Dürer, Albrecht (1471-1528) Christ as the Man of Sorrows c.1492–1493 Oil on panel, 19 x 30 cm Staatliche Kunsthalle, Karlsruhe Bearing the marks of martyrdom and holding the instruments used to scourge him in his hands, a pensive, exhausted man crouches…
Whistler, James Abbott McNeill (1834-1903) Gold and Brown: Self-Portrait c.1896–1898 Oil on canvas, 62.5 x 46.8 cm National Gallery of Art, Washington Known for his biting wit, extravagant style, and personal eccentricities, the publicity-conscious Whistler used self-portraiture as a means to…
Tiziano (c.1488-1576) Autoritratto (Self-Portrait) c.1562 Oil on canvas, 86 x 65 cm Museo del Prado, Madrid Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating…
Klimt, Gustav (1862-1918) The Kiss/Lovers (Der Kuss/Liebespaar) 1908 (completed 1909) Oil and gold on canvas, 180 x 180 cm Österreichische Galerie Belvedere, Vienna The Kiss (Lovers) by Gustav Klimt is the most famous Austrian painting and the highlight of the permanent collection at…
Klimt, Gustav (1862-1918) Pallas Athene 1898 Oil on canvas, 75 x 75 cm Wien Museum, Vienna
Goya, Francisco de (1746-1828) Doña Teresa Sureda (Thérèse Louise de Sureda) c.1803–1804 Oil on canvas, 119.7 x 79.4 cm National Gallery of Art, Washington See also: • Sureda, Teresa
Goya, Francisco de (1746-1828) La Duquesa de Alba (The Duchess of Alba) 1797 Oil on canvas, 210.3 x 149.3 cm Hispanic Society of America, New York Inscribed bottom center and left (in the soil): “Solo Goya / 1797” Francisco de Goya…
Van Eyck, Jan (c.1390-1441) Portrait of Baudouin de Lannoy c.1435 Oil on oak, 26.6 x 19.5 cm Gemäldegalerie, Berlin The middle-aged, male subject of this portrait is depicted as a half-figure who turns towards the left and is presented in front of…
Van Eyck, Jan (c.1390-1441) The Annunciation c.1434–1436 Oil on canvas transferred from panel, 90.2 x 34.1 cm National Gallery of Art, Washington The Annunciation described by Saint Luke is interpreted in terms of actuality in this painting, which was probably once…
