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It is the second film in the Amityville Horror film series and a loose prequel to The Amityville Horror (1979), set at 112 Ocean Avenue and featuring the fictional Montelli family, loosely based on the DeFeo family. It follows the Montelli family's decline under apparent demonic forces present in their home.
Sabin sold the portrait to the collector Sir Thomas Merton in 1941 for a five-figure sum. [2] During Merton's ownership the portrait was first described as a work by Botticelli. [1] The attribution to Botticelli was doubted later, as prominent monographs on Botticelli did not include the portrait as one of his. [9]
Strange Portrait was a film shot in Hong Kong in 1966. [2] [3] It was directed by Jeffrey Stone and starred Jeffrey Hunter, Barbara Lee, Mai Tai Sing and Tina Hutchence.Stone and his wife went searching for a distributor, hoping to enter it into the Asian Film Festival; [2] however, the film was never released, with sources differing as to the reason.
A painting bought at a garage sale in Minnesota is a previously unknown portrait by Dutch artist Vincent Van Gogh, according to a newly published expert analysis.. It was made by Van Gogh during ...
The appearance at an auction in 1982, from the Thomas Merton collection, of a rarely seen painting by Botticelli of a Portrait of a Young Man Holding a Roundel identified (with no real evidence) as Giovanni il Popolano in a similar pose, holding up a round medallion cut from a much older painting (albeit of a bearded saint, not Cosimo), has led ...
The wood is thin (about 4–5 millimetres (0.16–0.20 in)) [14] and is most likely from the same tree as the wood for his later portrait, La Belle Ferronnière. [1] The Lady with an Ermine is also connected to La Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds. [9]
William H. Mumler (1832–1884) was an American spirit photographer who worked in New York City and Boston. [1] His first spirit photograph was apparently an accident—a self-portrait which, when developed, also revealed the "spirit" of his deceased cousin.
This panel painting is small but significant. Before this work, subjects in Italian portraiture were either seated portrait view in profile, or seated with three-quarters of their face showing. In this painting the boy is seated head on, so his whole face can be mapped out, making this a revolutionary work for its time. [1]