Search results
Results From The WOW.Com Content Network
Portrait of a Man in a Red Suit (formerly known as Portrait of an African) is an 18th-century oil painting of a black man held by the Royal Albert Memorial Museum and donated by Percy Moore Turner in 1943. The artist and sitter are unknown. [1] The earliest provenance is a sale by Christie's in 1931. [1]
The Bayeux Tapestry tituli are Medieval Latin captions that are embroidered on the Bayeux Tapestry and describe scenes portrayed on the tapestry. These depict events leading up to the Norman conquest of England concerning William, Duke of Normandy , and Harold, Earl of Wessex, later King of England , and culminating in the Battle of Hastings .
The tapestry mentions a small number of important figures by name. When they are mentioned, their name is depicted directly above their head. For this reason, some believe that Turold is not the messenger in red who would later become Constable of Bayeux, but the man who appears to have a form of dwarfism and is holding the messenger's horse's reins. [1]
A scene from the Bayeux Tapestry depicting Bishop Odo rallying Duke William's army during the Battle of Hastings in 1066. The Bayeux Tapestry [a] is an embroidered cloth nearly 70 metres (230 feet) long and 50 centimetres (20 inches) tall [1] that depicts the events leading up to the Norman Conquest of England in 1066, led by William, Duke of Normandy challenging Harold II, King of England ...
It shows Charles V seated on a chair to the left, facing the viewer, with his black robes contrasted with the red carpet and gold tapestry behind him. In the right half of the painting is a landscape, barely sketched in, in light colours.
Polonius's most famous lines are found in Act 1 Scene 3 ("Neither a borrower nor a lender be"; "To thine own self be true") and Act 2 Scene 2 ("Brevity is the soul of wit"; and "Though this be madness, yet there is method in't") while others have become paraphrased aphorisms ("Clothes make the man"; "Old friends are the best friends"). Also ...
How Man entered the Medici-Lorraine collections is unknown, since the first definite mention of the work is an 1815 inventory placing it in the Galleria's Sala dell'Iliade. Previously attributed to Pontormo , this was changed by Falciani due to several similarities between it and faces in the Volterra Deposition , placing it just before or ...
Two portraits of young men have been ascribed to the years immediately following Titian's stay at Padua (c. 1513–1515): namely the Man with a Red Cap and the Man with a Glove. [2] The Frick Collection dates the former picture slightly later (c. 1516). [3]