, though there are dissenting voices RAGiorgione p137; perhaps influenced by Durer & increasing Venice awareness of Central Italy art Grove12 p674
Sleeping Venus, 1509-10 (Gemaldegalerie, Dresden). Michiel says a nude sleeping in landscape with cherubs was painted by Giorgione, though landscape & cherubs were finished by Titian RAGiorgione p25. However, it has been stated that according to (unspecified) scholars & restorers shows the picture was probably wholly by Titian Hale p97. She has a perfectly satisfying pose & the greatest painters of the Nude were to produce variations over four centuries. The picture itself was almost unknown but image popularised through Titian’s Venus of Urbino & Venus del Prado. Giorgione’s Venus is celestial: she is sleeping without a thought of nakedness & Gothic virginity of sharp pointed triangle between breasts & neck’s base. She contrasts with Titian’s Venus of Urbino, which is the earthly Venus Naturalis Clark1956 pp 115-6. Giorgione’s Venus does not denote the act of love, indicated by placing of her left hand, but its recollection in dream Freedberg pp 85, 476. We have here a new association between the purity of the Classical nude & the beneficent beauty of calm landscape Steer p89
Judith (Hermitage). Now almost universally attributed to Giorgione Grove12 p671
Concert Champetre c1510-11 or later (Louvre). The women may be nymphs & thus invisible to the men Hale p97. Until the late 19th century it was almost always attributed to Giorgione but was then increasingly credited to Titian (though not by Clark). There ia an absence of any compelling resembalance to Titian’s early works & difficulty of fitting it (& The Virgin & Child with Two Saints) into a coherent sequence of his early works NGTitian p14, Clark1956 pp 116, 121. The majority of present day authorities probably favour Titian; but Giorgione is the more reasonable choice because its pervasively poetic mood is foreign to the more extrovert Titian Grove12 p674. [The absence of obvious literary subject favours Giorgione because Titian’s early non-religious pictures draw on Ovid, whereas there is a well-known inconographic ambiguity about Giorgione’s works] Kaminski pp 8-10. [It is also relevant that] Titian’s early works do not display great confidence with figures Hale p16. This picture is, according to Stella Newton, the greatest erotic masterpiece in Western painting & is the subject of Rossetti sonnet concerning a blisfull, transien & sad moment Hale p97
{2}giotto:
Crucifix, c1300 (S. Maria Novella, Florence)
Frescoes in the Arena Chapel (Padua)
Noli Me Tangere, 1304-06 (Capella delgi Scrovegni, Padua)
Presentation of the Virgin at the Temple, 1304-06 (Capella degli Scovegni (Arena Chapel), Padua, Italy) 1001
The Betrayal of Christ, 1304-6 (Capella degli Scrovegni, Padua, Italy) 1001
The Meeting at the Golden Gate, 1304-06 (Capella degli Scrovegni, Padua, Italy) 1001
Frescoes in the Bardi & Peruzzi chapels, 1320s, (S. Groce, Florence). Their condition is uneven but those featuring St Francis are deeply impressive OxDicArt
Life of S. Francis Frescoes, before 1307 (Upper Church, San Francesco, Assisi). Vasari credited all 28 paintings to Giotto but in 1912 Friedrich Rintelen said that stylistically they were very different form those in the Arena chapel with the compositions less unified & the landscape & architectural detail more precise. Moreover some of the Assisi scenes contain lead white which Giotto does not appear to have used. However, in a panel inscribed Giotto on the frame three of the Assisi paintings are reproduced. This panel has been attributed to assistants but it has been argued that Giotto would not have taken credit for a copy of original work by another painter Eimerl pp 88, 95, 106-7. Compromise proposals (Gnudi & Previtali) are that scenes II-VI or VII are wholly by Giotto, VIII-XI or XII partly his work, & XIII-XIX only inspired by Giotto. There is wide acceptance that the later scenes are not by Giotto The frescoes that appear to be wholly by Giotto are as follows:
II St Francis Giving His Mantle to a Poor Man
III Dream of the Palace
IV Miracle of the Crucifix
V Rennunciation of Worldly Goods
VI Dream of Innocent III
In addition the inscribed panel contains reproductions of the following:
XII Stigmatisation of St Francis
XV Sermon of the Birds
The inscribed panel also reproduces VI Dream of Innocent III
Orginissanti Madonna, c1405-10 (Uffizi). This work of grandeur & humanity is universally accepted as a Giotto OxDicArt. Compared with the nearby Madonnas by Duccio & Cimabue, it is less stylised &, though less dramatic, conveys more sense of space & volume L&L [Giotto’s faces are more individualised, Cimabue’s Madonna is far more decorative, & Giotto’s Madonna’s is the least downcast . She is more or less looking at the viewer.]
St. Francis Receiving the Stigmata, 1297-99 (Basillica di San Francesco, Assisi, Italy) 1001
giovanni, Berto di:
- John the Evangelist in Patmos, c 1518 (NG Umbria). [Very rich colours; Durerlike]
{2}girodet:
Sleep of Endymion, 1793 (Louvre). In many ways this is his most successful work TurnerDtoI p204. There are traces of David’s form but an absence of his seriousness Honour1968 p186. By indicating Diana as a moonbeam he challenged Neo-Classicim’s imitative nature. Girodet stressed how little the painting resembled David, together with his own unique, poetic vision. Endymion’s elongated body exudes eroticism. The moonlight & sfumato show the influence of Leonarodo & Corregio TurnerDtoI p204
Jean-Baptist Belley, 1797 (Versailles). This is the outstanding portrait of the Revolutionary period TurnerDtoI p205
Mlle Lange as Danae, c1799 (Minneapolis Institute of Art). After falling out with the sitter, Girodet replaced the original with a scurrilous satire. This ruined her acting career & disgraced Girodet. The picture uses an exaggerated Mannerism derived from Bronzino TurnerDtoI p206.
Osian Receiving the Generals of the Republic, 1802 (Malmaison). Although Girodet thought it his masterpiece it was greeted with incredulity with David seeing it as evidence of insanity. It is a complete break with Neo-classicism TurnerDtoI p207. The Homeric Ossian has been reduced to supernatural mystery with Baroque painterliness Honour1968 pp 65, 186-7.
Burial of Atala, 1808 (Louvre). This was a success. It was inspired by a novel by Chateaubriand & is a key work in the Catholic Revival TurnerDtoI p207
girtin:
White House, 1800 (Tate). Poetic Honour1979 p67
glackens:
Wahington Square, 1910 (New Britain Museum of American Art?)
Girl with Apple, 1909-10 (Brooklyn Museum)
Skating Rink New York City (Museum of Art, Philadelphia)
Chez Mouquin (Art Institute)
@gleyre:
Evening/Lost Illusions, 1843 (Louvre). This was a Salon sensation. It appealed to both academic & romantic tastes with its finish, classicism, traditional composition together with its sombre allegory of the human condition TurnerDtoIp209
Pentheus, 1864 (Kstmus, Bas). This is dynamic with strong diagonal movement, dramatic lighting, & animated figures TurnerDtoI p210
Return of the Prodigal Son, 1873 (Palais de Rumine, Lausanne). This is his last completed picture. It is tender & poetic with a welcoming mother but with enlivening gestures & exotic details TurnerDtoI p210
godward:
On the Balcony, 1898 (Manchester Art Gallery). [This shows women who are doing very little.]
Contemplation (the Mirror), 1899 (Private?)
Expectation, 1900 (Manchester Art Gallery). [Another picture with inactive women, though here they are doing nothing.]
{2}goltzius:
Jupiter & Antiope, 1612 (Frans Halsmuseum?). This is perhaps his most lascivious painting MB p66
Venus & Adonis, 1614 (Alte Pinkothek)
Juno Receiving the Eyes of Argus, 1615 (Museum Boymans-van-Beuningen, Rotterdam)
{2}goodall, frederick:
An Episode in the Happier Days of Charles 1, c1853 (Bury Art Museum & Sculpture Centre). Gambart bought version M&M p49
A Letter From Papa, 1855 (Tunbridge Wells Museum)
Early Morning in the Wilderness of Shur (Guildhall Art Gallery). First big Oriental work at RA, 1860 ThompsonJ p92
Evening Prayers in the Desert, watercolour (NG Ireland). Romanticism but respectful image ThompsonJ p92
The New Light in the Hareem, 1884 (Walker)
Puritan & Cavalier, 1886 (Walker). Apparent parody of such paintings M&M p50
gore:
Harold Gilman’s House, Letchworth, c1912 (Museum & Art Gallery, Leicester). This is one of a series of landscapes that of startling colour & emphatic geometry that Gore painted. The picture was painted in the hot, late summer of 1912 & the house was new & raw Shone1977 Pl 31
Stage Sunrise at the Alhambra, 1910 (Private)
Gaugins and Connoisseurs at Stratford Galery, 1911-2 (Private). Here the high viewpoint helps spread the interest of the scene across the entire canvas Spalding1986 p41
{2}gorky:
Artist & His Mother, c1926-36 (Whitney Museum of American Art)
Garden of Sochi, c1943 (MoMA)
Liver in the Cock’s Comb, 1944 (Albright-Knox Art Gallery, Buffalo)
Water of the Flowery Mill, (the Met). [A certain delight.]
gossart:
Adam & Eve, (Hampton Court)
Neptune & Amphrite (Berlin)
gower:
Sir Thomas Kitson & Lady Kitson (Tate)
Self Portrait, 1579 (Milton Park)
goya :
The Death of the Picador, 1793 (Private). Hughes2003 p134
The Shipwreck, 1793-4 (Private). Hughes2003 p135
Charles IV on Horseback (Prado) R&J, p52
Family of Charles IV (Prado) R&J, pp 52-54
The Junta of the Phillipines (Castletres) R&J p116
Saturn devouring his Son (Prado) R&J p117
Queen Maria Luisa (Capodimonte) Levey 1966 pp 209, 212
Third of May, 1814 (Prado) Nochlin 1971 pp 31-2
Scenes from the Spanish Civil War (StadtKunst, Frankfurt)
{2}gozzoli:
Journey of the Magi to Bethlehem, c.1460 (Chapel ofthe Palazzo Medici-Riccardi, Florence)
Herod’s Banquet, 1461 (NG Arts). [This is an early painting of Salome.]
Madonna & Child with Saints, 1461 (NG)
Life of S. Francis, fresco, mid 15th century (Montefalco San Francesco)
Life of S. Gerome fresco, mid 15th century (Montefalco San Francesco)
Madonna between Saints, fresco, mid 15th century (Montefalco San Francesco)
Madonna between S. Francis & S. Bernard, fresco(Montefalco, S. Fortunato)
- Fortunatus, fresco (Montefalco, S. Fortunato)
{2}grabar:
September Snow, 1903 (Tretyakov)
The Spring Current, 1904 (Russian Museum)
February Sky Blue, 1904 (Tretyakov)
Delphinium, 1908 (Russian Museum)
By the Lake, 1926 (Russian Museum). [This is an an animated painting due to the puffy clouds, light & dark foliage, & varied tree trunks.]
The Weather Clears, 1928 (Russian Museum)
Lenin at the Telegraph, 1933 (Central Lenin Museum, Moscow). Sleeping telegraph boy shows Lenin’s round-the-clock industry Bown1991 pp 96-7
@gran:
Fresco (dome at the Palais Schwarzenberg, Vienna)
Apotheosis of the Emperor Charles VI & the Humanities, 1726-30 (dome of the National Libray/Hofbibliothek, Vienna). This is his greatest work)
Fresco or Altarpiece (Minoritenkirche, Vienna)
Fresco or Altarpiece (Chapel, Schonbrunn, Vienna)
granges:
The Family of Sir Richard Saltonstall, 1637 or 39 (Tate). Masterpiece; gay salmon/silver colour; tender/domestic interpretation Waterhouse1953 p123
graham:
Marya, 1944 ()
{2}granet:
Vue Interierure du Colisee a Rome, 1804 (Louvre). [Striking contra jour; strong chirascuro. Figures not artificial. Time standing still.]
Crypt of S. Martino del Monti, Rome, 1806 (Montpellier). Church=peacefulness Honour1979 p161
Montaigne Visiting Tassa in Private, 1820 (Montpellier).
A View of a Garden, Seen From Within a Roman Vault, 1802-24 (Ashmolean). Imprissoned light Honour1979 pp264-5
grant, duncan:
James Strachey, 1910 (Tate). This & The Tub illustrate Grant’s switch form elegant tonal painting to crude hatching & the denial of space, through the unbroken black line around the nude & the mirror, following the second Post-Impressionist exhibition Spalding1986 pp39-40
The Tub, 1912 (Tate)
grant, sir francis:
- M. Staghounds on Ascot Heath, 1837
Queen Victoria Riding Out with Lord Melbourne, 1839-40 (Royal Collection)
Master James Keith Fraser on His Pony, 1845
{2}greaves:
Sheffield, 1953 (SheffieldCAG)
Venice in the Rain, 1953 (Graves)
Domes of Venice, 1953-4 (Tate)
Children on Steps, 1956 (Leeds Art Gallery)
greenhill:
First Mrs Cartwright, c1665 (DulwichC).
Naval Officer (Greenwich).
gregory, edward john:
Boulter’s Lock, Sunday Afternoon, c1886 (Lady Lever Art Gallery, Port Sunlight)
gritsai:
A Stormy Day in Zhiguli, 1948-50 (Tretyakov)
grekov:
The Machine-Gun Carriage: Driving Out into Position, 1933 (Central M of the Soviet Army, Moscow)
{2}greuze:
Village Betrothal, 1761 (Louvre). Genre scene given history painting treatment; like a stage set; reflects his friend Diderot’s concept of serious/emotional drama about ordinary people Ashton pp 105-7. Bride’s father giving dowry to son-in-law; celebration of family/marriage; symbolic hen & brood; sombre hues & a disciplined composition Rosenblum1967 pp 51-2 [Stiff & laboured eg child bottom left, young man above. Not sufficiently focused; dull colouring.]
Inconsolable Widow, 1763 (Wallace). Prototyp&extreme grieving widow with Fido Rosenblum1967 p49
Girl Pining over a Dead Bird, c1765 (NG Scotland). Fancy picture with an erotic undertone L&L.
Broken Jug (Louvre). Another fancy picture with an erotic undertone L&L. Sentimental Ashton p107
Girl with Broken Mirror (Wallace). Yet another fancy picture with erotic undertone L&L.
Severus & Caracalla, 1769 (Louvre). This is modelled on Pousin’s Death of Germanicus L&L. Severus is reproving his son for having tried to assassinate him with the evil son contrasted with a noble father. This is a Poussin inspired deathbed scene Rosenblum1967 p55. [It is a creditable picture. It has fewer figures & hence not so melodramatic as The Punished Son. The empty grey top half gives the picture a dour feeling.]
La Malediction Paternelle. Le Fils Ingrat, 1777 (Louvre). [This is superior to the Village Betrothal because it is not so stiff & more focused.]
Punished Son, 1778 (Louvre). Neo-Classical & Pousin inspired deathbed scene in modern dress. The evil son is contrasted with his noble father Rosenblum1967 pp 37-8, 55. [More melodrama, stiff.]
L’Oiseau Mort, 1800 (Louvre). Fancy picture. Very young to have lost her viginity.
Edouard Bertin, 1801 (Louvre). [Childlike diffidence well caught. Open brushwork.]
Portrait of the Artist (Louvre). [Shows he could, like Fragonard, paint in a free manner. Hauteur, disdain for his patrons.]
Madame de Porcin (Musee des Beaux-Arts, Angers). She is just a pretty woman painted with great delicacy & softness of touch Wakefield p131
{2}grien:
Three Ages of Women, c1510 (Kunsthistorisches)
Death & the Maiden, 1517 (Basle)
Venus (Otterlo), 1525
Allegories of Music & Prudence, 1529 (Alte Pinakothek, Munich) 1001
Judith (Nuremberg)
Eve (Budapest)
Wild Horses, watercolour, 1534. Mating stags Turner
Ages of Woman & Death, c1542 (Prado)
Seven Ages of Woman, 1544 (Leipsig)
Mercennary Love (Walker)
T{5}grunewald:
Altarpiece with Fourteen Auxiliary & Man of Sorrows, 1503 (Lindenhardt parish church, near Bayreuth)
Mocking of Christ, c1503 (Alte Pinakothek, Munich). The way in which the two tormentors dominate one diagonal is a Gothic feature. Never had the mocking of the blindfold victim been painted more impressively in Germany O&V p91
Crucifixion, c1505-8 (Kunstmuseum Basle). [Although small, this is a hugely powerful work because of the stark contrast between the inky sky & the whitish body, the way in which it is marked, the stretched arms, what appears to be the sweating of blood, & the sinister green of the middle distance.] The miraculous darkness at noon, which is also a feature of the Isenheim Altarpiece, was rarely depicted B&Z p163
St Lawrence & St Cyriacus panel wings from the Heller Altarpiece, c1511 (Stadelsches Kunstinstitut, Frankfurt am Main)
St Elizabeth & St Lucy panel wings from the Heller Altarpiece, c1511 (Staatliche Kunsthalle, Karlsruhe)
Small Crucifixion, c1510-12 (NG Art)
The Isenheim Altarpiece completed 1515-6 (Musee d’Unterlinden, Colmar). Despite the initial shock, the crucifixion is not an image of horror. Revulsion gives way to realisation of tragedy & then to recognition of profound & noble serenity. The work was painted for a monastery that ministered to those with leprosy & venereal disease. One of the panels shows the supreme joy of the Resurrection Canaday pp 29-31
Virgin & Child from the Virgin of the Snow Altarpiece? c1519 (Stuppach parish church, near Wurzburg)
Miracle of the Snow from the Virgin of the Snow altarpiece? c1519 (Freiburg im Breisgau, Augustinmus)
Meeting of SS Erasmus & Maurice, c1520-5 (Alte Pinakothek, Munich).
Lamentation, c1525 (SS Peter & Alexander, Aschaffenberg)
Crucifixion (Staatliche Kunsthalle, Karlsruhe). This & the following painting are typical of his late work & dark colours Grove13 p723
Christ Carrying the Cross (Staatliche Kunsthalle, Karlsruhe)
{2}grigoriev:
Land of Peasants, 1917 (Russian Museum). [This is a very effective critique of the old ways.]
Old Peasant Woman, 1917 (Tretyakov). [It is an effective critique of the old system.]
{2}grimshaw:
Nabis Scar, 1864 (Paris). From photo Broomfield pp 9, 24
Whitby Harbour by Moonlight, 1867 (Paris). First known moonlight scene, but still crisply Pre-Raphaelite Broomfieldpp 12, 34
Autumn’s Glory: The Old Mill, 1869 (Leeds Art Gallery). Shows Inchbold’s Influence Broomfield p6
gris:
Guided by Need, 1908 () Antliff/Leighton pp 42-3
{2}gros:
Plague at Jaffa, 1804 (Louvre). Commissioned by Napoleon; heroism of latter’s small set face , but surrounding hell dominating effect, including officer blinded by opthalmia & somberly reddening corpses; a great new vision brought into art Lindsay p117
Napoleon on the Battlefield of Eylau, 1808 (Louvre). The pacific/humanitarian Napoleon & the horroros of war; a propaganda commission suitably rewarded Honour1979 pp 36-7
Portrait of Luigi Labache (La Scala Museum, Milan). [Dark green background from which she emerges; relieving red dress; extraordinarily gentle smile somehow accentuated by the falling away fur collar; living flesh tones.]
grosz:
At Five in the Morning, 1921 (Published) Lynton p140
Pillars of Society, 1926 (B?) Lynton p157
{2}guardi, giovanni:
Tobias & the Angel, fresco (Church of Angelo Raffaele) Levey 1966 p113
{2}guardi, francesco:
Saints Peter & Paul, 1770s (Roncegno parish church) Levey 1966 pp 114-5
FIre at S. Marcuola, 1789 (Correr) Steer p206
View of the Lagoon (Museo di Castletelvecchio, Verona) Steer p207
View of the Giudecca Canal & Zettere, Venice, (Frick). [The bright sky when combined with the green-blue of canal produces a slight sadness. There is unCanaletto-like focus on the central church.]
Venice: the Doge’s Palace & the Molo from the basin of S. Marco (NG)
{2}gude:
A Mill Dam, 1850 (NG, Oslo).
Norwegian Mountain Landscape, c1860 (Kunstmuseum, Dusseldorf)
Funeral Procession on Sognefjord, 1866 (Goteborgs Konstmuseum)
guercino:
Raising of Lazarus, c1619 (Louvre) 1001
Return of the Prodigal Son, c1619 (Kunsthistorisches Museum, Vienna) 1001
{2}guerin:
Return of Marcus Sextus, 1799 (Louvre). Sextus returns from banishment to find his wife dead & his daughter despairing. This was an anti-revolutionary sensation Rosenblum1967 p90
Phedra & Hippolytus, 1802
Andromanche, 1810
Aneas Recounting to Dido the Troubles of Troy, 1817
guido da siena:
Madonna & Child, inscribed 1221 but wildly improbable (Palazzo Pubblico, Siena). Though Byzantine the figures have more natural postures & the the throne is set deeper & more realistically OxDicArt
Reliquary Shutters, c1257
{2}gunn:
James Pryde, 1924 (City of Edinburgh Art Centre)
Pauline Waiting, 1939 (RA). She was his sencoNd wife E&L p90
Pauline in a Yellow Dress, 1944 (Preston Art Gallery). This caused a sensation at the RA E&L p90
{2}guston:
Painting, 1954 (MoMA)
The Studio, 1969 (Private)
Painting, Smoking, Eating, 1973 (Stedelijk Museum, Amsterdam). Almost unbearable; squalid studio of artist unable to create; time moving slowly; paranoia reigns Hughes1997 p586
Pit, 1976 (NG Artusy). Mass grave full of pathetic boots; TV showing fire falling on red sea; more fires rising from stony horizon Hughes1997 pp 586-7
The Street, 1977 (the Met). Looks like fight between New York gangs but reference to friezes on Rome sarcophagi & shod hooves in Uccello’s Rout of S. Romano Hughes1991 p398
R {2}guthrie:
Funeral service in the Highlands, 1882 (AG&M, Glasgow)
To Pastures New (Aberdeen Art Gallery)
Academy Hind’s Daughter, 1883 (NG Scotland)
To Pastures New (Aberdeen Art Gallery)
Schoolmates, 1884-5 (Musee des Beaux-Arts, Ghent). Classic but innovative naturalism with cool/grey light of France plein air replaced by warm sunlight/soft shadows Bullcliffe p120
The revolution Dr Andrew Gardiner, 1885 (NG Scotland)
Pastoral, 1887-8 (NG Scotland)
Midsummer, 1892 (Royal Scottish Academy). Height of G’s Impressionism inspired by his work in pastels McConkey1989 p96
guttuso:
Flight From Mount Etna, 1940 (Galleria Nazionale d’Arte Moderna, Rome
Crucifiction, 1941 (Galeria d’Arte Moderna, Rome)
guy:
hackaert, jan:
Lake Trasimen & Zurich (Rijksmuseum)
hackert:
Lake of Venus In the Berlin Zoological Garden, 1761 (Nationalmuseum, Stockholm)
Harvest Festival, tempera 1782 (Palazzo Reale, Casetta)
Summer & Winter (Germanisches Nationalmuseum, Nuremberg). These & Autumn are perhaps his finest Neapolitan works Grove14 p17
Largo d’Averno, gouache 1794 (Bayerische Staatsgemaldesammlungen, Munich)
Autumn (Wallraf-Richartz Museum, Cologne)
hall:
Home From the Fields, 1886 (Private). For a black & white image see F&G p158
In the Kitchen Garden/The Cottage Field, 1887 (Private) For a colour image see Wood1988 p13
The Result of High Living, 1892 (Wereabouts unknown). For a black & white image see F&G p30
The Drinking Pool, c1898 (Bradford Art Galleries & Museums)
P halliday:
The Contest Betweem Athena & Poseidon (Atheneum Club, Liverpool)
The Story of Marsyas (Atheneum Club, Liverpool)
Athena & Arachne (Atheneum Club, Liverpool)
dirck hals:
Young Woman Tearing up a Letter/Love Rejected, 1631 (Mittelrheinisches Landesmuseum, Mainz)
The Garden Party, 1627 (Rijksmuseum). Note the symbolic monkey Haak p235
P frans hals:
Isaac Massa & His Wife, c1621 (Rijksmuseum). Husband clearly predominant spreading himself, leaning backwards conscious of his power; wife leaning on him & symbolised by ivy twining round tree; [however] wife described as coquettish with almost independent look; Contrast with Van der Helst’s later marriage portrait of Abraham del Court & His Wife, absence of Massa’s resolute pose Fuchs pp 90-1
Fuchs pp 90-1
Malle Babbe, 1633 (Gemaldegalerie)
Women Guardians of the Old Men’s Almshouses, 1664 (Frans Halls Museum, Haarlem). One of last pictures painted in almshouse where he lived Wilenski p77
Men Guardians of the Old Men’s Almshouses (HaarlemG). One of last pictures painted in almshouse where he lived Wilenski p77
[needs revision]
gawen hamilton:
Artists’ Club in London, 1735 (National Portrait Gallery)
RP gavin hamilton:
Dawkins & Wood Discovering the Ruins of Palmyra, 1758. Manifesto picture of England neoClas with discoverers nobly gesticulating; forms larg&simplified & mostly isolated in silhouette BurkeJ p241
Andromache Bewailling Death of Hector, 1761 (NG Scotland). Archetypal deathbed surrounded by mourners with strong horizontality following Pousin Rosenblum1967 pp 28-30
Brutus Swearing to Avenge Lucretia’s Death, 1763 (London). Neo-Classical absence of sexual overtones with Brutus & Collatinus vowing vengeance Honour1968 p147
Achilles Lamenting the Death of Patrocolus, 1763 (NG Scotland)
frederick daniel hardy:
The Young Photographers, 1862 (Tunbridge Wells Museum)
Posting a Letter,1879 (Private). Reproduced in Wood1999 p312
A Family Group, 1890 (Private). Reproduced in Reynolds1987 p51
P hartley:
Berlin Ante-War, 1914 (Columbus Museum of Art, Ohio)
A German Officer, 1914 (Whitney Museum of Anerican Art). The military symbols refer to Hartley’s friend Karl von Freyburg whose initials are to be found on the lower left while the 24 refers to his age Doss p67
Painting No 5, 1914-5 (Whitney Museum of American Art).
Painting No 50, 1914-15 (Terra Foundation for American Art)
Northern Seascape, Off the Banks, 1936-7 (Milwaukee Art Museum)
hartung:
T 1935-1, 1935 (Centre Pompidou). Anticipates Art Informel TurnerEtoPM p53.
P hassam, fredereick childe;
Celia Thaxter’s Garden, Isle of Shoals, Maine, 1890 (the Met)
Rainy Day, Columbus Avenue, Boston, 1885 (Toledo Museum of Art)
At Dusk (Boston Common at Twilight), 1885-6 (Museum of Fine Arts, Boston)
Sunset at Sea, 1911 (Rose Art Museum, Brandeis University, Waltham, Mass)
Tanagra,1918 (Smithsonian American Art Museum)
P haydon:
The Murder of Denatus (Mulgrave Castle, Yorkshire). He saw the commission as an opportunity to shift British painting over to Histories L&L
Punch or May Day, 1829 (Tate)
Mock Election, 1829 (Kensington Palace)
P heapy:
Robbing a Market Girl, watercolour, 1807 (Yale Center for British Art)
Credulity, watercolour, 1808 (V&A)
Inattention, watercolour, 1808 (Yale Center for British Art)
Return from the Baker’s, watercolour, 1808 (Private)
The Fish Market, 1809 (Private). Originally brilliantly colourd but now faded; unclear whether bourgeois woman protesting at excessive price being asked or at Hasting’s low prices but a crafty man handing a letter /whispering to her attendant & a squabble over fish in the background, causing amusement to onlookers Solkin2008 pp 55; contrast with Cristall’s Fish Market, Hastings where modern life has not yet broken traditional patterns Solkin2008 pp 60-1
The Family Doctress, watercolour, 1809 (V&A)
hebert:
Malaria, c1850 (Musee Conde, Chantilly)
P heckel:
Brickworks, 1907 (Campione) Dube pp 56-7, 61
Nude on a Sofa, 1909 (Munich) Dube p56
Woodland Pond, 1910 (Munich) Dube p57
Glassy Day, 1913 (Munich) Dube p61
heda:
Vanitas Still Life, 1621 (Museum Bredius, The Hague)
Still Life with Oysters, Rumme, & Silver Tazza, 1634 (Museum-van Beuningen, Rotterdam)
Still Life with Silver Vessels, 1638 (Kunsthalle,Hamburg)
P heinrich:
Foreground Study, c1819 (Gemaldegalerie)
joseph heintz the elder:
Death of S. Francis, c1599 (S.Francis Chapel, Gesu)
- Francis Preaching to the Birds, c1599 (S. Francis Chapel, Gesu)
Satyrs & Nymphs, 1599 (Alte Pinakothek)
St Martin & the Beggar, 1600 (St Anna, Augsburg)
Rape of Proserpina, c1600 (Gemaldegalerie Alte Meister, Dresden)
Pieta with Angels, 1607 (St Michael, Augusburg)
joseph heintz the younger:
Piazza S Marco, after 1640 (Galeria Doria-Pamphili, Rome)
Adoration of the Magi & Sacra Conversazione, around 1669 & 1669 (S Andrea, Breguzzo)
Vanitas (Brera)
Allegory of Venice (Kunsthistorisches).
helleu:
Madame Helleu, c1905
hemy, T M:
Armstrong Works, Elswick (Cragside, National Trust). [Grim industrial scene in depressing colours; unromantic naturalism.]
P hendriks:
Interior with a Sleeping Man & a Woman Mending Stockings (Frans Hals Museum, Haarlem)
henner:
Idyll, or the Fountain, 1873 (Louvre)
henri:
The Art Student, 1906 (Milanwaukee Art Museum)
Dutch Joe, 1910 (Milanwaukee Art Mueeum)
Willie Gee (Newark Museum)
P henry:
The Girl in White, 1886, watercolour (GlasAG). Move towards enclosed/claustrophobic woodland scenes Bullcliffe pp 196, 236-7
Autumn, 1888 (GlasAG)
Spring, c1888 (Paisley Museum & Art Gallery)
A Galloway Landscape, 1889 (GlasAG). Closest any Scotland 19th century painter came to Post-Impressionism Pont Avenism, though direct influence unlikely; picture antithesis of naturalistic landscape with rejection of careful values/ perspective, profiling of trees/cattle against hill, symbolic use of colour, heavy use of palette knife, not square brush Bullcliffe p244
P henry & hornel:
The Druids Bringing in the Mistletoe, 1890 (GlasAG&M)
herkomer:
On Strike, 1891 (RA)
gustavus hesselius:
Bachanalian Revel. early (Museum of Art, Philadelphia)
Bacchus & Ariadne, early (Detroit Institute of Arts)
Tishcobhan, 1735 (Historical Society of Pensylvania. Philadelphia)
Lapowinsa, 1735 (Historical Society of Pensylvania. Philadelphia)
Self-Portrait, c1740 (Historical Society of Pensylvania. Philadelphia)
Lydia Hesselius, c1740 (Historical Society of Pensylvania. Philadelphia)
john hesselius:
Elizabeth Calvert, 1761(Museum of Art, Baltimore)
John Paca, c1765 (Historical Society Museum, Baltimore)
Mrs Thomas Gough, 1877 (Historical Society Museum, Hagerstown, Maryland)
edward hicks:
Peaceable Kingdom of the Branch, c1827 (Yale University Art Gallery). See edward HICKS in Section 1
Cornell Farm, 1848 (NG Art)
P george hicks:
Dividend Day at the Bank of England, 1859 (Bank of England)
The General Post Office at One Minute to Six, 1860
Billingsgate Fish Market, 1861
Changing Homes, 1863
Woman’s Mission Triptych: Guide to Childhood, Companion of Manhood, Comfort of Old Age, 1863 (Tate)
hilliard, nicholas:
A Youth Among Roses, c1588 (Victoria & Albert Museum) 1001
hillier:
Le Havre de Grace, 1939 (Manchester Art Gallery)
hills, thomas:
Susanna Strangeways, c1705 (Melbury). Gentleness/refinement then unusual Waterhouse1953 p144
hilton:
Oi Yoi Yoi, 1963 (Tate)
hilz:
A Peasant Venus, 1944
P hoare, william:
Mrs Richard Jesser, late 1740s (Bristol Gallery)
Dr Oliver& Mr Pierce Examining Patients at the Bath Hospital (Royal National Hospital for Rheumatic Diseases, Bath)
Christopher Anstey & His Daughter, c1779 (National Portrait Gallery)
P hockney:
Academy Bigger Splash, 1967. Used roller to paint sky/still water Wullschlager FT11/2/17; “a radiant acceptance of Now” Hughes1990 p339
Portrait Surrounded by Artistic Devices, 1965. Witty protest against Cezanne’s oft repeated statement of need to look for geometry in Nature with father painted behind meaningless clutter of spare parts Hughes1990 p338
hodgkin:
Red Burmudas, 1978-80 (MoMA)
ambrosius holbein:
Praying Christ, c1515 (Kunstmuseum Basle)
Death of a Female Lute-player, 1515 (Benedictine St Georgkloster, Stein-am-Rhein)
Portrait of a Man Aged 20,1518 (Hermitage)
P hans holbein the elder:
Basilica of S Paulo Fuori le Mura, 1504 (Schaezlepalais, Augusburg)
hans holbein the younger:
A Lady with a Squirrel and a Starling, c1526-28 (NG) 1001
Virgin & Child with Burgomaster Jakob Meyer zum Hesen & His Family, c1528 (Hessisches Landesmuseum, Darmstadt)
The Ambassadors, 1533 (NG) 1001
Henry Brandon, 2nd Duke of Suffolk, watercolour 1535 (Royal Collection)
Henry VIII, 1536 (Museo Thyssen-Bornemiza, Madrid)
Henry VIII (Castle Howard)
Third Duke of Norfolk (Castle Howard)
hoogstraten, samuel van:
A View Down a Corridor, 1662 (Dyrham Park, Gloucestershire) 1001 p270
The Slippers, 1654-62 (Louvre) 1001 p270
P holmberg ???
P homer:
Veteran in a New Field, 1865 (the Met)
Eagle Head, Manchester, Massachusetts/High Tide, 1870 (the Met). [Beginnings of unease?]
Rainy Day in Camp, 1871 (the Met). Last Civil War picture the Met
Snap of the Whip, 1872 (Butler Institute of Americn Art, Youngstown, Ohio)
Dressing for the Carnival, 1877 (the Met)
The Fog Warning, 1885 (Museum of Fine Arts, Boston)
Maine Coast, 1896 (the Met). [NB sullen impending wave]
North Easter, 1901 (the Met). Originally (1995) had two figures but starkified the Met. [Greatest storm painting ever?]
The Gulf Stream, 1899 (the Met). [NB the red symbolic touches in water.]
hopner:
Lady Charlotte Campbell in the Character of Aurora, 1796 (Inverary Castle)
herkomer:
Portrait of 7th Duke of Rutland, 1899 (Belvoir Castle). [Showey & effective.]
Eventide (Walker) R&J p368
P herrera, francisco the elder:
Vision of Constantine, 1617 (Hermandad de la Caridad, Seville). With its compicated space, elegance of pose & off-key colours, this is a piece of late maniera Brown1991 p131)
Pentecost: Pentecost. 1617 (Museo, Toledo). This is also Mannerist L&L
St Bonaventure Enters the Franciscan Order, 1627-9 (Prado). This is brutal realism. The heads of the friars have been individualized in this powerfully unattactive group of almost unrelated figures Brown1991 p132
St Basil Dictating His Rule (Louvre)
Vision of St Basil, 1638-9 (Museo de Bellas Artes, Seville). Although the faces are still strongly individualised, Herrara has reduced his earlier brutal naturalism Brown1991 p201
St Joseph & the Christ Child, 1645(Szepmuveszeti Muzeum, Budapest). Here Herrera has modified his style to accomodate the new demand for quiet, sentimental art Brown1991 p131
P herrera, francisco the younger:
Stigmatiaation of S. Francis, 1657 (Cathedral, Seville). A dynamic composition in a sketch technique with rich, soft colours & complicated poses Brown1998 p205
hill, carl:
Landscape Motif from the Seine, 1877 (Nationalmuseum, Stockholm). This subtle painting shows his (pre-insanity) work at its best Kent p125
hodges:
View taken in the Bay of Otaheite Peha, 1776 (Anglesey
Abbey) R&J p14
hoffman, ludwig von:
Sunset Over the Sea, c1898 (Belvedere, Vienna)
Idyllic Landscape with Bathers, c1900 (Museum Georg Shafer, Schweinfurt)
P hogarth:
Rake’s Progress. Ambiguities of Vaughan 1999 pp 94-5.
Captain Thomas Coram, 1740 (Foundling Museum, London). At first sight this looks like a conventional state portrait but appearances are deceptive. Coram with his own flowing grey hair is a man of business with little regard for fashion who sits inelegantly. The clutched gloves & foot off the ground suggest that his busy life has been intrerrupted Solkin2015 p126.
The Graham Children, 1742 (Tate). Realism with Rococo playfulness/liveliness of movement; every device used to keep eye in constant movement; picture balanced but no central focus; richness of Rococo forms with asymmetrical serpentine line of boy’s coat echoed by girl’s upheld apron; France inspired play of light on dresses; contrasting strait lines/zigzags BurkeJ pp 167-8
The Four Prints of an Election, 1755-8. Masterpiece of comic History Painting, a mock–heroic Baroque parody with Chairing the Member parodying (a) Baroque sacra conversazione of an enthroned Madonna attended by Saints/angels playing music, & (b) a battle piece with a goose over the MP instead of eagle over Alexander the Great in da Cortona’s Battle of Arbela, etc BurkeJ p164.
Garrick & His Wife, 1757 (Royal Collection, Windsor). Swan song of idea of joyful companionate marriage; woman tops visual triangle Dijkstra p9
P holbein, hans the younger:
Thomas Cromwell, c1533n (Frick). [A most sinister face. There is a large interval from his nose to his lip, he has small eyes, & a low forehead due to the cap.]
Ambassadors, 1533 (NG). French ambassador to London & a visiting bishop. Religious moderates with discord symbolised by broken lutes/quotes from Luther
holst, Theodor von:
Ithhyphallic Man & Two women with Elaborate Hairstyles, pencil & watercolour, c1826 (V&A)
P holmberg:
Kyroskoshi Waterfall, 1854 (Ateneum, Helsinki)
Mail Road, 1860 (Ateneum, Helsinki)
Storm on Lake Nasijarvi, 1860 (Ateneum, Helsinki)
Finnish Hop Garden, 1860 (Ateneum, Helsinki)
Road in Hame, a Hot Summer Day, 1860 (Ateneum?, Helsinki)
honthorst:
Supper with Lute Player, 1619 (Uffizi). [His depravity is brilliantly captured.]
hook:
“Welcome Bonny Boat!”, 1856 (HarrisM&AG, Preston)
P hopper:
Louvre in a Thunderstorm, 1909 (Whitney Museum of American Art) Renner p17
House by the Railroad, 1925 (MoMA)
Early Sunday Morning , 1930 (Whitney Museum of American Art) Hughes p424
Room in New York, 1932 (Nebraska) Hughes p426
New York Movie, 1939 (MoMA). [Usherette’s narrowness mirrors that of stairs out of gloom into sleezy pink. Could she be thinking of going up & becoming a prostitute?]
Nighthawks, 1942 (Art Institute). Expresses nation’s darkened mood; anticipates film noir; desolate city street corner with hard-bitten nocturnal characters under our voyeuristic surveillance; an impersonal alienated urban culture with threat of city crime Bjelajac p338
Four Lane Road, 1956 (Private) Hughes p428
R P hornel:
The Brownie of Blednoch, 1889 (GlasAG). Rare example of Hornel’s pure symbolism. He was infatuated with goats which here here personify evil Bullcliffe p239
The Brook, 1890 (HuntereianAG, Glasgow).
The Dance of Spring & Summer, 1891 (Walker). Mosaic of Nabis-like decorative colour dabs McConkey1989 p95
Japan Dancing Girls, c1894 (). Western conventions of light & shade are rendered redundant by the highly complex surface design McConkey p96
P hornel & henry:
The Druids Bringing in the Mistletoe, 1890 (GlasAG&M)
horsley:
Showing a Preference, 1860 (Private)
horton:
Unemployed Man, 1936 (City Art G, Sheffield). Illustrates H’s low-key/unemphatic/diginity through restraint Spalding1986 p125
P howard:
Costa Painting in the Landscape at Naworth (Castle Howard)
Girls Picking Flowers in the Borghese Gardens (Castle Howard)
A View within the Baths at Caracalla, Rome (Castle Howard)
View on the Tiber Rome… (Castle Howard)
View on the Rio di S. Barnaba, Venice… (Castle Howard)
hoyer:
In the Beginning was the Word, 1937
Wounded SA Man
R P hudson:
Grace Parsons,1742 (Drapers’ Company). [Note her smile.]
Jacob Selfe, 1744 (Corsham Court Collection). [Another smile]
Theodore Jacobson, 1746 (Thomas Coram Foundation). He was the architect of Foundling Hospital & it contrasts with Hogarth’s portrait of Coram. Jacobson’s legs are fashionably crossed & he is holding the plans nonchantly whereas Coram was clutching the royal seal Vaughan1999 p74. Although he is depicted as a cultivated gentleman he had made his fortune as the owner of a City of London steelyard Hallett p64. It is one of his best pictures Waterhouse1953 p201
John Milner, 1746 (Foundling Museum)
Admiral Byng, 1749 (National Maritime Museum, Greenwich)
Sir John & Lady Pole, (Anthony House, Cornwall). This shows his capability when he tried Waterhouse1953 pp 201-2.
George Frederick Handel, 1756 (National Portrait Gallery). Magnificent Grove14 p842.
John Sharp Archdeacon of Durham, 1757 (Manchester Art Gallery). [This is not spectacular but it is a most competent piece of work.]. He painted the lace ruffs etc himself Manchester AG
Gertrude Leveson Gower Duchess of Bedford (Woburn Abbey). [She is almost smiling & her mask provides interest.]
huet:
View of Rouen, 1831 (Musee des Beaux-Arts, Rouen)
hughes:
April Love, 1856 (Tate). Ruskin = thoroughly exquisite OxDicArt
The Long Engagement, 1859 (BIrCAG)
huguet:
The Flagellation of Christ, 1450-60 (Louvre, Paris) 1001
hunt:
Rienzi (Private) R&J p257
P huys:
Temptation of St Anthony, 1547 (Louvre)
Hell, 1570 (Prado)
The Bagpipe-player, 1571 (Gemaldegalerie, Berlin). This is a moralizing scene, full of symbolism & different layers of meaning. It is allied to the work of Jan Sanders van Hemessen, Marius van Reymerswaele & Pieter Bruegel the Elder, who achieved considerable success with such images among Flemish intellectuals Grove15 p42
Temptation of St Anthony, 1577 (Museum Mayer van den Bergh, Antwerp)
P il cigoli:
Resurrection,1591 (Arezzo). Mannerist Friedlaender1926 p66
Ecce Homo/Deposition, 1606 (Pitti). [Chirascuro with emphatic lighlights; S. shaped composition; early Baroque.]
Fresco, 1610 (Sta Marria Maggiore, Rome)
P il cerano:
Visitation, 1606 (S. Maria presso S. Selso)
Annunciation, 1606 (S. Maria presso S. Selso)
Martyrdom of S. Catherine, 1609 (S. Maria presso S. Selso)
vault of first chapel on right (S. Maria presso S. Selso)
Two Franciscans Nursing a Sick Man, 1600 (Brera). Delicate, amost introspective Baroquism replaces former Mannerism; renewed Lombardian Realism of youth C-B p31
S. Francis Releasing a Privateer (Brera), 1600 (Brera). See Two Francicans
Stigmatisation of S. Francis, 1600 (S. Maria presso S. Celso, Milan). See Two Franciscans
A Franciscan Revives a Man…, 1600 (Castle Sforzesco, Milan). See Two Francicans
Baptism of Christ, 1601 (StadtKunst, Frankfurt). Mannerist in its exquisitely refined handling /intricate drapery patterns C-B p32
1601-10 Quodroni (MilanCathedral). Huge paintings of life & miracles of Carlo Borromeo aimed at sainting L&L; powerful & original Waterhouse1962 p135
Miracle of Aurelia degli Angeli, 1610 (CathedralMilan)
Miracle of Fra Sebastiano da Piacenza, 1610 (CathedralMilan)
The Virgin or Madonna of the Rosary, 1615 (Brera). Impressive simplicity; humanisation of religious experience Wittkower p99
Virgin & Child with S. Bruno & S. Charles, c1615 (Certosa, Pavia). Impressive simplicity, humanisation of religious experience Wittkower p99
S. Ambrotherse Baptizing S. Augustine, 1618 (S. Marco, Milan). Masterpiece with huge foreground figures = Mannerist device but figures solemn & semi-reealistic Waterhouse1962 p135
Disobedience of Jonathan (S. Raffaelle, Milan)
Flight into Egypt (Bristol). Rich & sonorous colour Waterhouse1962 p135
Conversion of S. Paul (G Arcivescovile, Milan)
S. Ambrotherse, c1610 (Ambriosiana, Milan)
The Martyrdom of S. Ruffina & S. Seconda, c1620 with Morazzone & Procaccini (Brera). C=left-hand secretary Waterhouse1962 p137
Grisaille sculpture designs (Museo Milan Cathedral).
Madonna with Child & Saints. Francis & Charles Borromeo (Brera). [Chirascuro with glowing reds, maroons, etc; nucely contrasting facial expressions ie inquiring Virgin & gesturing S.; subtle sese of mystery with figures emerging from dark.]
P il volterrano/franceschini, baldassare:
The Parish Priest (Pievano)
Arlotto’s Practical Joke, tempera (Pitti). Homely simplicity owed more to 15th century Tuscan narrative than current naturalistic experiments Haskell p231
Mystic Marriage of St Catherine, 1650s (Cassa di Risparmio, Prato)
Communion of the Apostles, 1690-6 (altar painting & pendentive frescos, Corpus Domini, Bologna)
Birth of Adonis, c1700 (Gemaldegalerie Alte Meister, Dresden)
inchbold:
The Chapel Bolton,1853 (Northampton Museum & Art Gallery). A bold & unconventional composition which was painted on the spot Barringer p72
A Study in March/In Early Spring, 1855 (Ashmolean Museum, Oxford)
The Lake of Lucerne, 1857 (V&A)
In Early Spring, c1855 (Ashmolean Museum, Oxford)
P induno:
The Antiquarian, c1850 (Gallery of Modern Art, Palazzo Pitti, Florence)
Triste Presentimento (Brera). [Naturalistic & Newlyn-like with light through window & scattered clothes, but actually it is earlier & political with the young woman worried about her beloved who is away fighting for Garibaldi, vide the niche statue.]
Peace of Villafranca, 1860 (Galleria Nazionale d’Arte Moderna, Rome)
ingles:
St Jerome in His Study, c1469-85 (Museo Nacionalde Escultura)
Candlestick (attributed) (The Met, Cloisters)
P ingres:
Oedipus & the Sphinx, 1808 (Louvre). Not a Neo-Classical view of antiquity: mystery & Irrationality Honour1968 pp 187, 90
Bather of Valpicon, 1808 (Louvre).
Grande Odalisque, 1814 (Louvre). Gothic proportions Clark1956 p338
Andromede Attaché au Rocher par les Nerides, 1840 (Louvre). [She has a very erotic pose with backwards position focusing attention on her genital area. Her hair is wild & she has an orgiastic look. This is soft porn: the woman at bottom right displaying breast without apparent cause.]
Comtesse d’Hausonville, 1845(Frick). Uncanny perfection; serene but disquieting & isolatedly enclosed by vases, corner & mirrored background Rosenblum 1990 p110. [She seems to be wondering whether to draw the viewer towards her with her unslender but erotic arms.]
Le Bain Turc, 1862 (Louvre). [Striking similarity between head coverings & painting of flesh here & in Bather of Valpicon of 1808.]
P innes, george:
Bit of the Roman Aqueduct, C1852 (High Museum of At. Atlanta). This is Calude-like Grove15 p858
Clearing Up, 1860 (Smith Art Museum, Springfield. MA)
Peace & Plenty, 1865 (The Met)
The Monk, 1873 (Addison Gallery, Phillips Academy, Andover, MA)
Conway Meadows, 1876 (Art Museum, Mount Hoyoke College, South Hadley, MA)
Autumn Oaks, c 1878 (the Met). This is inspired by Swedenborg & has underlying order & balance differing from his earlier works The Met
Niagara Falls, 1893 (Hirshhorn, Washington)
Home of the Herons, 1893 (Art Institute, Chicago)
innes, George (elder):
P ioganson:
A Soviet Court, 1928 (Tretyakov). NB shows kulak & people’s power, effectively collectivisation propaganda Bown1991 p62
Communists Under Interrogation, 1933. Melodrama Bown1991 p102
In an Old Factory in the Urals, 1937. Stalin Prize, 1941 Golomstock p220; factory owner’s sudden unrease well caught Bown1991 p102
Lenin’s Speech to the Third Congress of the Komsomol. Stalin Prize 1951 Bown1991 p242
P israels, isaac:
A Son of the Chosen People, 1889 (Stedelijk Museum, Amsterdam)
Dance Hall on the Zeedijk, c1893 (Kroller-Muller, Otterlo)
Cafe Chantant on the Nes in Amsterdam c1893 (Kroller-Muller, Otterlo)
P israels, jozef:
Sad Thoughts, 1896 (Rijksmuseum)
P ivanov:
Joseph Interprets the Prisoners’ Dreams, 1827 (Russian Museum)
Hyacinth & Cypress Making Music & Singing, 1831-4 (Tretyakov)
The Appearnce of Christ to Mary Magdalene, 1834-5 (Russian Museum). This is a hymn to lyricism, friendship & creative inspiration 50Rus p97
Noli Me Tangere, 1835
Head of John the Baptist (Tretyakov & Russian Museum). This is the best of Ivanov’s etudes for Christ Appearing to the People. It is painted in a broad, sweeping manner with contrasing cold & warm tones that increase it emotional effect 50Rus p98
Boys at the Bay of Naples (Tretyakov)
Seven Boys in Coloured Clothing & Drapery (Russian Museum)
Etude of Nude Boy (Russian Museum)
Christ Appearing to the People, 1837-57 (Tretyakov). Ivanov’s intentions were of the most ambitious & elevated type. He wanted to show people from different groups, inconsolable because of their debauchery & oppression, their desire for freedom etc 50Rus p97. Note the Pharisees, Romans etc on the right side & the squatting slave in blue. According to Ivanov joy is for the first time showing through his suffering. When exhibited at the Academy the picture was coldly received 50Rus pp 97-8. It is a noble failure because, although the figures are skilful & full of widely varing feelings, the contast between the naturalistic background & the classically contrived groups is so wide Hamilton p367