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:
maes, nicolaes:
Captain Job Jasz Cuyter and His Family, 1659 (North Carolina Museum of Art) 1001 p267
mculloch:
The Blasted Tree, c1838 (DundeeAG&M)
Castle Campbell, 1853 (Private)
The Clyde from Dalnottar Hill, 1858 (Clydesdale Bank)
Loch Lomond, 1861 (GlasAG&M)
macdonald-wright:
Synchrony in Blue, c1917-8 (MoMA). [Pleasing ambiguities of depth and colour.]
macchiette:
Adoration of the Magi, 1568 (Cappella della Stufa, S. Lorenzo, Florence)
Baths of Puzzuoli, c1571 (Palazzo Vechio, Florence). Naturalistic light & space with graceful figure-types Grove19 p872
Media & Jason, c1571 (Palazzo Vechio, Florence). Naturalistic light & space with graceful figure-types Grove19 p872
Allegory of Wealth, (Ca d’Pro, Venice)
Martyrdom of St Lawrence, 1573 (Cappella Giuochi, S. Maria Novella)
mcevoy, ambrose:
The Convalescent, 1903 (Private). For colour image see McConkey2006 p88
The Ear Ring, 1911 (Tate)
The Basquaise, 1913 (Private). For colour image see McConkey2006 p106
Silver & Grey (Mrs McEvoy), 1915 (Manchester Art Gallery)
Mrs Claude Johnson in Black, 1922 (Ferrens Art Gallery, Hull). [This is a good example of his technique with a clearly delineated face & loosely painted body & background. Moreover here the loose painting does not mar the work by being slipshod.]
The Rt Hon Ramsay MacDonald, 1926 (House of Commons)
machuca:
Virgin of Souls in Purgatory, 1517 (Prado)
Deposition, 1547 (Prado). The complicated figure groupings are remisniscent of early Florentine Mannerism while his heightened chirascuro seems to anticipate Caravaggio Moffitt p 99
mckay:
Field Working in spring: the Potato Pits, 1878 (NG Scotland). Very unromantic view of women field workers Macmillan1990 p254
maclise:
Bolton Abbey in the Olden Time, 1834 ()
The Meeting of Wellington and Blucher at Waterloo, 1861
(House of Lords), damaged. It is powerful, well designed & coherent depite numerous figures OxDicArt
Death of Nelson at Trafalgar, 1865 (House of Lords), damaged. Ditto
mctaggart, william, 1835-1910:
The Storm, 1890 (NG Scotland)
Jovie’s Neuk, 1894 (). Magical expression of unity of nature & human innocence with warm ground/broken brushwork linking uniting children to environment Macmillan p17
The Sailing of the Emigrant Ship, 1895 (NG Scotland). Broken brushwork with the colour conveying a sense of desolation. Moreover the land seems to be dissolving into stormy & uncertain sea; insecurity of fragmented experience; scattered remnants of a displaced people Macmillan p17 [revise]
madarasz:
Lazlo Hunyadi on the Bier, 1859 (NG Budapest)
maffei:
Tobias & theAngel (SS Apostoli, Venice). Shows Liss’ influence Steer p173
Glorification of Alvise Foscarini, 1652 (GVicenza)
The Israelites Gatherring Manna (S. Giustina, Padua). His most solid & balanced work Waterhouse1962 p129
makart:
Lady Playing the Spinet, 1871 (). This is an early masterpiece Novotny p325
Death of Cleopatra, 1874-5 (Staatliche Kunstammmlungen, Kassel)
Moderen Amoretti & Pest in Florence, also known as Seven Deadly Sins, triptych, 1868 (). This established his fame Norman1977
The Entry of Charles V into Antwerp, 1878 (Hamburg). This is typical of his vast, pompous historical costume pieces Novotny p325
Cleopatra on the Nile (Statsgallerie, Stuttgart)
Marble Hearts, c1880
maksimov:
Saska the Tractor Driver, 1954 (Tretyakov). One of the best portraits of the period Bown p191
maler, hans:
Portrait of a Beardless Man, 1521 (Kunsthistorisches Museum, Vienna) 1001
P malevich:
The Scythe, 1911-2 (Nizhny Novgorod State ArtM). [Staring apparently hostile, unable to speak or about to shout at viewer, anyway inarticulate; face surrounded by helme-like shapes; some interest in textures.]
Morning in the Village after Snowstorm, 1912 (Gugg). [Interesting shapes/curves /colours; texred/modulated surface; last of M’s pictures suggesting a congenial world?]
The Woodcutter/Lumberjack, 1912 (StadelijkM, Amsterdam). [Peasant with masklike face.]
Strong Man, 1913, watercolour, pencil on paper (Russian Museum). Costume sketch for opera Victory Over the Sun S&K pp 30-1. [NB absence of facial features & foreshadowing of his later faceless peasants; these also anticipated in] his follower Suetin’s picture Academy Woman With a Saw, c1920 (Russian Museum) RARev pp 187, 194
Black Square, 1915. “brings to an end centuries of representation” [sic] Tate2014
Red Square (Painterly Realism of a Peasant Woman in Two Dimensions), 1916 (Russian Museum). Woman indicated by red of her kerchief RARus p187
Suypremus 38, 1915-6 (MLudwig, Cologne). [Sense of dynamism, but partly due to presumably fortuitous plane shape (top right corner)]
Peasant 1930-2 (Russian Museum). [No facial features but with beard.]
Head of Peasant, 1928-9 (Russian Museum). [Exceptional in having human features; staring upturned eyes, gash-like nose, downtuned mouth surely indicate distress.]
Portrait of Una, 1932-3 (Moderna M, Stockholm). [An ordinary girl; mediocre painting.]
Blacksmith, 1933 (Russian Museum). [Real person, not Socialist Realism.]
malpertsch:
Victory of St James of Compostela over the Saracens, c1764 (Belvedere)
mandyn/mandijn:
Temptation of St Anthony (Frans Hals Museum, Haarlem)
Temptation of St Christopher (Alte Pinothek, Munich). Only attributed Grove20 p249
manessier:
Barrabas, 1952 (Eindhoven). Neo-Tachism TurnerEtoPM p53
P manet:
Absinthe Drinker, 1859 (Ny Carlsberg Glyp, Copenhagen)
Old Musician, 1862 (NG Art)
The Street Singer, 1862 (Museum of Fine Arts, Boston).
Music in the Tuileries Gardens, 1862 (NG)
Dejeuner (Louvre) R&J p282. [Not properly finished, eg centre background, boat on middle right filled with candyfloss!!]
Olympia, 1863 (d’Orsay) R&J pp 284-5. This is almost the first post-Renaissance nude of a real woman in probable surroundings Clarke1956 p164. [She has an unerotic body with insignificant nipples & uninviting flesh. This contrasts with the vibrant shawl underneath her & with the negres’flowers which are more striking than the flower in Olympia’s hair. Her left leg is badly painted; it is not clear where top side ends.]
Execution of Maximillian, 1867 (Mannheim) R&J pp 286-7; Nochlin 1971 pp 31-3
L’ Homme Mort,1866 (NG Art). [Effective limited palette : black , pinky white, background browns. Plain background adds emphasis. His suit black on black. Bigger picture cut up.]
The Fife, 1866 (d’Orsay). [Flanderst except for trouser creases; posterlike.]
Portrait of Emile Zola, 1868 (d’Orsay). [Book leads forwards & to lesser extent chair & pictures. Bluish white book contrasts with black coat. Manet seems uninterested in Zola himself.]
Le Balcon (d’Orsay), 1869. [Disturbing contrast between deadpan man & woman & intense but withdrawn Bertha Morrisot. Two former somewhat comic eg her silly flower. Effective limited palette.]
Sur La Plage, 1873 (d’Orsay). [Nice contast between bored, casually dressed man & over-dressed woman reading letter. Academy Manet with depth.]
The Railroad, 1873 (NG Art)
Nana, 1877 (Kunsthalle, Hamburg)
mann, jacob:
The Faterland Calls
P mantegna:
Agony in the Garden, early 1460s (NG). The details are held together by line whereas Bellini’s version painting, though linear, is spacious & makes light pivotal Clarke 1949 p40, Steer p50
Crucifixion, 1456-9 (Louvre). Although Berenson describes this as priceless, he says it is foremost a study of the Roman soldier Berensen p244
The Ascension (Uffizi). This is the apotheosis of a Roaman athlete Berensen p244
Dead Christ (Brera)
marko:
marks:
marlow:
The View of the South Parterre, the 1770s (Castle Howard)
P maratta:
Portrait of Cardinal Antonio Barberini (Alnwick Castle). One of finest Rome portraits of 17th century Haskell p60
Portrait of Clement IX, c1669 (). Magnificent Haskell p161
Virgin with Saints, 1683 (S. Maria del Popolo). Betrays Baroque influence Pevsner1968 p72
Virgin & Child with S. Philip Neri (Pitti)
Immaculate Conception, 1671 (S. Agostino, Siena)
marc:
Struggling Forms (Munich) Dube p136
marcoussis:
maion:
marden:
Grove Group, I, 1973 (MoMA)
marieschi:
The Bovino di S. Marco, c1740 (Museum & Art Gallery, Birmingham). [This is sub-Canaletto.]
marin:
Movement, Fifth Avenue, watercolour, 1912 (Art Institute)
Woolworth Building No 31 (MoMA)
Marin Island, Small Point, Maine (Philadelphia Museum of Art)
Tree & Sea, Maine (Art Institute?)
P maris, jacob:
When we Grow Old, 1883 (Gemeente Museum, The Hague)
Harbour Scene, c1885 (Rijksmuseum)
Allotments near The Hague (Gemeente Museum, The Hague)
maris, matthijs:
Souvenir of Amsterdam, 1871 (Rijksmuseum)
maris, willem:
Ducks, c1885 (Rijksmuseum)
marks:
What is it? 1872 (Sudley House, Liverpool)
A Select Committe, 1891 (Walker)
marlow, william:
S. Paul’s and a Venetian Canal (Tate)
P marsh:
Death Avenue, 1927 (Whitney Museum of American Art)
The Bowl, 1933 (Brooklyn Museum)
Lifeguards, tempera, 1933 (University of Georgia Museum of Art, Athens)
The Bowery – Stokey’s Bar, tempera, 1953 (Whitney Museum of American Art)
martin, john:
Sadak in Search of the Water’s of Oblivion, 1812 (Saint Louis Art Museum)
Adam’s First Sight of Eve, 1812 ()
The Bard, 1817 (Laing Art Gallery, Newcastle)
The Fall of Babylon, 1819 ()
Balshazzar’s Feast, 1821 (Private but sketches at Yale Center for British Art & Wadsworth Atheneum)
The Fall of Ninevah, 1828 ()
The Destruction of Sodom & Gomorrah, 1852 (Laing Art Gallery, Newcastle)
The Great Day of his Wrath, c1853 (Tate)
√√√ francesco (maurizio) di giorgio martini:
Coronation of the Virgin, 1472-4 (Pinacoteca Nazionale, Siena)
Fidelity, fresco c1473 (Norton Simon Art Foundation, Los Angeles)
Virgin & Child, c1474 (Pinacoteca Nazionale, Siena)
Nativity, c1474 (Pinacoteca Nazionale, Siena)
P simone martini:
Maesta/Virgin in Majesty/The Virgin & Child & Saints, 1315-6 etc (Palazzo Pubblico, Siena). The Madonna’s alofness is old style Byzanitine but gesture, line & expression are Gothic & foreshorting has been used to create depth OxDicArt. Although it is derived from Giotto’s Maesta, it differs in being more secular as shown by the canopy with thearms of Siena Grove20 p505
Altar of St Louis of Toulouse, c1317 (Capodimonte). Here we see the king of Naples, Robert the Wise, who is kneeling, & his brother Louis, recently canonised. This is a good example of court art with its new demands for facial expression as shown by the Robert. It also has an early predella, & this displays the boldest perspective hitherto painted Martindale pp 202-4, OxDicArt
Polyptych, 1319 (Museo Nazionale, Pisa)
The Blessed Agostino Novello & Four of His Miracles, 1320s (Pinacoteca Nazionale, Siena)
Guidoriccio da Fogliano at the Siege of Montemassi, 1328, fresco (Palazzo Pubblico, Siena)
The Knighting of St Martin, c1330?? (Montefiore Chapel, Lower Church of S. Francesco, Assisi)
Saint Martin Renouncing the Sword ?? (Montefiore Chapel, Lower Church of S. Francesco, Assisi)
The Annunciation & Saints Ansanus & Massima, 1333 with Lippo Memmi (Uffizi)
Annunciation, part of the Antwerp polyptych (Royal Museum of Fine Arts, Antwerp)
Crucifixion, part of the Antwerp polyptych (Royal Museum of Fine Arts, Antwerp)
Deposition, part of the Antwerp polyptych (Royal Museum of Fine Arts, Antwerp)
Entombment, part of the Antwerp polyptych
Road to Calvary part of the Antwerp polyptych
Christ Returning to his Parents, 1342 (Walker)
Life of St Martin, fresco (S, Francesco, Assisi)
Madonna (Papal Palace, Orvieto)
martorell, bernado:
The Decapitation of St. George, c. 1432-34 (Louvre, Paris) 1001
P massys:
The Virgin Enthroned with Four Angels, c1495 (NG)
S. Anne Altarpiece, 1507-9 (MRoy, Brussels)
Deposition Altarpiece, 1508-11 (MRoy, Antwerp)
An Old Woman/the Ugly Duchess, c1513 (NG). Erasmus, whose ideas would have been known to Massys, castigated old lustful women in Praise of Folly, 1512 JonesS p102
Portrait of a Man, 1513 (Jacquemart-Andre, Paris)
Petrus Aegidus, 1517 (Longford Castle). Painted for Sir Thomas More L&L
The Virgin & Child with Saints. Barbara & Catherine, glue size on linen, c1520 (NG). This is a rare survival of this procedure JonesS p104
Ill-assorted Lovers, c1522 (NG Arts). Lecherous old man robbed by young woman Grove12 p287
Madonna & Child with Angels (Courtauld)
P masaccio:
Madonna & Child with S. Anne & Angels, c1423 (Uffizi). With Masolino’s angels & cloth of honour; even more vigourous than Triptych with further erosion of barrier between image & spectator L&L
S. Giovenale Triptych, 1422 (Uffizi). Traditional but with mature stylistic features triangulated figures; angels’ heads lost in profile; breadth of bodies/drapery; sober/economical colour; figures that share the viewer’s space L&L
The Trinity, 1428 (Santa Maria Novella, Florence) 1001
Virgin and Child, 1426 (National Gallery, London) 1001
Frescos , c1425-8 in the Brancacci chapel, Carmine, Florence:
Expulsion
Tribute Money
S. Peter Enthroned
S. Peter’s Shadow Healing the Sick. Note innovative cast shadow Gomb1995 pp 21-2
S. Peter giving Alms
Raising of the Praetor’s Son. Parts by M Murrays1959
Baptism of the Neophytes. Probably by M Murrays1959
NB convincing/expressive nudes; breakdown of barriers between viewer and painted event (Tribute Money/Healing) L&L
Polyptych for Carmine, Pisa, dismembered (central panel NG, Berlin, Capodimonte, Getty, Pisa). In NG panel note foreshortening of lutes & light, studied from lif&falling from a single (upper left) source
Tribute Money, c.1426 (Brancacci Chapel, Santa Maria del Carmine, Florence) 1001
Trinity, fresco, c1428 (S. Maria Novella, Florence)
P masolino:
Madonna of the Humility, 1423 (Kunsthalle, Bremen)
Brancacci Chapel fresco, c1425-7 (S. Maria del Carmine). Softer style than Masaccio OxDicArt
fresco, 1432 (Todi, San Fortunato)
Life of S. John the Baptist, mid-1440s (baptistery, Collection Castletiglione Olona, near Como). Graceful/lyrical & non-Masacciolike; probably masterpiece OxDicArt
mason:
The Gander, 1865 (Lady Lever Art Gallery, Port Sunlight). Most poetic of mid 19th century British landscapists; careful spacing, long diagonal rhythms, tonal unity; peasants relecting/participating in natural forces; not mere anecdote G
master of Alkmaar. See buys
P master of moulins:
Madonna with Saints & Donors, c1498 (Moulins)
P master of trebon:
The Adoration of Jesus, c1380 (Convent of St George, NG Prague)
Entombment, c1380 (Convent of St George, NG Prague)
P matejko:
Stanczyk, 1862 (National Museum, Warsaw)
Year 1863-Polonia, 1864 (National Museum Cracow)
Rejtan-The Fall of Poland, 1866 (Royal Castle, Warsaw). This impies that the aristocracy betrayed the nation between 1773 & 1793 Grove20 p810
Stephen Batory at Pskov, 1872 (National Museum, Warsaw)
Battle of Grunwald, 1875-8 (National Museum, Warsaw). This shows the victory of the Poles & Lithuanians over the Teutonic Knights. It is the most powerful & visionary of Matejko’s historical compositions Grove20 p810
Homage to Prussia, 1880-82 (National Museum, Cracow). This exemplifies his new richer, softer colouring & more sedate composition Grove20 p810
mathieu:
Capetians Everywhere, 1954 (Centre Pompidou). The gestural style typical of Taschism TurnerEtoPM p390.
matisse:
Blue nude, 1907 Antliff/Leighton p53
P maulbertsch:
Allegory of the Continent of Asia, c1750 (NG)
Dome fresco, 1752-3 (Piaristenkirche, Vienna)
The Invention of the Cross, 1557-8 (Heiligenkrwuz-Gutenbrumm Church)
Baptism of Christ, c1766 (Divinity School, Old University, Vienna)
The Glorification of the Royal Hungarian Saints, c1772 (the Met)
Venus & Adonis, oil sketch c1785 (Albertina)
The Rape of Deianira, oil sketch c1785 (Albertina)
Self Portrait, c1790 (Barockmuseum, Vienna)
maurer:
An Arrangement, 1901 (Whitney Museum of American Art). This is from his Whister phase OxDicMod
Still-life with Doily, 1930-31 (Art Collection, Braneis University). This is one of the paintings with Cubist features he painted in the early 1930s OxDicMod
mayno:
Monk, 1635 (Ashmolean). Formidably characterised OxDicArt
medina:
Self-Portrait, 1708 (Surgeon’s Hall, Edinburgh). Finest work L&L
meidner:
Apocalyptic Landscape, 1913(Berlin). Dube p179
P melanzio:
Fresco (Montefalco San Francesco)
Madonna of Pity, fresco (Montefalco S. IlluminataChurch)
Coronation of theVirgin (Montefalco S. IlluminataChurch)
Resurrection (Montefalco S. IlluminataChurch)
Holy Spirit (Montefalco S. IlluminataChurch)
memling, hans:
Portrait of an Old Women, c.1470 (Museum of Fine Arts, Houston) 1001
The Donne Triptych, 1480 (NG)
memmi:
Maesta, 1317, fresco painted with his father (town hall, S. Gimignano)
Madonna of Pitty, 1320
Madonna, 1347 (Franciscan church, Avignon)
menendez:
Self-portrait (Louvre). Striking L&L
Self-portrait (Madrid). Striking L&L
mengs:
Parnasus, 1761(Villa Albani, Rome). Winckelmann’s personal influence: simplicity/calm/absence of colouritic effects/deep recessions; Neo-classicism’s early negative anti-Rococo phase Honour1968 pp 31-2
P melville:
Academy Cabbage Garden, 1877 (Private?)
An Egyptian Sower, 1881 (Private?)
Audrey & Her Goats, 1884-9 (Tate). As You Like Italy meeting between Academy & Touchstone, predatory & cultivated; she responds to his highflown advances with a simple question; Melville was probably mocking Bastien–Lepargists who solemnly but condescendingly associated themselves with the peasantry Macmillan pp 14-15
KIrkwall, 1885-6, watercolour (GlasAG)
Awaiting an Audience with the Pasha, 1887, watercolour (Private). 1882 M attacked/robbed in desert near Mosul but stays recovering with local Pasha for several weeks; masterly contrast between open bright courtyard & patterned elements/shadowy recesses Bullcliffe p116
Little Bullfight: ‘Bravo Toro’, c1889-9 (V&A). Watercolour technique exemplified: paint dropped on paper saturated with Chinese white, then spong&brushwork to clarify form Grove21 p99
Bullring Crowd (MAG, KIrkcaldy). Shows developing interest in crowd movement/spacial contrast Grove21 p99
Brig O’Turk, 1893 (Robertson Collection, Orkney)
White Piano, 1897 (Harris MAG, Preston). Example of Whistlerian phase Grove21 p99
mengs:
The Penitent Magdalene, 1752 (Gemaldegalerie, Dresden). This painting, influnced by Titian & Corregio, combines elegance of expression & great sensitivity RADresden p57
Parnasus, 1761(Villa Albani, Rome). Winckelmann’s personal influence: simplicity/calm/absence of colouritic effects/deep recessions; Neo-classicism’s early negative anti-Rococo phase Honour1968 pp 31-2
menzel:
Artist’s Sister with Candle (Munich) R&J p190
Evening Party, 1848 (AlteNG) Nochlin 1971 p194
mercker:
Marble for the Reich Chancellery
mesdag:
Panorama, 1881 (Mesdag Museum, The Hague)
messerschmidt:
An Intentional Buffoon, after 1777 (Belvedere, Vienna)). Grotesque Self-portrait. One of series based on Le Brun & rare example of extreme facial expression prior to 20th century West p34
P messina, antonello da:
Portait of a Man (NG). Beautiful Pope-H p60
Portrait of a Man, c 1470 (MMandralisca, Cefalu). Mouth parted in most unusual wide warm smile Pope-H pp 60, 62.
S. Jerome in His Study (NG).
Crucifiction (NG). Italian composition + Flemish light/atmosphere OxDicArt
Salvator Mundi, 1465 (London). Complete mastery of oil technique Murrays1963 p255
Virgin and Child with Saints, 1473 (MN Messina)
S. Sebastian, c 1475 (Gemaldegalerie, Dresden). One of first Sacra Conversaziones where picture continues real space Murrays 1959
Condottiero, 1475 (Louvre, Paris)
S. Castlesiano Altarpiece. fragment, 1476 (Kunsthistorisches). External space continued within picture so that figures appear to be in imaginary space extended from real space Murrays1963 p256
Ecce Homo (the Met)
Portrait, 1478 (StatM, Berlin). Emotional intensity RAGiorgione p48
Annunciation, (Palace Abbatellis, Palermo)
Annunciation, (Palace Bellomo, Syracuse)
messina, jacobello da;
Madonna & Child, 1480 (Pinacoteca dell’Accademia Carrara, Bergamo)
metcalf:
Early Spring Afternoon – Central Park (Brooklyn Museum)
P metsu, gabriel:
Abraham Dismisses Hagar& Ishmael, c1653 (MunicipalM De Lakenhal, Leiden). Broad/flat brushwork & strong movement typical of M’s earlier work Haak p432
Justice Protecting Widows & Orphans, c1653 (Mauritshuis)
The Sick Child, c1660 (Rijksmuseum). Most poignant work?; sublime handling of light/colour Haak p489
The Intruder, c1660 (NG Arts)
Man & Woman at the Verginal, c1660 (Louvre)
Merry Couple in the Inn, 1661 (Gemaldegalerie, Dresden)
Portrait of Geelvinck Family, c1662 (Berlin)
Woman Writing a Letter, c1663 (Leiden Collection, New York)
Man Visiting a Woman Washing Her Hands, c1664 (Waddesdon Manor)
Man Writing a Letter, c1665 (NG Ireland)
Woman Reading a Letter, c1665 (NG Ireland)
Sleeping Sportsman, (Wallace Collection). Symbolic, Dutch word for bird (vogelen) like vernacular for copulation Fuchs p45; details, though beautifully painted, disturb picture’s unity Haak p489
The Hunters’ Present (Rijksmuseum)
The Oyster Eaters (Hermitage)
michalowski:
The Battle of Somo Sierra, c1848 (Muzeum Norodowe, Warsaw [??] )
P michelangelo:
Last Judgement, 1536-41 (Sistine Chapel). Personal immortality being hotly debated; in 12th century (philosopher) Averroes’ denial but forcefully reaffirmed by Leo X & Clement VII Hall1999 p132. M followed tradion by having central Christ surrounded by elect with those on left ascending to join the saved & those on right descending to hell; figures are rotating around the Apollonian Christ like the planets aroung the sun in Copernican cosmology, with Christ beardless like Apollo; S. Bartholemew is just below holding his flayed skin; his face does not match the one on the skin but is idealised signifying that, as in St Paul, that at the Second Coming we will be granted new/perfect bodies for eternity Hall1999 pp 133-4. Figs are nude because when we face Christ there are no distinctions of rank & because the resurrected body is the ideal human form; despite an extraordinary variey of poses, all figures are akin in their ideal strength/energy, except those rising from the grave & sinking to hell Hall1999 pp 133-5. Those in hell or resurrecting & not yet in their new spiritual bodies, are awkward/ungraceful. They reflect Michelangelo’ intensified religious devotion & recognition of man’s depravity & dependence on divine Grace Hall1999 p178
Cruxifiction of St Peter (Pauline Chapel, Vatican). The frescoes in this chapel were Michanegelo’s last & were completed very slowly (1542-50). The figures in the Cruxifiction are once again ungainly. Here Michelangelo was pioneering the Counter-Maniera movement Hall1999 pp 176-8
michel, georges:
Landscape Outside Paris, after 1830 (LilleMDBA)
michelangelo:
Victory Shearman (Florence) pp 82-3
Tombs of Giuliano & Lorenzo de’ Medici (VeniceChurch). Recumbent figures greater axial contrasts Wolfflin1899 p272.
Sistine Chapel Ceiling (Vatican). Increasingly strong shadows Wolfflin1899 p278.
middlewich:
Cow Parsley, 1956 (Waker)
Fig-tree and Beanstalks, 1957 (Arts Council)
milano, Giovanni da:
Pieta, 1365 (Academy, Florence)
Life of Virgin & Mary Magdalene, fresco c1365 (Rinuccini chapel, S. Groce, Florence)
P millais:
Lorenzo & Isabella, 1849 (Walker)
Autumn Leaves, 1855 (Manchester Art Gallery)
The Blind Girl, 1854-6 (BIrCAG)
The Boyhood of Raleigh, 1870 (Tate)
Mrs Bischoffsheim, 1873 (Tate). Brilliant free paintwork/strong characterisation Treuherz1993 p162
Mrs Kate Perugini, 1880 (Private). Striking profile back view portrait of Dickens’ daughter, showing awareness of Whistler & anticipating Sargent/Boldini methods Wood1999 p274
Bubbles, 1886 ()
Cymen and Iphigenia (Lady Lever Art Gallery, Port Sunlight). [Unusual Rubenesque & Titianesque style.]
miller:
The Fitting Room, 1931 (The Met)
#milne, malcolm:
The Hundred Flowers, 1938 (Manchester Art Gallery)
P minardi:
Self-Portrait, 1813 (Uffizi)
The Angel of the Apocalypse, 1824 (Pinacoteca, Faenza)
The Rosary Around the Neck of the Lamb, 1840 (Galleria Nazionale d’Arte Moderna, Rome). This is strongly reminiscent of Perugino Grove21 p624
minton:
Surrey Landscape, ink & wash, 1944
miro:
The Beautiful Bird Revealing the Unknown to a Pair of Lovers, 1941, gouache, pencil, oil-wash on paper (MoMA). M’s attempt to commune with nature during personal crisis resuting from Spanish Civil War & World War II MOMAHp186
miranda. See Carrena
modigliani:
Chaim Soutine Seated at a Table, c1916-7 (NG Art). One of the most naturalistic of Modiglian’s portraits. It is a devestingly honest & penetrating interpretation of Soutine’s sense of despair & hopelessness indicated by one eye being slightly higher than the other Grove21 p787
mola:
Barbary Pirate, 1650 (Louvre)
molenaer:
The Duet, c1630 (Seattle Art Museum)
Family on a Terrace. Allegory of Family Fidelity, 1633 (Virginia Museum of Fine Arts, Richmond). A magnificent painting & Molenaer at his best Haak p235
Woman at Her Toilet/Lady World, 1633 (Toledo Museum of Art)
Family Making Music, 1635-6 (Frans Hals Museum, Haarlem?)
A Young Man Playing a Theorbo & a Young woman Playing a Cittern (NG)
molinari:
Black Angle, 1956 (NG Canada)
moll:
The Naschmarkt,Vienna, 1894 (Belvedere). [This is a beautifully painted & composed piece of tonal naturalism. It is not a showy picture & its understatement makes it attractive.]
View of Vienna from Eichelhof in Nussdorf, c1910 (Belvedere)
monaco:
monamy:
P mondrian:
Still Life with Ginger-Pot, 1912 (Hague). Like Cubism except for pot Lynton p76
Colour Planes in Oval, 1914 (MoMA). Abstract but began with drawings os of buildings Lynton p75
Colour composition, 1917 (Otterlo). Abstraction abstract initio Lynton p75
Diamond with Grey Lines, 1918 (Hague). Abstraction abstract initio Lynton p75
Composition with Red, Black, Yellow & Grey, 1920 (Amsterdam). Typical work of period from 1920 into 1940s Lynton p76
Broadway Boogie-Woogie, 1943 (MoMA). More assertiv&warm than his European works Lynton p214 Mondrian fell in love with boogie-woogie music, which heard on his first New York evening; saw it as sharing his goals=destruction of melody/natural appearance MOMAH p187
monet:
Poplars (the Met) R&J p450
Morning on the Sciene, Giverny, 1887 (Mead ArtM, Amherst). [Interesting combination of washed out pinks/greens; unusually lightly/smoothly painted.]
The Japenese Footbridge, c1920-2 (MoMA). [Dead paint surface, though orange colour imparts a little life.]
Path Under the Rose Arches, 1920-2 (Marmottan). [Dead]
montagna, bartolomeo:
(NG)
P monticelli:
Rural Scene (MGrobet-Labadie, Marseille)
Island of Cythera, 1863-5 (ArtM, S.Louis)
Portrait of Madame Rene, 1871 (MDBA, Lyons)
Parade des Saltimbanques, 1877 (MGrobet-Labadie, Marseille)
still-life with White Jug, c1879 (d’Orsay)
montones:
Christ of Clemency () Martin p55
moran:
The Grand Canyon of the Yellowstone, 1893-1901 (Smithsonain American Art Museum)
The Teeton Range, (the Met). [Dazzling photographic colour.]
morazzone:
Fresco, 1620 (S. Gaudenzio, Novara). Spelendid Waterhouse1962 p141
Road to Calvary, with Tabachetti, 1599-1605 (SacraM=XXXVI, Varallo)
Ecce Homo, with d’Enrico, (SacraM=XXXIII, Varallo).
Remarkable because sculpture involved in upper as well as lower figures; genuine native rural Lombard art Waterhouse1962 p140
Condemnation of Christ, with death’Enrico, (SacraM=XXXV, Varallo).
Jacob Wrestling with the Angel (Arcivescovado, Milan)
Last Judgement, 1620 (S. Gaudenzio, Novara)
The Martyrdom of S. Ruffina & S. Seconda= The ’Tre Mani’, c1620 with Il Cerano & Procaccini (Brera). M=semi-invisible background figures Waterhouse1962 p137
P moretto:
Paintings (Brescia, S. Giovanni Evangelista)
Pieta, 1520s (NG Art). This is one of the most moving depictions of the subject in art. We feel ourselves grasping his body with the anguish of the Marries & St John Walker p152
Portrait of a Dominican (Savonarola?), 1524 (Museo di Castletelvecchio, Verona)
Portrait of a Man, 1526 (NG) Early Italian full-length portrait Pope-H p320
Supper at Emmaus, (Brescia, Pinacoteca Tosio Martinengo). Religious subject in everyday setting anticipating CaravaggioRAVenice p185
Portrait of a Man, c early 1520s (the Met). Face partly obscured by shadow creating a pensive & indecisive mood RAVenicep185
Apparition of the Madonna (Paitone, Sanctuary). Religious subject in everyday setting anticipating Caravaggio RAVenicep185
S. Giustino with a Donor, c1530 (Kunsthistorisches). Gravity & poetic feeling for nature OxDicArt
The Conversion of S. Paul c1540 S. Maria presso s. Celso, Milan)
Portrait, perhaps of Count Fortunato Martinengo Cesaresco, c1542 (NG). One of great portraits of the Italian Renaissance Bayer p124
Supper in the House of Simon the Pharisee, c1544
S. Roch with an Angel, c1545 (Szepmuveszeti M, Budapest)
The Nativity, c1550 (Pinacoteca Tosio Martinego, Brescia).
Ecce Homo with an Angel, c1552 (Brescia, Pinacoteca Tosio Martinego). New monumentality/solemnity reflecting Counter-Reformation spirit RAVenice p185
?Portrait of a Young Woman, 1540s (Kunsthistorisches)
Christ & the Angel, c1550 (Pinacoteca Tosio Martinego, Brescia). Masterpiece with deliberate cropping Bayer pp 111-2
The Entombment, 1554 (the Met)
Conversion of S. Paul (S. Maria presso S. Celso)
morisot:
Au Bal, 1875 (Marmaton). Girl waiting, with some trepidation, to be asked to dance. Nicely achieved. Fan shows Japanese influence.]
Paule Gobillard, Peignant, 1887 (Marmaton). [Captures her concentration & determination through cloisonné effect on chin & the way in which she is bending forward. Her activity is shown by the vagueness/lack of precision of the area where her hand is at work. However a one aspect picture.]
RP moore:
Azaleas
Dreamers
Midsummer
P moorland:
Morning, Higglers Preparing for Market (Tate)
The Gravel Diggers (Tate)
The Alehouse Door (Tate)
The Door of a Village Inn (Tate)
Academy Tavern Interior with Sportsmen Refreshing (Private?)
Academy Gypsy Encampment (Private?)
The Benevolent Sportsman (Fitzwilliam Museum, Cambridge)
The Artist in His Studio with His Man Gibbs, c1802 (Castle MAG, Nottingham)
P moroni:
Portrait of Gian Lodovico Madruzzo, c1551 (Art Institute). Here we have a sharp & sober treatment with little idealisation apparently in the tradition of Holbein & inspired by the ideas of Erasmus, current in northern Italy at the time RAVenice p187
Portrait of Gian Gerolamo Grumelli ‘Il Cavaliere in Rosa’
Portrait of a Man with Two Children/The Widower, c1564 (NG Ireland)
‘Titian’s’ Schoolmaster, late 1560s (NG Art)
Portrait of a Lawyer, late 1560s (NG)
Antonio Navagero, 1565 (Brera)
Portrait of a Youth, 1567 (Pinacoteca dell’Accademia Carrara, Bergamo). This has psychological understanding & Counter-Reformation influence RAVenice p187. Its intensity makes it a masterpiece Grove22 p134
Christ Carrying the Cross, not before 1565 (Sanctuario della Madonna, Bergamo?). Emotional effect through shimmering treatment of flesh & drapery which ancticipates 17th century art RAVenice p192
Portrait of Gian Girolomo Albani, c late 1560s (Private). This is one of his most important Grey period works RAVenice p190
The Tailor, c 1570 (NG) 1001
The Mystic Marriage of St Catherine (Parish church, Alemeno San Bartolomeo)
Virgin in Glory with St Barbara & St Lawrence (Brera)
mosnier:
The Younger Mother, c1775 (MMunicipal, Macon)
motherwell:
Elergy to the Spanish Republic , No 35, 1954-8 (the Met). [This work makes little impact.]
Elergy to the Spanish Republic, 1965-7 (MoMA). M related images to display of dead bull’s balls after bullfight MOMAH p244
motley:
Blues, 1929 (Private)
Stomp
Saturday Night, 1935 (Howard University Gallry of Art, Washington)
Nightlife, 1943 (Art Institute)
Self-Portrait
Murals (Nichols Middle School, Evanston, Illinois)
muller, friedrich:
Hymen,1799 (Neue Pinakothek, Munich)
muller, leopold:
muller, victor:
muller, william:
mulready, William:
Returning From the Ale-hous&Fair Time, c1808-9 (Tate)
Punch & Judy, 1813 (Private)
Idle Boys, 1815 (Private).
The Fight Interrupted, 1816 (V&A). Made reputation OxDicArt
The Wolf & the Lamb, 1820 ( Royal Collection)
The Sonnet, 1839 () V&A
Choosing the Wedding Cake, 1846 (V&A)
P munch:
The Sick Child, 1885-6 (Nasjonalmuseet)
Spring, 1889 (Nasjonalmuseet)
Dance of Life (Nasjonalmuseet) R&J pp 459-60
Death Chamber (Nasjonalmuseet) R&J p454
Madonna Rosenblum (Oslo) 1984 p457
Madonna, 1895, litho (NG Arts). Small deformed foetal image signifying dire reproductive consequences of diseased women WoodG p86
P munkacsy:
Chestnut Alley, 1866 (Museum of Fine Arts, Budapest)
Charpie-Makers, 1871 (Museum of Fine Arts, Budapest)
Churning Woman, 1873 (Museum of Fine Arts, Budapest)
Smoker, 1874 (Museum of Fine Arts, Budapest)
Parisian Interior, 1877 (Museum of Fine Arts, Budapest)
Condemned Cell, 1878 (Museum of Fine Arts, Budapest)
Christ Before Pilate, 1880-1. (Hungarian NG, Budapest)
Strike, 1891 (Museum of Fine Arts, Budapest)
murphy, Gerald:
Razor, 1924 (Dallas) Hughes p433
P murillo:
Heavenly & Earthly Trinities, c 1640-45 (Nationalmuseum, Stockholm)
San Diego de Alcala Feeding the Poor, 1645-36 (Real Academia de San Fernando, Madrid)
Angels’ Kitchen, 1646 (Louvre). Here a monk (in glory) becomes lost in prayer but angels undertake his neglected kitchen work; charming details Brown 1998 p203
Death of St Clare, c1646 (Gemaldegalerie, Dresden)
Holy Family with a Bird, c1650 (Prado). One of the intimate & devotional, & possibly speculative, Holy Family pictures that Murillo painted from c1645 Brown 1998 pp 202-3
Vision of St Anthony of Padua, 1556 (Cathedral, Seville). The tennebrism in the lower section looks back to his earlier style, but the upper part with its massed putti, which is inspired by Herrera, is his first piece of High Baroque Brown 1998 pp 204-5
Birth of the Venus, 1660 (Louvre). His earlier hard-edged technique has been replaced by sketchy brushwork. This is a calm & soothing work in which the gap between mortal & divine has been narrowed Brown 1998 p206
Group of Figures, c 1660 (Kimball Art Museum, Fort Worth). The bespectaled hag & the young girl are stock figures in scenes of prostitution Brown1998 p228
Dream of the Patrician John, 1665 (Prado)
Patrician John Reveals His Dream to Pope Liberius, 1665 (Prado)
Jacob Laying the Peeled Rods Before the Flock of Laban, 1665 (Meadows Museum, Southern Methodist University, Dallas)
Spring as a Flower Girl, c1667 (Dulwich Picture Gallery). [Note the bounty of nature.]
Summer as a Young Man with a Basket of Fruit & Vegetables c1667 (NG Scotland). [Note the bounty of nature.]
Return of the Prodigal Son, 1667-70 (NG Arts)
Feeding of the Five Thousand, 1667-70 (La Caridad, Seville)
Old Woman & Young Boy, c1670 (Alte Pinakothek)
Young Boys Playing Dice, 1665-75 (Alte Pinakothek)
St Francis Embracing the Crucified Christ, 1668-70 (Museo de Bellas Artes, Seville)
Glory of the Angels, c1675 (Woburn Abbey)
Moses Sweetening the Waters of Mara, 1667-70 (La Caridad, Seville)
Self-Portrait, c1670-72 (NG)
The Nursing Mother c1675 (Barbarini Gallerie Corsini Nationali, Rome). [Surely this is not a pious picture with its pretty woman & pleasing child?. It is loosely painted especially the background. It is surprisingly like Gainsborough, including the interest in textiles.]
Infant Christ Offering a Drink of Water to St John, 1675-80 (Prado)
Virgin & Child, 1675-80 (The Met)
Immaculate Conception, c1676-80 (Prado). Note the elimination of traditional features except for the moon & the fluttering, often dissolving, putti Brown 1998 p224
murray, david:
Scenting the Summer Gorse, 1916 (Lady Lever Art Gallery, Port Sunlight). [A bold work.]
muziano:
Raising of Lazarus, 1555 (M del Opera del Duomo, Orvieto)
S. Francis Receiving the Stigmata, 1570s (Convento dei Cappuccini, Frascati)
Circumcision, 1587-98
myers:
The Tambourine (East side New York), 1905 (Mof Art)
mylnikov:
In Peaceful Fields, 1950 (Russian Museum). This appears to relect a yearning for a Russia unravished by war & unaffected by present discontents, like Bubnov’s Corn (1948) Bown pp 194-5
Spanish Triptych, 1982 (Tretyakov). This represents ten years work. The triumphant matador realizes he has killed an innocent bull. The right-hand panel shows the poet & playwright Federico Garcia Lorca, shot by the Fascists. In the central crucifixion the murder of the innocent & the good are brought together Bown1989 pp 28-9
mytens:
Duke of Hamilton, 1629 (National Portrait Gallery Edinburgh)
Christ Carrying the Cross, 1566 (S Maria Assunta, Florence)
Allegory of Dreams & Gathering Ambergris, oil on slate 1570-1 (Studiolo, Palazzo Vecchio)
Life of St John the Baptist, frescos 1577-80 (Altoviti chapel, Santa Trinita dei Monti, Rome). He worked on these with Balducci Grove22 p447
Calling of St Matthew, 1588 (Capella Salviati, S Marco, Florence)
Presentation of the Virgin, 1590 (Cathedral, Volterra). He worked on this with Balducci Grove 22 p448
Simon Arnauld, Marquis de Pomponne, engraving 1675 (Bibliotheque Nationale)
Louis XIV, engraving (BM)
Country Dance, 1618 (Uffizi). This, & the two foolowing pictures, exemplify his new kind of realistic landscape: small scenes suggesting the charm of country life Grove22 p487
Mill (Pitti)
Fair at Imprunetta (Pitti)
Landscape Frescos, 1622-3 (Palazzo Rospigliosi Pallavacini, Rome)
Portrait of a Youth (Nelson-Atkins Museum of Art, Kansas City)
Virgin & Child/The Madonna Lia, c1495 (Pinacoteca del Castello Sforzeco, Milan)
Angel in Green with a Vielle, c1495 (NG). [It has harsh colour & line & the draperies are stylised.]
Virgin & Child with Saints Sebastian & John the Baptist, c1489 (Kunsthaus Zurich but on loan). This work is twice signed & unlike the other works its authorship appears certain NGLeonardo p200
Virgin & Child (Brera). This work closely modelled on the London Virgin of the Rocks, is of very high quality. Indeed it was in the 18th & 19th centuries taken to be a Leonardo NGLeonardo pp 72, 198
The Cornfield, 1918 (Tate). One of his finest landscapes Grove22 p525
Over the Top: 1st Artists at Marcoing, 1918-9 (Imperial War Museum). This. & the following picture, exemplify the primativising tendency of his earlier works Grove22 p523
Oppy Wood, 1919 (Imperial War Museum)
The Moat, Grange Farm, Kimble, 1922 (Tate Gallery)
The Elms, watercolour, 1914 (Walker)
The Three Trees in the Night, 1913, watercolour, ink & chalk (Private).
The Landscape – Hill 60, 1917-8, Pencil, pen & watercolour (Imperial War Museum)
Year of Our Lord 1917, 1917-8, Chalk & ink (NG Canada)
After the Battle, 1918, Pen & watercolour (Imperial War Museum)
The Menin Road, 1919 (Imperial War Museum)
We Are Making a New World, 1919 (Imperial War Museum)
The Shore, 1923 (Leeds Art Gallery)
Dymchurch Wall, 1923, watercolour etc (Private)
Landscape at Iden, 1929 (Tate)
Wood on the Downs, 1930 (Aberdeen Art Gallery). This represents Nash’s achievements up to 1930: articulate & monumental of a vivid but unsensational subject combining a substantial paint surface (a Camden Town feature), a clear formal structure without anecdote (Cezanne), & a landscape theme appropriate for English painter with a naturalised Continental influence. It could have been produced nowhere else Harrison pp 202-3
Northern Adventure, 1929 (Aberdeen Art Gallery)
Kinetic Feature, 1931 (Tate)
Landscapes of the Megaliths, 1933-4 (British Council)
Equivalents for the Megaliiths, 1935 (Tate)
Harbour and Room, 1932-6 (Tate). The Idea arrived while he was staying in a Toulon room overlooking the harbour & after seeing Surrealist pictures in Paris Spalding1986 p107
Landscape from a Dream, 1936-8 (Tate)
Monster Field, 1939 (Durban art Gallery, South Africa)
Totes Meer, 1941(Tate).
Landscape of the Vernal Equinox, 1944 (NG of Scotland, Edinburgh)
Bathers, 1926 (Manchester Art Gallery)
In the Orchard (The Apple Pickers), 1927 (Ashmolean Museum Oxford)
In a Wood, 1928 (Ashmolean Museum, Oxford)
The Farmyard, 1928 (Manchester Art Gallery)
Christ Before the People, 1928 (Laing Art Gallery)
Woodgatherers, 1929 (Manchester Art Gallery);
Crucifixion, c1932 (Laing Art Gallery)
The Sermon on the Mount, 1968 (Manchester Art Gallery)
St Remy Offering the Surrender of Reims to Clovis, 1736-7 (Musee de Troyes). This was the earliest French decorative scheme based on a national-patriotic theme L&L
Story of Psyche, 1737-9 (Hotel Soubise)
The Triumph of Bacchus, 1747 (Louvre). The colouring is pearly, cool & slightly acid colouring. Natoire painted the female nude better than Boucher Wakefield p101
Dorothea Surprised in Her Bath (Chateau de Compiegne). See Triumph
Persius Turns Phineas to Stone, 1718 (Musee des Beaux-Arts, Tours). Academy reception picture; accomplished but conventional Wakefield p60
The Marechal de Saxe, 1725 (Gemaldegalerie, Dresden)
Madamoiselle de Clermont Taking the Waters of Chantilly, 1729 (Musee Conde, Chantilly)
The Duchess of Chartes as Hebe, (Nationalmuseum, Stockholm)
The Marquise d’Antin, (Musee Jacquemrt-Andre, Paris)
Queen Mary Leczinska, 1748 (Versailles & Musee des Beaux-Arts, Dijon). Genuine perception of character instead of usual artificiality Wakefied p63
Madame Adelaide Embroidering, 1756 (Versailles) Superb Wakefield p63
Baptimsm of Christ, c1565 (Prado)
Martyrdom of St James, 1569-71 (The Escorial). This is perhaps his most admired work BrownJ p55
Holy Family, c1575 (The Escorial). Philip II was not amused by the cat & dog. The contract with Navarrete in 1576 forbade them & specfied that all must be saintly & inspire devotion BrownJ p55
De Hemptine Family, 1816 (Musee d’Art Ancien)
Rich Young Man, 1854 (Musee d’Art Ancien)
Judgement of Solomon, 1855 (Musee d’Art Ancien)
Raising the Son of the Widow of Nain, 1857 (Saint-Joseph, Brussels)
Franz Reuter, 1925 (Kunsthalle, Hamburg)
Departure of the Fisherman, 1936 (Sprengel Museum, Hannover)
Girl’s Head, 1947 (Museum Ludwig, Cologne)
Garden, 1952 (Museun Flkwang, Essen)
In Blazing Colours, 1955 (Indiana University Art Museum, Bloomington)
White Spring, 1963 (Tate)
View of Covent Garden, 1735 (Woburn Abbey)
Covent Garden Market, 1737 (Tate)
Five-Cross Dance, 1829 (Historisches Museum, Vienna)
Family Portrait, 1836 (Kunstmuseum, Dusseldorf)
In the Pub, 1847 (Historisches Museum, Vienna)
The National Guard of the Suburb of Dobling, 1848 (Historisches Museum, Vienna)
Vienesse Family, 1854 (Historisches Museum, Vienna)
Interior of a Gothic Church, 1605 (Gemaldegalerie Alte Meister, Dresden)
Interior of St Paul’s Antwerp (Rijksmuseum)
Ethel Ashton, 1930 (Tate)
Synthesis of New York – The Great Depression, 1933
Pat Whalen, 1935 (Whitney Museum of American Art). He was a longshoreman & a militant Communist Party organiser; note his large hands Barter pp 151-2. [Though determined he looks downcast & tired. He appears to be a looser with his head between hunched shoulders & a red lower eyelid suggesting strain or even weeping.]
Andy Warhol, 1970 (Whitney Museum of American Art)
Virgin & Child with Saints (Museo Duomo,Gubbio)
Scenes from Life of Virgin, fresco, early 15th century (San Francesco, Gubbio)
Fresco (S. Maria, Gubbio)
Adoration of the Magi (Worcester Art Museum, Massachussets)
St Gerome (Musee du Petit Palace, Avignon)
Circumcision & Mystic Marriage of St Francis, 1424 (Pinacoteca, Vatican)
Madonna(s) of Humility, 1420s (Musee du Petit Palace, Avignon; Niedersachsisches Landesmuseum, Hannover, )
St John the Baptist Rebuking Herod (Fondazione R. Longi, Florence)
paulisena nelli, pulisena/suor plautilla :
Lamentation for Dead Christ, c1569 (S. Marco, Florence). Its colours & landscape reveal a northern influence Scudieri p33. She probably used a nun’s corpse for the unconvincing Christ but her women are expressive but non-rhetorical Greer1979 p186.
The Last Supper (S. Maria Novella, Florence). The colours are harmonious, balanced, rich & warm. The table is well observed. Bronzino supplied the design Greer1979 pp 185-6
Deposition (Museo S. Marco, Florence)
Adoration of the Magi (Galleria Nazionale, Parma)
A Rest After Battle, 1955 (Tretyakov)
The Hermit, 1888-9
Vision of Young S.Bartholomew, 1889-90 (Tretyakov)
Lev Tolstoy, 1907 (Tretyakov)
In Rus’, 1916 (Tretyakov). This is his most ambitious pre-Revolution work which attempts to show Russia at the brink Grove22 p811
Portrait of Academician Ivan Pavlov, 1935 (Tretyakov). Pavlov originated behaviourism; no Socialist Realism heroics, but of its time because expresses striving (outstretching arms/clenched fists) & belief in bright future (flowers) Bown p105
Vera Mukhina, 1940 (Tretyakov)
The Kitchen, (Gemaldegalerie, Berlin)
The Lace-Maker, 1664 (Wallace Collection). This is a masterpiece TurnerRtoV p234
Company Making Music, 1665 (Mauritshuis, The Hague)
Woman at Her Toilet (Private)
Gathering of Musicians/Song with Harpsicord Accomplishment, 1666 (Gemaldegalerie, Dresden)
Woman Feeding a Parrot, with a Page, 1666 (NG Art)
Two Boys Blowing Bubbles, (NG).
Lady with an Orange, 1681 (Wallace Collection). This is a stylish [Golden Age] portrait of a woman of elevated status who lacks immediacy & energy Fuchs pp 91-2
Portrait of William III, King of England (Buckingham Palace)
Bivouac at Le Bourget, 1872 (Musee de Beaux-Art, Dijon)
Panorama of Champigny, 1882 (Versailles)
The Arrival, 1913-4 (Tate).
The Mitrailleuse, 1915 (Tate). An example of Nevinson’s 1915-6 War pictures See NEVINSON in Section 1.
Column on the March (Museum & Art Gallery, Birmingham)
La Patrie, 1916 (Museum & Art Gallery, Birmingham). This was inspired by an horrific incident he saw while in the Friends’ Ambulance Unit: a goods yard full of dead & dying French & German soldiers Gallery comment. [More casualties are arriving & the figures are degraded into objects. The colours are sombre.]
Troops Resting, 1916 (Imperial War Museum)
Returning to the Trenches, 1915-6 (NG Canada).
Harvest of Battle, 1919 (Imperial War Museum) This is an example of his later more naturalistic & strongly felt War pictures Harrison p124
Twentieth Century, (Laing Art Gallery). This exemplifies his later work. It is a turgid picture of the world on the brink of catastrophe OxDicArt
Onement 1, 1948 (MoMA)
Eve, 1950 (Tate)
Vir Heroicus Sublimis (Man, heroic, sublime), 1950-51 (MoMA)
Adam, 1951-2 (Tate)
Ulyses, 1952 (The Menil Collection, Houston)
Profile of Light, 1967 (Museeo Nacional Centro de Arte Renia Sofia, Madrid)
Midnight Blue, 1970 oil & Acrylic (Museum Ludwig, Cologne)
Canal Basin, 1929 (Private)
Spreading London, 1930 (Private)
The Surrey Canal, Camberwell, 1935 (Tate)
Stormy Sunset on the East Coast, 1930 (The Met)
Spring Morning, Campden Hill, 1940 (Private)
Summer Morning, 1942 (Private)
The Regent’s Canal Paddington, 1943 (The RA)
“The Lord Nelson” (Winter Morning, Beck Hole), 1943 (Government Art collection)
Sunrise, 1945 (Private)
Autumn Landscape (Private)
Downland Landscape, 1963 (Private)
[There are good colour images of all these paintings in G-D]
Washington Irving, 1820 (Sunnyside house, Tarrytown, New York)
Sir Walter Scott of at Abbotsford, 1824 (V&A & Scottish National Portrait Gallery)
James Maury, c1825 (Walker)
The Vicar of Wakefield Reconciling his Wife to Olivia, 1828 (V&A)
Portia & Bassanio, 1831 (V&A)
Corvitallo Lugano, oil & pencil 1921-3 (Tate)
Castagnola, 1923 (NG of Scotland, Edinburgh)
First Abstract Painting, oil & pencil 1924 (Tate)
Gobelet & Pears, oil & pencil c1925 (Kettle’s Yard Collection, University of Cambridge)
Au Chat Botte, oil & pencil (Manchester Art Gallery)
Guitar, oil & gesso 1933 (Tate)
White Relief, oil on carved wood 1935 (Tate)
Painted Relief, oil & pencil on composition boards mounted on painted plywood 1939 (MoMA)
Aug ’56 (Val d’Orcia), 1956 (Tate)
Argos, 1963 (Kettle’s Yard Collection, University of Cambridge)
Chairing the Morris Dancer, 1902 (Cecil Sharp House)
Max Beerbobohm, 1903 (National Portrait Gallery)
Carlina, 1909 (Kelvingrove Art Gallery, Glasgow)
The Windmill, 1910 (Nottingham Castle Museum & Art Gallery)
The Lowestoft Bowl, 1911 (Tate)
Devil’s Flight, Gloucestershire, 1911 (Sheffield City Art Galleries)
The Viceroy’s Orderly, 1911 Nottingham Castle Museum & Art Gallery)
Judd’s Farm, 1912 (Towner Art Gallery, Eastbourne)
The Hundred Jugs, 1916 (Walker)
The Brown Crow, 1917 (Aberdeen Art Gallery)
The Hill Above Harlech (Tate)
Walter Greaves, 1917 (Manchester City Art Gallery)
Sheffield Plate, 1917 (Kirkcaldy Museum & Art Gallery)
Armistice Night, 1918 (Fitzwillaim Museum, Cambridge)
Mug & Glasses, c1919 (Yale Center for British Art, New Haven)
W. H. Davies, 1921 (National Portrait Gallery)
A.C. Benson, 1924 (Fitzwilliam Museum, Cambridge)
The Gate of Honour Under Snow, 1924 (Fitzwilliam Museum,Cambridge)
On the Downs (Wiltshire Landscape), 1924 (Leeds City Art Gallery)
Snow in the Horseshoe, 1927 (Private)
Mushrooms, c1927 (Nottingham Museum & Art Gallery)
Gliders on the Downs, 1932 (Savile Club, London)
Wiltshire Downs near the Dorset Border, 1933 (Private)
Poppies & Pewter, 1933 (Scottish National Gallery of Modern art, Edinburgh)
The Pink Dress, 1934 (Birmingham City Art Gallery)
Pink Still Life wirh Jug, 1936 (Birmingham City Art Gallery)
The Road to Zamaramala, 1936 (Sheffield City Art Galleries)
The Gold Jug, 1937 (Royal Collection)
Pears, 1938 (Leeds City Art Gallery)
Glass Jug & Fruit, 1938 (NG Canada, Ottawa)
Jake & Kate on the Isle of Wight, 1931 (NG of Scotland, Edingburgh)
Seascape with Dinghy, c1928-30 (Kettle’s Yard Collection, University of Cambridge)
Bowl of Flowers in a Landscape, 1845 (Niederosterreichisches Landesmuseum, Vienna)
Praskovia Ivanova, 1714 (Russian Museum)
Count Golovkin (Tretyakov)
Peter the Great on His Deathbed, 1725 (Russian Museum). Because time was short this was painted in large fluent strokes 50Rus p22
Portrait of a Hetman, 1720s (Russian Museum), One of his best works G&P p39
The Field Commander (Russian Museum)
General Ushakov (Trtyakov). He was the head of the secret police & the picture was painted while Nitikin was under investigation 50Rus p24
Untitled (abstract), 1939 (NG Victoria, Melbourne)
Head of Rimbaud, 1938-9 (Heide Park Art Gallery, Melbourne)
Boy & the Moon, 1940 (NG of Australia, Canberra)
Under the Pier, 1945 (Nolan Gallery, Canberra0
Pretty Polly Mine, 1948, Ripolin enamel (Art Gallery of New south Wales, Sydney)
Inland Australia, 1951 (Tate Gallery)
Leda & the Swan (Series), 1958-60 (Art Gallery of New south Wales, Sydney)
Paradice Garden, mural (NG Victoria, Melbourne)
In the Garden, c1952 (Phillips Collection, Washington)
Song, 1958 (Whitney Museum of American Art, New York)
Whirl, 1960 (Des Moines Art Center)
Turnsole, 1961 (MoMA). This is a hard-edge apinting Grove23 p184
Hover, 1963 (Fogg Art Museum, Cambridge, Massachusetts)
Drive, 1964 (Art Museum, St Louis, Missouri)
Trans West, acrylic 1965 (Stedelijk Museum, Amsterdam)
April Tune, 1969 (Guggenheim)
Springtime in the Room, 1904 (Stiftung Ada und Emil Nolde, Seebull)
Last Supper, 1909 (Statens Museum for Kunst, Copenhagen)
Pentecost, 1909 (Alte Nationalgalerie, Berlin)
Dance Around the Golden Calf, 1910 (Stiftung Ada und Emil Nolde, Seebull)
Candle Dancers, 1912 (Stiftung Ada und Emil Nolde, Seebull)
Life of Christ, polyptych, 1912 (Stiftung Ada und Emil Nolde, Seebull)
Exotic Figures (Monkeys), 1912 (Saarland Museum, Saarbrucken)
Tropical Forest(s), 1914 (Stadtische Kunsthalle, Bielefeld; Stiftung Ada und Emil Nolde, Seebull)
The Sea B, 1930 (Tate)
Haymaking, 1936 (Stiftung Ada und Emil Nolde, Seebull)
Great Gardener, 1940 (Sprengel Museum, Hannover)
Soldiers Listening to the Radio. For a black & white imabge see Golomstock p339
The Village Doctress, 1783 (Private?)
Portraits Painted from Life, Representing Capt Engelfied…, 1784. The original painting no longer exists but there is an engraving in the National Maritime Museum & a colur reproduction in Solkin2015 p179.
The Murder of the Princes in the Tower, 1786 (Petworth House)
Meeting of Edward V & His Brother, 1786 (Petworth House)
Entry of Richard III & Bolingbroke into London, 1793 (Royal Albert Memorial Museum, Exeter)
Pamela, 1796 (Fitzwilliam Museum, Cambridge)
Lion Hunt, 1813 (Petworth House)
Marc Isambard Brunel, 1814 (National Portrait Gallery)
John Ruskin as a Boy, 1822 (National Portrait Gallery)
o’ brien:
Sunrise on the Saguenay, 1880 (NG Canada)
Kakabeka Falls,Kamanistiquia River (NG Canada)
British Columbian Forest, 1888 (NG Canada)
P ochtervelt:
Violinist with Two Serving Women, c1663-5 (Manchester Art Gallery). This is based on The Inn Scene by van Mieris. However, the copulating dogs & other frank sexual allusions have been omitted SuttonP pp 277-8
The Oyster Meal, c1663-5 (Private)
Street Musicians at the Door, 1665 (Art Museum, St Louis, Missouri)
Buying Grapes, 1669 (Hermitage)
Musical Company in an Interior, c1670 (Museum of Art, Cleveland)
The Music Lesson, 1671 (Art Institute)
Music-Making Company (Kunstsammlungen, Kassel)
The Music Lesson (Birmingham Museum & Art Gallery)
odier:
Dragoon of the Imperial Guard, 1832 (AmiensMDPicardie)
olivier, ferdinand:
Quarry Near Matleindorf, c1814-6 (Albertina)
olivier, friedrich:
Foothills of the Alps, c1840 (Staatliche Galerie, Dessau)
oliver:
Frances, Countess of Essex (Welbeck Abbey)
Third Earl of Dorset, 1616 (V&A)
o’meara:
Evening in the Gatinais, 1883 (Untraced). Reproduced Billcliffe p85
Towards Night & Winter, 1885 (Hugh Lane Gallery, Dublin)
henry nelson o’neill:
‘Eastward Ho!’, 1857 (Elton Hall, Cambridgeshire). The picture, of troops leaving for India during the Mutiny, aroused tremendous patriotic enthusiasm Wood1999 p60.
Home Again, 1859 (Private). Here the troops are returning. Reproduced Maas p115
Before Waterloo, 1868 (Private). Reproduced Wood1999 p353
The Opera Box (Blackburn Museum & Art Gallery)
george bernard o’niell:
Public Opinion, 1863 (Leeds City Art Galleies)
orcagna, andrea:
Christ in Majesty with Saints, 1357 (Strozzi chapel, S. Maria Novella, Florence). This is his only certain painting & probably reflects the change in religious feeling following the Black Death. It rejects Giotto’s sense of depth & is more hieratic with a gold background, Murrays1959. Christ is shown in a new role as a commanding figure disseminating doctrine, granting ecclesiastical authority, sitting seated & surrounded by seraphim Eimerl p187. There is a tension between the apparent plasticity of the forms & the brilliance of the colouring & the harshness of the modelling: between naturalistic elements & the non-naturalistic whole White p558
The Last Judgement etc, 1360s? (S. Groce, Florence)
??{2}orchtervelt:
` Buying Grapes, 1669 (Hermitage)
The Music Lesson, c1670 (Art Gallery &Museum, Birmingham)
Music-Making Company (StatKunst, Kassel)
oggiono:
Young Christ, c 1490 (Madrid, F Lazaro Galdino). Masklike handling of features produces emptyish face Comment on NG Leonardo Exhibition. [Yes, but it is very beautiful.]
Madonna of the Violets, c1499 (De Navarro C). [This is likable despite the ugly baby. The background brings out the face & makes it more striking.]
oller:
Wake, 1893 (Museum of Anthropology, University of Puerto Rico, Rio Piedras) Poupeye p46
Ponce Silk-Cotton Tree, 1887-8 (Museo de Arte de Ponce, Louis A. Ferre)
Landscape with Royal Palms, c1897 (Ateneo Puertorriqueno, San Juan)
o’ neil:
Eastward Ho!, 1858
Home Again, 1859
Before Waterloo, 1868
orchardson:
“Marriage de Convenance”, 1883 (GlasArtG). Rather lightweight comment R&J p372
The Young Duke, c1889 (Lady Lever Art Gallery, Port Sunlight). Historical subject with a critical edge Gallery catalogue
P orpen:
A Mere Fracture, in the Newcomes, Fitzroy Street, 1900 (Private). For a colour image see McConkey2006 p83
The Mirror, 1900 (Tate)
Sowing the Seed in the Board of Agriculture & Technical
Instruction for Ireland, 1913 (Midura Arts Centre, Victoria)
Night No 2, 1907 (NG Victoria, Melbourne). This is a murder scene McConkey2006 p92
Improvisation on a Barrel Organ, 1904 (Walker)
orrente;
Blessing of Jacob, 1612 (Cathedral, Toledo)
St Sebastian, 1616 (Capilla de los Covarrubias, Valencia Cathedral)
orsi:
The Walk to Emmaus, (NG)
The Martyrdom of Saint Catherine, (Modena, Estense)
osborn:
My Cottage Door, 1855 (Royal Collection)
Nameless Friendless, 1857 (Royal Collection)
The Governess, 1860 (Royal Collection)
ozenfant:
Fugue, 1922 (Honululu Acadmy of Arts)
The Jug, 1926 (Museum of Art, Rhode Island Scahool of Design)
p
√√ √√ pforr:
Portrait of Pforr in Traditional German National Costume, 1810-65 (Neue Nationalgalerie, Berlin).
Italia & Germania, 1811 &1815-20 (Neue Pinakothek, Munich)
Christ in the House of Mary & Martha, 1815 (Neue Nationalgalerie, Berlin). This was painted for the father of his friend Ludwig Vogel & was intended to encourage elevated thoughts Grove23 p676.
Joseph Sold by His Brothers, 1816-7 (Alte Nationalgalerie, Berlin). This was his principal contribution to the Bartholdy frescos. It is painted as a simple narrative in which a sequence of in which a sequence of events weave across the picture in medieval fashion Vaughan1984 p179.
Allegory of the Seven Lean Years, 1816-7 (Alte Nationalgalerie, Berlin). This was another contribution to the Bartholdy frescos Grove23 p676.
Vittoria Caldoni, 1820-1 (Von der Heydt-Museum, Wuppertael)
Personification of Jerusalem Delivered, 1819, & eleven other frescos , 1819-27 (Casa Massimo, Rome).
Mary & Elizabeth with Jesus & John, 1825 (Pinakothek, Munich)
Vision of St Francis, 1817-30 (Capella della Porziucola over the entrance, S. Maria degli Angeli, just outside Assisi). There is an oil study in the Museum der Bildenden Kunste, Leipzig. This fulfilled his ambition to paint a fresco as a work of piety. While painting he lived in the Franciscan monastery Grove23 p677
Triumph of Religion in the Arts, 1831-40 (Stadelsches Kunstinstitut und Stadtische Galerie)
Entombment, -1845 (Marienkirche, Lubeck)
Assumption of the Virgin, -1854 (Cathedral, Cologne)
Christ Evading His Pursuers on the Mountain Near Nazareth, ceiling painting, 1857 (Palazzo del Quirinale, Rome)
ouwater, albert van:
Raising of Lazarus (Berlin). [Grove23 pp 671-2]