Inscriptions in paintings that reveal the story, or quote from its literary source, from Rembrandt to the Pre-Raphaelites.
The stories of Samson, whose prodigious strength depended on not having his hair cut, and Mary Magdalene, who dried Christ’s feet with her hair.
After the death of his patron in 1716 he remained rich, successful, and for the next century his paintings were rated more highly than those of Rembrandt.
His fortunes changed in 1696 with a visit from the Elector Palatine, who became his patron, and six years later made him his court painter.
From Rubens’ double-portrait with Isabella Brant, and Rembrandt’s with Saskia, to Paul Signac’s wife with a parasol and Ferdinand Hodler’s wife Berthe Jacques.
Full contents for this series, with lists of artists considered in each of its articles, and links to the articles.
An overview starting with the sculptural folds of the late 13th century, peaking with Raphael and Rembrandt, and dissolving with Renoir and Sargent in the early 20th century.
The man in the background is the husband of Mrs Phelps Stokes, posing as a surrogate for a Great Dane. Note the Renaissance elbow.
From Veronese’s bravura brushstrokes to the crafted surface textures of lavish and heavy fabrics with Rembrandt.
A grisaille turned into a trompe l’oeil, symphonies in white, making the transition to oil paints, an exercise for pupils, and vibrant primary colours.