The British monarchy's abiding connection to the sea during the age of exploration was a critical factor in the establishment of Britain's first colonies in the New World. It is unsurprising, then, that, alongside grand portraiture, a strong tradition of maritime painting was established in the royal court during the seventeenth century. Rule Britannia! explores the rich artistic culture of Elizabethan and Stuart England and the artists who forged their reputations in the alternately violent and decadent circles of some of the last exponents of absolute monarchy. Although trade wars with the Dutch featured large in the period, it was to be Dutch and Flemish artists who dominated the artistic landscape. Lely, van Dyck, Rubens, Willaerts, and the van de Veldes found ample opportunity for patronage from both king and courtiers and some of their finest works are featured here. Paintings from the Royal Collection, the National Maritime Museum, and other private and museum collections in England, Ireland, and the United States bring alive an era of grandeur in which the first tentative steps of imperial expansion occurred.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei