In one painting about a man of this profession, a nude woman on the left wraps a strand of hair around her pudenda and extends her right arm upward in anguish while a man with a maroon tunic holds a torch and extends his arm to the seated king while a man only in a loincloth is dragged by on his hair. Besides The Calumny of Apelles, in one work titled after this action, a chair rests against a drawn-back curtain dominating the top left in the foreground, while a woman on the left holds a yellow book in her left hand and trumpet in her right. In another, the artist painted herself with a dark green dress against a red wall performing this acti
In one painting about a man of this profession, a nude woman on the left wraps a strand of hair around her pudenda and extends her right arm upward in anguish while a man with a maroon tunic holds a torch and extends his arm to the seated king while a man only in a loincloth is dragged by on his hair. Besides The Calumny of Apelles, in one work titled after this action, a chair rests against a drawn-back curtain dominating the top left in the foreground, while a woman on the left holds a yellow book in her left hand and trumpet in her right. In another, the artist painted herself with a dark green dress against a red wall performing this action. In one self-portrait, the artist is doing this with seven fingers on his right hand. Shown in Self-Portrait with Seven Fingers and Las Meninas, for 10 points name this action, the "Allegory of" which was shown by Vermeer and a "Self-Portrait as the Allegory" of which was painted by Artemesia Gentileschi, often involving an easel, a canvas, and pigments.
In one painting about a man of this profession, a nude woman on the left wraps a strand of hair around her pudenda and extends her right arm upward in anguish while a man with a maroon tunic holds a torch and extends his arm to the seated king while a man only in a loincloth is dragged by on his hair.
painting (accept obvious equivalents)