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:
jackson, gilbert:
John Williams, c1625 (S.John’s, Cambridge). Most ambitious portrait W&M p78
Master William Hickman, 1634 (Raveningham Hall). Naive provincial gaiety W&M p79
Bridget, Lady Hickman, 1634. Slight Van Dykeian influence W&M p79
abraham janssen:
Diana & Callisto, 1601 (Szepmuveszeti Museum, Budapest)
Hercules & Omphale, 1607 (Statens Museum for Kunst, Copenhagen). This is the first known 17th century Flemish painting of a classical subject which is strongly emotional, erotic & monumental Vlieghe p21.
Olympus (Alte Pinakothek, Munich)
Scaldis & Antwerpia, 1610 (Koninklijk Museum voor Schone Kunsten, Antwerp)
Philemon & Baucis (Wellesley College, Massachussets)
Peace & Plenty Binding the Arrows of War (Wolverhampton Art Gallery)
Lascivia (Koninklijke Musea, Brussels)
jansson:
The Oven (Ateneum, Helsinki)
A Smiling Old Woman, 1867 (Ateneum, Helsinki)
Aland Sailors Playing Cards, 1871 (Ateneum, Helsinki)
Spruce Feller, 1871 (Art Museum, Turku)
Courtship on the Aland Islands, 1871 (Ateneum, Helsinki)
At the Vestry Door, 1874 (Ateneum, Helsinki)
P jarnefelt:
Lefrance, Wine Merchant, Boulevard de Clichy, Paris, 1888 (Ateneum, Helsinki). His most striking work with a brilliance of colour like Mnet’s work of the same period Kent p110
The Wage Slaves (Burn-Beating), 1893 (Ateneum, Helsinki). In no other painting did Jarnfelt exploited workers, all his subsequent portrayals of the people were humerous Levanto p95
Portrait of Matilda Wrede, 1896 (Ateneum, Helsinki)
Portrait of the Artist’s Son, 1897 (Ateneum, Helsinki)
Autumn Landscape of Lake Pielisjarvi, 1899 (Ateneum, Helsinki)
Lake Shore with Reads, 1905 (Ateneum, Helsinki)
jansen/jansens:
Game of Hot-cockles, 1656 (Musee d’Art Ancien, Brussels)
P jawlensky:
Summer Evening in Murnau, 1908-9 (LemH).
Yellow Houses, 1909 (O Henkell Collection, Wiesbaden)
Girl with Peonies, 1909 (SM, Wuppertal)
Still-life with Fruit, c1910 (LemH).
Solitude, 1912 (M am Ostwall, Dortmund).
Spanish Girl with Black Shawl, 1913 (LemH)
Large Female Head, 1917 (Wilhelm-LehmbruchM, Dortmund)
Divine Radience, 1918 (O Stangl Collection, Munich)
P jervas:
Henrietta, Countess of Suffolk, 1724 (Marble Hill House). Pope’s companion & George II’s mistress Solkin2015 p72
Martha & Teresa Blount (Mapledurham House). Pope frequent visitor became friends, Martha becoming heir & perhaps mistress F&KB p237
P john, augustus:
The Smiling Woman, 1908-9 (Tate)
The Mumpers, 1912 (Detroit Institute of Arts)
The Young Pyramus, 1907 (Johannesburg Art Gallery)
The Way Down to the Sea, 1909 (Private). For a colur image see McConkey2006 p103
The Blue Pool, 1910 (Aberdeen Art Gallery)
R P john, gwen:
The Student, 1903-4 (Manchester Art Gallery)
Nude Girl, 1909-10 (Tate). [This is a supremely unclassical nude: thin, figureless, almost breastless, palid, small mouthed & unforthcoming. It is splendid naturalism.]
Woman Holding a Flower, c1920 (Birmingham Museum & Art Gallery). [This is a thoroughly depressing vision as shown by her expression, the colouring & the total lack of any unvibrancy.]
The Letter, c1924 (Manchester Art Gallery)
The Student (Manchester Art Gallery). A young woman with a downcast look. She was Augustus John’s lover Dorella/Dorothy McNeill. In a nearby painting (2002) she was portrayed by him as a gypsey in Dorella in a Landscapewhere she has as an excessively small head.]
P johns:
Flag, encaustic, 1954-5 (MoMA)
P cornelius johnson:
Sir Kenelm Digby, c1628 (Althorp)
Sir Thomas Coventry, 1631 (Clarendon Collection). Splendid three quarter length W&M pp 66-7
2nd Earl of Nothhants, 1633 (Castle Ashby). Quiet/fragile charm seen at best, unusual richness of colour/clothing W&M p66
Dorothy Godfrey, 1636. Quiet/fragile charm seen at best with oval surround effectively used W&M p66
Capel Family, c1640 (Earl of Wilton Collection). Delightful, shows Van Dyke’s influence with central group based on his first large royal piece W&M p67
Dukes of Hamilton & Lauderdale, 1649 (Ham House)
eastman johnson:
Not at Home, c1872-80 (Brooklyn Museum)
martin johnson:
robert johnson:
jongkind:
Banks of a Canal in Holland, 1868 (Louvre)
P william johnson:
Landscape with Setting Sun, Florence, S.C., about 1930 (Howard University, Washinton)
Jacobie Hotel, 1930 (Smithsonian American Art Museum). This was built in 1857 by the Jacobis, an old merchant family, but had fallen on hard times becoming a boardin house & perhaps a brothal. The police appear to have detaine Johnson while he was painting BKM pp 71-2
Fishing Boat, 1938 (Museum of Art, Morgan State university, Blatimore)
Street Life, Harlem, 1939 (Smithsonian American Art Museum)
P jones, joe:
American Justice, 1933 (Columbus Museum of Art, Ohio)
Roustabouts, 1934 (Worcester Art Museum, Massachusetts)
Our American Farms, 1936 (Whitney Museum of American Art)
P jones, thomas:
Pencerrig , 1772 (Museun & Art Gallery, Birmingham)
House with a Varandah, 1782 (Ashmolean Museum, Oxford). This was painted from the rooftop of the reidence where Jones was staying in Naples DIA p129
Buildings in Naples, 1782 (National Museum of Wales, Cardiff)
P jongkind:
Quay in Rotterdam,1857 (Louvre)
Barge on the Canal, 1860 (Louvre)
Landscape in the Douphine, 1878 (Gemeentemus, Hague)
Cote-S.-Andre, 1883 (Gemeentemus, Hague)
La Cote-S.-Andre, 1885 (Kroller-Milanler, Otterlo)
P josephson:
Spanish Smiths, 1881 (Nationalmuseum, Stockholm). This outraged the art establishment. It was criticised as ugly & loosely painted & for portraying smug workers Kent p122
Nacken, 1882, tempera (Nationalmuseum, Stockholm)
Portrait of Ludwig Josephson, 1893 (Nationalmuseum, Stockholm)
P jouvenet:
S. Bruno in Prayer (Nationalmuseum, Stockholm). Early Lebrun/Le Sueur-like work OxDicArt; however, unlike Le Sueur’ Bruno, Jouvenet’s picture has Baroque emotionalism with S. Bruno clutching cross, together with diagonalism Blunt1954 p273
Miraculous Draught of Fishes, c1706 (Louvre). Jouvenet had studied fishing scenes at Dieppe OxDicArt
The Resurectioon of Lazarus (Louvre)
Christ Driving the Traders out of the Temple (Lyons)
Christ in the House of Simon (Lyons)
R P juan de flandes:
Oratorio de la Reina Catolica, polyptych 1496-1504. This has been broken up with the bulk of the pieces in Madrid & other items at the NG, NG Art, Gemaldegalerie Berlin, Louve & MET Grove 17 p674)
St Michael, altarpiece, 1505-8 (
Temptation of Christ, c1500 (NG Art)
Christ Carrying the Cross, 1509-18 (Palencia Cathedral)
Philip the Fair (Kunsthistorisches)
Portrait of a Girl (Museo Thyssen-Bornemisza)
P kahlo:
P kalf:
P kampf:
Rolling Mill
30 January 1933
Venus & Adonis, 1939. For a good colour image of this picuture (owned by the German Federal Republic) see AEBW p294
P kandinsky:
Odessa – Port I, c1898 (Tretyakov)
Kochel – Waterfall I, c1900 (LenH)
Old Town II, 1902 (Centre Pompidou). Rothenburg BecksM p11
Russian Scene, 1904 (Centre Pompidou)
The Motley Life, 1907 (LenH). Shows complex Russia identity: joy & conflict; Christian & pagan (shaman?); fairy tale horseman; black tempera ground; quasi-pontillist technique of dots/patches/shapes of colour eluding systematic reading of form/space Behr pp 35-6
Landscape with Tower, 1909 (Paris) Dube p109
Mountain Landscape with Church, 1910 (LenH) Dube p110
Black Lines No 189, 1913 (Guggenheim). This is Kandinsky at his best expressing with spring-like joy through halated primary colour patches Hughes1991 p301
Composition VII, 1913 (Tretyakov). Masterpiece of latter Munich years; 30 preliminary studies; innumerable small/multi-layered segments apparently extending beyond top; powerful diagonal orientation?; has been described (Will Gromann) as smouldering fire anticipating disaster BecksM p109
In Grey, 1919 (Tretyakov). K says end of “dramatic period” = forms thickly piled up; large colour planes create cooler & a more disciplined atmosphere, contrasting with Composition VII’s bizarre, often angular, forms in shrill colours with expressive artistic flourish BecksM pp 120-1
Red Oval, 1920 (Guggenheim)
P kane:
P kanoldt:
P kantor:
Baseball at Night, 1934 (Smithsonian American art Museum)
P kasatkin:
The First Trial (Storm Petrel), 1892
Woman Miner, 1894
Poor People Collecting coal in an Abandoned Pit, 1894
The Spinner, 1904
Coal Miners. On Shift, 1895
Fighting Worker, 1905
Working Women Attacking a Factory, 1906
Village Correspondent, 1927
P kassak:
P katsman:
Kaliazin Lacemakers, 1928
P katz:
P kauffer:
P kaufman:
P kaulbach:
Ludwig I Surrounded by Artists & Scholars, 1850-3 (Bayeriswche Staatsgemaldesmmlungen, Munich
P kawara:
P keating:
Men of the West, 1917 (Hugh Lane Gallery, Dublin)
keller:
Portrait of a Woman, 1874 (Stadtische Galerie, Munich)
P kelly, ellsworth:
Colours for a Large Wall, 1951 (MoMA). Colours from commercial coloured paper; sequence of canvasses arbitrary MOMAH p211
P kennedy:
Stirling Station, 1899 (Private?)
kennington:
Costermongers, 1914 (Luxembourg Palais, Paris)
The Kensingtons at Laventie, 1915 (Imperial War Museum)
P kersting:
On Sentry Duty, 1815 (Statliche Museum, Berlin?)
The Wreath Maker, 1815 (Statliche Museum, Berlin?)
P ketel:
Portrait of a Man & verso Putto Blowing Bubbles, 1574 (Rijksmuseum)
Sir Martin Frobisher, 1577 (Bodleian Library, Oxford)
The Company of Captian Dirck Jacobsz Rosecrans, 1588 (Rijksmuseum)
Portrait of a Man & a Woman, 1594 (Thyssen-Bornemisza, Madrid)
Jacob van Rhijn, 1605 (Rijksmuseum)
Griete van Rhijn, 1605 (Rijksmuseum)
P kettle:
An Admiral in his Cabin Issuing Orders, 1768. His masterpiece Waterhouse 1953 p270
Admiral Kempenfeldt, 1783 (Greenwich) Waterhouse 1953 p270
Lady Frances Harpur & Her Son, c1766-7 (Calke Abbey)
Newab Receiving General Sir Robert Baker, 1772 (Victoria Memorial Hall, Calcutta)
Charles & John Sealy, 1773 (Courtauld)
kiefer:
Sulamith, 1983 (Saatchi Collection, London). [See Hughes1991 pp 407-9]
P kiprensky:
Portrait of A. K. Schwalbe, 1904 (Russian Museum). This is Kiprensky’s adoptive father. It displays Kiprensky’s remarkable early maturity & depicts Schwabe as a self-willed & dignified man with a clenched-fist, deeply lined face & striking, although dulled, eyes. The brushwork provides an impression of constant movement Grove18 p74, 50Rus p62.
Dimitry Donskoy on the Field of Kulikovo, 1905 (Russian Museum)
Self-Portraits, 1808 (Russian Museum & Tretyakov)
Yevgraf Davydov, 1809 (Russian Museum). This work became a symbol of early Russian Romanticism G&P p61
Chelishchev’s Son, 1809. Note Kiprensky’s typically Romantic interest in child psychology Grove18 p74
Young Gardener, 1817 (Russian Museum). This is an example of his new more conventional & sentimental genre type painting Grove18 p75
Portrait of S. Avdulina, 1822 (Russian Museum). Here is a Romantic presentation of the sitter with her pale, refined beauty & the suggestion of a complex & rather withdrawn personality Grove18 p75
Portrait of Alexander Pushkin, 1827 (Tretyakov). His greatest achievement 50Rus p66
Self-Portrait, 1827 (Tretyakov). Note his nervous, inquisitive glance Grove18 p75
kirchner:
Lake in the Park, 1906 (London) Dube pp 38-9
Street, Dresden, 1908 (MoMA). Radiates tension: constricted space, unsettling pink, clashing colours, lonely figures, expressionless women clutching purse & dress, girl’s dwarfing hat MOMAH p60
Semi-nude Woman with Hat, 1911 (Cologne) Dube p42
Bareback Rider, 1912 (Campione) Dube p42
Figures Walking into the Sea, 1912 (Stuttgart) Dube p46
Five Women in the Street, 1913 (Cologne) Dube p44
Women in Potsdamer Platz, 1914 (WoodC) Dube p44
Self-Portrait as Soldier, 1915 () Behr pp 62, 64
klapheck:
The Logic of Women, 1965 (Louisiana Museum, Humlebaek)
klein:
Blue Monochrome, 1961 (MoMA)
P klimt:
Music I, 1895 (Neue Pinakothek, Munich). This painting incorporates gold leaf Hodge2014 p35
Portrait of Sonja Knips, 1898 (Belvedere)
Pallas Athene or Minerva, 1898 (Kunsthistorisches).
Emile Floge, 1902 (Kunsthistorisches). A magnificent picture of his sister-in-law & friend OxDicArt
Judith I, 1901 (Belvedere). Judith is depicted as an eroticised contemporary woman with her clothing & jewellery showing her moral corruption WoodG p74. Here is the archetypal femme fatale OxDicMod
The Beethoven Frieze, 1902 (Secession Building, Vienna). According to the original catalogue, the sequence shows weak humanity, longing for happiness, seeking assistance from the Knight (an external power) & Pity & Ambition (internal drives) against the Hostile Powers. These are the giant Typhon, his Gorgon daughters (sickness, Mania & death) together with impure Desire, Excess & nagging care. Finally the Arts lead to the Kingdom of the Ideal where there is pure joy, happiness & love symbolised by the Choir of Heavenly Angels, [etc] Vergo p70
Hope I, 1903 (NG of Canada)
Beech Grove I, 1903 (Gemaldegalerie, Dresden)
Water Serpents I or The Hydra, 1904-7 (Belvedere)
The Three Ages of Woman, 1905 (Galleria d’Arte Moderna, Rome)
Hope II, 1907-8 (MoMA). The pregnant woman seems to be praying & also the other women. The death’s head symbolises danger MOMAH p54
Stocklet Frieze, 1905-9 (Museum of Applied Arts, Vienna)
Portrait of Fritza Riedler, 1906 (Kunsthistoriches)
Portrait of Adele Bloch-Bauer, 1907 (Kunsthistorisches)
Water Sepents II, 1907(Private). They are lesbians Hodge2014 p107
The Kiss, 1907 (Kunsthistorisches)
Danae, 1907-8 (Leopold Museum, Vienna)
Judith II, 1909 (Galleria d’art Moderna Ca’Pesaro, Venice)
The Park, 1910 (MoMA)
Death & Life, 1910 &1915 (Leopold)
Farmhouse in Upper Austria, 1911-12 (Belvedere)
Avenue of Schloss Kammer, 1912 (Belvedere)
The Virgin, 1912-13 (Narodni Galerie, Prague)
klinger:
The Attack , 1878 (Statliche, Berlin)
The Judgement of Paris, 1886-7 (Kunsthistorisches)
Paraphrase on the finding of a Glove, 1881, etchings
klumpke, anna:
Rosa Bonheur, 1898 (the Met)
{2}knapton:
Lucy Ebberton (Dulwich Picture Gallery)
Earl of Burlington, 1743 (Chatsworth). [He is every inch the disdainful connoisseur.] This is typical of his best work Waterhouse1953 p187
The Hon John Spencer & His Son Out Shooting, 1745 (Althorp). Typical of best work Waterhouse1953 p187
Princess of Wales & Her Eight Children, 1751 (Marlborough House). Typical of best work Waterhouse1953 p187
R P kneller:
Joseph Carreras, 1680s (Houghton Hall). [A real living person who appears strikingly modern.]
Duchess of Portsmouth, 1684 (Goodwood House). Milanitary rigidity though she was one of age’s most langerous personalities; contrast with Lely’s Duchesses of Cleveland Waterhouse1953 p139
Philip , Earl of Leicester, 1685 (Penshurst)
Mrs Jennings, 1685 (Althorp)
4th Lord Wharton, 1685 (Easton Neston)
Chinese Convert, 1687 (Royal Collection). Kneller thought his masterpiece Waterhouse1953 p139
Countess of Arran, 1687 (Althorp)
Mrs Dunch, 1689 (Parham Park)
Anthony Leigh as “The Spanish Friar”, 1689 (National Portrait Gallery). One of first pictures of actor in playing a part Waterhouse1953 p139
Duchess of Marlborough & Lady Fitzhardinge, 1691 (Blenheim Palace)
Dr Burnet, 1693 (The Charterhouse)
Mrs Richard Jennings (Althorp)
M. de S. Evremond (Althorp)
Portrait of John Locke, 1697 (Hermitage). [This is a most accomplished work.]
John Dryden, 1697 (Trinity College, Cambridge). This works reflects his move to a lighter palette & to a a bravura style following a trip to Brussels & the study of Ruben’s work Grove18 p145. The picture is brilliantly painted entirely in grey/silver key; simplicity of design/informality anticipating Reynolds most sympathetic portraits W&M p198
Matthew Prior, 1700 (Trinity College, Cambridge)
Isaac Newton,1702 (National Portrait Gallery)
Lady Henrietta Cavendish Holes, 1714 (Welbeck Abbey). [A striking work.]
Sir Samuel Garth (National Portrait Gallery)
Jacob Tonson (National Portrait Gallery). Eas&informality/blunt understanding anticipating Hogarh W&M p197
Lord Mohun (National Portrait Gallery)
Duke of Grafton (National Portrait Gallery)
Earl of Scarbrough (National Portrait Gallery)
Sir John Vanbrugh (National Portrait Gallery)
harold knight:
The Girl & the Letter, 1906 (Harris Museum & Art Gallery, Preston)
The Young Seamstress, 1907 (Rochdale Art Gallery)
In the Spring, 1908-9 (Laing Art Gallery, Newcastle upon Tyne?)
P laura knight:
Self & Nude, 1913 (National Portrait Gallery). Breathtaking = impeccably painted warp & weft of light & tone with Knight & nude seemingly saying a woman is nobody’s object but her own SpenceFT 13/7/13
Lamorna Birch & His Daughters. Impressionism SpenceFT 13/7/13
Charivari, 1928 (NewportM)
Barbara Bonner, 1930. Tour-de-force of Realist candour with two women caught in a moment of fleeting inticmacy Spence FT13/7/13
Ruby Loftus Screwing a Breech Ring in the Bofors Gun, 1942 (Imperial War Museum)
The Nuremberg Trial, 1946 (Imperial War Museum). Rare break with Realism; masterly chronicle of evil’s banality SpenceFT13/7/13
knights:
A Scene in a Village Street with Mill Hands Conversing/Mill Hands on Strike, tempera 1919 (UCL Art Museum).
The Deluge, 1920 (Tate). This was her prizewinning entry for the British School at Rome E&L p98
The Marriage of Cana, 1923 (National Art Gallery of New Zealand)
Edge of Abruzzi: Boat with Three People on a Lake, 1924-30 (Private), For a colour image see E&L p99
Scenes from the Life of St Martin of Tours, 1928-33 (Milner Memorial Chapel, Canterbury Cathedral)
knirr:
Portrait of Hitler, 1937. Owned by the Imperial War Musuem AEBW p295
knyff/knijff:
Arthur, Third Viscount Irwin, 1700 (Temple Newsam House, Leeds)
P knopff:
Still Water, c1895 (Kunsthistorisches)
P knupfer:
Brothel Scene, c1650 (Rij)
knyff:
Arthur , Third Viscount Irwin, 1700 (Temple Newsam House)
ferdinand kobell:
Rocky Landscape with Herdsmen at a Brook, 1772-3 (Stadtisches Reiss-Museum, Mannheim)
Landscapes (9) (Neue Pinkothel, Munich; Schloss Johannisburg Staatsgalerie, Aschaffenburg). These are his most important works in which he portrayed identifiable landscapes Gove18 p174
wilhelm von kobell:
Hunting Party at Tegernsee, 1824 (Sammlung Oskar Reinhart)
P kobke:
Gateway Bridg & View Outside the North Gate of the Citadel, 1834 (Ny Carlsberg Glypotek, Copenhagen) Timelessness Honour1979 p83
View from Dosseringen near the Sortedam Lake Looking Towards Norrebro, c1838 (Statens Museum for Kunst, Copenhagen). Timelessness Honour1979 p83
Marine Piccola, 1839-40 (Museum of Fine Arts, Boston). [This is an oil sketch in warm pinkish colours which is almost Impressionist.]
P koch:
Heroic Landscape, 1805 (Karlsuhe)
Schmadribach Waterfall, 1805-11 & 1821-2 (Museum der Bilden Kunste, Leipzig; Neue Pinakothek, Munich). Here part is added to part in such a way that the picture lacks any focal point. Although naive & artificial, this method of construction does convey the an impression of the immensity of the mountains Novotny p70. Note the way in which the natural processes of erosion, where the waterfall tumbles over the cliff, & the water cycle itself Grove18 p183
The Bernese Oberland, 1815 (Belvedere, Vienna)
Imaginary Italian Landscape, c1834 (Kunsthalle, Hamburg)
Macbeth & the Witches, 1835 (Landesmuseum Ferdinandeum, Innsbruch)
P kokoschka:
Aolf Loos, 1909 (Statliche Museum, Berlin)
The Bride of the Wind, 1913 (Kunstmuseum, Basel)
Woman in Blue, 1919 (Staatsgalerie, Stuttgart)
Jerusalem, 1929-30 (Institute of Arts, Detroit)
Thomas Masaryk, 1935-6 (Museum of Art, Pittsburgh)
Prometheus, ceiling, 1959 (Courtauld Gallery)
kollowitz:
Peasants’ War series, 1902-8, etchings. [The peasants appear almost sub-human & hence it is difficult to sympathise with them, though this was not presumably her intention.]
Memorial to Karl Liebnecht, woodcut. One of her finest images OxDicMod
Death series, 1834-5, 8 lithographs. Arguably her masterpiece; all inessentials have been eliminated OxDicMod
{2}korin:
A Group of Three, 1933-5 (Tretyakov). One of the beautiful studies Korin made for Departing Rus Bown1991 p129
Alexander Nevski, triptych, 1942-3 (Tretyakov). This was the most celebrated work to emerge from the wartime call for artists to depict images of heroism & victory. Korin not only made it huge but also used a pictorial language more frankly decorative than Socialist Realism allowed. It was a homage to the artistic values of the past Bown1991 pp148-9
Departing Rus, 1935-59 (Korin Museum, Moscow). This was intended as an elergy to Russian Orthodoxy Bown1991 p1
korovin:
Chorus Girl, 1883 (Tretyakov). One of the first Impressionist works by a Russian artist Leek p116
In the Boat, 1887-8 (Tretyakov)
Cafe in Paris, 1892-4 (Tretyakov)
Norwegian Port, 1894 (Tretyakov)
Saint Trifon’s Brook in Pechenega (Tretyakov)
Hammerfest: Aurora Borealis (Tretyakov)
The Coast of Murmansk (Tretyakov)
Cafe in Yalta, 1905 (Tretyakov)
Paris by Night: Boulevard des Italiens, 1908 (Tretyakov)
kovalevskaya:
By the Pond (Karakalpakstan State Museum of Art, Nukur)
Tomato Picking, 1949 (Private). Mellliflous delicacy of a Renoir Bown p203
kracker:
Miracles & Apotheosis of St Nicholas, ceiling fresco 1660-61 (Jesuit church, Mala Strana, Prague)
Life of St John the Baptist, ceiling fresco 1762 (Abbey church, Jasov)
The Council of Trent, ceiling fresco, 1778 (Pedagogical Seminary, Eger). A crowded vivacious scene Grove18 p417
kramskoi:
Christ in the Wilderness, 1872 (Tretyakov). Shows a human Christ who is hesitating between good & evil. It was received as a model for the new man proposed by Belinsky & Chernishevsky devoting a disciplined life to improving the lot & awareness of the Russian people L&L
P krafft:
Entry of Kaiser Franz I into Vienna, before 1828 (Belvedere)
Emperor Franz I Driving Out after a Serious Illness, 1833 (Mittelsaal des Reichskanzlertrakts, Hofburg, Vienna)
Kaiser Franz Giving a Public Audience, 1836-7 (Belvedere)
krasner:
Untitled, 1948 (the Met). [This is scribble with shallow depth but quite interesting low key colours.]
{2}kreuger:
Old Country House, three separate paintings, 1887
(Nationalmuseum, Stockholm)
Autumn, Varberg, 1888 (Nationalmuseum, Stockholm)
Spring in Holland, 1894 (Nationalmuseum, Stockholm)
{2}krohg:
Portrait of Lucy ParrEgeberg, 1876 (Nasjonalmuseet)
Albertine in the Police Doctor’s Waiting Room, 1886-7 (Nasjonalmuseet)
Tired, 1885 (Nasjonalmuseet)
Sick Girl (Nasjonalmuseet) R&J p379
kroyer:
At the Grocer’s When There is No Fishing, 1882 (Hirschoolsprungske Samling, Copenhagen)
Summer Evening at the Beach at Skagen, 1899 (Hirschoolsprungske Samling, Copenhagen)
{2}krylov with kupriyanov & sokolov:
An Audience with the Raving Commander-in-Chief, poster, 1943
The Flight of the Fascists from Novgorod, 1944-6 (Tretyakov)
The End, 1948 (Tretyakov)
kubista:
The Raising of Lazarus, 1911-2 (West Bohemian Gallery, Pilsen)
St Sebastian, 1912 (Narodni)
justus kuhn:
Henry Darnall III & Eleanor Darnall (Maryland Historical Society, Baltimore). [Note the way in which there is a dark background behind the young black servant who appears to be wearing a metal collar] Bjelajac p76
Charles Carroll, c1715 (Maryland Historical Society, Baltimore). Attributed to Kuhn Grove18 p501
walt kuhn:
The White Clown, 1931 (Whitney)
kuindzhi, 1842-1910:
Red sunset on the Dnieper, (the Met)
kulmbach:
Tucher Altarpiece , 1513 (S. Sebalduskirche)
kuniyoshi:
kupecky:
kupka:
Amorpha: Fugue in Two Colours, 1912 (Narodni Gallerie, Prague). this is one of the earliest examples of complete abstraction OxDicMod
kuprin:
Still Life with a Blue Tray, 1914 (Tretyakov)
Baku: Oil-fields at Bibi-Eibat, 1931 (Tretyakov)
The Beasal Valley, 1937 (Tretyakov)
{2}kupriyanov with Krylov & Sokolov:
Tass poster No 504, A Thunderous Blow, 1942. For a colour image see G&C p90
An Audience with the Raving Commander-in-Chief, poster, 1943. For a black & white image see Bown1991 p145
Tania, 1942-7
The Flight of the Fascists from Novgorod, 1944-6 (Tretyakov)
The End, 1948 (Tretyakov)
kupta:
Disque de Newton. Etude pour Faugue a deux Coleurs, 1912 (Centre Pompidou). [Very like Delauney in colour & design with its circles.]
kusnetsov:
The Blue Fountain, 1905-6, tempera (Tretyakov)
The Grape Harvest, 1928 (Russian Museum)
R {2}kustodiev:
The Fair, 1906 (Tretyakov)
The Merchant’s Wife, 1915 (Russian Museum)
The Bolshevik, 1919-20 (Tretyakov). In 1905 he had provided a cartoon for Bugbear, which was a satirical journal that sprang up during the uprising. The composition is similar but a skeleton is striding over the city. The Bolshevik is, like Yuon’s New Planet, an ambiguous work: the superhuman figure can be read as the will for change or as fear for the future G&S p12, RARev pp 101-2, 112.
Demonstration on Uritsky Square on the Day of the Opening of the Second Comintern Congress, 1921 (Russian Museum). [An effective composition. It is fronted by bright & detailed crowd, with a sketchier & duller building behind & a stark column to the right. The mood is celebratory with a bright banner, gay dresses, animated jestures & traditional as well as modern clothing indicating all people of all types are joining together.]
R {2}labile-Guiard:
Portrait of Woman, c1787 (Musee Beaux-Arts, Quimper)
Louise-Elizabeth de France, Duchesse de Parme, and her Son, 1788 (Versailles)
Joseph Vernet, (Musee Calvet, Avignon). [Well depicted with sensual mouth & fleshy face.]
laktionov:
A Letter from the Front, 1947 (Tretyakov). One of most famous Soviet war pictures Bown p188
Marshal Vasilevski, 1948 (Private). This is a fine example of post-war revived academic portraiture with a solidly modelled characterful face, together with an unsuppressed wart Bown p190
lamb:
Portrait of Lytton-Strachey, 1914 (Tate). Air of resigned intellectual superiority OxDicMod
Irish Troops in the Judaen Hills Surprised by a Turkish Bombardment, 1919 (Imperial War Museum). Among the most successful Post-Impressionist paintings in the Imperial War Museum Harrison p131
{2}lambert:
View of Westcombe House, Blackheath, c1732, four pictures (Wilton House). These are the first country house portraits that are not purely topographical. They are picturesque in arrangement & show an awareness of landscape gardening Waterhouse1953 p156
Box Hill, 1733, two pictures (Tate). At the time these were unusual for being pure landscapes in naturalistic colour Grove18 p672
Members of the Beaufort Hunt, 1744 (Tate)
Classical Landscape with Rustics: Morning, 1745 (Tate)
Classical Landscape with the Temple of the Sibyl, probably 1750s or later (Buscott Park). This repeats in reverse a painting by Claude Kitson1969 p42
Lady Henrietta Harley Hawking in Wimpole Park, 1716 (Welbeck Abbey)
{2}lampi, johann baptist the the elder:
Christ on the Cross, 1799 (Assunta church, Romeno)
Archduchess Maria Elisabeth, 1781 (Damenstift, Innsbruck)
Joseph II in Coronation Regalia (Akademie der Bildenden Kunste)
Stanislav IIPoniatowski, King of Poland, c1788 (Hermitage)
Count A. I. Mussin Pushkin, 1795 (Museum, Academy of Art, St Petersburg)
King Karl XIII of Sweden & His Wife, c1800 (Rosenberg Slott, Stockholm)
Antonio Canova, c1806 (Belvedere)
Self-Portrait, 1808-10 (Landesmuseum, Innsbruck)
Johann Baptist Lampi the Younger with his Small Son (Landesmuseum, Innsbruck)
lancret:
Blind Man’s Bluff Colin Maillard (NMStock)
The Cup of Chocolate (NG)
Madamoiselle Camargo (Musee des Beaux-Arts, Nantes). Charming & exceptionally poetic for Lancret Wakefield p41
landseer, edwin:
Fighting Dogs Getting Wind, 1818 ()
Rat Catchers, 1821 (National Museum of Wales). This impressed Gericault OxCompArt
Hunting of Chevy Chase, 1825-6 (Museun & Art Gallery, Birmingham)
Monkey who had Seen the World/Travelled Monkey, c1827 (Guildhall Art Gallery)
Bolton Abbey in the Olden Time, 1834 ()
Highland Breakfast, c1834 (V&A)
Random Shot, c1834 (Art Gallery & Museum, Bury)
The Old Shepherd’s Chief Mourner, 1837 (V&A)
Dignity & Impudence, 1839 (Tate). A witty picture Treurerz1993 p29
Windsor Castle in Modern Times, 1841-5 (Royal Collection)
The Stag at Bay, 1846 ()
The Monarch of the Glen, 1850 (Diageo?)
Eagles Invading a Swannery. One of the gloomiest & most disturbing of all Victorian works WoodC1976 p23
[To be completed]
lanfranco:
- Peter Healing Saint Agatha in Private (Corsini). [Very Caravaggesque with S. Peter in shadow & S. Agatha in light. Limited but effective palette.]
- Mary Magdalene being transported to Heaven, 1605
(Capodimonte) Waterhouse1962 p40
Ecstasy of S. Margaret of Cortona, 1620 (Pitti) Waterhouse1962 pp 41-2; Martin pp 102-3
Moses & the Messenger from Canaan, 1621-4. This & the next painting are genuinely anticlassical The figures are larger-than-life, with grandiloquent gestures in a bold composition. A close relationship is established with the spectator through the way in which the principal figures dominate the foreground & are seen from below. They almost seem to burst out of the canvas H&S pp70-71
Elijah Receiving Bead from the Widow of Zarephath, 1621-4.
Assumption of the Virgin (Rome) Waterhouse1962 pp 43-5
Crucifixion (NorthChurch) Waterhouse1962 p46
langretti:
Mag Under the Cross, c1650 (PalRezzonica, Venice)
{2}largillierre:
Tutor & Pupil, 1685 (Fuller-Fed Collection, New York). Mixture of England convention (pupil’s angular draperies/schematic face) & Dutch (tutor’s head); pupil’s affected pose & dog’s placing are non-England Blunt1954 p278
Charles Lebrun, 1686 (Louvre).
The Echevins of the City of Paris before S. Genevieve, 1696 (S. Etienne-du-Mont, Paris?). Here we have ostentatious, court-dependant bourgeoisie, preoccupied with their own importance & not looking at the Saint. This contrasts with the severe & dignified city fathers in Champaigne’s Echevis of the City of Paris. The Baroque rhetoric with Flemish colouring looks back to Baroccio & forward to Tiepolo Blunt1954 p279, Allen pp 210-11
?La Belle Strasbourgeoise, 1703 (Musee des Beaux-Arts, Strasbourg). One of Largilliere’s most memorable pictures= her unselfconsciousness Allen p211
The Artist, his Wife & Daughters, 1710-12 (Louvre). This is his greatest painting; daughter singing; group’s informality & enjoyment of leisure make it key picture of the early 18th century Wakefield p16
larkin:
Edward Herbert, Ist Baron Herbert of Cherbury, c1610, min (Charscote Park)
Nine full length portraits (Ranger’s House, Blackheath)
lastman:
{2}lavery:
A Conquest, 1882 (GlasAG). Early costume picture Bullcliffe p53
On the Loing: an Afternoon Chat, 1884 (UlsterM, Belfast)
The Tennis Party, 1885 (Aberdeen Art Gallery). Supreme example of his naturalist technique Bullcliffe p185
Academy Rally, watercolour, 1885 (GlasAG).
Academy Visit to the Studio, 1885 (Private). Unlike large exhibition paintings displays fluency/France training Bullcliffe p188
The Musical Ride of the 15th Hussars During the Milanitary Tournament of the Glasgow International Exhibition, 1888 (DundeeMAG)
Woman Painting a Pot at Glasgow International Exhibition, 1888 (GlasAG)
The Glasgow International Exhibition, 1888 (GlasAG)
Academy Garden in France, 1897 (Private)
The Bridge at Grez, 1900 (UlsterM, Belfast). Wanted to recapture his youthful experience there McConkey1989 p102
jacob lawrence:
“They were very poor”, 1940-1 (MoMA). Migration Series, 10
“the female worker was also one of the last to leave the south”, 1940-1 (Phillips Collection). Migration Series, 57
sir thomas lawrence:
Queen Charlotte, 1789 (NG) Vaughan 1999 pp 94-5
Sarah Siddons, 1804 (Tate). [Most effective with Sarah shown as an imposing figure. She is larger than life & close to the picuture frame: not shrimpy but challenging with a direct look & painted with a limited palette of black & red. She was 49]
Frances Hawkins & Her Son, John James Hamilton/A Family Group, 1805-6 (Abercorn Heirlooms Settlement Trustees). The painting was exhibited at the RA in 1806. She was widely known to be the mistress of the Marquess of Abercorn & the boy his son, a fact he never denied. The sensual display of textures is remarkable. The Maraquess was Lawrence’s friend & patron. Lawrence also painted some of his other illegitimate children, all in oval formats Solkin2015 p303, Levey2005 pp 55, 161, 166.
Lady Leicester as Hope, 1814 (Tabley House). [This must surely be one of the last portraits of an aristocratic British woman being given such a role.]
lawson:
The Minister’s Garden, 1878 (Manchester Art Gallery)
lawrence, jacob:
War Series (Whitney Museum of American Art)
leader:
February Fill Dyke, 1881 (Birmingham Museum & Art Gallery). According to Clark the colouring is false & degraded & it does not have that unity of atmosphere which is unity of atmosphere which is the essence of true naturalism. Indeed the painting completely lacks unity: Nature has been described piece by piece. Although a reputable procedure in itself it was an impssoble one in a landscape meant to render the truth of visual impression Clark1949 p170. [This judgement seems to display anti-Victorian bias] & the painting has more recently been considered an atmospheric evocation of a clear November evening after rain & a fine example of Victorian landscape painting Grove 18 p903
Near Alcester, Worcestershire, 1902
{2}leal:
Virgin of the Immaculate Conception with Saints Andrew & John the Baptist, 1650-52 (Louvre)
Miraculous Defeat of the Saracens, 1652-3 (Museo de Bellas Artes, Seville)
Liberation of St Peter, 1656 (Cathedral, Seville)
Temptation of St Jerome, 1657 (Museo de Bellas Artes, Seville)
St John the Evangelist Leading the Virgin & the Three Marys to
Golgotha, 1557-8 (Museo de Bellas Artes, Seville)
Ascension of Elijah, c1658 (Carmen Calazada, Cordoba)
Immaculate Conception, 1665-70 (Museo de Bellas Artes, Seville)
Finis Gloriae Mundi, 1670-72 (La Caridad, Seville). Grusomely expressive yet realistic L&L
Triumph in Death, 1670-72 (La Caridad, Seville). Grusomely expressive yet realistic L&L
Exaltation of the Cross, with assistants, 1685 (La Caridad, Seville)
Ceiling, with Lucas de Valdes, 1685-90 (Venerable Sacerdotes, Seville)
lear:
Quaries at Syracuse, ink & watercolour, 1847 (Walker)
Bethlehem, 1861 (Walker)
The Plains of Lombardy from Monte Generoso, 1880-81 (Ashmolean Museum, Oxford)
le barbier:
Heroism of the Younger Desilles at the Affair of Nancy August 30 1790, 1795 (Carnavalet). Here Desilles is trying to prevent a conflict with royalist forces Rosenblum1967 p91
le brun:
Portrait of Charles-Alphonse Du Fresnoy, c1644 (Louvre)
lebrun: See vigee-Lebrun
lega:
Pergola/Early Afternoon, 1868 (Brera) R&J pp 302-3; [beautifully painted background especially vignes; & also foreground dappled light; not sharp Impressionism colours]
leger:
[See C&M especially pp 141-4]
P leibl:
Old Parisienne, 1870 (Wallraf-Richartz Museum, Cologne). This is a masterpiece of painterly form Novotny p288
The Painter Sattler with a Hound, 1870 (Bayerische Stattsgemaldesammulungen)
Company at Table, c1870 (Wallraf-Richartz Museum, Cologne)
The Burgomaster Klein, 1871 (Berlin)
Three Women in Church, 1878-82 (Kunsthalle, Hamburg). This is Naturalism carried to the highest pitch, & the best known work of his Holbein period. It is a skilful composition of curves & intersecting axes Novotny pp 289-91
In the Kitchen, 1898 (Staatsgalerie, Stuttgart)
RP {2}leighton:
Cimabue’s Celebrated Madonna Carried in Procession Through the Streets of Florence, 1853-5 (Royal Collection)
Garden of an Inn, Capri, 1859 (Museum & Art Gallery, Birmingham)
May Sartoris, c1860 (Kimbell Art Museum, Fort Worth)
Painter’s Honeymoon, 1864 (Museum of Fine Arts, Boston).
Daedalus and Icarus, 1868 (Buscot Park). This shows Leighten’s new passion for landscape bathed in sunlight. The background is based on Rhodes sketches in Rhodes (1867) rich
On the Nile, 1868 (Fitzwilliam Museum, Cambridge)
Mrs Henry Evans Gordon, 1875 (Leighton House)
Music Lesson, 1877 (Guildhall Art Gallery)
Cymon & Iphigenia, 1884 (Art Gallery of New South Wales)
Captive Andromache, 1888 (Manchester Art Gallery). [This picture has a dull glow & colouring here is most unusual, not for Leighton himlef but when compared with that of other artists. None are prismatic [???]
Greek Girls Playing at Ball, 1889 (Dick Institute, Kilmarnock) [[comment wanted see Newall pp 118,121]]
The Bath of Psyche, 1890 (Tate)
The Garden of the Hisperidese, 1892 (Lady Lever Art Gallery, Port Sunlight). [The colouring is marvellous with an unusual combination of reddy pinks (left figure) brown-greens (right one) with yellow fruits. It also has his typical deep blues, very white clouds, gently coloured drapery, & light cum dark trees, which produce a distinctive chirascuro. The painting is highly erotic with the central woman thrusting her legs forward and focusing attention on her crotch & the drapery which is vulva-like.]
Clyte, 1892 (Leighton House?)
Fatidica, 1894 (Lady Lever Art Gallery, Port Sunlight). She was a prophetess who foretold the future to women Newall1990pp 135-6
Flaming June, 1895 (Museo de Arte de Ponce). The pose was a chance position that was adopted by the model. The form is strongly three dimensional form with a feeling of compressed energy & brilliant foreshortening Newall pp 136-7
Lachrymae, 1895 (the Met). The conflicting shapes signify the end of happiness Newall1990 p136
[Look up Newall’s comments]
{2}lely:
The Younger Children of Charles I, 1646-7 (Petworth)
Europa (Chatsworth)
Sleeping Nymphs (Dulwich)
Windsor Beauties, series (Hampton Court)
Admirals, series, 1666-7 (Greenwich, Maritime)
Van Helmont, c1671 (Tate)
Henriette de Querouaille, Countess of Pembroke, c1675 (Wilton House). Sistine Chapel of Louise, Duchess of Portsmouth, one of Charles II’s mistresses Baldock p37
{2}le nains:
Bacchus & Adriante, c1630, (MDBA, Orleans)
Venus in Vulcan’s Forge, 1641 (MDBA, Reims)
The Forge, 1640s (Louvre)
La Tabagie, 1643 (Louvre)
Peasants’ Meal/Family, c1647 (Louvre)
{2}leonardo:
Angel on left in Verrocchio’s Baptism of Christ, c1472 (Uffizi). V’s angel is naturalistic & conventional with broad bony face, short nose & wavy hair; L’s is an ideal of perfection with its cascade of rippling hair Clark 1939 p50
Annunciation, 1472-3 (Uffizi). Awkward composition, especially lecturn; Madrid’s features not part of faces’s structure but drawn on; poetic black trees silhouetted against grey sky; foreground flowers have natural liveliness in contrast to 15thcentury flower decoration Clark 1939 pp 52-7. Wings & Madrid’s draperies based on life study &/ or drawings: an innovation in 15th century Murrays1963 p230
Ginevera de’ Benci, 1474 (NG Arts). Head more firmly modelled but through delicate graduations of tone; in places, eg eyelids, L never painted more delicately; its melancholy beauty beyond Verrocchio & Credi; L contrasts curved right cheek & brow with the spikey/stiff juniper Clarke 1939 pp 57, 59
Madonna & Child, c1476 (Alte Pinothek, Munich). Most of L’s qualities absent from this “charmless” but vital picture, though poor condition makes judgement difficult Clark 1939 pp 59, 62
Benois Madrid, 1478-80 (Hermitage)
Adoration of the Kings, 1481-2 (Uffizi). Solves problem of numerous figures round central group through pyramidal composition, which both creates depth & through linear pattern focuses on the important= “watershed of Renaissance art” Murrays1963 p232 Restless/agitalinated figures around central triangle; four verticals, the two rightish trees & two upright base figures, to stabilise design; symbolises homage of wisdom & science to faith plus flanking/disengaged figures Clark1939 p76. Anticipates all L’s figures, eg Joseph to Mary’s left has emphatic grimace of S. Andrew in Last Supper Clark1939 p78. Verdict: “most revolutionary & anti-classical picture of 15th century” Clark1939 p80.
V of the Rocks, 1482-3 (Louvre). Innovation: design using equilateral triangle Wolfflin1899 p28. Colour/values obscured by thick yellow varnish/bitumen, yet evident that it was once luminous with subtle reflected light Clark 1939 pp 94, 96. Perfect balance between natural & ideal/gothic beauty; hands & hair exquisitely observed, eg how skin is stretched taught or relaxed into tucks/dimples Clarke 1939 p94. Comparison with NG version: elimination of angel’s ouward gaz&pointing hand reduces magic; delicate beauty of Madrid’s face replaced by waxen chiaroscuro, freshness of angel’s face V Classical regularity Clarke 1939 p93. Inonography: Mary the Immaculate is interceding for man=St John with Christ, who is giving St John a blessing NGLeonardo Commentary.
St Jerome, c1483 (Vatican)
Portrait of a Musician, c1486-7 (Milan, Ambrothersiana). Note delicat&naturalistic play of light across face; well preserved Clark 1939 p101
Portrait of Cecilia Gallerani, 1489-90 (Cracow). Left side of figure repainted; new background which has sharpened original outline; neveetrtheless shoulder shows L’s sense of form; beautiful simplification of eyes & nose; splendidly painted & modelled beast Clark 1939 pp 98, 100
Virgin & child/Madrid Litta, c1490? (Hermitage). Totally repainted twice: 1495 & 19th century Clarke1939 p90. [Very beautiful but somehow unsatisfying : too perfect & precise even in its modulations. Seems clear from at least one preparatorydrawing that Boltraffio was partly responsible for finished picture. Like an early immature Raphael.]
La Belle Ferronniere, 1493-4 (Louvre). Shows L’s preoccupation with light falling on a figure, which was a pose he commended NGLeonardo Commentary. Uninteresting relationship between head & shoulders, way head turned to light restrics its plastic possibilities; face displays L’s extraordinary knowledge of structure; this is a court portrait Clark 1939 p105
The Last Supper, 1495-98 (Convent of Santa Maria delle Grazie, Milan)
Ambrogio da Predis? c1495-1500 (Milan, Ambrothersiana)
Last Supper, 1497 (Milan, Sta Maria delle Grazie). Notable features/innovations: Christ central, framed & still/silent; disciples grouped, tranquil at table ends but then increasingly active; Judas now included with other disciples but face entirely shadowed Wolfflin1899 pp 25-9; every figure has consistent role Buck/H p45
Virgin & S. Ann&Burlington House Cartoon, 1499 (NG). [The Virgin is a real woman with tender feelings & not a cold demi-god. The way the V is sitting on S. Anne’s lap is also very human: Gods do not sit on laps.]
?Madonna & Child with a Yarn Winder, c1501 (Duke of Buccleuch). [This has L’s magic due to the marvellous transitions from light to shadow.]
Mona Lisa, 1503 (Louvre). Dreamlike background increases her solidity Wolfflin1899 p32
Leda & the Swan, c1505 (copies Borghese & WiltonH = Cesare da Sesto). Symbolises the fertile female Clarke 1956pp118-9; realisation/depiction of skin’s soft texture & new artistic significance of female body Wolfflin1899 p37
Angel of the Annunciation, 1505-7 (copy, Basel)
Virgin of the Rocks, largely 1506-8 (NG). Figures more idealised with Christ more serious & dawning inspiration Clarke 1939 p201. Much of surface damaged/repainted/work of pupils, but angel’s Classical beautiful head must be Leonardo Clarke 1939 p204. The flowers are ideal, not real flowers, & are a key to this idealised work NGLeonardo Commentary
- John the Baptist, c1515 (Louvre)
lepicie:
Courage of Portia, 1777 (Lille). Brutus’ wife cuts herself on discovering plot to kill Caesar showing her willingness for suicide; heroic sacrifice becomes more violent Rosenblum1967 p63
P lessing:
Castle on a Rock, 1828 (Kunstmuseum, Dusseldorf). This & the next painting exemplify his search for atmosphere & animated landscape settings with evocative historical & narrative detail Grove19 p244
Monastry Courtyard Under Snow, 1830 (Wallraf-Richartz, Cologne)
Grieving Royal Couple, 1830 (Hermitage)
Eifel Landscape, 1834 (National Museum, Warsaw)
Hussite Sermon, 1836 (owned by Kunstmuseum, Dusseldorf)
Jan Hus on Trial in Constrance, 1842 (Stadelsches Kunstinstut, Frankfurt)
Martin Luther’s Disputation with Johannes Eck in Leipsig, 1519, 1867 (Staatliche Kunsthalle, Karlsruhe)
lessore, john:
The Garth, 1982-3 (Private)
{2}levine:
The Feast of Pure Reason, 1937 (MoMA)
Welcome Home, 1946 (Brooklyn Museum)
Under the El, 1952 (Phillips Collection, Washington)
Gangster’s Funeral, 1952-3 (Whitney Museum of American Art)
Election Night, 1954 (MoMA)
Medicine Show, 1956 (The Met)
levitan:
Vladimirka , 1892 (Tretyakov). It is a meditation on existence & was painted while Levitan was staying in Boldino to avoid the clearing of Almost 40, 000 Jews Instigated by the governor of Moscow Howard J p215
levitin:
A Fresh Edition of the Factory Newspaper, painted with Yuri Tulin, 1950 (Russian Museum)
{2}levitsky:
A.Kokorinov, 1770 (Russian Museum). This is a typical 18th century full-dress portrait but his thoughtful face is lovingly painted, stressing his nobility of character 50Rus p43
P.Demidov, 1773 (Tretyakov). Although he has a showy posture & is posed against a colonnade, his dress is informal & he is surrounded with everday objects. He was a highly educated eccentric with an interest in gardening who donated enormous sums to the cause of enlightenment 50Rus p43
- Khovanskaya & N. Khrushchova (Russian Museum). This is one of his seven paintings (1772-6) of girls at the Smolny Institute. It was established by Catherine II to educate those who would become ladies-in-waiting. All of the girls are portrayed performing concert numbers & displaying their character traits 50Rus p43, G&P p48
Mariya D’yakova, 1778 (Tretyakov). This is one of Levitsky’s most poetic & sympathetic works. She was Lvov’s future wife Grove19 p278
Nastas’ya Levitskaya, 1780s (Russian Museum). She was Levitsky’s future wife Grove19 p278
Countess Ursula Mnizek, 1782 (Tretyakov). A refined composition & delicate colour scheme but her haughtiness is shown by her pose Grove19 p279
Anna Daviya Bernuzzi, 1782 (Tretyakov). Note her calculating smile Grove19 p279
Catherine II the Legislatress, 1793 (Russian Museum).
lewis, george robert:
Hereford, Dynedor, & the Malvern Hills, from the Heywood Lodge, Harvest Scene, Afternoon, c1816 (Tate). Factual, unemotional & objective R&J p157
{2}lewis, john frederick:
Lilium Auratum, 1871 (Museum & Art Gallery, Birmingham)
Indoor Gossip, 1873 (Whitworth)
The Siesta, 1876 (Tate)
The Harem (Museum & Art Gallery, Birmingham)
{2}revised lewis, wyndham:
Smiling Woman Ascending a Stair, 1911-2 (Vint Trust, Bradford)
The Creditors, 1912-3 (Wadsworth Atheneum)
Composition, 1913, watercolour, pen & pencil (Tate)
Composition in Blue, 1915, Ink, crayon & watercolour (Private)
The Crowd, 1914-5 (Tate)
Red Duet, 1914 (Private). One of best Vorticist works Lynton p94.
Academy Battery Shelled, 1919 (Imperial War Museum)
leyster:
Merry Company, 1630 (Louvre)
Self-portrait, c1633 (NG Art)
Boy Playing a Flute, c1633 (Nationalmuseum, Stockholm) Note the sensitivity with which light is handled & the assured brushwork Haak p23
Tulip, watercolour (Frans Hals Museum, Haarlem)
The Offer Refused (Mauritshuis)
Gay Cavaliers (Philadelphia Museum of Art)
liebermann:
Ropewalk in Edam, 1904 (the Met). Typical of L’s palette-knife technique MET1981 p150
P lievens:
Raising of Lazarus Brighton, 1631 (BrightonMAG). Example of early chirascuro work L&L
Prince Charles Ludwig of the Palatinate & His Governor as Alexander & Aristotle, 1631 (Getty). Example of early chirascuro work L&L
limbourg brothers:
Scenes from the Calendar of the tres Riches Heures du Duc de Berry, c1412. There is here a new trust in nature Clark1949p22. This is one of International Gothic’s greatest achiements Murrays1959
P lindholm:
Landscape with Birch Trees, 1864 (Atenuem, Helsinki)
Vallinkoski Rapids, 1872 (Banqueting Hall, Ateneum Helsinki)
Finnish Forest, 1874 (Walker)
Cutting Oats, 1878 (Ateneum, Helsinki)
Kattegat in a Storm, 1894 (Ateneum, Helsinki)
linnell:
The Last Gleam Before the Storm
The Timber Wagon
Barley Harvest
√√√R liotard:
Mme d’Epinay (Musee d’Art et d’Histoire, Geneva). This considered to be his masterpiece Grove19 p436
Richard Pococke in Turkish Costume, 1738-9 (Musee d’Art et d’Hisoire)
La Belle Chocolatiere, c1744 (Staatliche Kuntsammlungen, Dresden)
Maria Gunning, Countess of Coventry?, pastel (Musee d’Art et d’Histoire, Geneva; Rijksmuseum)
Augusta,Princess of Wales, c1756 (Royal collection, Windsor)
lippi, filippo:
Torquini Altarpiece, 1437 (North Rome)
Barbadori Altarpiece, 1438 (Louvre). One of earliest datable Sacra Conversaziones & prophetic increased complexity of draperies & their textures Murrays1963 pp 91-2
Madonna & Child & Birth of Virgin, c1442 (Pitti). [This is a very complicated tripartite work which only just succeeds; also including meeting of Anne & future husband ; IntGth figures & Boticelli-like Virgin; but also much more realistic genre scene of Virgin’ s born on left side; figures here more work-a-day; Virgin sad & remote with complicate hair=do; probably commissioned Leonardo Bartolini.]
Fresco Cycle , 1452-62 (Prato Cathedral)
Scenes from the Life of St. John the Baptist; Herod’s Feast, c. 1457 (Stano Stefano Cathedral, Prato)
Annunciation fresco with assistants, 1467-9 (Spoleto, Cathedral)
Nativity, fresco with assistants, 1467-9 (Spoleto, Cathedral)
Death, fresco with assistants, 1467-9 (Spoleto, Cathedral)
Coronation of the Virgin, fresco with assistants, 1467-9 (Spoleto, Cathedral)
Adoration of the Child, 1483 (Uffizi, Florence) 1001
The Feast of Herod: Salome’s Dance. [Early Salome picture.]
P lippi, filippino:
Allegory of Music (Gemaldegalerie) Wolfflin1899 p244
Druciana (Church, Floremce). Five heads in row with same inclination Wolfflin1899 p273.
Madonna appearing to S. Bernard (Florence). Resteless, confused; contrasted with Perugino’s picture Wolfflin1899 p75.
Adoration of the Magi (Uffizi)
Strozzi+, 1487-1502 but not 1488-93 (S. Maria Novella, Florence). Ordering in lunettes large square picture fields replacing tiers marks transition from early to High Renaissance L&L
P liss:
The Mourning Over the Dead Abel (Accademia)
Judith & Holofernes (NG)
Fall of Phaeton, c1625
Soldiers’ Camp, c1625 (Germanisches National Museum, Nuremberg)
The Toilet of Venus (Pommersfelden)
Ecstasy of S. Paul, late (Berlin)
Vision of S. Jerome, c1629 (S. Niccolo dei Tolentini, Venice). Masterpiece with pleasurable crumbly paint & complex curved rhythms, especially lion, soft/tender colours Waterhouse1962 p125
P lochner:
Adoration of Christ, 1445 (Alte Pinakothek, Munich) 1001
Last Judgement altarpiece, c1435-40 (sections at Wallraf Richartz, Cologne; Stadel, Frankfurt; Alte Pinakothek, Munich)
Madonna in the Rose Bower, 1438-40 (Wallraf-Richartz, Cologne)
The Adoration of the Magi, c1440 (Cathedral, Cologne)
lomazzo:
c1570 (S. Marco, Milan)
Self-Portrait, 1568 (Brera)
P long, edwin:
The Babylonian Marriage Market, 1875 (Royal Holloway, Egham). It was an RA sensation Maas p184
Love’s Labours Lost, 1885 (Dahesh Museum of Art, New York)
Merab, 1883 (Private?)
P longhi, pietro:
The Rhinocerous, c1751 (Ca’ Rezzonico, Venice). Nobody is looking at rhino; man with pipe self-absorbed; rhino’s strangeness only reality Baur p56
The House Concert, 1750-5 (Brera). [Hogarthinan gathering]
The Quack Dentist (Brera)
Arrival of the Padrone at his Country Estate, (Querini Stampalia Gallery, Venice). Sense of tim&place occasion capturedSteer p198
The Dancing Master, (Accademia). Longhi’s most graceful work Antall p204
{2}lorenzetti, ambrogio:
Beata Umlita Altarpiece, c.1341 (Uffizi, Florence, Italy) 1001
Virgin & Child, 1319 (Museo Diocesano, Florence)
Madonna del Latte c1325 (Seminary, Siena). Here the angularities of the frame are set against the rhythmic interaction of curves ranging from the slow modulations of the Virgin’s head-dress to the liquid sinuosities of the Infant’s robe White p373
Townscape, c1325 (Pinacoteca, Siena). Observe the nude in the bottom right corner White p396
Landscape, c1325 (Pinacoteca, Siena). This is the earliest surviving pure landscape since Antiquity White p396
Maesta, c1335-7 (Pinacoteca, Massima Maritittima)
Allegory of Good Government, 1338-9 (Palazzo Pubblio, Siena). The planar continuity of the country section, from the right foreground to the distant hills, was not repeated for around a century. The hills sit naturally in the landscape. There is no Byzantine Stylised surface–climbing here. Note the road that snakes into the hills White p396
Allegory of Tyrany, fresco 1338-9 (Palazzo Pubblio, Siena)
Badly Governed Town, damaged fresco, 1338-9 (Palazzo Pubblio, Siena). In contrast to good government no window-line or balcony runs on from building to building, there are incessant changes in tone & colour. There is no easy flow of movement in the figures; isolated warring groups are in disharmony with their architectural surroundings. Here Lorenzetti has subverted each of the canons of harmonious design established opposite. The picture demonstates that form & content are inseparable White pp 396-7
Maesta, 1330s? (Pinacoteca, Siena)
Maesta, 1330s? (Palasso Pubblico, Siena)
Miracles of St. Nicholas of Bari, 1332 (Uffizi, Florence, Italy)
Presentation in the Temple, 1342 (Uffizi)
The Annunciation, 1344 (Pinacoteca, Siena)
Franciscan Martyrdom, fresco (S. Francesco, Siena)
Reception of Saint Louise of Toulouse, fresco (S. Freancesco, Siena)
The Effects of Good Government in the City, c. 1338-40 (Palazzo Pubblico, Siena, Italy) 1001
{2}lorenzetti, piero:
Virgin & Child, 1319 (Museo Diocesano, Florence)
Virgin & Child with Saints, polyptch, 1320 (Pieve di Sta Maria, Arezzo). This has a similar format to Martini’s 1310 altarpiece but the figures are very different. They are more solid, appear larger; the broad-faced Virgin looks intently at the Child which she supports with a tense hand. Martini’s figures are expressionless whereas Pietro’s have a brooding seriousness Martindale pp 212-3
Scenes from the Life of Christ (Lower church, S. Francesco, Assisi). Many painters were involved, sometimes on the same figure White p376 They show a delight in descriptive detail characteristic of the period Martindale p214. Pietro’s masterpieces are his four frescos on the end wall of the south transept; the high point of which is the Deposition White p377
Deposition, fresco, 1320s? Without any sense of compromise, this combines mass, simplicity, linear clarity, the momentary & eternal, the human & the visionary. There is a downward progress from stark horror to tender numbing sorrow wirh its innumereable interpenetrating curves. The composition is held together by the figure of Christ with its dramatic, bold distortions White pp 377-8
Last Supper, fresco). Note the genre element: servants washing up before the fire & the dog licking a plate Gove12 p287. It is claimed that this picture, though a small masterpiece, is not by Pietro himself because it is unselective Martindale p216
Crucifixion. fresco, c1330 (Lower church, S. Francesco, Assisi). Here, in contrast to the restrained Deposition, detail tends to run riot with jostling horsemen & all manner of different costumes, faces & types of response. The still isolation of the crosses provides contrast & impact Martindale pp 215-6. This work betrays massive workshop intervention White p379
Virgin & Child Enthroned, 1340 (Uffizi)
The Birth of the Virgin, 1342 (Cathedral Museum, Siena)
lorenzo:
Miracle of S. Bardino (NGUmbria)
lorraine, claude:
Landscape with the Marriage of Isaac and Rebecca, 1648 (NG) 1001 p257
Landscape with Ascanius Shooting the Stag of Sylvia, 1682 (Ashmolean) 1001 p284
{2}lo spagnuolo/crespi, Giuseppe:
A Girl Holding a Dove, c1695 (Birmingham Museum & Art Gallery). [Fluent paintwork producing vitality; nice brown-white combination.]
Massacre of Innocents, c1707
The Painters’ Family (Uffizi). Informalist portrait group yet in Italy Haskell p258
Fair at Poggio a Caino (Uffizi). A masterpiece Haskell p238
The Hamlet, c1710 (PinBol)
Seven Sacraments, series (Gemaldegalerie, Dresden). His most famous work Murrays1959
Baptism (StatKunst)
Extreme Unction (StatKunst)
{2}lotto:
Virgin & Child with Four Saints, c1506 (NG Scotland)
Young Man before a White Curtain, 1508 (Kunsthistorisches) West pp 31-2
Portrait of a Gentleman with a Rosary, c1517 (Nivaagaards Merisamling, Niva, Denmark)
Virgin & Child with Saints Jerome & Nicholas of Tolentino, 1521 (NG)
Lucin a Brembati, 1523 (). Holding weasel Pope-H pp 205-6
Mystic Marriage of St Catherine with Niccolo Bonghi, 1523 (Pinacoteca dell’Accademia Carrara, Bergamo)
The Trinity, c1523 (S. Alessandro della Groce, Bergamo)
Double Portrait, (Hermitage)
Mystic Marriage of S. Catherine with St Jerome, St Anthony Abbot & Other Saints, 1524 (Palazzo Barberini, Rome)
Christ Carrying the Cross, 1526 (Louvre)
Portrait of a Young Man in His Study, 1527 (Accademia). The meaning of the objects has yet to be discovered Grove19 p714
Andrea Odoni, 1527 (Hampton Court). Not pride of ownership Pope-H pp 229, 31
Annunciation, c1527 (Pinacoteca Recanati)
St Nicholas of Barry in Glory, c1529 (S. Maria dei Carmine, Venice)
Portrait of a Man, c1530 (Borghese).
Annunciation & the Visitation, early 1530s Musei Civici di Palazzo Pianetti, Jesi). Colour used for expression, not decoratively balanced like that of Titian & Veronese, but a tender imbalance between muted violets & blues of the old folks & bright colours of the Virgin etc RAVenice p42
Virgin & Child in Glory with St Andrew & St Jerome, 1535 (Private)
St Christopher, St Roch & St Sebastian, c1535 (Museo Pinacoteca, Loreto). Clarion call of St Christopher’s scarlet/yellow RAVenice p42
Virgin & Child Enthroned with St. Stephen, S. John the Evangelist, S. Matthias & S. Lawrence, c1538 (Ancona, Pinacoteca)
Portrait of Man with a Felt Hat, c1541 (NG Canada)
St Anthony Altarpiece, 1542 (SS Giovanni e Paolo)
Portrait of Laura da Pola, 1544 (Brera).
Virgin & Child with Four Saints, 1546 (S. Giacomo dall’Orio, Venice)
Presentation of Christ in the Temple, c1556 (Museo Pinacoteca, Loreto)
louis:
Beta Lambda, 1960 (MoMA)
lo zingaro:
Withypoll trip, 1514 (Bristol Museum & Art Gallery). His finest work L&L
luce:
Workman Washing Himself, 1887 (Geneva) Denvir p131
P luini:
The Magdalen, 1532 (NG Arts)