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:
P
paalen:
pacheco:
pacher, michael:
Altarpiece of the Church Fathers, c1483 (Alte Pinakothek, Munich) 1001
padovanino:
Cornelia & Her Sons (NG)
Penelope Bringing Bow of Ulysses to Her Suitors (NG Ireland)
padua:
Leda & the Swan, 1938. Hitler supported the picture when several women’s organisations within the Nazi party objected Dunlop pp 240-1. For a small black & white image see Dunlop p240
The Fuhrer Speaks
10 May 1940
A Soldier & His Family
page:
paladino:
palizzi, filippo:
palizzi, giuseppe:
palmezzano:
palma, antonio:
P palma, giovane:
Venice, Crowned by Victory, c1578 (Sala del Maggior Consiglio, Doge’s Palace, Venice). Veronese-like composition while figure style & palette are Mannerist Grove23 p878
Alexander III & the Doge Charge Otto to Negotiate for Peace with Frederick Barbarossa, c1583 (Sala del Maggior Consiglio, Doge’s Palace, Venice).
Maretyrdom of St Lawrence, before 1584 (S. Giacomo dell’Orio)
Doge Pasquale Cicogna, c1586-7 (Sala del Senato, Doge’s Palace, Venice)
St Julian in Glory, 1588 (S. Giuliano, Venice)
Venice Receiving Subject Peoples, c1590 (Sala del Maggior Consiglio, Doge’s Palace, Venice).
Scenes of Purgatory, c1600 (Ateneo Veneto, Venice). Shows inspiration unlike most of his work Freeberg p385
P palma vechio, the elder:
Virgin & Child with St Michael, St Dorothea, Mary Magdalene & St Joseph, c1514
Sacra Conversazione, c1518 (Thyssen-Bornemisza, Lugano)
Nymph in a Landscape, c1519 (Gemaldegalerie, Dresden). Unlike Giorgione’s Venus she is awake, raised towards the spectator, no longer concealing herself with her hand, & her drapery is a discarded chemise RAVenice p196
Virgin & Child with Saints, 1520-2 (Kuntsthistoriches)
Altarpiece, c1522 (S. Stefano, Vicenza)
Lady with a Lute, early 1520s (Duke of Northumberland?)
Flora, 1522-4 (NG)
Polyptych of S. Barbara, 1523-4 (S. Maria Formosa, Venice)
St Mark Saving Venice from the Ship of Demons, 1528 (Scola Grande di S. Marco, Venice). Completed by Paris Bordone etc Grove23 p877
Nymphs Bathing/Diana Discovering Callisto, late 1520s (Kunsthistorisches). This is a delicious & frankly frivolous work which to some extent anticipates the spirit of the 18th century Steer1970 p102
Adoration of the Sheherds, with a Female Donor (Louvre)
palmedesz, antonie:
palmedesz, palmedes I:
palmedesz, palmedes II:
P palmer:
Rest on the Flight into Egypt, oil, c1824-5 (Ashmolean Museum, Oxford)
Self-Portrait, black chalk, heightened with white, c1826 (Ashmolean Museum, Oxford)
Moonlit Landscape, pencil & sepia wash, c1829-30 (Princeton University Art Museum)
Coming from Evening Church, oil, 1830 (Tate)
The Harvest Moon, watercolour & gouache, c1830-31 (Art Gallery, Carlisle)
Pastoral with Horsechestnut, 1831-2 (Ashmolean Museum, Oxford)
The Lonely Tower, 1864 (Yale Center for British Art). This is one of his late commissions from Valpy (Ruskin’s solicitor) & it displays Palmer’s old intensity Treuherz1993 p61
Ploughing at Sunset, watercolour (Private)
P palomino:
Cupola Fresco, c1700 (Nuestra Senora de los Desamprados, Valencia)
The Triumph of the Church, fresco, 1705 (San Esteban, Salamanca)
St Agnes, c1710 (Universidad Complutense de Madrid)
Fresco, 1712-3 (Cathedral, Cordoba)
Immaculate Conception (Prado)
panicale, masolino da:
Temptation of Adam and Eve, c. 1426 (Chapel Santa Maria del Carmine, Florence, Italy) 1001
panini:
Piazza del Quirinale, c1743 (Quirnal Palace)
The Baths of Caracalla, Rome, 1740 (Castle Howard)
pantoja:
pareja:
paret y alcazar:
Charles III Dining Before His Court, c1775 (Prado)
parisani:
parmigianino:
Marriage of S. Catherine (Borghese) Shearman pp 64-5
Madonna & Child with Saints John the Baptist & Jerome, 1527 (NG). Evident impact of High Renaissance, eg Raphael’s Madrid di Foligno but unprecedented verticality; absence of Corregio’s weaving figures, sfumato & female softnes; here fewer figures, sharper contours, Madrid’s monumentality/elongation Friedlaender1925 pp 35-6, Andrews1966p7
Madrid of the Rose, 1529-30 (Gemaldegalerie, Dresden). Virgin eroticised with se-through dress revealing nipples Hall1999 p118
Amor, 1534 (Kunsthistorisches). This is unashamedly sensual Andrews1966 p4
Madonn dal Collo Longo/Madronna of the Long Neck, 1534-40 (Uffizi). More than 27 drawings survive & quest for perfection lasted years, despite contract requirement for 5 months timescale; angel with amphora bearing (now faded cross) hence Madrid sees Christ’s looming death Hall1999 p114; excessive lengthening of figure & acutely distorted space acutely empahsised for 1st time; Madrid elegant/graceful/aristocratic contrasting with Rosso’s excitment Friedlander1925 p38; vaselike shapes & vase; picture almost unreal but a wholly sincere supernaturalism with gravity seemingly suspended Andrews1966 pp 4, 6
Portait of a Lady called Anthea, 1536 (Capodimonte) Pope-H pp 207-8
Madonna & Child with Saints Stephen & John the Baptist & a Donor, 1540 (Dresden). New gravity & spirituality Andrews1966 pp 6, 8.
Venus & Mars, engraving by Vico, 1543 (BM). [It is an early example of humerous erotica in which Vulcan is too busy to notice that he is being cuckolded & Mars is wearing a helmet.]
Portrait of Sanvitale (Capodimonte)
Holy Family with Infant St John (Capodimonte)
Lucrezia (Capodimonte)
Madonna & Child (Pinacoteca Nazionale, Bologna)
part, hans:
Battle of Mailberg, 1489-92 (Klosterneuburg Monastery) 1001
pascin:
pasinelli:
Julia Swooning (Pinacoteca Nazionale, Bologna)
Martyrdom of S. Ursula (Pinacoteca Nazionale, Bologna)
pasmore:
passerotti, arhangelo:
passerotti, bartolomeo:
Double Portrait (Galleri Capitolina, Rome)
The Crucifixion (Gallerie Comunali, Bologna)
Butcher’s Shop (Galleria Nazionale d’Arte Moderna, Rome)
Merry Company, 1577 (Private). For a black & white image see Posner1971 p11
Portrait of a Nobleman with Two Dogs, late 1570s (Museum of Art, Rhode Island School of Design, Providence). This is one of Passerotti’s finest portraits, original composition & brilliant colour from Titian; Moroni-like naturalism NGArt1986pp 181, 184
S. Dominic & the Albigensians, c1580 (Pinocoteca Natazionale, Bologna)
Madonna & Child with S. (S. Giacomo Maggiore, Bologna)
The Presentation of the Virgin, 1583-4 (Pinacoteca Nazionale, Bologna). A near perfect example of the Mannerism criticised at the Counter-Reformation. The Virgin is pushed into the background with Passerotti’s interest being the complications of the pit & the posturing foreground figures Posner1971 p37
S. Francis at Prayer (Pinocoteca Nazionale. Bologna)
passerotti, gasspari:
passarotti, tiburzio:
Martyrdom of S. Catherine, 1577 (Sangiacomo Maggiore Church, Bologna). [The Mannerism is so extreme that it is difficult to tell what the figures are doing. The colours are vibrant & glowing with, bright blues, yellows, reds.]
Election of Lorezo Giustiniani (Doge’s Palace, Venice)
Last Supper, after 1580 (Musei Civici, Padua)
Life of the Virgin, after 1580 (Pinacoteca Metropolitana di Bari)
Madonna with Saints John the Evangelist & James, altarpiece after 1593 Basilica DI San Petronio, Bologna)
Judith, after 1593 (Galleria Estense, Modena)
passignano:
(San Marziale, Venice)
pasternak:
P patch:
Piazza della Signoria, 1763 (City Museum & Art Gallery, Plymouth)
Punch Party, 1760 (Dunham Massey, Cheshire). This is an example of caractures of Britons in Venice Grove24 p 252. [It is notable for its humour & absence of flattery.]
Golden Asses, 1761 (Lewis Walpole Library, Yale University, New Haven). This is another caricature group Grove24 p252
pater:
The Fair at Bezonsc, 1733 (the Met)
Bathing Party in a Park (Wallace Collection). [Painterly soft effect & non-linearity.]
paterson:
PR patinir:
St Jerome in a Landscape, c1520 (Prado). This is a classic Weltlandschaft Grove18 p706.
The Flight into Egypt (Musee Royal des Beaux-Arts, Antwerp)
The Rest on the Flight into Egypt (Berlin)
Baptism of Christ, triptych, c1520 (the Met) Wolfflin1915 p144
The Temptation of St Anthony (Prado). The figures were painted by Quintin Metsys Grove24 p261
St Jerome in a Landscape (Prado)
Charon Crossing the River Styx, c1523 (Prado). This, like another of his paintings, depicts the crossroads between good & evil with the human soul represented by the tiny nude in Charon’s boat. The choice is between a narrow river between rocky banks or a broad river between lushly planted banks leading to hell. Despite the warning angel the mortal is gazing at the easy path Grove24 p261
paton:
patrick:
paxton:
payne:
pazzini:
P peake:
Man, 1593 (Yale Center for British Art)
Prince Charles, 1613 (Cambridge University Library)
Portrait of Henry Prince of Wales
pearce, charles:
The Arab Jeweler, 1882 (the Met)
pearlstein:
Male & Female Models Leaning on Chair, 1970 (Art Institute)
Standing Female Model & Mirror, 1973
P pellegrini:
Allegory of the Elector Palatine’s Marriage (NG)
Bathsheba (Rome). This does not depict & locate the bodies of real women, unlike De Troy’s Basheba Levey1966 pp 42-3
Musicians (Kimbolton Castle). It is the best work here OxDicArt
Judith & Her Maidservant with the Head of Holofernes (Barber Institute of Fine Arts, Birmingham)
peele:
The Song of the Shirt, 1847 (Private?)
pennell, joseph:
perov:
The Police Officer’s Arrival at the Inquest, 1857 (Tretyakov)
Sermon in the Village, 1861 (Tretyakov)
A Village Easter Procession, 1861 (Tretyakov)
Village Funeral, 1865 (Tretyakov)
The Troika: Younger Appretices Pulling a Water Barrel, 1866 (Tretyakov)
Arrival of the Governess in a Mwechant’s House, 1866
The Drowned Woman, 1867 (Tretyakov)
At the Last Tavern, 1968 (Tretyakov)
Hunters at Rest, 1871
Portrait of the Dramatist Alexander Ostrovsky, 1871 (Tretyakov)
Portrait of Dostoyevsky, 1872 (Tretyakov)
Mealtime at the Monastery, 1876
The Judgement of Pugachov, 1879 (Russian Museum)
[More work required using 50Rus]
P perugino:
Pieta, 1464-95 (Uffizi, Florence)
Christ Giving the Keys to St Peter, commissioned 1481(Sistine, Vatican). Outstanding clarity; important role of buildings in composition; background church central as well asw symbolic; attention is focused on the single event by the paving , alternation of light & dark masses,subjectsidiary figures/groups; triumphal arches Murrays1963 p252
Fresco in Audience Chamber, 1500 (Perugia, Collegio del Cambio)
Annunciation, fresco, 1503 (San Francesco, Montefalco)
Marriage of the Virgin, 1504 (Caen). Line of immobile figures unlike Raphael’s semi-circle; less perspective BuckHp15.
Madonna appearing to St Bernard (Munich). Calm, simple; contrasted with Lippi’s picture Wolfflin1899 p75.
Madonna & Child with St Sebastian & St John the Baptist (Uffizi). Figures effectively related to the building Wolfflin1899p76.
Francesco dell’ Opera (Uffisi). Cautious use of facial shadows Wolfflin1899 p262.
Lamentation over Christ (Pitti). This is static; all figures same intensity of expression. Contrast this painting with Raphael’s Entombment Wolfflin1899 pp 79-80. [There are High Renaissance features here: strong composition on a central vertical; glowing colour; fairly heavy clothing; & an important landscape background.] ????
Dead Christ (NG Umbria)
Madonna of Consolation (NG Umbria)
Fresco in Audience Chamber, 1500 (Perugia, Collegio del Cambio)
Vision of St Bernard (Alte Pinothek, Munich). Compare Perugino’s calm & order with Filippino’s Vision; slight emptyness & vacuously pious faces Murrays1963 p252
Agony in the Garden (Uffizi). [No agony can have been less agonising!]
pesellino:
Trinity with Saints, 1455-7 (NG). Only documented work Murrays1959
pesello:
Dome of the Zodiac, c.1430 (Basilica of St. Lawrence, Florence, Italy) 1001
peters, mathew:
Children with Fruit and Flowers, 1777 (RA).
P peterzano:
Paul & Barnabas (S. Barnaba, Milan)
Resurrection (Certosa di Caregnano, Milan)
Ascension of Christ (Certosa di Caregnano, Milan)
S. Matthew & the Angel (Certosa di Caregnano, Milan)
petrov-vodkin:
still-life with a Herring, 1918 (RusMus)
Around the Samovar, 1926 (Tretyakov).
Death of the Commisar, 1928 (RusMus). Pieta-like; seems natural development from initial religious imagery OxDicMod
The Alarm, 1935
pforr:
Shulamit & Maria, 1811 (Private). There is a colour image in Vaughan1984 p174.
Count Rudolph of Hapsburg & the Priest, 1809 (Stadelsches Kunstinstitut, Frankfort)
The Entry of the Emperor Rudolf into Basel in the Year1273, 1809-10 (Stadelsches Kunstinstitut, Frankfort)
petter:
Woodland Flowers, 1860 (Landesmuseum, Vienna)
Rabbits & a Fox in a Cornfield (Private)
P pettenkofen:
Lawyer Stommer as a Hunter, 1845 (Belvedere)
Austrian Infantry Crossing a Ford, 1851 (Belvedere)
Wounded Soldiers being Transported, 1853 (Belvedere)
P pettie:
Distressed Cavaliers Turned Highwaymen, 1861 (RochdaleAG). [This the underside of history.]
Cromwell’s Saints, 1862 (NG Scotland). It is a powerful & vivacious character study M&M p69. [This shows the underside of history.]
Academy Drumhead Court Martial, 1865 (Graves AG)
The Duke of Monmouth’s Interview with James II, 1865
The Disgrace of Cardinal Wolsey, 1869 (Gtaves AG). Brilliantly theatrical with West isolated by surrounding space & scarlet robe & mocked by Ironic bow Macmillan1990 p234
Scene from “Peveril of the Peak”, 1887 (Dundee AG). Arresting use of empty space Treuherz1993 p167
peyron:
Cimon & Milantiades, 1782 (Louvre). Cimon offers himself if his father’s rotting corpse can be buried Rosenblum1967p63
P piazzetta:
Virgin appearing to St Philip Neri, 1708 (La Fava). Beautifully disciplined Levey 1986 p8
St James Let to Martyrdom, 1717 (S. Stae, Venice)
Ecstasy of St Francis, 1732 (Vicenza) Steer p186
An Idyll on the Sea-Shore, c1740 (Wallraf-Richartz, Cologne)
Virgin & Child with Saints, 1744 (MedunoChurch) Steer pp 184-5
Rebecca at the Well (Brera) Steer p186
Judith & Holfernes (Corsini). [This is very Carravagiesque with the white on Holfernes’ arm & with the brown & orange highlights. The women are chillingly calm women inspecting the sword &, presumably, contemplating murder.]
The Rape of Helen (MGranet). [This shows a real rape which is unusual in the 18th century.]
Saints Vincent, Hyacinth & Lorenzo Bertrado (Gesuati, Venice)
Virgin Appearing to St Philip Neri (Santa Maria della Fava)
piazza:
Musical Group, 1520s (Museum of Art, Philadelphia)
picasso:
Demoselles d’Avignon, 1907 (MoMA) Antliff/Leighton pp 32, 34. The African masks on the right side were assumed by Picasso to provide protection against dangerous spirits & sexual disease MOMAH p64. [The picture’s message is confusing. The two central women are in a pleasant warm pink but on the left there is a cold blue. How is one supposed to know that the ugly masked figures are prostitutes one is unless told?]
Mother & Child, 1907 () Antliff/Leighton pp 37-9
Dol, 1907 () Antliff/Leighton p36
Reservoir at Horta, 1909 () Antliff/Leighton p60
The Painter & His Model, 1914 (Musee Picasso, Paris). This painting reveals the first intimations of Picasso’s Neoclassicism OxDicMod.
Mother & Child, 1921 (Art Institute).
The Pipes of Pan, 1923 (Musee Picasso, Paris). This belongs his post-war Neoclassical period OxDicMod
P piero di cosimo:
Mars & Venus, 1490 (Gemaldegalerie). Defective understanding of body structure typical of 15th century, as shown by lumpy/piecemeal nudes, note ill-drawn leg, to be replaced by High Renaissance’s clear articulation, as in Titian Wolfflin1899pp 264-6
Death of Procris (NG). Pathos contrasts with frequent element of low comedy in mythological works OxDicArt
Simonetta Vespucci (MConde, Chantilly). Finest portrait OxDicArt
Forest Fire, c1505 (Ashmolean). First Italy landscape in which man unimportant Clark1949 p77
Immaculate Conception (Uffizi). One of best religious works OxDicArt
pils:
Rouget de I’Isle Singing the Narseillaise at the House of Dietrich, Mayor of Strasburg, 1849 (Musee Historique Ville de Straasbourg)
pineman:
The Battle of Waterloo, 1818-24 (Rijksmuseum). One of the greatest pictorial undertakings of the 19th century. Pineman spent almost two years on portrait studies of Wellington & his staff. However, the picture is little more than a formal group portrait & lcks any visual emotion Fuchs p151
pimenov:
Give to Heavy Industry, 1927
New Moscow, 1937 (Tretyakov)
Night Station
P pintorrichio:
Pala di S. Maria del Fossi, T, 1495-6 (NG Perugia?). [The colours are hard colours, not like Perugino’s. It is a backward looking design & not a sacra conversatzione.]
Gonfalone di Sant Agostino, 1499 (NG Perugia?) It has an old fashioned gold background, though it is patterned.]
Sibyls F, 1501 (Spello, S. Maria Maggiore)
Annunciation, 1501 (Spello, S. Maria Maggiore)
Nativity, 1501 (Spello, S. Maria Maggiore)
Jesus Among the Doctors, 1501 (Spello, S. Maria Maggiore)
F (SpoletoCathedral)
piola:
The Martyrdom & Ascension of S. James, 1647 (Oratorio di s Giacomo della Marina, Genoa)
Dome in S. Siro (Genoa). Agreable Correggiesque bravura Waterhouse1962 p220
piper, John:
Seaton Deleval, 1941 (Tate)
The Rise of the Dovey, 1944 (Private). Masterpiece Spalding2009 p266
pisano, giunta:
pissaro, lucian,
Grey Weather, June Afternoon, Finchingfield, 1905 (Southampton Art Gallery)
pittoni:
Torture of St Thomas (S. Stae, Venice)
P plastov:
Collective Farm Festival, 1937 (Russian Museum). Rosy view of peasant existence but true stress on earthly pleasures & importance of communal activity; attempt to convey varriety/subtlety of natural life inspired by Impressionism Baun1991 p110
Tractor Drivers, 1943 (Private)
Haymaking, 1945 (Tretyakov). Only very old/young left to work land Baun1991 p160
P poccetti:
Fresco, 1580s (Main cloister, S Maria Novella, Rome)
Fresco, 1580s (Cloister, S. Pier Maggiore, Rome)
Fresco, 1599 (S. Maria Maddalena dei Pazzi, Florence)
Fresco, 1602 (Cloister of S. Antonio, S. Marco, Florence)
Fresco, 1610 (Hospital of the Holy Innocents, Florence)
pock:
podkowinski:
poerson;
polenov:
Jus Privatemae Noctis, 1874
A Courtyard in Moscow, 1878
A Summer Morning, 1878
Grandmother’s Garden, 1878
Overgrown Pond, 1879
The Sick Woman, 1886
Christ & the Woman Sinner, 1887
Lake Gennesaret, 1888
polaokoff:
polidoro:
polke:
pollaiuolo, antonio & piero:
Coronation of the Virgin, 1483 (Collegiata, S. Gimignano). Piero alone L&L
Altarpiece for + (in S. Mianiato del Monte) of Car of Port, 1466-7 (Uffizi). First joint work
Six Virtues, 1469-70, damaged (UF). Piero alone L&L
Martyrdom of S. Andrew, 1475 (NG). Famousest collaborative work = iconographic/formal novely L&L; discontinuity in landscape Clark1949 p47.
Martyrdom of St. Sebastian, 1475 (National Gallery, London)
Battle of Ten Nudes, engraving, early 1470s. Anatomical studies of men in vigourous action & under strain influential for Cs throughout Europe L&L, OxDicArt
Rape of Dejaniro (New Haven). Discontinuity in landscape Clark1949 p47.
pollock:
The Flame, 1937 (Private). Recognisable content but this is subordinated to his fascination with paint, tonal contrasts & dramatic treatment Everitt p16
Pasiphae, 1943 (the Met). Note early use of ovoid shape which surrounds Pasiphae & rhythmic jogging line Ashton1962 pp45-6
The She-Wolf, 1943 (MoMA). According to Pollock “Any attempt on my part to…attempt explanation of the inexplicable could only destroy it” MOMAH p191
Mural,1944 (Uillinois). Proto-allover painting Greenberg p218
Painting: silver over black, white, yellow & red, 1945 (Centre Pompidou). [It is not flat with depth imparted by the black which comes forward & the white background which goes back.]
Number One, 1948 ().
Lavender Mist, 1950 () Value contrasts pulverised to vapourised dust of linterfused lights & darks Greenberg p228
No 28, 1950 (the Met). [Not gloomy or disconcerting. It seems to pulsate with the black ribbing, which was superimposed, coming forward.]
One (Number 31, 1950), 1950 (MoMA). Pulses with energy; suggestion of forc&speed yet delicacy/lyricism MOMAH p194; Greenberg as for Lavender Mist. [This has zero emotional impact, but seems to vibrate & shimmer due, presumably, to the optical disorientation resulting from so many lines.]
pomarancio/cristoforo roncalli:
Resurrection, fresco 1569 (Maesta delle Volte church , Perugia)
Annunciation, fresco 1577 (Pinacoteca Comunale/Palazzo Vitelli, Cita di Castello)
Vatican, 1580 (Sala della Meridiana)
Frescos cycle, 1579-80 (S Appolinare, Rome)
Fresco cycle, 1579-80 (S Stefano Rotondo, Rome)
Frescos, 1584-7 (S Francesco Borgia chapel, Il Gesu, Rome)
Saint John the Baptist Appears to Philip [Neri] (Chiesa Nuova/S Maria in Villicella, Rome)
Angelic Concert with the Eternal Father (SS Giovanne e Paolo, Rome)
Celestial Glory (S Pudenziana, Rome)
Ascension, 1596 (S Francesco, Cascia)
P pomarancio, nicolo circignani:
Martyrdom Fres, 1582 (S. Stefano Rotondo, Rome). 23 or more
S. James in Front of the Sultan, fresco, 1583-5 (S. Giovanni de’ Fiorentini, Rome)
Adoration of the Magi, 1584 (Nativity Chapel , Gesu, Rome)
Massacre of the Innocents, fresco, 1584 (Nativity Chapel, Gesu, Rome)
Heavenly Celebration of the Birth of Christ, fresco, 1584 (Nativity Chapel, Gesu, Rome)
Pentecost, fresco, 1585-7 (Apostles’ Chapel, Gesu, Rome)
Marryrdom of S. Peter, fresco, 1585-7 (Aplostles’ Chapel, Gesu, Rome)
P pontormo:
Sacra Conversazione, 1514 (SS. Annunziata, Florence). Earliest work L&L
Visitation, 1515-16 (SS. Annunziata, Florence). Sartolike, Florence claccism at its most brilliant Friedlaender1925 p20. Interlocking figures; animation by placing them on steps; strong verticals; triangle design ending to left in child’s outstretched leg Wolfflin1899 pp 159-60
Joseph with Jacob in Egypt, 1518 (NG) 1001
Madonna & Child with Saints (S. Michele Visdomini, Florence). High Renaissance equilibrium disrupted L&L; one of first Mannerist pictures: uneas&agitation, though profoundly influenced by Sarto Murrays 1959; transitional picture with old pyramidal structure but figures recklessly shoved in upon each other Friedlaender1925 pp 20-1
Vertumnus & Pomona, fresco, 1520-1 (Medici Villa, Poggio a Ciano). Only large secular decoration; daring synthesis of naturalism, classicism & pastoral L&L; gay & light Murrays1959; graceful especially Rocco-like women on rightFriedlaender1925 p22
Christ before Pilate & 4 other Passion frescos, D, 1523-4 (Galluzo, Florence). Debt to Durer; pathos+elegant form/colour L&L; breakthrough to new style: absence of Renaissance grace, fragil&delicate Christ dressed in light violet surrounded by schematic men posed in ureal space Friedlaender1925 pp 23-4, 27
Deposition , c1525 (S. Felicita, Florence). Perhaps supreme masterpiece; crucial in development of Mannerism; lightness & brightness probably due to surrounding dark Murrays1959. [There is a Mannerist instability of movement but it is not disturbing. The colours are bright & light colours: mostly pinks, whites, yellows with only a little green & none dull. There is no chirascuro & a minimum of sadness. The picture is almost Rococo.]
Supper at Emmaus, 1525 (Uffizi). Naturalism+darker tonality, not beauty; anticipates Caravaggio L&L
Madonna & Child with Infant St John, c1527 (Uffizi). The Madonna & child had perhaps never been painted with such poignant intensity Hall1999 p216
Fres Florence, 1525-8 (S. Felicita). Return to lighter tonality; beauty in pathos L&L
Visitation, c1528 (Carmignano, Pieve). L&L
Resurrection (Certosa del Galluzzo, near Florence) Friedlaender1925 pp 24-5
Martyrdom of S. Maurice (Pitti) Friedlaender1925 p39
popova:
Italy still-life, 1914 (Tretyakov)
The Violin, 1914 (Tretyakov)
The Traveller, 1915 (Norton Simon Museum, Pasadena)
Seated Figure, c1915 (Russian Museum)
Painting Relief, 1916 (..). Reproduced Gray
Architectonic Composition, 1917 (..) Reproduced Gray
Painterly Architectonic, 1917 (MoMA). Note absence of right angles, verticals & horizontals MOMAH p84. It suggests energy & progress. The shapes are pleasingly dispirate & due to their superimposition there is some sense of depth.]
Design for Cover of Artistic & Cinema Mag (GrSM of Contemporary Art)
pordenone:
S. Sebastian, S. Roch & S. Catherine, c1535 (S. Giovanni Elemosinario, Venice)
porter, Fairfield:
Katie & Anne, 1955 (Hirshorm M & Sculpturer Garden)
The Mirror, 1966 (Nelson-Atkins Museum of Art, Kansas City)
Island Farmhouse, 1969
post:
(Louvre)
(NG Ireland)
(Ham House)
potter, paulus:
The Bull, 1647 (Mauristshuis, The Hague) 1001 p256
poussin:
Victory of Joshua Over Amorites, 1625-6 (Hermitage). Indebted to Romano & Polidoro L&L
Victory of Joshua Over Amalekites, 1625-6 (Pushkin). Indebted to Romano & Polidoro L&L
Appollo & theMuses on Mount Parnasus (Prado). Domenichino influenced L&L
Holy Family with St. John, c1627 (Kunsthistorisches, Karlsruhe). Titian-like colour L&L
The Death of Germanicus, 1627 (Minneapolis Institute of Art). Best picture of period L&L
Inspiration of the Poet, c1628 (Louvre). Classical design/Venice colouring OxDicArt
The Martyrdom of S. Erasmus, 1628 (PinVat). Only public Rome picture; commissioned Cardinal Barberini for S. Peters; coolly received OxDicArt
The Arcadian Shepherds, 1628-29 (Chatsworth House, Debyshire)
The Deposition, c1629 (Hermitage). Composition of rare perfection with powerful colouristic effects Z&S. p60
The Virgin appearing to S. James, 1629-30 (Louvre). His most Baroque work L&L
Rape of the Sabines, early (the Met). Entirely Baroque Pevsner p54
The Worship of the Golden Calf, c1635 (NG). Example of Old Testament/history subjects with scope for enhanced pageantry OxDicArt
Seven Sacrements (series), 1636-40. Painted for Castlesiano dal Pozzo (BelvedereoirC, NG Arts=1).
The Rape of the Sabines, c1637 (Louvre). [This is a violent rape which is unusual for the subject] BAL
The Gathering of the Manna, 1639 (Louvre). Depiction of emotions (example of) with gesturs/pos&expressions OxDicArt
Moses Trampling on Pharoah’s Crown, c1644 (Louvre). Paris’s severest & learned manner with harsh colours & frozen drama Haskell pp 114-5
Moses Changing Aaron’s Rod into a Serpent. Paris’s severest & learned manner with harsh colours & frozen drama Haskell pp 114-5
Seven Sacrements (series), 1644-8 (NGEdin?). Painted for Chantelou; pictures’ solemnity/economy contrasts with earlier more senuous series for Castlesiano OxDicArt
Gathering of Ashes of Phocion, 1648 (Walker). Extreme of geometric/rectangular construction. Congruence of austere form & stern subject with Paris having been executed due to mob’s fickleness p131
Self-portrait, 1650 (Louvre)
The Holy Family, 1635 (Hermitage). Figs with new superhuman grandeur OxDicArt
The Deluge, c1662 (Louvre). Cold rationalism abandoned OxDicArt
Landscape with Diogenes (Louvre). Geometric rigour relaxed; an almost Romanticism response to nature Blunt1954 pp 131, 135
poynter:
Faithful unto Death, 1865 (Walker)
On the Terrace (Walker)
Psyche in the Temple of Love (Walker)
Israel in Egypt, 1867 (Guildhall Art Gallery). This made his reputation OxDicArt
The Golden Age & The Festival, 1875 (Art Institute). These decorative panels in which supple young figures stretch & turn in rhythmic motion were strongly & comprehensively criticised by Ruskin. He said that only surgical spectators would admire the contored limbs, that the ladder should not have had round rungs, & that sensible Greek girls would not have perched barefoot on a ladder Art Institute
The Catapault (Laing Art Gallery)
The Fortune-teller, 1877 (RA). His diploma work for the RA Maas p184.
Visit of the Queen of Sheba to King Solomon, 1884-90 (Art Gallery of New South Wales, Sydney)
Horae Serenae (Bristol Museum & Art Gallery)
The Champion Swimmer (Wolverhampton Art Gallery)
Diadumene (Royal Albert Memorial Museum, Exeter)
A Visit to Aesculaplus (Tate)
P pozzo, andrea:
Jesuit Church, cieling, c1678-80 (Modena)
Allegory of theMissionary Work of the Jesuits, c1691-4 (S. Ignazio, Rome). Perhaps greates quadratura ever + figures in light & dark areas reminiscent of Gaulli’s Gesu fresco OxDicArt, L&L; as architect/perspective expert continued real space upwards by means of cols/arches with action only above; single vanishing point so viewer must be in nave’s centre; pursuit of decorative unity never repeated in Rome Pevsner1968 p72
Triumph of Hercules (Liechtenstein Palace, Vienna)
previati:
Paolo & Franccesca, 1901 (GCAM, Moderna). France=like Symbolism GibsonM p197
princep:
At theGolden Gate, 1882 (Manchester Art Gallery)
procassini, camillo:
Adoration of the Shepherds, 1584 (Pinacoteca Nazionale, Bologna). [The picture is splendidly focused on the Child & surrounding area. The Virgin, cow & two right hand shepherds are well grouped. There is a tender half-light & an interesting tenebrist light effect on the head of the shepherd. It has two nice curves which bound the figures & another to the left.]
procaccini, giulio:
Martyrdom of S. Agnes (Castle Sforzesco, Milan)
Resurrection & Transfiguration, c1595 (Cathedral, Milan) See inside the organ shutters.
Triumph of David (Cathedral Milan). On the outside of the organ shutters.
Martyrdom of S. Nazaro & S. Celso (S. Maria presso S. Selso)
Miracle of Carlino Nava, 1610 (Cathedral, Milan)
Constantine Receiving the Tools of the Passion (Castle Sforzesco, Milan). [Large effective figures in dullish colours.]
S. Barnabas (Castle Sforzesco, Milan). [Large effective figures in dullish colours.]
Holy Family (Acerbo Chapel, S. Antonio Abate, Milan)
Annunciation (Acerbo Chapel, S. Antonio Abate, Milan)
Visitation (Acerbo Chapel, S. Antonio Abate, Milan)
S. Jerome (Brera)
Mystical Marriage of S. Catherine (Brera). Extaordinarily refined composition with conscious exploitation of Mannerist ideas & liquid paint handling leading to striking colouristic effects. It is a work of remarkable subtlety & sophistication C-B p177
S. Carlo Borromeo in Glory (Brera). Brilliant clear colours & dazzling chromatic effects C-B p181
S. Carlo Borromeo & the Dead Christ, c1615 (Brera)
S. Cecelia & Two Angels, c1603 (Brera)
S. Barnabas, c1613 (Castle Sforzesco, Milan)
S. Sebastian, 1606 (Castle Sforzesco, Milan)
Constantine Receives the Instraments of the Passion, 1620 (Castle Sforzesco, Milan). Cold & static elegance with a complete loss of painterly effects. Procassini is more Mannerist than ever before C-B p197
S. Michael Archangel, c1614 (Ambrothersiana, Milan). Bozetto C-B p179
Flight into Egypt (S. Angelo, Milan)
Dead Christ (S. Angelo, Milan)
Sussana & the Elders, c1620 (Christ Church, Oxford). [She has an ugly, dark & animal-like arm. Her gesture towards her crotch generates unpleasant drama. The work is tenebritst with a slight left-right diagonal.]
The Martyrdom of S. Ruffina & S. Seconda, The ’Tre Mani’, c1620 (Brera). It was painted with Il Cerano & Morazzone (Brera). Procassin’s lower right section with its pink is softly sentimental & the Saint lacks serious modelling Waterhouse1962 p137
S. Sebastian, 1610-20 (Castle Sforzesco, Milan)
P prudhon:
Rape of Psyche, 1808 (Louvre)
Divine Vengeance Pursuing Crime, 1808 (Louvre)
Venus & Adonis, 1810 (Wallace Collection)
Empress Josephine (Louvre)
P pucelle:
Belville Breviary, 1323-6 (Biblitoteque Nationale, Paris). This can be linked without doubt to Purcelle but two other illuminators collaborated Grove25 p691
Byllyng Bible. 1327, (Biblitoteque Nationale, Paris). This can be linked without doubt to Purcelle but two other illuminators collaborated Grove25 p691. The miniatures are curiously old-fashioned in comparison to those in the following work Grove25 p693
Book of Hours of Queen Jeanne d’Evreux, 1325-8, grisaille (the Met, the Cloisers). This is only attributed to Pucelle. It is of the highest artistic quality: in no other manuscript in the Pucelle group are three-dimensional structures shown with such understanding or the figures as clearly rounded. Their structure is not defined soley by their drapery but by the light & dark values of the grisaille Grove25 pp 693-4
pulzone:
Lamentation, 1590 (the Met). Formerly in Gesu Bailey Il 99
puzyrkov:
Stalin on the Cruiser Molotov, 1949 (Tretyakov). Splendid plein air effects Bown p176
Sailors from the Black Sea
{5}pynacker:
Seacoast in Italy (Hermitage)
Landscape with Sportsmen & Game (Dulwich Picture Gallery). This demonstrates his ability to compose boldly & big with blue leaves that are fading OxDicArt
Landscape with Shepherd (Wallace Collection)
quaglio:
√√√√√√quarton/charanton:
Virgin of Mercy Adored by Jean Cadard & His Wife, painted with Pierre Villatte 1452 (Musee Conde, Chantilly).
Coronation of the Virgin of the Holy Trinity, 1453-4 (Musee Municipal, Villeneuve-les-Avignon). It is bathed in a clear, hard Provencal light with a lovingly painted landscape including the Montagne Sainte-Victoire Lucie-S1971 p26
Pieta, c1460 (Louvre). In its harshness it is one of the most moving religious images in French art Lucie-S1971 p26.
quast:
Merry Company (Kunsthalle Hamburg)
erasmus quellinus:
jan erasmus quellinus:
quidor:
Money Diggers, 1832 (Brooklyn Museum). The figure climbing out of the hole is black & African Americans were identified with fish, reptiles & underworld creatures. Note the frog or toad on the opposite side of the hole looking at him Bjelajac p176.
raeburn:
John Clerk & Lady Clerk of Penecuik, 1792 (NG Scotland). Here we have a companionate marriage Solkin2015 p235
raffet:
The Retreat From Russia, 1856 (Louvre)
raimondi:
Plate from Postures (after Romano), 1523. Only surviving complete engraving of his series of copulating couples Webb p351
The Judgement of Paris (after Raphael), c1520s. One of finest High Renaissance engravings Webb p354
ramsay:
Archibald, 3rd Duke of Argyll, as Lord Justice of Scotland, 1749 (CAG, Glasgow). Relaxed/lifelike pose with aloof grandeur tempered by keen gaze, seems to be looking at an individual not a group; composition = serpentine line of grace BurkeJ p174
Mary Atkins/Mrs Martin, 1761 (BhamCAG). Smoothness/
daintiness V Reynolds’ robustness/Gainsburgh’ s bravura (Mary Atkins) Kitson1966 p61
rankley:
Old Schoolfellows, 1854 (Private). For a colour image see Reynolds1987 p9
raphael:
Cruxifiction, 1503 (NG). Peruginoesque absence of agony, borrowed figures BuckH pp 6, 11.
Adoration of the Magi, 1504 (Vatican). First grouping of figures in semi-circle around central figure BuckH pp 12, 15.
Marriage of the Virgin/Sposalizio, 1504 (Brera). Figures grouped in semi-circle around central figures. Involved spectators, unlike Perugino. Greater perspective BuckH p15.
Madrid del Granduca, 1505 (Pitti). Bartolommeo’s influence: heavy garments/monumentality BuckH p28
S. Michael, 1504 (Louvre). Background sets mood BuckH p17.
Portraits of Agnolo & Maddalena Donni, 1506 (Pitti). His face partly shadowed=sharp features; her face evenly lit=softness; direct V less direct eyes; his arm holds viewer back. Maddalena was probably influenced by the Mona Lisa BuckH pp 26, 28.
S. George & the Dragon, 1506 (NG Art). Background influenced by Memling’s S. John Baptist (Munich) BuckH p20.
Madonna of the Meadow, 1505-6 (Kunsthistorisches). Leonardain triangle but too conspicuous foot at right; figures still two dimensional BuckH p29.
Madrid of the Goldfinch, 1506 (Uffizi). Leonardain influence BuckH pp 30-1.
Entombment, 1507 (Borghese). This has movement, animation & contrasting emotions. It was influenced by Leonardo & Michelangelo. The picture is weakened by the tangle of legs & it is unclear what the second old man is doing, picture falls apart. Compare with Perugino’s Lamentation Wolfflin1899 pp 79, 81-2.
La Belle Jardiniere, 1507-8 (Louvre). Leonardo’s sfumato & aerial perspective BuckH p32.
S. Catherine, 1508 (NG). Three dimensioanal figura serpentinata BuckH p36.
School of Athens, 1510-11 (Vatican Museums and Galleries, Vatican City) 1001
Portrait of a Cardinal, c1511 (Prado). Strikingly modelled right eye, challenging gaze; nasty Cardinal Alidosi? BuckH pp 64-5.
Portrait of Tomasso Ingirami, c1511 (Pitti). Clever pose that avoids showing his squint BuckH p67.
Madonna di Foligno, 1511 (Vatican). Baroque motifs: S. Francis’ beatific expression, etc BuckH p77.
MIraculous Draught of Fishes Wolfflin1915 pp 74, 79-80
Triumph of Galatea, 1511 (Farnesina). [At first sight this might be mistaken for a Baroque work but it has great regularity with a spoke shaped design & Galatea’s eyes in the very centre of the picture. Moreover she imparts strong vertical thrust.]
Camera della Segnatura, 1508-11(Vatican). Fortunate that Raphael’s first commissions were not dramatic subjects but calm gatherings where he could extrapolate his Madrid skills of balance & harmonious outline Wolfflin1899 p87; these frescoes are not about history, psychological relationships, or even facial expression but about the beautiful disposition of figures in space; their appreciation requires “visual sensuality” Wolfflin1899 pp 87-8; Raphael borrowed the graceful movement of Leonardo’s Adoration for his Disputa & School of Athens but he ignored the revolutionary & anti-classical aspects Clark1939 p80
Disputa. Inaccurate Vasari title: no dispute; young men pressing forward (& expressive figure on altar steps) on left to balance calm churchmen (& Pope Sixtus) on right Wolfflin1889 p89; heads & figures could be more convincing but fresco’s strength unprecedended size, depth, varied attitudes, composition; Raphael’s problem in handling important Doctors of Church solved by backgrounding them but staging them above steps, which link figures together & lead up to centre; flow of movement on left -pointing, praying & expressive figure- dies away on right with dictating turning Augustine as connecting link Wolfflin1899 pp 90-1; front figures more complex with bending corner ones most complex & linked to centre by pointing figures; symmetary the ruling principle but more or less concealed; clear & separate Peruginesque figures instead of a welter as in Boticello or Philippino; pointing youth on right unfortunate Leonardesque figure Wolfflin1899 p92. [Subtle difference in colour between more vibrant heaven & duller earth? Nevertheless Raphael was more interested in earth than heaven with whole of bottom section, despite Wolfflin, in flickering movement.]
School of Athens. Note: individual groups & figures replace the central tendency of the Disputa; more telling & inventive jestures, figures &, above all, groupings, eg man watching sketching boy top rightish, Diogenese lying on steps which is a new posture, the interesting bottom left group around Pythogras which is a garland of complimentary curves with young man in white providing necessary vertical, the geometers at bottom right with 5 figures directed to a single point but with widely differing attitudes, the way in which foreground lines curve & interlace whereas at the back of the platform there is a forest of verticals, the extraordinary way in which Plato & Aristotle, though in the rear, dominate the picture because of their halo of arches Wolfflin1899 pp 93-6. Four central steps=those pupils must climb to conduct philosophical discussions; Socrates (counting them) centre right, Plato to left; man leaning on cornerstone (late addition)=Church/Christ; non-static crowd; archways framing Plato/Socrates impart forward movement BuckH pp 56, 59. [Despite Wolfflin there is an approximate semi-circle of movement from bottom left up to Plato & Aristotle & then down again.]
Parnasus. [This is a much more conventional composition. The grouping is more obvious & there is little depth.]
Jurisprudence
Camera d’Eliodoro, 1511-14 (Vatican). Academy new grandiose painterly style: large figures, sharp contrasts, emotion, expressive action, powerful masses instead of subtle figure groupings Wolfflin1899 p101. MIraculous interventions that symbolically parallel events in Julius’ career L&L.
Expulsion of Heliodorus, c1512 . Note innovative way in which main action occurs at right leaving centre empty; that this a moment of suspence before Heliodorus is trampled & scourged; that Heliodorus is not a Quatrocentro vulgar scoundrel Wolfflin1899 pp 101-3. Rich axial contrast in figures; dark background & strong highlights in contrast to earlier DisputaWolfflin1899 pp 273, 278. Successive events (prayer of High Priest & expulsion) in same picture BuckH p69.
The Mass of Bolsena, 1512-14 (Vatican Museums and Galleries, Vatican)
The Freeing of S. Peter, 1514. Note simplicity of rescue of sleeping=piously resigned Peter in contrast to Domenichono’s later picture of horrified awakening; the innovative creation of half light & of Peter, instead of talking to the angel, leaves as if in dream Wolfflin1899 pp 104-5. Successive events in same picture BuckH p74. [Peter’s praying hands & the left pointing soldier link up composition.]
Isiah, 1512 F (S. Agostino, Rome). [Quite Michangeleaque with thrusting leg & right arm across body.]
Cartoons, tapestry, 1515 (V&A). General comment: never before had Raphael conveyed narrative with such clarity & concentration with elimination of nonessential, including graceful serpentine coil & elegant contrapposto; contrast with Galatea’s embellishment; severe rectangularity domainated by verticals & horizontals Hall1999 pp 39-40
Death of Ananias, 1515, tapestry cartoon (V&A). Stark chirascuro & sharply distinguished figures; by perverting contraposto’s conventional association with grace & goodness Rome (Galatea) emphaises Ananias’guilt Hall1999 p40
Portrait of Baldassare Castletiglionne, c1516 (Louvre). Disappearence of harsh colour contrasts; play of light on fabrics. Cropped hands to bring sitter closer BuckH pp 93, 6
La Donna Velata (Pitti) c1516. Disappearence of harsh colour contrasts; play of light on fabrics; cropped hand to bring sitter closer BuckH pp 93, 6; [unqiet draperies (love-making?) contrast with calm (post-coital?) face; hand’s suggestive position ; Leonardo-like sfumato with face in half shadow adding interest & fascination, unlike earlier paintings of woman.]
Double Portrait of Andrea Navagero & Agostino Beazzano, 1516 (Palazzo Doria Pamphilj, Rome). Interrupted conversation between friends BuckH p98
Boy Baptist in the Desert, 1517 (Uffizi). Assistants using Rome’s design BuckH p89.
Holy Family, 1518 (Louvre). Assistants using Rome’s design BuckH p95.
Portrait of Leo X with Cards Guilio de Medici & Luigi de Rossi, 1519 (Pitti or Uffizi). Pope not potentate but art lover BuckH pp 100, 2
Double Portrait, 1519 (Louvre). Eloquent jesture BuckH p98
Transfiguration , 1520 (Vatican). Commissioned to paint Christ as human (healing of lunatic boy) & divine (transfiguration) BuckH p111. Christ’s outstretched arms not original but his floating movement & ecstatic expression are. Note the way in which Moses & Elias are swept up by Christ & also smaller earthbound disciples Wolfflin1899 pp 136-7
Madonna della Seggiola (Pitti)
joseph raphael:
Rhododendron Fields, 1915 (Oakland Museum)
ratgeb:
Flagellation from the Herrenberg Altarpiece, 1519 (Staatsgalerie, Stuttgart)
murphy, gerald:
Razor, 1924 (Dallas Museum of Art)
redfield:
The Ravine, 1909 (MFArt)
A Pennsylvannia Landscape, c1916 (Muesum of Art)
Late Afternoon, c1917 (Museum of Art)
Overlooking the Delaware, c1919 (Museum of Art)
Early Spring, 1920 (Michener Art Museum )
The Frozen River, c1920 (Michener Art Museum )
The Burning of Centre Bridge (MichenerArt Museum)
P revised redgrave:
Gulliver Exhibited to the Brobdignag Farmer, 1836 (V&A). His first success Grove 26 p68
The Reduced Gentleman’s Daughter, 1840 (). This was Redgrave’s first social issue picture, albeit set in 18th century dress WoodC1976 p10
The Poor Teacher, 1845 (Shipley Art Gallery). This was Redgrave’s first modern life painting in contemporary dress WoodC1976 p10
The Semestress, 1846 (Forbes Collection?)
Fashion’s Slaves, 1847 (Private)
Bolton Abbey, Morning, 1847 (V&A). He has privileged an overall colour scheme & atmosphere over the deliniation of of individual objects & their local colour Barringer p72
The Outcast, 1851 (RA)
Emigrant’s Last Sight of Home, 1858. This is a late & rare social issue picture by Redgrave WoodC1976 p10
“The Valleys also Stand Thick with Corn“, 1865 (Birmingham Museum & Art Gallery). [This is an example of Redgrave’s late landscapes paintings with figures.]
regnalt:
Salome, 1870 (the Met). [She is not a wicked woman, probably because picture only not initially of Salome????
reich:
From the History of the Underground struggle in Austria
Wool Collection
reinhardt:
Painting, 1950 ()
Red Painting, 1952 (MoMA)
Abstract Painting, 1963 (MoMA)
P revised rembrandt (a) self portraits:
Self-Portrait at the Age of 34, 1640 (NG)
Mauritshuis
Gemaldegalerie, Castlesel
1656? NG Arts
1658? NG Scotland
1658 Frick. Grand/philosophic calm Clark1978 p28
1660 Louvre. One of his most moving self-portraits showing resignation Clark1978 p30
Kenwood House
Uffizi
Waleslraf-Richartz, Cologne
1669 NG. [Note the clapsed hands. Is he comforting himself?]
1669 Mauritshuis
rembrandt (b) other works
Balaam & the Ass, 1622 (Musee Cognacq-Jay, Paris. This is clearly based on a work by Lastman OxDicArt
The Stoning of S. Stephen, 1625 (MDBA, Lyons). Earliest dated work OxDicArt
Money Changer, 1627 (Gemaldegalerie) Martin p31
Nicolaes Ruts, 1631 (Frick). Earliest known commissioned portrait OxDicArt
Anatomy Lesson of Dr Tulp, 1632 (Mauritshuis) 1001
Women at Toilet, 1633 (NG Canada). [This is effective because of the of the gold highlighting around cloak.]
Saskia as Flora, 1635 (NG)
Blinding of Sampson, 1636 (Frankfurt) Martin p31
The Night Watch, 1642 (Rijksmuseum) 1001 p251
Ledikant (bedstead), 1646 (BM)
Supper at Emmaus, 1648 (Louvre) Martin p31
Woman Bathing in a Stream, 1654 (NG) 1001 p262
The Slaughtered Oxford, 1655 (Louvre)
Christ Presented to the People, 1655, etching. Rembrandt’s grandest & most austere High Renaissance manner with only one man on right genuinely moved & dignified high priest Clark1978 pp 98-100
The Polish Rider, c1655 (Frick)
Dr Deyman’s Anatomy Lesson, 1656, part (Rijksmuseum)
The Syndics, 1661-2 (Rijksmuseum). [Remarkable combination of a unified composition & a work in which each person is of individual interest.]
Portrait of an Elderly Man, 1667 (Mauritshuis). Dazzling range of brushstrokes , especially for face moulding NG
The Return of the Prodigal Son, C1669 (Hermitage)
Bathsheba (Louvre). Hendrickje Clark1978 p107; attractiveness/
nobility despite candid depiction Clark1956 pp 341-2.
Diana , etching. Emphasis on the unattractive Clark1956 p339.
Woman Seated on a Mound, etching. Here there is an emphasis on the unattractive Clark1956 p339.
Woman Bathing (NG). Hendrickje Clark1978 p107. [Note the difference in facture between the impato shift & the smooth/modulated flesh.]
Portrait of Lady with Ostrich Feathers, 1656-8 (NG Arts). Masterly design Clark1978 p109
Portrait of Jan Six (Six Foundation, Amsterdam). Perhaps directest/vividest of great portraits with unusually clear/sharp brushstrokes Clark1978 p92
Portrait of Jacob Herring, etching. Baliff of Court of Insolvency but one of Rembrandt’s most sympathetic portrait-etchingsClark1978 p105
remington:
Fight for the Waterhole, 1903 (Museum of Fine Arts, Houston)
P revised reni:
The Martyrdom of St Catherine of Alexandria, c1606-7 (Museo Diocesano, Albenga). This a typical work of Reni’s brief Caravaggesque period H&S p68
Joseph & Potiphar’s Wife, c1625 (Fitzwilliam Museum, Cambridge)
Ss. Peter & Paul (Brera). [This is Carravaggiesque, quietly striking, & with good foreshortening of the arm & hand. There is a diagonal effect.]
Crucifixion of S. Peter (Vatican) Waterhouse1962 p13. [This was inspired by Caravaggio’s work. The light falling from top front although it is less bright than Caravaggio. The picture is powerful emotionally & in composition.]
Blessed Soul, late (Capitloine M). [A truly pious picture with the angel’s uplifted arms & a holy light shining down.]
Massacre of the Innocents, (Pinacoteca Nazionale, Bologna)
P renoir:
The Large Bathers, 1884-7 (Museum of Art, Philadelphia)
Two Girls, c1892 (Museum of Art, Philadelphia)
Peaches, 1895 (Museum of Art, Philadelphia)
Large Bathers, 1905 (Museum of Art, Philadelphia)
Woman with a Guitar, c1918 (Museum of Art, Philadelphia)
Still Life with Flowers & Fruit (Museum of Art, Philadelphia)
repin:
The Volga Boatmen, 1870-3 (Russian Museum)
The Cautious One, 1877
The Archdeacon, 1877
Portrait of the Artist Ivan Kramskoi, 1882
Religious Procession in Kursk Province, 1880-83. Not a homogeneous crowd; central priests & local elite; prospereous/dignified kulaks;the poor/destitute pushed away to roadside on left; throught crowd policemen/elders keeping lower orders from pressing too close; a mounted policeman towers over crowd Lebedev p11
Rally, 1883
Spurning Confession, 1879-85
Portrait of the Composer Musorgsky, 1881
Strepetova, 1882
Portrait of the Art Critic Vladimir Stasov, 1883
Ivan the Terrible & His Son Ivan: November 16 1581, 1885
Leo Tolstoy, 1887
They did not Expect Him, 1884-8
Zaporozhe Cossaks writing a Mocking Letter to the Turkish Sultan, 1880-91
The Arrest of a Propagandist, 1880-92
Autumn Bouquet, 1892
Portrait of Pobedonostsec, Ober-Procurator of the Holy Sinod, 1903
The Council of State in Session
Vesevolod Mikhailovich Garshin (the Met)
P rethel;
Harkort Factory at Berg Wetter, 1834 (Mannesmann Demag AG, Duisburg). An exceptional choice of subject for the time which contrasts the ruinous castle with the new industrialism Grove26 p255
St Boniface Preaching to the Heathens, 1835 (Suermondt-Ludwig-Museum, Aachen)
Reconciliation Between Otto the Great & His Brother Heinrich, 1840 (Historical Museum, Frankfurt am Main)
Emperor Otto III at the Tomb of Charlemagne in the Year 1000, fresco (Rathaus, Aachen). The fusion in the Rathaus frescoes of religious sentiment, national identity & contemporary political reference was new. This work is a symbol of the return of empire & the desire for a united Germany. The paintings have an angular stylism inspired by early German woodcuts Grove 22 p329 & 26 p255
Razing of the Irminsul fresco (Rathaus, Aachen)
Battle of Cordoba, fresco 1848-9 (Rathaus, Aachen)
Entry into Pavia fresco (Rathaus, Aachen)
P revised reynolds:
Hon Augustus Keppel, 1774 (NMM). Probably noblest portrait; nothing both so easy/heroic in England since Van Dyck Waterhouse1941 p9
Lady Anne Lennox, Countess of Albermarle, 1757-9 (NG). Masterpiece of easy/natural/earlyish manner Waterhouse1941 p11
Georgiana, Countess of Spencer & Lady Georgina Spencer, 1759-61(Althorp). Masterpiece of easy/natural/earlyish manner Waterhouse1941 p11
Kitty Fisher Dissolving the Pearl, 1759 (Kenwood House). She has ther fluttering hands of the courtesan Hallett p129
Elizabeth Gunning, Duchess of Hamilton, 1758-60 (Lady Lever Art Gallery, Port Sunlight). First exhibition picture (Society of Artists) Waterhouse1941 pp 11-2
Nellie O’Brien, 1763 (Wallace Collection). Courtesan Vaughan 1999 p81
Lady Sarah Bunbury Sacrificing to the Graces, 1965 (Art Institute). Mrs Thrale said that instead she played cricket & eat beefstakes on the Steine at Brighton Grove25 p285
Mrs Luther, 1766 (Museum & Art Gallery, Birmingham). [Despite his Grand Manner, she is smiling gently.]
Elizabeth, Lady Taylor, 1772-3 (Frick). [Unable to paint women!! Her formal & fashionable dress contrasts with his open & slightly concerned face with its shadowed brow & Romantic landscape.]
Giuseppe Baretti, 1774 (London). Middle class person represented realistically, not as aristocrat Honour1968 p89.
Captain Orme, 1756 (NG) Vaughan 2002 pp 118-9
Omai, 1776 (Castle Howard) R&J p14
Thais, 1781 (Waddesdon Manor)
Georgiana, Duchess of Devonshire, & Her Daughter, Lady Georgiana Cavendish, 1784-6 (Chatsworth House). Earlier in the century mothers were usually shown in afamily group or posed rather stiffly. Here in an age of sensibility there is mutual affection Solkin2015 p233
Admiral Rodney. Unadorned age Piper p201
ribalta, francisco:
Christ Embracing St. Bernard, 1625-27 (Museo del Prado, Madrid) 1001
P ribera:
Drunken Silenus, 1626 (Capodimonte). Modelled with sweeps of hard & coarse brush; blue drapery has oxidised Waterhouse 1962 pp 174-5
Prophets (North, S. Martino) Waterhouse 1962 pp 176-8
Boy with Clubfoot (Louvre) One of the masterpieces of 17th century portraiture Waterhouse 1962 p178
Holy family with S. Catherine (the Met) Waterhouse 1962 pp 179-80
Communion of the Apostles, 1651 (North, S. Martino). One of the great works of Baroque Classicism Waterhouse 1962 p180
S. Gerome & the Angel (Capodimonte)
ricci, marco:
ricci, sebastiano:
Legends of St Martial, before, three oval ceiling canvases, 1702 (S. Marziale, Venice). A fresh & luminous decorative style influenced by both Veronese & Bolognese classicism. The cloud-borne figures draw the spectator upwards into an airy space; he uses paler & more transparent colours; & the figures have a new elegance & delicacy, Here Ricci definitely breaks with late Baroque, though the figures are still vigourous Grove26 pp 320-1
Miraculous Arrival of the Statue of the Madonna, 1705 (S. Marziale, Venice). Exuberant/fluid/charming forms ,Venice colour Steer p176; exciting with pastel effect though painted on canvas Levey1959 p19
Madonna & Child with Nine Saints, 1708 (S. Giorgio Maggiore, Venice). Sumptuous new decorativeness Levey 1986 p8; putti’s Rococo frivolity, elongated forms Steer p176; sacra conversazione consciously derived from Veronese to be used in 18th century; grace replaces force in painting Levey1959 p22
The Continence of Scipio, c1695 (University of Palma). Type of picture criticised by Neo-Classicists as unserious & unimproving because it is not the aftermath of real battle, the dress is inaccurate, & it has a melting charm unsuited to a Roman subject; but it is good decorative painting Levey1959 p25
Marriage Feast at Cana (William Rockhill Nelson GofA, Kansas). Sharpish colours which never fuse together Steer p177
The Resurrection, fresco (Chelsea Hospital)
Venus & Adonis, etc, 1706, fresco (Pitti). New delightful lightness under Grand Prince Ferdinand’s influence Haskell pp 235-6
Allegory of Glory, 1711 (Sala dello Scrutinio, Paazzo Ducale, Venice)
Moses Striking the Rock, 1727 (Accademia)
Liberation of St Peter (S. Stae, Venice)
Prevised richardson, jonathan the elder:
Jonathan Richardson, c1718 (Yale)
Lady Mary Wortley Montagu, c1725 (Earl of Harroby). Semi-Persian costume recalling travels; her exoticism seems to have swept, normally cautious, Rome off his feet Vaughan1999 pp 70-3
Lady Catherine Herbert & Hon Robert Herbert, 1709-10 (Wilton House). [An eye catching painting] which is considered to be one of finest of his early works Baldock p37
richmond, george:
The Creation of Light, trmpera & gold, 1826 (Private)
P rigaud:
Portrait of Jules Hardouin–Mansart, 1685 (Louvre)
Double Portrait of the Artist’s Mother, 1695 (Louvre). This shows his ability to paint simply & directly Allen p209; Rembrandt inspired Wakefield p13
The First Early of Portland, 1698-9 (Welbeck Abbey)
LouisXIV, 1701(Louvre)
Fontenelle, 1713 (Musee Fabre, Montpellier). This shows his ability to paint simply & directly; Rembnrandt inspired Wakefield p13
Bossuet (Louvre)
Prevised riley:
Mr & Mrs John Howland, c1681 (Woburn Abbey)
Lady Spencer of Ofley & Her Son John, 1683 (Althorp)
Elias Ashmole, 1683 (Ashmolean). Shows Rome’s power of probing character of grave & melancholy cast Waterhouse1953 p137
Sir Charles Cotterell, 187 (Cotterell-Dormer Collection). Shows Riley’s power of probing character of grave & melancholy cast Waterhouse1953 p137
Scullion (Christ Church). [Its repute is deserved.]
Bridget Holmes, Housemaid to James II in her Ninety-sixth year, 1686 (Windsor Castle)
Duke of Lauderdale (Syon House). Shows Riley’s power of probing character of a grave & melancholy cast Waterhouse1953 p137
ring
Portrait of Anna Romp (Waleslraf-Richartz, Cologne)
Prevised riviere:
Fidelity, 1869 (Lady Lever Art Gallery, Port Sunlight). [This is a creditable picture and not really sentimental. There is a tight focus on the dog’s face & a stark non-distracting background.]
Sympathy, 1877 (RHolloway Collection)
Beyond Man’s Footsteps, 1894 (Tate). Chantry purchase 1894 Maas p82
{2}rizi, francisco:
Virgin & Child with Saints Philip & Francis, 1650 (El Pardo, Capuchinos)
Altarpiece, 1655 (Fuente el Saz, parish church, Madrid)
Apothesis of St Anthony of Padua, 1665-8, with Carreno, (San Antonio de los Alemanes, Madrid)
{2}rizi, juan:
Vision of St Aurea, c1653 (San Millan de la Cogolla, monastery)
Mass of S. Benedict, 1650-60 (Real Academia de San Fernando, Madrid)
Stigmatisation of St Francis, 1656-9 (Cathedral, Burgos)
{2}robert-fleury:
The Triumphal Entry of Clovis at Tours in 508, 1837 (Chateau, Versailles)
Galileo Before the Inquisition, 1832 (Louvre)
Death of Titian, 1861 (Koninklijke Museum voor Kunsten)
robert, hubert:
Gallery in Ruins, (Musee Angladon, Avignon). [This is one of his imaginary scenes. It has great atmosphere & depth imparted by strong chirascuro & a perspective with different light sources. Dynamism is imparted by means of a patch of bright sky and the gesturing white figures.]
roberts, william:
Ulysses, 1913 (Castle Museum, Nottingham)
{2}robinson, theodore:
A Bird’s Eye View, 1889 (the Met)
The Wedding March, 1892 (Terra)
La Debacle, 1892 (Scripps Collection, Claremont, California)
Port Ben, Delaware & Hudson Canal. 1893 (Pennsylvania Academy of Fine Arts)
Low Tide, 1894 (Private)
rockwell:
Freedom from Want, 1943 (Mass) Hughes p509
{2}roelofs:
Landscape Before the Thunderstorm, 1851 (Museed’Art Moderne, Brussels).
Polder Landscape with Windmill near Abcoude, c 1865 (Gemeentemus, The Hague)
The Rainbow, 1875 (Gements Museum, The Hague)
Landscape with Ruins (Gemeentemus, The Hague)
May in Noorden (Gemeentemus, The Hague)
rogers:
Cottage Bedroom, 1944 (). Lyrical realism, economy/restraint/English Spalding1986 p119
rohlfs:
rokotov:
Peter II (Russian Museum)
Barbara Yermolayevna, 1780 (Tretyakov)
Portrait of Catherine II in Coronation Dress, 1763 (Tretyakov)
I. Orlov (Russian Museum)
I. Golnishchev-Kutuzov (Russian Museum)
V. Maikov, c1765 (Tretyakov). One of the most significant works in 18th century art 50Rus p39
A. Struiskaya, 1772 (Tretyakov) A peak work 50Rus p40
Obreskov, 1777 (Tretyakov). Remarkabe for its fine detail & deep characterisation 50Rus p40
V. Novsiltseva, 1780 (Tretyakov). A peak work 50Rus p40
Surovtsev, 1780 (Russian Museum)
V. Surovtseva, 1780 (Russian Museum). A peak work 50Rus p40
Countess Elizabeth Santi, 1785 (Russian Museum). A peak work 50Rus p40
Count Peter Ivanovich Shuvalov (). An example of the more personal style he developed after moving to Moscow. Shuvalov was the enthusiastic favourite of Elizabeth who revived Peter’s idea of creating an Academy Hamilton p345-7
{2}roll:
Halt!, 1875 (MArtHist, Metz)
Centenary of 1879 (Versailles)
Strike, 1884 (MDSA Valenciennes)
Manda Lametrie, Farmer’s Wife, 1887 (d’Orsay)
Laying of the First Stone of the Pont Alexander III, 1899 (Versailles)
romadin:
The Herd, 1944 (Tretyakov)
{2}romako:
The Fisherboy, 1872 (Belvedere)
Artist’s Wife & Two Daughters at the Breakfast Table, c1873 (Belvedere)
Landscapes at Bad Gastein, 1877 (Belvedere). This is remarkable Grove26 p559
Admiral Tegetthof in the Sea Battle near Lisa, c1879 (Belvedere)
Empress Elizabeth, c1862 (Belvedere). [This is a striking work which reflects her strange personality.] Her body has been elongated [& her right hand is twisted in extraordinary & disturbing fashion] Belvedere audio-guide .
Maria Magda, Countess Kufstein, 1885 (Belvedere)
Isabella Reisser (Private). This turns fashionable portraiture inside out. She is fashionably dressed but her face & body are flattened into an awkward silhouette. Her sharp eyebrows & teeth, staring eyes & lipstick mouth make her a menacing femme fatale R&J p379.
romano, antoniazzo:
S. Vincent of Saragozza, S. Illuminata, San Nicola da Tolentino (). [This is a backward looking picture on gold. Faces carefully delineated but those of Saints are vacant.]
{2}romano, giulio:
Stanza dell’ Incendio, fresco (Vatican). He assisted Raphael with this OxDicArt
Sala di Constantino, fresco (Vatican). He completed this OxDicArt
Transfiguration (Vatican). He completed this OxDicArt
Vila Madam decorations. He completed these OxDicArt
Holy Family (Sta Maria dell Anima, Rome). This an exaggeration of Raphael’s style with a Michangelesque influenceMurrays1959
Stoning of S. Stephen, c1521 (S. Stefano, Genoa). Again Raphael’s style exaggerated with a Michangelesque influenceMurrays1959
Madrid della Gatta, c1523 (Capodimonte)
Pozizioni, 16 or more engs by Raimondi, 1523 & 27. Originals destroyed only one Raimondi image survives (BM & Kunsthistorisches), together with (BM) fragments; Webb pp 346-9; drawings probably from originl prints were made c1858 by Baron Frederic de Walesdeck, but in a rather anemic NClass style Webb pp 351-4; some images show strain/muscular distortion but others smiles of pleasur&happy lovers Frantz p122
Holy family with Saints Mark & James, c1624 (S. Maria dell’ Anima, Rome).
Woman with a Mirror, c1624 (Pushkin, Moscow)
Two Lovers, 1624 (Hermitage)
Triumph of Titus and Vespasia, c1537 (Louvre, Paris) 1001
Sala di Psiche, fresco (Mantua, Paris de Te). Erotic L&L
Sala de’ Giganti, fresco (Mantua, Paris de Te). Brutal illusionism designed to overwhelm Murrays1959; deviates from classical balance L&L; parodies contemporary symbolism with giants caricaturing Michelangelo’s giganti Hall1999 p98
Sala di Troia (Mantua, Ducal Paris); Paris de Te contains some of most sexually provocative of mythological Renaissance paintings, eg Jupiter & Olympia Webb p117
romanino:
Christ Carrying the Cross, c1542 (Brera)
Ecco Homo, c1550 (Niedersachsisches LandesM, Hannover)
romney:
Mr and Mrs William Lindow, 1772 (Tate). [This has superb colour combination with her grey-blue dress & black shawl & his plumb coat. She is standing and, if anything, dominant.] Not flattering but truthful & meticulously observed. They are individual personalities but affection conveyed by their central brushing forearms Kidson p95
Edward, Lord Stanley, with his Sister, Lady Charlotte, (Knowsley House). [Proto-Victorian.]
rops:
The Satanic Ones, 1882. Series depicting women being sacrificed or impaled WoodG p82
rorbye:
Italian Campagna, 1835 (Gothenburg). Timelesness Honour1979 p83
{2}rosa:
Self-portrait (NG)
Self-portrait (the Met)
Self-Portrait as a Philosopher, c1645 (NG) 1001 p253
Bandits Gambling (GNazionale, Rome)
The Temptation of S. Anthony, c1647 (Pitti). Here unusually visionary-Romanticism elements predominate Wittkower1973 p327
Landscape with the Finding of Moses, c1650 (Detroit Institute of Arts). This has a classical structure despite its Romanticism; repoussoir trunk/left & right trees; Class division into three distances; carefully balanced light/dark areas ; way in which figural group fits harmoniously into terrain with tree arcing above Wittkower1973 p326
The Death of Regulus, c1551 (Virginia Museum of Fine Arts). It is a savage masterpiece Waterhouse1962 p188
Battlepiece, 1652 (Louvre). Wild Romanticism S. Italy landscape on which battle scene imposed Waterhouse1962 pp 184-5
S. Onofrio, c1665 (Brera). This has a wild & sublime background Waterhouse1962 p185
roscoe:
Portrait of Professor Averil Cameron, 1999 (Keble Collection, Oxford)
rossetti:
Bocca Baciata, 1859 (Museum of Fine Arts, Boston). Title (mouth that has been kissed) probably subsequent to painting; remarable execution but even more for gross/revolting sensuality said Holman Hunt Pretejohn2005 pp 118-9
Proserpine, 1882 (BhamC&AG). Proserpine during period of captivity; model=Jane Morris with whom Rome was in love 1001 p495
rosenquest:
F-111, 1964-5 (MoMA). Pictures of US prosperity + darker images: mushroom cloud; smiling girl under misilelike hair dryer; & the F-111 fighter-bomber; painted during Vietnam War MOMAH p237
rosso:
Assumption of the Virgin, c1516 (Florence, SS Annunziata). Earliest work; impetuous colouring with strong reds, yellows & greens almost without transition; breaks the rules by encroachment on the frame Friedlaender1925 p29
Sacra Conversazione, 1518 (Uffizi). Influenced by Donatello L&L
Deposition from the Cross, 1521 (Pinacoteca, Volterra). This marks Rosso’s decisive step from the balanced & classical to the spiritual & subjective. The work is no longer Sarto but wilder with a combination of verticality & swaying through its, high narrow format & rhythmically twining figures. St John, at bottom right, is elongated & there is a lack of reality with figures that stand in front of space & in sharp light & shining colours. They have long outstreatched limbs & bodies that meet at sharp angles. The suppression of the usual produces a feeling of spirituality & soulfulness Friedlaender1925 pp 30-1. It was influenced by Durer’s prints L&L
Moses Defending Daughters of Jethro, 1523 (Uffizi). Moses is the central figure with brutally projected jestures, strong but unreal colours, absence of perspective. However there is space & depth because the figures are set behind or above each other with light, colour & tone used to achieve born&ing; a feeling of verticalism depite figures not being elongated. It is a picture without a precedent Friedlaender1925 pp 32-3
Dead Christ, c1525 (Boston) Shearman pp 65-6
Death of Cleopatra, 1525-6 (Herzog Anton Ulrich Museum, Braunschweig)
Pieta, 1527-8 (Sansepolcro)
Resurrection, 1528-30 (Citta di CastletelloCathedral)
Pieta, 1530-40 (Louvre)
rothco:
Magenta, Black, Green on Orange, 1949 (MoMA). Optical flicker of green against orange; gentle movement throughout MOMAH p196
{2}rothenstein, sir william:
Coster Girls, 1894 (Shefield City Art Galleries)
Hablant Espagnol, 1894 (Private). For colour image see McConkey2006 p79
A Doll’s House, 1899 (Tate). Whistlerian OxDicArt
The Browning Readers, 1900 (Bradford City Gallery)
Mother and Child, 1903 (Tate). [Exquisite handling of light, tone & shadow using a restricted pallette. It is Vermer-like.]
rottmann:
The Kochelsee, 1823 (Schack-Galerie, Munich). This reflects the influence of Koch but, although the romatic mood has been heightened, the landscape has been realistically painted Norman1987 p118
Palermo, 1832 (Neue Pinakothek, Munich). This is a preparatory study for one of the Hoftgarden frescos Norman1987 p182
roualt:
Stella Matutina, 1895 (Musee de l’Avallonais, Avallon) There we have two Symbolist works GibsonM p49.
Prostitute (New York???). There are few more horrifying images Clark1956 p344
Two Prostitutes, 1906 (NG Canada). Roualt seems terrified Lucie-S1991 p148.
{2}rousseau, theodore:
Village of Becquigny (Frick). Frontal view like Poussin Clark1949 p154
A Summer Day, (Louvre)
La Descente des Vaches dans la Jura, 1836 (Louvre). Constable-like Honour1979 p117
Landscape in the Auvergne, 1837 (Toledo). Constable-like Honour1979 p117.
Under the Birches, 1842-3 (Toledo Museum of Art). Here observed facts take priority over preconceived order. Each of the birches has an irregular, unique shape, the foreground records the mess & density of actual rocks & underbrush, & the clouds defy predictable pattern R&J p182
roussel:
Mortimer Mempes, Esq, 1887 (Private)
The Reading Girl, 1887 (Tate). She is nonchalently absorbed in her journal: naked & not ashamed Robins p3
Blue Thames, End of a Summer Afternoon, 1889 (Private?)
rowe, cliff:
The Fried Fish Shop, 1936 (New Walk Museum & Art Gallery, Leicester)
S. George & the Dragon, 1605-7 (Prado). Though woman is stiffly posed one of the first Baroque paintings: animation, emotion, chirascuro, warm rich colours Wedgwood1967 p40
Meeting of Abram & Melchizedek ()Wolfflin1915 p77
The Mired Cart Martin pp 218-9
Descent from the Cross, 1611-14 (Cathedral of our Lady, Antwerp) 1001
Four Philospohers, c1613 (Pitti). They are Jan Waverius, Justus Lipsius the renowned Stoic philosopher, Rubens’ brother Philip, Rubens himself Wedgwood p24. [This is an interesting composition with two figures on the left looking out & the two on the right looking in. However it is doubtful whether it succeeds with nobody paying attention to poor Lipsius.]
Descent from the Cross, c1613 (). Powerful sweeping curves leading viewer’s eye into centre Wedgwood1967 p71
Four Studies of a Head of a Moor, c1614
Hippopotamus Hunt, c1615 (Alte Pinothek, Munich). Curve of crocodile leads eye upwards; diagonal spears/swords redirect attention downwards to central action Wedgwood1967 p47
The Conversion of S. Paul, c1616 (). Note powerful S. curve upards/inwards from bottom left Kitson1966 p43
Perseus & Androemeda (Gemaldegalerie) Clarke 1956 p146
Three Graces (Prado) Clarke p140
Garden of Love (Prado). Women seem to matter more than men & to be those who decide Levey1966 pp 60-1
Saint Sebastian (Gemaldegalerie)
Minerva Protects Pax from Mars, 1629-30 (NG) 1001
Landscape with the Shipwreck of Aeneas, 1624 (Berlin). Natural forms with same twists/dynamism as figure compositions Kitson1966 p43
Triumph of Eucharistic Truth over Heresy c1626 (Prado). Calvin, Luther & other enemies of the sacrament have fallen victim to Time’s scythe; religious Truth is lifted skywards by Time Martin p210
Landscape with Workers Returning from the Fields, c1627 (Pitti). [This is Arcadia but a contemporary one: abundance with overloaded peasants carrying produce & many sheep. It is proto-Constable.]
Helene Fourment in a Fur Wrap, 1635-40 (Kunsthistorisches)
Consequences of War, 1638 (Pitti). [The message is not in doubt; Mars is trampling on the books,]
Virgin & Child with Saint Elizabeth & the Child Baptist, (Walker). Shows Rome’s naturalism with the Virgin & Elizabeth chatting while she is breastfeeding; two real women & not goddesses
Salome (Castle Howard)
Portrait of a Woman possibly Clara Fourment (Mauritshuis). [An unusual portrait of a woman smiling.]
rublev, andrei:
The Old Testament Trinity, c. 1410 (Tretyakov Gallery, Moscow, Russia) 1001
russell, john:
Face of the Moon, 1795 (Art Gallery & Museum, Birmingham). Motivated both by scientific & artistic interests Honour1968 pp 94, 200
russell, morgan:
Synchromy in Orange: To Form, 1913-4 (Albright-Knox Art Gallery, Buffalo)
ruysch, rachel:
Flowers and Insects, 1711 (Uffizi, Florence) 1001 p291
ruysdael:
View of Deventer Seen from the North-West, 1657 (NG) 1001 p265
Castle of Bentheim () Wolfflin1915 p85
View of Haarlem () Wolfflin1915 p85
{2}ryabushkin:
Peasant Wedding in Tambov Gubernia, 1880 (Tretyakov)
The Removal from the Cross, 1890 (Tretyakov)
Awaiting the Newly–weds in Novgorod Gubernia, 1891 (Russian Museum). This was his first exhibit with the Wanderers. Wedding guests are awaiting the return of the couple. Vasrious shades of feeling are conveyed with great simplicity & restraint 50Rus p226
The Game Regiment of Peter I in a Pothouse, 1892 (Tretyakov)
Tsar Mikhail Fyodorovich in Session with Boyars, 1893 (Tretyakov). Boredom & self-importance are conveyed with delicate but biting irony. Here Ryabushkin first uses a new, unusual colour scheme 50Rus p228
Moscow Street in the Seventeenth Century, 1896 (Russian Museum). His finest historical painting during the 1890s. The painting’s vivid decorative effect, with its localised patches of colur, was influenced by traditional icon & fresco painting. This style was Ryabushkin’s own creative discovery 50Rus p228
The Merchant’s Family, 1897 (Russain Museum)
Seventeenth Century Russian Women in Church, 1899 (Tretyakov)
A Wedding Procession in Moscow, 1901 (Tretyakov). One of his best works 50Rus p229
Young Man Joins a Round Dance, 1902 (Tretyakov)
In a Village. Going to Liturgy, 1903 (Tretyakov)
Tea Drinking, 1903 (Private). Here life in the countryside is not poeticised 50Rus p229
Novgorod Church