References to Botticelli’s Primavera and Poussin by Tiepolo, and in the late 19th century: Flora and the Spring.
Two masterworks: Botticelli’s Primavera (Spring) and Poussin’s Empire of Flora, telling stories from Ovid. And they paintings they influenced.
Many of his last paintings were landscapes, made from earlier sketchbooks and studies, seen through the eye of the print-maker.
From 1907, he painted a series of mythological works, and increasingly turned to landscapes, some of which are most unusual, almost surreal.
In the Renaissance, while oil painting was still catching on, many of the greatest masterpieces were painted in egg tempera. How, and to what effect?
Two probable copies of his lost Madonna with the Yarnwinder, and the most famous painting in the world: the Mona Lisa, which introduced sfumato and advanced glazing.
Dante and Virgil pass the Minotaur and move into the seventh circle, where murderers and highwaymen are immersed in boiling blood, and Harpies torment those who took their own lives.
In his later career, he won a succession of awards for loosely-painted Impressionist views.
A fellow-student of Emile Claus, he painted scenes from the Vendée uprising, then took to history painting at the end of the 19th century.
His enigmatic paintings of interiors appear cinematic in their composition and lighting, akin to those of cinematographers of the future, not painters of the past.