The curtains were of the same material, and there were some big oil paintings -- portraits in the style of Lancret and Boucher.

Francesca and Herbert considered themselves violently nonconformist and showed the world they were by filling their Colonial house with contemporary furniture and paintings and other art objects ( expensive, but not necessarily valuable, contemporary things ).

Among the other artists, whose paintings were discussed were Boucher, Courbet, Fra Angelico.

On display were 343 first-class paintings and sculptures from his fabled collection -- and every single one of them was up for sale.

It may have been true for all I know, because his glasses were like the bottoms of milk bottles, but it didn't prevent the paintings from being exciting.

For example, paintings glorified aristocracy in the early 17th century when leadership was needed to nationalize small political groupings, but later as leadership became oppressive, satirization increased and subjects were less concerned with leaders and more with more common plights of mankind.

In this period some " artisanal " products ( such as textiles ) were much more precious and expensive than paintings or sculptures.

Aalto claimed that his paintings were not made as individual artworks but as part of his process of architectural design, and many of his small-scale " sculptural " experiments with wood led to later larger architectural details and forms.

It would be a mistake to praise Warhol for the design of his boxes ( which were designed by Steve Harvey ), yet the conceptual move of exhibiting these boxes as art in a museum together with other kinds of paintings is Warhol's.

Angel-shaped beings appear in ancient Mesopotamian and Greek art and were probably the inspiration for the popular Christian image of angels, a popular subject for Byzantine and European paintings and sculpture.

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominately in private collections located in only a few cities.

Even Houbraken recalled that Cuyp was a devout Calvinist and the fact that when he died, there were no paintings of other artists found in his home.

Adding to the confusion is the similar initials between the two and the inconsistent signing of paintings which were produced by Cuyp ’ s studio.

Cuyp ” insignia, many paintings were left unsigned ( not to mention undated ) after being painted, and so a similar signature was added later on, presumably by collectors who inherited / discovered the works.

Furthermore, many possible Cuyp paintings were not signed but rather initialed “ A.

v. C .”), this brings up the question of how paintings were signed to show ownership.

Most original Cuyp paintings were signed by him, and in the script manner in which his name was inscribed.

Conversely, paintings which came out of his workshop that were not necessarily physically worked on by Cuyp but merely overseen by him technically, were marked with A. C. to show that it was his instruction which saw the paintings ’ completion.

Common among the mislabeled works are all of the reasons identified for misattributing Cuyp ’ s works: the lack of biography and chronology of his works made it difficult to discern when paintings were created ( making it difficult to pinpoint an artist ); contentious signatures added to historians ’ confusion as to who actually painted the works ; and the collaborations and influences by different painters makes it hard to justify that a painting is genuinely that of Aelbert Cuyp ; and finally, accurate identification is made extremely difficult by the fact that this same style was copied ( rather accurately ) by his predecessor.

Mice and rabbits were the most frequent subject of her fantasy paintings.

Orchard in Bloom, Louveciennes ( 1872 ) Pissarro showed five of his paintings, all landscapes, at the exhibit, and again Émile Zola praised his art and that of the others.

Despite being greatly praised by all contemporary writers, and remaining a great name in Italy, Giorgione became less known to the wider world, and many of his ( probable ) paintings were assigned to others.

The paintings were praised or described by a series of commentators until their destruction, including Dürer ( 1520 ), Vasari ( 1568 ), Molanus ( c. 1570 – 1580 ), and Baldinucci ( 1688 ).

In 1941, he wrote the key theoretical essay, " Intimate Banalities ," published in Helhesten, which claimed that the future of art was kitsch and praised amateur landscape paintings as " the best art today.

Often praised in Chinese poetry, its scenery became a popular subject of paintings in both medieval China and Japan.

More Disumbrationist paintings followed: a composition of zig-zag lines and eyeballs he called " Illumination "; a garish picture of a black woman doing laundry which he called " Aspiration ", and which a critic praised as " a delightful jumble of Gauguin, Pop Hart and Negro minstrelsy, with a lot of Jerdanowitch individuality "; " Gination ", an ugly, lopsided portrait ; and a painting named " Adoration ", of a woman worshipping an immense phallic idol, which was exhibited in 1927.

Aristotle even praised the ancient Greek painter Polygnotos because his paintings included characterization.

By the time of his death, his reputation was damaged: though his paintings were praised for their charm and facility, they were condemned for poor use of color and vapid sentiment.

Among all the paintings attributed to either Francesco and his brother Gian Antonio Guardi, the most praised work is not a landscape, but instead the airy sfumato Story of Tobit painted for the organ loft in the small Chiesa dell ' Angelo San Raffaele.

Il Decameron a year later was also praised ; both paintings are academic compositions in the style of Raphael.

His late paintings on New Testament subjects of that period were praised by liberal critics like Vladimir Stasov, criticized by conservatives as illustrating Ernest Renan rather than the New Testament and forbidden by the authorities for blasphemy.

He had just paid a brief visit to the Frick Collection to admire his favorite paintings by Rembrandt and Franz Hals.

For a while his work was influenced deeply by the French impressionists, and by the patterned, mosaic-like paintings of Gustav Klimt, then the dean of Austrian art.

`` Meet the Artist '' is the invitation issued by members of the Greater Philadelphia Section of the National Council of Jewish Women as they arrange for an annual exhibit and sale of paintings and sculpture at the Philmont Country Club on April 8 and 9.

It was characterised by iconographic paintings illustrating scenes from the bible.

While Renaissance artists sought nature to find their style, the Mannerists looked first for a style and found a manner. In Mannerist paintings, compositions can have no focal point, space can be ambiguous, figures can be characterized by an athletic bending and twisting with distortions, exaggerations, an elastic elongation of the limbs, bizarre posturing on one hand, graceful posturing on the other hand, and a rendering of the heads as uniformly small and oval.

Trained by his father who was a lace designer, Boucher won fame with his sensuous and light-hearted mythological paintings and landscapes.

de Pompadour's favorite artist and was commissioned by her for numerous paintings and decorations.

Few of his other paintings resemble this apocalyptic scene of two huge armies dominated by an extravagant landscape seen from a very high viewpoint, which looks south over the whole Mediterranean from modern Turkey to include the island of Cyprus and the mouths of the Nile and the Red Sea ( behind the isthmus to the left ) on the other side.

Cuyp probably first encountered a painting by van Goyen in 1640 when van Goyen was, as Stephen Reiss points out “ at the height of powers .” This is noticeable in the comparison between two of Cuyp ’ s landscape paintings inscribed 1639 where no properly formed style is apparent and the landscape backgrounds he painted two years later for two of his father ’ s group portraits that are distinctly van Goyenesque.

While it is assumed that the younger Cuyp did work with his father initially to develop rudimentary talents, Aelbert became more focused on landscape paintings while Jacob was a portrait painter by profession.

A phenomenal number of paintings are ascribed to him, some of which are likely to be by other masters of the golden landscape, such as Abraham Calraet ( 1642 – 1722 ), whose initials A. C. may be mistaken for Cuyp's.

Lastly and most importantly, the precision in mimicking Cuyp ’ s style by his follower Abraham van Calraet and their contentious signatures makes it all the more difficult to determine which paintings are genuinely that of Cuyp and which ones are actually accurate reproductions in his style.