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The work was painted in tempera on poplar wood [7] with a width of 38.9 cm and a height of 58.7 cm. [1] The figure of the bearded saint in the trecento medallion [8] was added after the portrait was completed and is believed to be an original by Bartolomeo Bulgarini, also known as the "Ovile Master". [8]
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.
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]
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 ...
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.
Carlotta Monti (January 25, 1907 – December 8, 1993) was an American film actress, who was W. C. Fields' companion in his last years.. Born Carlotta Montijo in Los Angeles, Monti appeared in B-movies and uncredited bit parts, including Kiss of Araby (1933), Tarzan the Fearless (1933) and Night Cargo (1936).
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]