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Le Lit ('The Bed') (also known as Dans le lit, 'In Bed') is a painting by Henri de Toulouse-Lautrec from around 1892 which depicts two women sharing a bed. The painting has been held by public collections in France since 1937, and by the Musée d'Orsay in Paris since 1986.
Bedroom in Arles (French: La Chambre à Arles; Dutch: Slaapkamer te Arles) is the title given to three similar paintings by 19th-century Dutch Post-Impressionist painter Vincent van Gogh. Van Gogh's own title for this composition was simply The Bedroom (French: La Chambre à coucher). There are three authentic versions described in his letters ...
Two Figures (1953) (CR 53–24) is an oil painting by Francis Bacon, sometimes known as Two Figures on a Bed (or, affectionately, "The Buggers"). It measures 152.5 cm × 116.5 cm (60.0 in × 45.9 in), and is in a private collection. The painting depicts two naked men grappling with each other on a disarrayed bed.
My Bed is a sculpture by the English artist Tracey Emin. The work consists of her bed with bedroom objects in a disheveled state. First created in 1998, it was exhibited at the Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize. [1] Although it did not win the prize, it gained much media attention and its notoriety has ...
The Frame (El marco in Spanish) is a 1938 self-portrait by Frida Kahlo. [1] The painting features Kahlo's self-portrait in oil on a sheet of aluminum framed in glass which she purchased from a market in Oaxaca , Mexico. [ 2 ]
A frame before and after treatment. The conservation and restoration of painting frames is the process through which picture frames are preserved. Frame conservation and restoration includes general cleaning of the frame, as well as in depth processes such as replacing damaged ornamentation, gilding, and toning. The purpose of painting frames ...
The State Bed (Dutch - Het Ledikant) is a 1646 print by Rembrandt in etching and drypoint. It is also known as Le Lit à la française ( The French-style Bed ), a title first given to it in Edme-François Gersaint 's 1751 Catalogue raisonné de toutes les pièces qui forment l’œuvre de Rembrandt .
The art historian Svetlana Alpers suggests that, by portraying the artist at work in the company of royalty and nobility, Velázquez was claiming high status for both the artist and his art, [65] and in particular to propose that painting is a liberal rather than a mechanical art. This distinction was a point of controversy at the time.