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The Art of Painting, also known as The Allegory of Painting (Dutch: Allegorie op de schilderkunst), or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna. [1]
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures 98.6 by 75.2 centimetres (38.8 in × 29.6 in) and was probably produced during Gentileschi's stay in England between 1638 and 1639.
Metropolitan Museum of Art, New York: The Allegory of Painting, also known as The Art of Painting: 1666–67 or c. 1666–68 [8] Oil on canvas, 100 × 120 cm Kunsthistorisches Museum, Vienna: Mistress and Maid, also known as Lady with her Maidservant Holding a Letter: 1667/68 Oil on canvas, 90.2 × 78.7 cm Frick Collection, New York
Rubens painted the allegorical female figures, accompanied by a putto or a winged Cupid in Sight, Hearing, Smell, and Touch, and by a satyr in Taste.Brueghel created the sumptuous settings, which evoke the splendour of the court of Albert VII, Archduke of Austria, and his wife Isabella, governors of the Spanish Netherlands, to which the two artists were attached. [1]
Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind. [21] Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Medieval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The ...
Air (painting) Allegory of Divine Providence and Barberini Power; The Allegory of Faith; Allegory of Fortune; Allegory of Painting and Sculpture; Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar; Allegory of the Earth; Allegory of the Vanities of the World; Allegory of Vanity and Repentance; Allegory of Wealth; Apollo and Diana ...
Charles I was an enthusiastic collector, willing to incur criticism for his spending on art. The fame of Artemisia probably intrigued him, and it is not a coincidence that his collection included a painting of great suggestion, the Self-Portrait as the Allegory of Painting (which is the lead image of this article).
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