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The Rabbit is an 1881 oil painting by the French artist Édouard Manet, now displayed at the National Museum Wales in Cardiff, Wales. The work is a still life featuring a hung rabbit or hare (the work is sometimes referred as The Hare ) which has been placed on a hook outside a closed house window.
In Francesco del Cossa's painting of April in the Palazzo Schifanoia in Ferrara, Italy, Venus' children, surrounded by a flock of white rabbits, symbolize love and fertility. In Italian Renaissance and Baroque art, rabbits are depicted more often than hares. In an allegory on lust by Pisanello, a naked woman lies on a couch with a rabbit at her ...
The painting shows a laughing man, bareheaded, with his head tilted back, dressed in a deep purple robe, surrounded by a rougher brown woolen cape. He also wears a polished metal gorget, a piece of armor which is protecting the throat. The man's face has the features of the young Rembrandt, shown as a laughing soldier. [1]
The painting first appeared as part of Rego's "Jane Eyre and Other Stories" exhibition at Marlborough Fine Art in London in 2003. [3] It was inspired by a photograph that appeared in The Guardian near the beginning of the Iraq War, in which a girl in a white dress is seen running from an explosion, with a woman and her baby unmoving behind her.
Another painting from the same year, called The Great War on Facades (La Grande Guerre Façades, 1964), features a person standing in front of a wall overlooking the sea (as in The Son of Man), but it is a woman, holding an umbrella, her face covered by flowers. There is also Man in the Bowler Hat, a similar painting wherein a man's face is ...
How to Explain Pictures to a Dead Hare (German: Wie man dem toten Hasen die Bilder erklärt) is a performance piece staged by the German artist Joseph Beuys on 26 November 1965 at the Galerie Schmela in Düsseldorf. While it was only Beuys’s first solo exhibition in a private gallery, it is sometimes referred to as his best known action.
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The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822. After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford , who ...