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:
sabastiano del Piombo:
The Death of Adonis, 1511 (Uffizi, Florence) 1001
Dorothea (B?) Wolfflin1899 p124
R sadler:
Thursday, 1880 (Tate)
The End of the Skein, 1896 (Lady Lever Art Gallery, Port Sunlight). [Sentimental & badly painted because the background is of too prominent.]
saftleven, Cornelius:
Satire on the Trial of Johann Oldenbarnevelt, 1663 (Rijksmuseum)
R saftleven, herman:
View of the Rhine, 1656 (Dulwich Picture Gallery)
sage:
Tomorrow is Never, 1955 (the Met)
R P salviati:
Visitation, fresco 1538 (S. Giovanni Decollato, Rome). This made his reputation OxDicArt
Christ Carrying the Cross, c1545 (Uffizi). This gives rise to the feeling of being manipulated because of the contradiction between compassion triggered by Christ’s evident suffering & the emotional distancing produced by its display of refined aesthetic beauty Hall1999 p230
Sala dell Udienza, frescos 1543-5. Commissioned soon after Cosimo’s successful negotiations fror withdrawl of Spanish soldiers from Florentine territory etc & the subjects celebrate this & his earlier victories in scenes from Roman history, the Bible & classical mythology. They include Furius Camillus hailed (Livy) as the second founder of Rome Hall1999 p225. Italians complexity & ambition surpasses that of the fresco cycles of the Roman School OxCompArt
Three Fates, c1550 (Pitti). [Menacing figures in pale colours against a dark background.]
Farnese Commemoration Frescos (Palace Farnese, Rome). His chief late work; extreme Mannerism with mingled tapestry-like & realistic figures producing a piquant effect OxCompArt
samacchini:
Christ in Glory, c1570 (S. Paolo, Bologna). Landscape only suggested Friedlaender1925 p60
sandrart:
Portrait of Hendrik Bicker, 1639 (Historisch Museum, Amsterdam)
The Civic-Guard Company of Captain Cornelis Bicker (Rijksmuseum?)
Self-Portrait, c1670 (Historisches Museum, Frankfurt)
saenredam, pieter:
The Interior of the Buurkerk at Utrecht, 1644 (NG) 1001 p252
sant:
The 7th Earl of Cardigan Relating the Story of the Charge of the Light Brigade to the Prince consort & the royal Children (Private)
santerre:
Susanna at the Bath, 1704 (Louvre). Santerre’s (lost) Susanna for Versailles Church caused a scandal. This shows Mannerist influences with its affected pose & delicate, elongated forms Blunt1954 p276
saraceni, carlo:
Landscape with Salmacis and Hermaphroditus, c1608 (Museo di Capodimonte, Naples)
P sargent, john singer:
Carolus-Duran, 1879 (Sterling & Francine Clark Art Institute, Williamstown, MA)
Madame X, 1883-4 (the Met). S. obsessed with Madame Gautreau’s appearance, persuaded her to sit; caused scandal at 1884 Salon exhibition; “the best thing I have ever done” NGArtinP p258. [Her shoulders & arms have a stunning fleshiness. This is a picture which has more presence, more actualite, than she can have had in real life. The picture contradicts the suggestion that Realism must be condemned as mere copying.]
An Out-of-Doors Study, 1889 (Brooklyn Museum)
Mrs Hugh Hammersley, 1892 (the Met)
Portrait of the Duke of Marlborough & His Family, 1905 (Blenheim Palace). Painted in the studio; Duke instructed Sargent that picture must recall Reynolds’ huge portrait of the family Balsan p146. [The weight of history indicated by by great hangings] (the French Royal Standard captured at Blenheim etc) [above the heads, especially that of the Duke. He is depicted as a short figure enveloped in huge robes, without strong facial characterists, & looking like a traditional bank manager. Consuelo, with her large neck & higher position, dominates. They are separated by a streak of luminosity & the picture appears to be gently ironic.]
Boston Public Library Murals,
sasseta:
(Assisi, S. Francesco)
sassoferrato:
The Last Supper (Woburn Abbey)
The Virgin in Prayer (Woburn Abbey)
santi:
Baptism (Florence) Friedlaender1925 pp 61-2
Nativity (Florence) Friedlaender1925 p62
Prevised sarto:
A Sculptor (NG). Mysterious charm Wolfflin1899 p180.
Self-Portrait (Pitti). Mysterious charm Wolfflin1899 p180.
Madonna & Child with Eight Saints (Gemaldegalerie) Wolfflin1899 p274
Madonna delle Arpe (Uffizi). A queenly & aristocratic Madonna, not a motherly one Wolfflin1899 pp 173-4; rich axial contrasts; figures possessing depth Wolfflin1899 pp 274, 76.
Scene from the Life of S. Philip Benizzi, 1511 (SS. Annunziata Florence). Non-stratified figures linked by jestures but no drama despite miracle Wolfflin1899 pp 156-8
Annunciation, c1512 (Pitti). Mary’s nobility; the angel’s beauty & reverent salutation Wolfflin1899 pp 171-2
The Birth of the Virgin, 1514 (SS. Annunziata Florence). Figures in a curve; aristocratic nonchalance Wolfflin1899 pp 157-8; not stratified like Ghilandaio’s Birth Wolfflin1899 p276.
Sermon of S. John the Baptist, c1515 (Scalzo Florence). Effective narrowing of S. John at knees; more convinvcing crowd than Ghirlandaio’s confusion (S. John the Baptist Preaching); every element designed to emphasise S. John, including background & foreground Wolfflin1899 pp 161, 3
Charity, 1518-19 (Louvre) 1001
Annunciation, Panciotichi, c1522 (Pitti). [Numerous common features with other Pitti Assumption: man looking out bottom left, central bottom figure looking up at Virgin, latter (after long gap) surrounded by cherubs, cental bottom tomb from which Virgin rising.]
Lamentation Over the Dead Christ/Luco Pieta, 1623 (Uffizi). [See following source] F&N pp 90-91
Madonna with Six Saints, 1524 (Pitti). Rich axial contrasts Wolfflin1899 p274.
Madonna del Sacco, 1525 (SS. Annunziata Florence). Audacious yet balanced arrangement of figures Wolfflin1899 p177.
Madonna & Child with Eight Saints, 1528 (Berlin). Rich axial contrasts Wolfflin1899 p274.
Assumption of Virgin, the Passerini Assumption, 1526 (Pitti). [This is somehow stale with roo much striving for dramatic effect & an over-large & dark middle section. The colours are forceful.]
Annunciation, 1528 (Pitti). Magical draperies & atmosphere but lacking expression Wolfflin1899 p172
Four Standing Saints, 1528 (Uffizi). Full of vivacity but superficial Wolfflin1899 p175
Portrait of Becuccio Bicchieraio, c1528-30 (NG, Scotland) 1001
Young S. John, (Pitti). Swelling draperies to counter dominant vertical anticipate 17th century extravagancies; enrichment through shadowing, though effect of luminous flesh emerging from darknes has been lost Wolfflin1899 pp 178, 278.
Disputa (Pitti). A real dispute: Sarto’s peak Wolfflin1899 p175
Madonna & Child with Eight Saints, 1528 (Berlin). Saints on steps providing clarity/depth; half length foreground figures, a feature previously avoided in high art Wolfflin1899 pp 176-7
P sasseta:
Madonna & Child Enthroned with Saints=Cortona/ Dominic, c1435 (Museo Diocesano, Cortona). Saints slender & awkward with heads tending to overweight, angular eyes, superabundance of gold, painful minuteness C&C p167
P savery:
Vase of Flowers, 1601 or 1604 (Centraal Museum, Utrecht). This is the first surviving Dutch flower painting Haak p119
Orpheus Enchanting the Animals (Stadelsches Kunstinstut, Frankfurt)
Forest Scene with Hermit, 1608 (Niedersachsische LandesG, Hannover)
Cowshed, c1615 (Rijksmuseum)
Vase of flowers, Birds, & Reptiles, 1624 (Centraal Museum, Utrecht)
Landscape with Many Kinds of Birds (NarodniG, Prague)
Animals in a Rocky Landscape (Burghley House). [Lively colour & chirascuro together with early semi-Romantic scenery.]
savino:
savoldo:
Tobias (Borghese)
Mary Magdalene Approaching the Sepulchre (NG etc)
shahn:
London Hippodrome, 1902 (Art Institute)
The Passion of Sacco & Vanzetti, 1931-2 (Whitney Museum of American Art)
Jersey Homesteads, 1937-8, fresco mural (Roosevelt Public School, New Jersey)
Resources of America, 13 murals in tempera (with Bernarda Bryson), 1939 (Central Post Office, the Bronx)
Murals, at least 3, (Wilbur J. Cohen Federal Building, Washington)
shinn:
Murals, 1911 (Trenton City Hall, New Jersey)
Eviction (Lower East Side), 1904, gouache on paper (Smithsonian American Art Museum)
soyer, moses:
Artists on WPA, 1935 (Smithsonian American Art Museum)
schad:
Two Girls, 1928 (Private). [Strikingly clear cut Realism; total absence of contact between these masturbators; the one in front has her back turned to one behind who is not looking up; both have open but unseeing eyes & dedpan faces; front woman has shaved off pubic hair/wearing lipstick.]
{2}schalken:
Candle-light Scene: a Man Offering a gold Chain & Coins to a Woman on a Bed, painted on copper (NG)
Lesbia Weighing her Sparrow Against her Jewels (NG)
Venus at her Toilet (Kunstammlungen, Kassel)
schefferary:
Francesca da Rimini, 1835 (WaleslC). Example of his early literary subjects OxDicArt
SS Augustine and Monica, 1854 (NG). Example of his later mawkish religious subjects OxDicArt
P schiavone:
Giorgio Cornaro on Horseback, (Private). There is a strongly Mannerist jump from the foreground to the distance. It is a striking effect instead of painstaking observation Steer p152
Diana & Callisto, late 1540s (Amiens, Museo de Picardie, Amiens). Painterly brilliance & decorative elegance which reflects Parmigianino’s influence RAVenice p207
Adoration of the Magi, c 1547 (Ambrothersiana, Milan). An example of how during 1540s his colours became muted with drama & movement depending on the interplay of warm & cool tones RAVenice p42
Frescos, c1548-50 (Grimani Chapel, S Sebastiano, Venice). These are his principal surviving frescos Grove28 p82
Sacra Conversazione, c 1553 (UK Embassy, Rome). This is an experiment with dark over-all tonalities L&L
Annunciation, c1555 (S. Pietro, Belluno).
Christ Before Herrod, c1560 (Capodimonte). A work that ;ooks back to Giorgione & forward to Rembrandt L&L
schiele:
Grimacing Man (Self-Portrait), 1910 (Leopold) Schroder pp 64, 66
Portrait of Arthur Roessler, 1910 (Vienna). Trance-like, facial expression & gestures inconsistent Schroder p80.
The Hermits, 1912 (Leopold) Weary suffering artists; Schiele’s thistle crown V Klimpt’s autumn fruits Schroder p60
The Poet (Self-Portrait), 1911 (Leopold). Uncontrolled body parts Schroder p80
Self-Portrait with Head Lowered, 1912 (Leopold). Uncontrolled body parts Schroder pp 78-9
Transfiguration, 1915 (Leopold) Schroder p58
schillmark:
The Strawberry Girl, c1782 (Ateneum, Helsinki)
Britta Elisabet Gyllenspetz, c1786 (Ateneum, Helsinki)
Heinola & Jyranko Stream, 1787 (Ateneum, Helsinki). This was Finland’s first free landsape painting Ateneum p16
Still-Life with a Bowl, c1796 (Ateneum, Helsinki)
The Candle, Still-life, c1796 (Ateneum, Helsinki)
schindler, carl;
The Sentry’s Call to Arms, 1839 (Belvedere)
Holdup Near Terracina, watercolour over pencil, c1840 (Historisches Museum, Vienna)
Advance Detachment of German Infantry, pencil, 1841-2 (Historisches Museum, Vienna)
schindler, emil:
Steamboat Station on the Danube, 1872 (Belvedere) This is beautifully reminiscent of Corot Novotny p308. [The white boat, the roof & the linking woman give this picture a striking focus. The vigourous white brushmarks indicate how Schindler was striving to convey his impression] in this plein air painting Belvedere audio-guide
Sawmill at Goisern, 1883 ()
schlemmer:
Bauhaus Stairway, 1932 (MoMA)
schmitt:
Hitler Putch
schnorr von carolsfeld:
Ruth in Boaz’s Field, 1828 (NG
St Roch Distributing Alms, 1817 (Museum der Bildenden Kunste, Leipsig)
Knight in the Ruin, pen & ink drawing, 1819 (Wallraf-Richartz-Museum, Cologne)
Monk of Olevano, pen & ink drawing, 1821 (Kupferstichkabinett, Dresden). This location also has impressive female nudes in pen & wash from 1820 Grove28 p135
Mary with the Christ Child, 1820 (Wallraf-Richartz-Museum, Cologne)
Annunciation, 1820 (Berlin)
Frau Bianca von Quandt, c1820 unfinished (Nationalgalerie, Berlin?)
Frescoes in the Casa Massimo, 1821-7. These include
Angelica, Modoro & Orlando,
The Army of Charlmaigne in Paris,
The Leaders of the Saracen Army
The Ceiling.
The facture & colouring of the two latter works have been citicised but the main walls are major achievcements blending lyricism & compositional ability without excessive allegory & symbolism Andrews1964 p52.
Ruins of the Theatre at Taoemina, drawing using wash, 1826 (Kupferstichkabinett, Dresden)
Villa Taverna Near Villa Falconieri in Frascati, drawing using wash, 1826 (Kupferstichkabinett, Dresden)
Ruth in Boaz’s Field, 1828 (NG) [This may not be in Pittura]
Jacob’s Flight, drawing, 1835 drawing (Kupferstichkabinett, Dresden)
Victory over the Midianites, 1856 drawing (Kupferstichkabinett, Dresden)
The Spreading Pine Tree by the Bruhl near Modling (Belvedere)
Death of Siegfried, skethes & cartoons (Kupferstichkabinett, Dresden)
Kriembild’s Death, large cartoon (Altes Museum, Berlin)
schwind, moritz
The Morning Hour
scott, samuel:
An Arch of Westminster Bridge, c1750 (Tate). This is a picture with unexpected grandeur & solemnity of design Waterhouse 1953 pp 159-60
The Building of Westminster Bridge, c1747 (the MET)
Engagement Between the Sloop HMS Blast & Two Spanish Privateers, 1747 (Wilton House)
Vice Admiral Sir George Anson’s Victory off Cape Finisterre, 1749 (National Maritime Museum)
Horse Guards’ Parade, 1755 (Museum & Art Gallery, Birmingham). [it is a notable picture.]
View of the Thames with Blackfriar’s Bridge & St Paul’s Cathedral (Blickling Hall)
segantini:
The Puinishment of the Lustful, 1891 (Walker)
Love at the Springs of Life, 1896 (Gallery of Modern Art, Milan)
serebryakova:
At the Dressing Table, Self Portrait, 1909 (Tretyakov)
Girl Bathing, 1911 (Russian Museum)
In a Bathhouse, 1913 (Russian Museum)
Bleaching Cloth, 1917 (Tretyakov)
At Dinner
The Peasants
Self Portrait
serov:
Girl with Peaches, 1887 (Tretyakov) Breathtakingly beautiful OxDicMod
Girl in the Sunshine, 1888 (Tretyakov). Marvellous OxDicArt
An Overgrown Pond in Domotkanova, 1888
October. Domotkanova, 1895 (Tretyakov)
Portrait of Korovin, 1891
Portrait of Frabcesco Tamagno, 1891
Portrait of Levitan, 1893
Peasant Woman in a Cart, 1896
Winter, 1898
Portrait of Sophia Botkina, 1899 (Russian Museum). Looks lost/depressed; mood created with bright yellow, pink, (dark) blue & black S&K p11
Foals at a Watering Place. Domotkanova, 1904
Soldiers, Soldiers, Heroes Every One, Where Has All Your Glory Gone, 1905
The Funeral of Nikolai Bauman, 1905
Portrait of the Actress Ermovova, 1905 (Tretyakov)
Portrait of Ida Rubinstein (Russian Museum). Later flat Art Noveau styalization OxDicMod
serusier:
Tobias & the Angel, 1895 () Denvir p121
Talisman, 1888 (d’Orsay) p182
seurat:
Baignade a Asniers, 1884 (NG). First vibratory work Denvir pp
13-4
Grande-Jatte (Art Institute) R&J p399; Denvir p18
Le Chahut (Otterlo) R&J pp 402-4
Channel at Gravelines (Indianapolis) R&J p404
schaufelein:
Ziegler Altarpiece, 1521 (Stats, Augsberg)
schelfhout:
Dune View with Rustic Hunters (Stetdelijk Museum, Amsterdam)
On the Banks of the Maas (Rijksmuseum)
schinkel:
Medieval City on a River, 1815 (AlteNG) Craske p98
schmidt-rottluff:
Houses at Night, 1912 (Hamburg) Dube p67
schmitt, h:
Hitler Putsch
schmutzler:
Farm Girls Returning form the Fields
schongauer:
The Holy Family, c1470 (Alte Pinakothek, Munich) 1001
Virgin of the Rose Garden, 1473 (S. Martin, Colmar). Only certain painting L&L
Seiwert:
Machine Worker, 1927
shahn,
13 murals, 1939 (US Post Office, Bronx Central Annex). He painted with wife Bernarda
shannon:
Diana Macdonald, 1894 (Brighton Museum & Art Gallery)
sharples:
The Forge, 1844-7 (BlackburnMAG?)
shayer:
Milking Time (Guildhall Art Gallery)
sheeler:
Church St El, 1920 (Cleveland Museum of Art).
American Landscape, 1930 (MoMA). Reflects S.’s belief in need for a machine-age aesthetic MOMAH p144. [What emotion is this picture supposed to arouse? There is no element of painterlyness with the exception of the river.]
River Rouge Plant, 1932 (Whitney Museum of American Art)
Incantation, 1946 (Brooklyn Museum)
Architectural Cadences, 1954 (Witney Museum of American Art)
shegal:
The Flight of Kerenski from Gatchina in 1917, 1936-8 (Tretyakov)
Leader, Teacher & Friend, 1937
Letter from the Front
P shibanov:
Peasants at Dinner, 1774 (Tretyakov)
Celebration of a Wedding Contract, 1777 (Tretyakov)
Vasily Popov, 1784-5 (Art Museum, Odessa)
Catherine II in a Travelling Costume, 1787 (Russian Museum). This & the following picture were commissioned by Potyomkin Grove28 p599
Aleksandr Mamonov, 1787 (Russian Museum). Mamonov was Catherine’s favourite Grove28 p599
shterenberg:
Aniska, 1926 (Tretyakov). [It is an uneasy compromise in both subject matter (only half a loaf but the girl appears well fed) & in style (a realistic girl but a table out of perspective).]
shevchenko:
Girl with Pears, 1933 (Russian Museum)
Maternity, 1938 (Private)
shields:
Murals (Chapel, Eaton Hall)
Rheredos, 1888 (S. Mary-without-the-Walesls, Chester). North Italy C15like = handled extremely well & unsentimentally Pevsner Cheshire p174
schlichter:
Studio Roof, 1920 (NierendorfG, Berlin)
Meeting of Fetishists, watercolour, c1921 (Private)
Music Hall (Private)
Standing Woman with Laced Boots, c1924 (GXX, Ham)
Oriental Journalist, 1923-4
The Underworld, drawing, 1924 (StatGLenbachhaus, Munich)
My Wife with Cat, 1930 (Private)
Blind Power, 1937. [A devlish warrior apparently being savaged by smaller devils.]
shiskin:
Midday in the Vicinity of Moscow, 1869
Morning in the Pine Woods, 1889
shurpin:
Resurrection, 1945. This is a stark & powerful representation of peasant labour Bown p160
The Morning of our Motherland, 1948 (Tretyakov)
Golden Harvest
sibrechts:
View of Nottingham & the Trent (Birdsall Hall). Nearly begininning of British landscape painting Waterhouse1953 p118
sickert:
The Red Shop, c1888 (Castle Museum, Norwich). This was painted with a restricted palette; concentration on nature of medium; typical of Sickert’s Whistlerian phase Corbett2001 p13
George Moore, 1890-1 (Tate)
Minnie Cunningham at the Old Bedford, 1892 (Tate)
siena, Barna da:
Fresco (ArezzoCathedral)
signac:
In the age of Harmony, the golden Age is not in the Past, it is the
Future, 1895 (Montreiul) Whitefield p45
P signorelli:
Fresco cycle & in particular Last Judgement, 1499-1504 (Cathedral, Orvietto). These are human devils & not fantasy creatures. Note the purples, greys & greens of the decomposing flesh; anticipates Michelangelo but imaginary musculature of risen dead & the general lack of focus. The commission was due to the town’s narrow escape from French invasions Murrays1963 pp 249-50. The bodies of the saved & damned are equally attractive Frantz p127
Mary Magdalene (Papal Palace, Orvieto). [There is a nice contrast between the detail of her dress & the simplicity of her shawl & background. She is a hunky woman of a type Signorelli obviously favoured, as apparent from those in the Resurrection in the Cathedral.]
Madonna, 1484 (Cathedral, Perugia)
The Last Judgement, 1504 (Duomo, Orvieto) 1001
Communion of the Apostels (Museo Diocesano, Cortona)
Descent from the Cross (Museo Diocesano, Cortona)
Crucifixion (Sansepolcro M)
(ArezzoGM)
Flaggelation (Brera)
Holy Family (Pitti). [This is emphatic in composition & colouring. The edge of the front desk puts the figures onto a common & definite plane.]
simberg:
The Garden of Death, 1896, watercolour & gouache on paper (Ateneum, Heslsinki)
The Wounded Angel, 1903 (Ateneum, Helsinki)
sirani:
Judith with the Head of Holofernes (Burghley House). [A robust & striking work. Judith seems to be really advancing towards the viewer. This is not the usual decapitation view.] S.&C&R p40
- Jerome (Pinacoteca Nazionale, Bologna)
sironi:
Shepherd, 1932 (Cicico Museo Revoltella, Trieste)
Hospitality/Woman with Dog, 1936 (Arco Farnese, Rome)
sittow:
Assumption of the Virgin, c1495 (NG Art)
{2}sloan:
Hairdresser’s Window , 1907 (Wadsworth Atheneum, Hartford)
Sixth Avenue & 13th Street, 1907 (Museum of Fine Arts, Boston)
The Haymarket, Sixth Avenue, 1907 (Brooklyn Museum)
Three AM, 1909 (Museum of Fine Arts, Boston)
The Lafayette Club, 1927 (the Met). [A humerous picture of the bourbousie.]
Women Drying Their Hair (Addison Gallery of American Art, Phillips Academy, Andover, Mass)
Pigeons (Museum of Fine Arts, Boston)
{2}sodoma:
Marriage of Alexander the Great & Roxana fresco, 1516-7 (Farnesina). Shows superficial assimilation of Raphael’s High Renaiassance style L&L. [The faces are somewhat crude & stylised faces but the fresco has great vigour & fine use of tone & colour with its strong Indian yellows & dark red-browns.]
St George & the Dragon, c1518 (NG Art). [This is a rare example of humour in Renaisance art] See Walker p154
Alexander & the Family of Darius fresco, 1518 (Farnesina). See the remarks for the Marriage of Alexander
Christ Mocked (Brera)
sodring:
Rear Courtyard of Charlottenborg Palace, 1828 (Copenhagen). Following Eckersberg’s injunction to paint the mundane JacksonD p28
sofronova:
Ostozhenko St, 1932 (Tretyakov)
{2}sokolov with krylov & kupriyanov:
An Audience with the Raving Commander-in-Chief, poster, 1943
The Flight of the Fascists from Novgorod, 1944-6 (Tretyakov)
The End, 1948 (Tretyakov)
solari/solario:
Holy Family with S. Jerome, 1495 (Brera). Shows influence of da Messina & Giovanni Bellini L&L
Virgin with the Green Cushion, 1510-5 (Louvre). Good Leonardesque L&L
Revise solimena:
Fall of Simon Magus, 1690 (North, S. Paolo Maggiore) Waterhouse1962 p196
Dido Welcoming Aeneas to the Royal Hunt, c1714. Utmost Romanticism splendour Haskell p224
Heliodorus expelled from the Temple, 1725 (North, Gesu Nuova) Waterhouse1962 p196
sorgh:
The Lute Player, 1661 (Rijksmuseum)
Storm on the River Maas, 1668 (Rijksmuseum)
Revise soutch:
Sir Thomas Ashton at the Deathbed of His First Wife, 1635 (Manchester Art Gallery). Some herald painter features with wife both living & death & a stilted grouping, but well studied heads Waterhouse1953 p63-4
souter:
The Breakdown, 1926 destroyed but repainted in 1962 (Private)
The Day’s Arrangement, c1930 (Private)
southall:
Cleaning the Lines, watercolour, 1900 (Private). For a colour image see McConkey2006 p114
{2}soutine:
Woman Seated in an Armchair, c1919 (Barnes Foundation, Merion Penn) 1001
Landscape at Ceret, c1920 (Tate). Here the trees, bushes & landscapes are almost out of control Bowness p99
View of Ceret, 1922 (Baltimore Museum of Art). For sheer pictorial violence Soutine’s Ceret landscapes had no precedents Hughes1991 p292
Side of Beef, 1925 (Albright-Knox Art Gallery, Buffalo)
Carcass of Beef, 1925 (Minneapolis Institute of Art). Though an act of homage to Rembrandt it is also a compulsive parody Hughes1991 p292
soyer, isaac:
Employment Agency, 1937 (Whitney Museum of American Art)
soyer, raphael:
Office Girls, 1936 (Whitney Museum of American Art)
sparhawk-jones:
The Porch, 1907
The Market, 1909
Shoe Shop, 1911 (Art Institute)
Shop Girls, 1912 (Art Institute)
Alice Kent Stoddart (Pennsylvania Academy of Fine Arts)
spencelayh:
Why War?, 1938 (Harris Museum & Art Gallery, Preston)
spencer, lily:
Shake Hands, 1854 (Ohio Historicl Society, Colombus)
spencer, gilbert:
Cotswold Meadows, c1926 (Tulie House Museum & Art Gallery, Carlisle)
R spencer, stanley:
Barghclere pictures (National Trust Sandham Memorial Chapel). [Impressively disappointing: they are all weighty pictures painted with obvious conviction, but…]
Christ Carrying the Cross
Hilda, Unity & Dolls, 1937 (Leeds Art Gallery)
Old Tannery Mill, 1939 (Museum & Art Gallery, Birmingham). [The exuberance of the ordinary]
The Resurrection: Tidying, 1945 (Museum & Art Gallery, Birmingham)
spinelli, Parri:
Fresco (Arezzo, San Doenico)
Revise spranger:
Adoration of the Kings, 1595 (NG). [This is Mannerist with an over-large cow in the middle & a jumbled, tiered background. The right hand King has rather a small head & there are harsh acidic blues & purples. Light sources are not clear or consistent. There is an unpleasant but striking with a strong bottom right to top left diagonal.] The NG Commentary says it is “A courtly extravagant picture”
Vulcan & Maia (Kuntshistorisches) Shearman p30
Odysseus & Circe (Kunrshistorisches)
squarcione:
Altarpiece, 1452 (PaduaM). Like Mantegna Murrays1963 p134
Madonna (Berlin). Like Mantagna Murrays1963 p134
stanley, lady dorothy :
His First Offence, 1896 (Tate)[i]
R {2}steen,
Prayer Before the Meal, 1660 (SudeleyCastle)
Easy Come, Easy Go, 1661 (MBoymans-van Beunningen, Rotterdam). Note title inscribed above fireplace; an earlier legibility practice but rare by 17th century SuttonP pp xxiii-xxiv
Beware of Luxury, 1663 (Kunsthistorisches)
The Morning Toilet, 1663 (Royal Collection). Objects in doorway symbolise vanity & Dutch word for stocking also means vagina, hence girl taking off stockings = prostitute Fuchs p44
The Doctor’s Visit, c1664 (Museum of Art, Philadelphia).
Rhetoricians at a Window, c1664 (Museum of Art, Philadelphia)
The Schoolmaster, c1664 (NG Ireland)
Cardinal players Quarreling, c1665 (Gemaldegalerie, Berlin)
The Feast of S. Nicholas, c1667 (Rijksmuseum)
Inn With Violinist & Cardinal players, c1667 (Royal Collection)
The Dissolute Household, c1668 (Apsley House)
Moses striking the Rock, c1671(Museum of Art, Philadelphia)
Self Portrait (Thyssen, Madrid)
The Dr’s Visit (Apsley House)
Two Men & a Younger Woman Making Music on a Terrace (NG)
Nocturnal Serenade (PragueG). Anticipates Rococo L&L
Adoration of the Shepherds (Rijksmuseum)
Christ at Emmaus (Rijksmuseum)
The Disorderly Household (Apsley House)
{2}steer:
Knucklesbones, Walberswick, 1888-9 (Ipswich Borough Council Museums & Galleries)
The Sprigged Frock, 1890 (William Morris Gallery, London)
Mrs Cyprian Williams & her Two Little Girls, 1891 (Tate)
Girls Running, Walesberswick Pier, c1890-4 (Tate). One of most arresting British Impressionist images McConkey1989 p104
A Classic Landscape, Richmond, 1893 (Private?)
Walesberswick, Children Paddling, c1889-94 (Fitzwilliam Museum, Cambridge)
A Girl at her Toilet, c1892-3 (Williamson Art Gallery & Museum)
The Embankment, 1900 (Manchester Art Gallery)
Hydrangeas, 1901 (Fitzwilliam Museum, Cambridge)
stefano:
Virgin in a Rose Garden (Velona) Clark1949 p16
stella, frank:
The Marriage of Reason & Squalor, II, 1959 (MoMA)
stella, joseph:
stifter:
The Konigsee & the Watzmann, 1837 (Belvedere)
View of the Beatrixgasse, Vienna (Alelbert Stifter Museum, Vienna)
still, clyfford:
Untitled, 1956 (Whitney Museum of American Art)
stillman:
La Pensierosa, 1879, watercolour & bodycolour heightened with gum Arabic (Elevejhem Museum, University of Wisconsin)
stokes:
Polished Pans, 1887 (Walker)
stomer:
- Isidoro, 1641 (S. Agostino, Caccamo). Masterpiece Waterhouse1962 p199
{2}stone, marcus:
Royalists Taking Refuge in the House of a Puritan, (GlasgowAGM). Character contrast between Puritan housewife & Royalist lady brilliantly drawn M&M p72
Two’s Company, Three’s None, 1892 (BlackburnMAG)
storey:
The Duet, 1869 (Walker). Despite his detached remarks about his painting, this work has the zest & wit of real commitment M&M p74
The Old Soldier, 1869 (Kunsthalle, Hamburg)
Ceiling of Sheldonian, Oxford, 1688-9. Ambitious Baroque decoration by Engborn artist L&L; though minor by Europian standards Waterhouse1953 p117
View of Boscobel House (Hampton Court). This foreshadows Country House portraiture Waterhouse1953 p116
streeton:
“FIre’s On!” Lampstone Tunnel, 1891 (ArtG New S. Wales, Sydney). Arguably best large landscape ; S. was on spot when the labourer was killed Hughes1966 p63
The Purple Noon’s Transparent Might, 1896 (NGVictoria). Bravura but slightly vacuous, colour brittl&metallic; beginning of S.’s decline Hughes1966 p65; in reality colour soft/poetic
The France Siege Gun (). Dilute Orpen Hughes1966 p65
Bologne (). Dilute Orpen Hughes1966 p65
{2}strozzi,
- Catherine, c1615 (Wadsworth Atheneum). Sienese Mannerist style with luscious whit&cream shades & mauve-magenta cloak Waterhouse1962 pp 206-7
Pieta (Palace Bianco, Genoa). Shows move towards Naturalim, desire to convey strong/precise feeling, violent colour abandoned Waterhouse1962 p208
- Augustine Washing Christ’s Feet, c1623 (ALingustica, Genoa). ?? Rligious history beautifully/powerfully told Waterhouse1962 pp 207-8; exemplifies S.’s dark period Wittkower1973 p351
David, c1635, (Van Beuningen Collection, Vierhouten).
Martyrdom of S. Sebastian (S. Benedetto, Venice)
S.Lawrence Distributing Alms (S. Niccolo, Venice)
{2}stuart:
The Skater, 1782 (NG Arts). His first great success L&L
John Lord Fitzgibbon, 1789 (Cleveland Museum). Splendid. Fitzgibbon, the Lord Cahncellor, befriended Stuart when he fled to Ireland L&L
George Washington, 1796 (Museum of Fine Arts, Boston). Although unfinished, this is the canonical portrait of Washington, of which he made 70 copies Norman1977, L&L
stubbs:
Two Horses Communing in a Lanscape, before 1777 (Western Park).
Labourers, 1779 (Upton House, Warwickshire). This shows that not all his common people were idealised.]
Reapers, 1784 (Tate)
Haymakers, 1785 (Tate). Opinions differ sharply about this & the previous painting: they have been viewed as objective, as pictures of fancy, as treating the labourers seriously & as individuals, or as giving them frozen academy-poses without a trace of vigour Barrell pp 26-9
Lion Devouring Stag (Belvoir Castle). [This is Romanticism. Nature is red in tooth & claw, & it contains a rushing river & a rocky background. The sky & water are painted in cold colours.]
le sueur:
A Gathering of Friends, c1640 (Louvre)
The Presentation of Virgin, 1640-5 (Hermitage)
- Bruno at Prayer, c1645-6 (Louvre)
The Birth of Love, 1645-7 (Louvre?)
Three Muses, c1647-9 (Louvre)
- Bruno, c1650 (Berlin)
sully:
Washington Crossing the Delaware, 1819 (Museum of Fine Arts, Boston)
{2}surikov:
View of the Monument to Peter the Great on Senate Square in St Petersburg, 1870 (Russian Museum)
A Prince’s Judgement, 1874 (Tretyakov)
The Morning of the Streltsi’s Execution, 1878-81 (Tretyakov)
Menshikov in Beryozovo, 1883 (Tretyakov)
Boyarynya Morozova, 1887 (Tretyakov)
The Healing of a Man Blind from Birth, 1893
The Taking of a Snow-Built Fortress, 1891 (Russian Museum)
Yermak’s Subjugation of Siberia, 1895 (Russian Museum)
Suvorov Crossing the Alps, 1899 (Russian Museum)
Stepan Razin, 1907-10
Portrait of a Man with a Sore Arm, 1913 (Russain Museum)
Self Portrait, 1913 (Tretyakov)
Self-Portrait, 1915 (Russian Museum)
P tanner:
The Banjo Lesson, 1893 (Philadelphia Museum of Art)
The Young Sabot Maker, 1895 (Nelson-Atkins Museum of Art, Kansas City). This evokes the idea of Christ in the the carpenter’s shop NGArtinP p259
Resurecction of Lazarus, 1896 (d’Orsay)
Les Invalides Paris, 1896 (Terra Foundation for American Art, Chicago)
The Arch, 1919 (Brooklyn Museum)
tanning:
Birthday, 1942 (PhilMA). Long corridors & open doors challenge the viewer with female erotic power MahonA pp 153-5
tarbell, charles:
Across the Room/The White Dress, c1899 (the Met). Reflects Tarbell’s change of style in late 1890s from outdoors to studio & with carfully controlled ligh effects NGArtinP p260
taslitzky:
The Strikes of May, 1936 (Tate).
Les Delegues, 1948
The Death of Daniel Castleanova, 1950. 1949 study in Tate OxDicMod
Riposte, 1951 (Tate)
P taylor:
The Sampler, 1931-2 (Lady Lever Art Gallery)
Still Life, c1932 (Touchstones Rochdale)
Restaurant Car, c1935 (National Railway Museum, York)
P teniers, david, the younger:
The Witch, c1638 (Alte Pinothek, Munich)
The Archery Contest, c1645 (Museo del Prado, Madrid) 1001 p254
Gambling Scene at an Inn, c1649 (Wallace Collection) 1001 p259
Incantation Scene, c1652 (New York History Society)
The Alchemist, 1680 (Schleissheim Gallery, New Palace, Munich)
Witches’ Scene (Staatliche Kunsthalle, Karlsruhe)
P ter borch, gerard the younger:
Battle Scene, c1635 (Wilton House)
Younger Woman at Her Toilet with a Maid, c1650 (the Met)
Woman at a Mirror, c1651 (Rijksmuseum)
Gallant Conversation/The Paternal Admonition, c1654 (Rijksmuseum)
Brothel Scene, c1654 (Berlin)
The Stone Grinder’s Family, 1653-5 (Gemaldegalerie, Berlin). Exceptionally shows conditions for working poor, but their domestic virue evident from man’s toil & woman’s knit picking Schama p395
Parental Admonition, 1654-55 (Rijksmuseum) 1001 p254
Woman Writing a Letter, c1655 (RoyPicG, Haarlem)
Woman Washing Her Hands, c1655 (Gemaldegalerie, Dresden)
Two Women Making Music, with a Page, c1657 (Louvre)
The Sleeping Soldier, c1657 (Taft Museum of Art, Cincinnati)
Officer Writing a Letter, c1658 (PhilMA)
The Suitor’s Visit, 1658 (NG Arts)
Woman Sealing a Letter, c1658 (Private)
Gentleman Encouraging a Lady to Drink, c1658 (Royal Collection)
Lady at Her Toilet, 1660 (Detroit Institute of Arts)
Woman Pealing Apples, c1660 (Kunsthistorisches)
Portrait of a Gentleman, 1663-4 (NG). This is a Stylish [Golden Age] portrait: his gesture lacks energy & he is a man of elevated status Fuchs p92
The Oath of the Peace Treaty Between the Dutch & the Spain at Munster (NG)
P ter brugghen:
Christ Crowned with Thorns, 1620 (CopStatMKunst)
Flute Player, 1621 (StatM, Kassel)
Calling of S. Matthew, 1621 (Centraal Museum Utrecht)
Saint Sebastien Attended by Saint Irene, 1625 (AllenMemAM, Oberlin) Greatest religious work NGUtrecht p34
The Concert, c1626 (NG). Greatest securlar work NGUtrecht p34
Melancholia, 1627-8 (Art Gallery of Ontario, Toronto)
The Annunciation, 1629 (StedM, Diest)
P thayer:
Mrs William. F. Milton, 1881(the Met). Exmple of his Pian style society portraits Grove30 p648
The Sisters, 1884 (Brooklyn Museum). It is an example of his later less worldly female portraits Grove30 p648.
Virgin Enthroned, 1891 (Smithsonian American Art Museum). Used sons/daughters Grove30 p648
Seated Angel, 1899 (Art Institute)
Winter Dawn on Monadnock, 1918 (Freer). Regarded mountain as symbolising earthly experienc & transcendence; swathes of pigment reminiscent of Japanese painting & linking him to American Impressionism Grove30 p648
thomas, margaret:
Chelsea Embankment, 1961 (Private). For a colour image see McConkey2006 p193
The Rembrandt Drawing, 1981 (Private). For a colour image see McConkey2006 p221
thompson, Elizabeth. See Butler
P tibaldi:
Adoration of the Shepherds, 1548 (Borghese, Rome). This exemplifies the type of painting to which Counter-Reformation thinkers objected because the adoration is not humble, dignified or devout Hall2011 pp 107-8
Story of Ulysses, frescos, c1555 (Palazzo Poggi, Bologna). These are his finest paintings OxDicArt
Conception of the Baptist, c1555 (Cappella Poggi, S. Giacomo Maggiore, Bologna)
Fresco cycles & Altar Paintings (Escorial). They combine Mannerism & Counter-Reformation academicising clarity, producing a pious naturalism L&L
P tiepolo, giambattista:
Martyrdom of St Bartholomew, c1723 (S. Stae, Venice)
Last Supper () Wollflin 1915 p88
Rape of Europa (Accademia) Steer pp 186-7
Road to Calvary, 1740 (VeniceChurch) Steer p194
Marriage of Ludovico Rezzonico & Faustina Savorgnan, 1758 (Venice) Steer p159
Banquet of Anthony & Cleopatra (Venice) Levey 1966 p96
Sacrifice of Iphigenia, fresco (Villa Valmarina, Vicenza). Fres here are very rare instances of T abandoning aristocratic grandeur for world of pure enchantment; Leonardo Valmarino, probable head of commissioning family, probably exceptionally unpretentious Haskell p258
Briseis Led to Agamemon, fresco (Villa Valmarina, Vicenza)
Angelica Carving Medoro’s Name, fresco (Villa Valmarina, Vicenza)
Achilles on the Seashore, fresco (Villa Valmarina, Vicenza)
Rinaldo Leaving Armida, fresco (VilValmarina, Vicenza) St Anne, Young Mary & St Gioacchino (Santa Maria della Fava, Venice)
tinelli:
Portrait of Antonio Viari (Wadsworth Atheneum). Early example of satisfactory blend of Italy & northern portrait trads Waterhouse1962 p133
tintoretto, Domenico:
Resurrection, 1585 (S. Giorgio Maggiore, Venice)
P tintoretto, jacopo:
Miracle of St Mark Freeing the Slave, 1548 (Accademia). Brilliant picture: space lacks reality because detached brush strokes prevent solid/sculptural figures & colour too bright for atmospheric perspective Steer p154. An uneasy work of young artist straining to succeed. It is the first Baroque picture, though at first sight conventionally stage-like with horizontal architectural background & framing left portico & right throne but almost all figures leaning/bending forward; strong diagonal through slave; only mother/baby (left), soldier (right) & executioner are detachable figures; only remaining element of old compositon linear composition with eye led across but not into picture is serpentine movement formed by legs of flying saint, executioner’s robes, slave’s body & legs of kneeling figure; though stroke of genius indicates picture is transitional Newton1952 pp 43-5
Adam and Eve, c1550 (Gallerie dell’Accademia, Venice) 1001
Assumption of Mary, 1555 (Gesuiti, Venice)
St. George and the Dragon, c1558 (NG) 1001
Last Supper (S. Trovaso, Venice)
Moses Recieving the Tablets of the Law & Making of the Golden Calf (Madonna dell’ Orto, Venice)
Last Judgement (Madonna dell’Orto, Venice)
Beheading of St Paul (Madonna del’ Orto, Venice)
St Peter’s Vision of the Cross (Madonna del’Orto)
St Agnus Raising Licinius (Madonna del’Orto)
Entombment (S. Giorgio Maggiore, Venice)
Fall of Manna, c1594 (S. Giorgio Maggiore, Venice)
Last Supper (Institution of the Eucharist), c1594 (S. Giorgio Maggiore, Venice)
Christ Washing the Feet of the Apostles (NG)
The Temptation of Adam, 1550-1 (Academy). Wolfflin1915 p76
Presentation of the Virgin in the Temple, c1554 (Madonna dell’Orto, Venice). Wolfflin1915 pp 210-1
Pieta (Accademia) Wolfflin1915 p211
The Finding of the Body of St Mark, 1566 (Brera). [It is a very dramatic proto-Baroque work but with Mannerist features such as the small headed left side figure of St Mark on the left side. Drama is heightened through foreshortening, vertiginous perspective, chirascuro, emphatic gestures, & glowing colours against a dark background.] Mark is trying to stop the tomb raiders on the right hand side Brera
Susanna & the Elders, c1552 (Kunsthistorisches).
Crucifixion, c1557 (Accademia)
Martyrdom of Saints Cosma & Damiano, 1592 (S. Girogio, Venice). [A powerful & dramatic composition in a Baroque manner with the figures semmingly in motion,]
The Collection of the Manna, 1590-2 (S. Girogio Maggiore, Venice). Newton likens this to Beethoven’s Parstoral Symphony, it being a hymn of praise to the benevolence of nature & human contentment Newton1952 p205. [I felt overwhelmed not just because of by its size but mainly because of the amount of action that is taking place, not all of which is readily comprehensible, eg the women who appear to be washing clothes & sewing them. Although it lacks focus, the chirascuro is beautiful with vibrant lighter sections despite the overall dark tonality.]
Last Supper, 1590-92 (S. Giorgio Maggiore, Venice). [It is well organised along two diagonals with ordinary folk below the lower line who are unaware of the momentus events taking place above. Nevertheless it is a dark & haunted picture with the angels & their beating wings on high. Once again there are glowing colours despite the dark tonality. Both pictures contain figures in the bottom right corner in extremely athletic poses reminiscent of Mannerism.]
tissot:
A Visit to the Yacht, (Lady Lever Art Gallery, Port Sunlight). [Note the rigging which is detailed but not obtrusive. The man seems sad man & the woman distant. He is looking wistfully at the child.]
PR titian. See Giorgione for Concert Champetre
Jacipo Pesaro Presented to St Peter by Pope Alexander VI, c 1507 (Antwerp, M Royal). Built up without outlines in colour patches with values taking precedence over beauty of individual colours RAVenice p41
St Mark Enthroned with Saints Cosmos, Damian, Roch & Sebastian, c1510 (S. Maria della Salute, Venice
Virgin & Child (Lochis Madonna), c1511 (Pinacoteca dell’Accademia Carrara, Bergamo). Attribution to Titian not seriously questioned since 1950s RAGiorgione p116
Christ & the Adulteress, c1511 (Glasgow Museums). Nobody now questions its attribution to Titian RAGiorgione p119
Gypsy Madonna, c1512 (Kuntshistoriches). According to Freedberg, “the optical illusion of existence is so powerfully intense that it transcends the existence it describes, & assumes the status of idea – of sheerly pictorial, aesthetic fact, more than it is the counterfeit of a fact of nature” Freedberg p94
Portrait of a Man, c1512 (NG) 1001
Sacred & Profane Love, 1514 (Borghese). Is this its subject? The case against is that Titian was not versed in Neo-Platonism & it was an unprecedent subject in Venetain painting; not a didactic painting NGTitian pp 93-4. On the other hand the painting was probably for Nicolo Aurelio who knew Bembo & he could have devised iconography NGTitian pp 92, 94
Noli Me Tangere, c1514 (NG). Use of saturated red, blue, green as main colours in harmonious balance RAVenice p42
Assumption of the Virgin/Assunta, 1518 (Frari, Venice). This is pictured as a real event enacted by emphatically real beings Freedberg p98. It was profoundly different from any other Venetian altarpiece, as well as being larger. Instead of static, hieratic figures Titian’s are larger than life & all in movement NGTitian p15. Mary is not carried Heavenwards but soars due to own elan Berenson p30. Saturated red, blue, green are used as the main colours & are in harmonious balance RAVenicep42.
Virgin & Child with Saints Francis & Blaise, 1520 (Pinacoteca Civica, Ancona)
Worship of Venus, 1520 (Prado). For Alfonso death’Este NGTitian p17
Baccus & Adrianne, 1521-3 (NG). Titian is here using orange realgar & yellow orpiment RAVenice p42; the painting was for Alfonso d’Este NGTitian p17
Andrians, c1523-4 (Prado). For Alfonso d’Este NGTitian p17
The Entombment, c1516-26 (Louvre)
Emperor Charles V with a Hound, c1533 (Prado). Full length portrait following German example Pope-H pp 171-2
Francesco Maria della Rovere, Duke of Urbino c1536 (Uffizi).
Giacomo Galleria Doria Pamphili, Rome, early 1530s (Ashmolean). [A striking portrait achieved by simple means, viz the contrast between the severe black clothing & the bright face with its splendidly painted eyes.]
Venus of Urbino, c1538 (Uffizi). The nude is Angela Zaffetta, Venice’s second highest paid courtesan, & friend/dining companion of Titian & Arentino. He praised her for not faking orgasms. The picture was painted without a commission, which was unusual at that stage of Titian’s career, but he probably hoped that Cardinal Ippolito Medici, who had spent night with her would buy it Hale p339. The background chests indicate rewards from prostitution Murray1967 p137. Titian’simage is the warthly Venus Naturalis, whereas Giorgione’s similar Dresden Venus is Celestial Venus; & Giotgione’s Venus is sleeping unconsciously naked whereas Titian’s is awake & gazing invitingly. The triangle between her breasts and her neck’s base is not sharp but almost equilateral Clark1956 pp 115-6; Other Comments: Mark Twain said (1880) that it was the foulest & most obscene picture ever painted; Crowe & Cavalcaselle (1877) described her as conscious & triumphant but not immodist Hale pp 340-1; for Berger this is a woman traditionally viewed Berger1972 p63; Reff sees an image of harmonious/faithful love because lapdog, roses & myrtle are symbols of marital fidelity Frantz p133; according to Wolfflin Titian’s Venus has articulated beauty which reflects his understanding of the body’s organic structure in contrst with Piero Di Cosmo’s Mars & Venus, which is a piecemeal rendering of imperfectly connected body parts Wolfflin1889 pp 264-5
Ecce Homo, 1543 (Kuntshistorisches)
Ecce Homo (Prado). The intense suffering is a new feature in Titian’s paintings Hall2011 p149
Pope Paul III, 1545 (Capodimonte) NGTitian p132
Paul III & his Nephews, 1546 (Capodimonte)
Danae (Capodimonte) NGTitian p132
Danae (). The raised knee provides a directional contrast Wolfflin1899 p272
Emperor Charles V, c1549 (Alte Pinothek, Munich). Charles is not idealised but his tenacity & intellect are shown Pope-Hp173
Emperor Charles V at the Battle of Mulberg, c1549 (Prado). At Mulberg Charles defeated the Luthernan princes. A splendidly active painting & a source of inspiration in 17th century Pope-H pp 173, 176
Venus & an Organ Player, (StatM, Berlin). The juxtaposition of nude woman & fully dressed man was a novel erotic device. The is an allegory of the triumph of sight over hearing with organist’s hands off keyboard. It reflects the Renaissance belief that sight & hearing alone permit the perception of beauty & here sight has triumped. In other later version of picture (Prado) his fingers are still on keyboard Frantz pp 134-5, NGTitian Figs 36, 37
Portrait of a Man (The Englisman) (Pitti). [He has enormous presence & the tones are marvellous & Velazquez-like. Does the vertical in the background indicate his upright character?]
Sacred & Profane Love (Borghese). Two women closely resemble Ripa’s Eternal Bliss (Felicita Eterna) & Transient (Felicita Brfeve) Bliss Panofsky p151
Perseus & Andromeda, c1556 (Wallace Collection)
Diana & Actaeon, 1559 (NG Scotland). Sent to Philip II NGTitian p154
Diana & Callisto, 1559 (NG Scotland). Sent to Philip II NGTitian p154
St Jerome in Penitence, c1559 (Brera)
The Entombment, 1559 (Prado). Sent to Philip II NGTitian p154
Self-Portrait, c1560 (Prado)
Allegory of Prudence, c1550-60 (NG)
The Penitent Magdalen, c1661 (Hermitage)
Nicolo Zen, c1565-6 (Kingston Lacy)
Jacopo Strada, 1568 (Kunsthistorisches)
The Tribute Money, 1568 (NG). Sent to Philip II NGTitian p26
St John the Baptist, c late 1560s (Escorial)
The Virgin & Child c1565-70 (NG)
Tarquin & Lucretia, 1571 (Fitzwilliam Museum, Cambridge). Sent to Philip II NGTitian p26. The picture does not quite come off as the twist in Tarquin’s body is, for instance, unconvincing Hale p670. For Titian & his contemporaries the subject was an excuse to depict a beautiful nake woman NGTitian p164. By Titian’s time writers had adopted a cynical view of Lucretia with her having pleasure in Machiavelli’s satirical play Mandragola & Arentino saying that it would have been better if she had had fun & lived Hale p670
St Jerome, 1575 (Escorial). Sent to Philip II NGTitian p26 St Margaret (Prado)
Rape of Europa (Isabella Stewart Gardner, Boston).
Annunciation (S. Venice)
Adam & Eve (Prado)
Martyrdom of St Lawrence (Escorial). Sent to Philip II
NGTitian p26. This was Titian’s largest & most ambitious late work & it was executed without assistance. The brushwork is very loose; Titian appears to have been working at speed as though he could scarcely keep up with his ideas Hale pp 632, 634
The Death of Actaeon, c1565-76 (NG). Never Sent to Philip II NGtitian p166
Martyrdom of St Lawrence (S. Maria Assunta dei Gesuiti, Venice)
Christ Carrying the Cross (Prado)
The Flaying of Marsyas, 1570-6 (Arch-Bishop’s Palace, Kromeritz)
St Sebastian, c1575 (Hermitage). Unfinished NGTitian p179
Ecce Homo, c1570 (St Louis AM). Unfinished NGTitian p175
The Pieta, completed by Palma Giovane (Accademia)
The Rape of Europa, 1559-62 (Isabella Stewart Gardner Museum, Boston) 10015r5
P tito:
Bene Scripsisti de me Thoma, 1573 (Uffici). [See F&N p99]
Supper at Emmaus, c1573 (S. Croce, Florence). Displays an unusual interest in colour Hall1999 p252
Resurrection, c1574 (S. Croce, Florence). Displays an unusual interest in colour Hall1999 p252 [See F&N p126]
Pieta Between Two Curtain-holding Putti, 1575 (Museo Civico, Sansepolcro). [See F&N p98]
Raising of Lazarus, 1576 (S. Maria Novella, Florence). Almost no traces of Maniera. It has ascending space & has no repoussoir or serpentine figures; it is also has no heavenly figures to prevent it being a real event Hall1999 p252
Vision of St Thomas Aquinas (S. Marco, Florence)
tocque:
Madame de Graffigny (Louvre)
Madame Dange (Louvre)
Duc de Richelieu (Musee de des Beaux-Arts, Tours)
Marquis de Lucker (Musee des Beaux-Arts, Orleans)
todeschine:
Market Scene (Radice-Fossati Villa, Montesolaro)
tonks:
Rosamund & the Purple Jar, 1900 (Tate)
tooker:
The Subway, tempera 1950 (Whitney Museum of American Art). Nightmarish Bjelajac p338
tour, georges de la:
The Fortune Teller, c1632 (Met) 1001
P traini:
St Dominic & Scenes from his Life, polyptych, 1345 (Museo Nazionale, Pisa). This is his only signed work L&L
St Thomas Aquinas in Glory (Sta Caterina, Pisa)
Triumph of Death, frescos, c1350? (Camposanto, ie cemetery, Pisa). These are some of the most outstanding paintings of the 14th century OxDicArt. The attribution to Traini is disputed L&L
P traquair:
St Mary’s Song School Murals, 1888-92 (Edinburgh). Masterpiece; brilliant coherent combination of Rossetti, Blake, 15th century Italian art; perfectly exemplifies Arts & Crafts ideals of art & life in spiritual & imaginative activity Macmillan pp 23-4
Murals, 1893-7 (Catholic Apolostlic Church). Most ambitious project Macmillan p24
The Progress of a Soul: the Victory, embroidery, 1899-1902 (NG Scotland).
traversi:
The Marriage Contract, c1750 (NG Rome) Almost certainly Hogarth influenced Antal1962 p205
The Wounded Man, (Academia)
Joueuse de Mandoline (MGranet). [A genre scene that is notable for the woman’s bad teeth.]
treml:
Wounded Cuirassier in a Hay Loft, c1840 (Belvedere)
P trevisani:
Banquet of Anthony Cleopatra, 1704 (Galleria Spada, Rome)
Dead Christ Supported by Angels, 1705-10 (Kunsthistorisches)
Maonna Reading with the Sleeping Child (GNazionale, Rome)
P troger:
The Agony of the Garden, c1728 (St Peter, Salzburg). This is characteristic of his early style Hempel p118
Nave Ceiling Fresco, 1732-3 (St Lambert, Altenberg)
The Feeding of the Five Thousand, 1738 (Barockmuseun, Vienna)
Ceiling Fresco, 1739 (Chapel, Schloss Heiligenkreuz-Gutenbrunn)
Fresco, 1748-50 (Cathedral, Brixen). This, & the following work, is the culmination of Troger’s brilliant art Hempel p118
Dome Fresco, 1752 (Church, Dreiechen)
P troost:
Amsterdam Inspectors of the Collegium Medicum, 1724 (Rijksmuseum). Brought early success OxDicArt
Blindman’s Buff, c1735 (M Boynans-van Beuningen, Rott). Example of contemporary taste for France Rococo, especially its light colouring; composition gravitalinates leftwards indicating way woman will move to escape blindfolded man & imparting fleeting effect; curious ballet-like stylishness Fuchs pp 144-5
The Governors of the City Orphanage, 1729 (Rijksmuseum)
The Music Lover, 1736 (Rijksmuseum)
NELRI, 1740, pastel & watercolour, 1740 (Mauritshuis). Series of 5 pictures of men during night of reunion OxDicArt
troyon:
View from the Suresnes Heights, 1856 (d’Orsay)
tsyplakov, victor:
V. I. Lenin, 1947 (Central Lenin Museum, Moscow). Stiring, painted with painterly assuranc&verve Bown p181
tuke:
The Bathers, 1889 (Leeds City Art Gallery)
tura, cosimo:
Virgin and the Enthroned, c1475 (National Gallery, London)
P turner:
Fifth Plague of Egypt, 1800 (Indianapolis). Layout from Pousin but enhanced by his observation of a storm; his first historical/apocalyptic painting Reynolds pp 44-5.
Fall of an Avalanche in the Grisons, 1810 (Tate). Clashing diagonals=senseless violence of nature; political allusion to Napoleon’s take over of Switzerland? Honour1979 pp 34, 373.
Hanibal & his Army Crossing the Alps, 1812 (Tate). Futile humans; Hanibal = Napoleon Honour1979 pp 34, 373
Dido Building Carthage, 1815 (NG). ). Italians Romanticism evident from comparison with Claude’ Seaport with the Embarkation of the Queen of Sheba (1648, NG); the Classical Claude had no sense of boundless space, picture space conceived as a cube with a terra firma foreground & a left hand building up to the picture ceiling, sky does not suggest boundless spac&light, it is a backcloth forwardly illuminating the defined architectural space; Turner was a Romanticism with a sense of infimity & little architectural conception of a picture, his picture has no solid foreground or indication of a top plane but a central light path up to the horizon & beyond into boundless space Wilenski p103
Field of Waterloo, 1817 (Fitzwilliam Musuem, Cambridge). Extraordinary pessimism; mingled French & English dead Craske p105.
Decline of Carthage, 1817 (). Express warning of pride & wealth leading to downfall Craske p105.
The Falls of the Clyde, c1832 (Lady Lever Art Gallery, Port Sunlight). Contrast with conventional colouring of eponymous watercolour 1802 (Walker) pp 245-6
Venice, Storm at Sunset, watercolour, (Fitzwilliam Musuem, Cambridge)
Italian Hill, probably Tivoli, (Tate)
Procession of Boats with Distant Smoke, (Tate)
Interior at Petworth, c1830-7 (Tate)
Petworth Park: Tillington Church in the Distance, (Tate)
Rain, Steam, Speed, (NG)
Light and Colour, (Tate)
Shade and Darkness, (Tate)
Sun Setting over a Lake, 1840 (Tate)
Peace – Burial at Sea, 1842 (Tate). This is a tribute by the increasingly lonely Turner to his friend Wilkie, who died at sea; “I only wish I had any colour to make them [the sails] blacker” Reynolds p187. Wilkie loved black and Turner’s predominant black is unique Clark 1973 p242
twachtman, John:
Arques-la-Bataille, 1884 (the Met). Likely influence of Japanese prints NGArtinP p261
twombly:
Hero & Leander (to Christopher Marlowe), 1985 (). First of three: heavily dripped; not without structure; effective colour combination of deep red, pink, grey-blue
P uccello:
Creation (animals, Amsterdam, Eve & Fall) fresco damaged, c1430-6 (Green closister, S. Maria Novella, Florence)
Sir John Hawkwood (= Giovanni Acuto), fresco (FlorenceCathedral). Shows (abiding) fascination with perspective OxDicArt
Flood; Recession of the Flood, fresco damaged, c1447 (S.Maria Novella, Florence) 1001
Rout of S. Romano, c1456 (Nicolo de Tolentino Directing the Battle in the NG; Unhorsing of Bernardino della Carda in the Uffizi; & Michelleto da Cotignola Attacking the Sienese Rear in the Louvre). Horse postures, which greatly interested Renaissance painters, are fully explored, but the realism of battle is sacrificed to decorative qualities L&L
St. George & the Dragon, c1460 (NG). Perspective, but non-illusionistic, indicated by broken lances & fallen bodies; background has no relationship to foreground L&L
The Hunt in the Forest, 1447-48 (Ashmolean Museum, Oxford) 1001
udaltsova:
At the Piano, c1914 (Yale University Art Gallery)
udine, Giovanni da:
Festoons of flowers & fruits (Farnesina, Logia of Cupid & Psyche). [It is a splendidly gorgeous celebration of abundance.]
{2}uglow:
The German Girl, 1961-2 (Arts Council)
nude, from 12 Regualr Vertical Positions from the Eye, 1967 (University of Liverpoolerpool)
Curled Nude on a Stool, 1982-3 (Ferens)
ugolino:
The dismembered high altar from Santa Groce, Florence, c1325:
St Simon, St Thaddeus, St Bartholomew, St Andrew, Moses, Isiah, David, Betrayal, Road to Calvary, Deposition, Resurrection (NG)
St Peter, St Paul, St John the Baptist, St James the Greater, St Philip, St Matthew, St James the Less, St Matthias & St Elizabetth of Hungary, Flagellation, Lamentation (Bodemuseum but probably Gemaldegalerie, Berlin)
Daniel, (Museum of Art, Philadelphia)
Last Supper (The Met)
Virgin & Child with St Francis etc, polptych, c1317-25 (Sterling & Francine Clark Art Institute, Williamsstown, MA)
Virgin & Child with St John etc, polptych (Cleveland Museum of Art)
uccello:
The Battle of San Romano, c1440 (National Gallery, London; Uffizi, Florence; Louvre, Paris) 1001
St. George and the Dragon, c1470 (National Gallery, London)
urbini:
Christ & Mother (S. Maria presso S. Celso, Milan)
Assumption of Virgin (S. Maria presso S. Celso, Milan)
Doubting Thomas (Brera)
Pentacost, fresco (San Marco, Milan)