Why is it fitting "Marchesa Casati" was painted by Augustus John?
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Marchesa Casati (painting) The Marchesa Casati (] ) is a portrait of Luisa Casati by Augustus John, painted in oil on canvas in 1919. It is currently housed in the collection of the Art Gallery of Ontario (AGO) in Toronto.
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Luisa Casati Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: "I want to be a living work of art".
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Adoration of the Magi (Rubens) Peter Paul Rubens painted the Adoration of the Magi (Matthew 2:1ff) more often than any other episode from the life of Christ. The subject offered the Counter-Reformation artist the chance to depict the richest worldly panoply, rich textiles, exotic turbans and other incidents, with a range of human types caught up in a dramatic action that expressed the humbling of the world before the Church, embodied in Madonna and child. The most notable include:
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Equestrian Portrait of Charles I The Equestrian Portrait of Charles I (also known as Charles I on Horseback) is an oil painting on canvas by Anthony van Dyck, showing Charles I on horseback. Charles I had become King of Great Britain and Ireland in 1625 on the death of his father James I, and Van Dyck became the Charles' Principal Painter in Ordinary in 1632.
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Pardo Venus The Pardo Venus is a painting by the Venetian artist Titian, completed in 1551 and now in the Louvre Museum. It is also known as Jupiter and Antiope, since it seems to show the story of Jupiter and Antiope from Book VI of the "Metamorphoses" (lines 110-111). It is Titian's largest mythological painting, and was the first major mythological painting produced by the artist for Philip II of Spain. It was long kept in the Royal Palace of El Pardo near Madrid (not to be confused with the Prado, a purpose-built museum), hence its usual name; whether Venus is actually represented is uncertain. It later belonged to the English and French royal collections.
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The Head of St John the Baptist (painting) The head of St. John the Baptist is a tondo painting by the Italian Renaissance master Giovanni Bellini. It is now housed in the Civic Museum of Pesaro.
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Pesaro Madonna The Pesaro Madonna (Italian: "Pala Pesaro" ) (better known as the Madonna di Ca' Pesaro) is a painting by the Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today. Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings "Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter", c. 1510-11
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Self-portrait (Hans Holbein the Younger) The Self-portrait is a small drawing by the German Renaissance artist and printmaker Hans Holbein the Younger, completed around 1542-1543, and housed in the Uffizi, Florence. The gold background was added later by a different artist. According to art historian John Rowlands, "Although this drawing has been enlarged on all sides and heavily reworked, enough of it still shows to allow the assumption that the original work was executed by Holbein. The inscription, also a later addition, evidently records an even earlier one, of which slight traces remain.
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Giovanni Antonio Amato Giovanni Antonio Amato or Amati (c. 1475–1555) was an Italian painter of the Renaissance period. Born in Naples, he copied the style of Pietro Perugino.
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Bacchus (Leonardo) Bacchus, formerly "Saint John the Baptist", is a painting in the Musée du Louvre, Paris, France, based on a drawing by the Italian Renaissance artist Leonardo da Vinci. It is presumed to have been executed by an unknown follower, perhaps in Leonardo's workshop. Sydney J. Freedberg assigns the drawing to Leonardo's second Milan period. Among the Lombard painters who have been suggested as possible authors are Cesare da Sesto, Marco d'Oggiono, Francesco Melzi, and Cesare Bernazzano. The painting shows a male figure with garlanded head and leopard skin, seated in an idyllic landscape. He points with his right hand off to his left, and with his left hand grasps his thyrsus and also points down to earth.
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Madonna of the Harpies Madonna of the Harpies (Italian: "Madonna delle Arpie") is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Vasari, and is arguably the artist's best-known work.
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St. Sebastian (Botticelli) St. Sebastian is a painting of the eponymous Christian saint by the Italian Renaissance painter Sandro Botticelli, executed in 1474 for the Church of Santa Maria Maggiore, Florence. It is housed in the Staatliche Museen of Berlin.
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Dido building Carthage Dido building Carthage, or The Rise of the Carthaginian Empire is an oil on canvas painting by J. M. W. Turner. The painting is one of Turner's most important works, greatly influenced by the luminous classical landscapes of Claude Lorraine. Turner described it as his chef d'oeuvre. First exhibited at the Royal Academy summer exhibition in 1815, Turner kept the painting until he left it to the nation in the Turner Bequest. It has been held by the National Gallery in London since 1856.
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Self-Portrait (Dürer, Madrid) Self-portrait (or Self-portrait at 26) is the second of Albrecht Dürer's three painted self-portraits. In this work, executed in oil on wood panel in 1498, Dürer haughtily elevates himself to the social position he believed suited to an artist of his ability. Dürer depicts himself indoors under an arch, in half length, turning towards the viewer. Painted after his first trip to Italy, he is depicted bearing an arrogant, cocky expression which betrays the assured self-confidence of a young artist at the height of his ability. Dürer's presence dominates the pictorial space, from his hat which almost reaches the top of the canvas to his arm positioned on the lower ledge, where he rests his fingers enclosed in fine rich gloves.
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Giotto Giotto di Bondone ( 1270 – January 8, 1337), known mononymously as Giotto (] ) and latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the "Gothic or Proto-Renaissance" period.
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Isleworth Mona Lisa The Isleworth Mona Lisa is an oil-on-canvas painting of the same subject as Leonardo da Vinci's "Mona Lisa". In 2015 and 2016, peer-reviewed academic publications concerning it confirmed its attribution to Leonardo da Vinci.
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The Aldobrandini Madonna The Madonna of the Rabbit, The Aldobrandini Madonna, The Virgin and Child with the Infant Saint John and a Female Saint or Donor or The Virgin and Child with the Infant Saint John and Saint Catherine is an oil on canvas painting by Titian dating to around 1530 and now held in the National Gallery in London. There are studio copies in the Galleria Palatina in Florence and in the Kunsthistorisches Museum in Vienna.
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Giovanni Francesco Rustici Giovan Francesco Rustici, or Giovanni Francesco Rustici, (1475–1554) was an Italian Renaissance painter and sculptor.
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Portrait of a Condottiero (Bellini) The Portrait of a Condottiere is an oil on panel painting by Italian Renaissance artist Giovanni Bellini, executed around 1495-1500. It is housed in the National Gallery of Art at Washington, DC, United States.
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St. John, by Frans Hals St. John is a painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in the Getty Museum, Los Angeles.
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Portrait of Ippolito de' Medici The Portrait of Ippolito de' Medici is a 1532-33 portrait of Ippolito de' Medici by Titian, now in the Palazzo Pitti.
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Allegory of Painting (Artemisia Gentileschi) Allegory of Painting is an artwork painted by the Italian baroque artist Artemisia Gentileschi. It hangs in the Musee de Tesse, Le Mans, France. It is one of many paintings done by Gentileschi with this theme, but the depiction in this particular painting is unusual, and scholars have suggested it may have another meaning. Its attribution to Gentileschi is relatively recent, being associated with her in 1988.