Et in Arcadia ego is a 1637–38 painting by Nicolas Poussin (1594–1665), the leading painter of the classical French Baroque style. It depicts a pastoral scene with idealized shepherds from classical antiquity, and a woman, possibly a shepherdess, gathered around an austere tomb that includes the Latin inscription "Et in Arcadia ego", which is translated to "Even in Arcadia, there am I" or "I too was in Arcadia". Poussin also painted another version of the subject in 1627 under the same title.
Sir Simon Michael Schama is an English historian and television presenter. He specialises in art history, Dutch history, Jewish history, and French history. He is a Professor of History and Art History at Columbia University.
Picture This is a 1988 novel from Joseph Heller, the satiric author of the acclaimed Catch-22.
Rembrandt Harmenszoon van Rijn, usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker, and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art. It is estimated Rembrandt produced a total of about three hundred paintings, three hundred etchings, and two thousand drawings.
Events from the year 1653 in art.
Bathsheba at Her Bath is an oil painting by the Dutch artist Rembrandt (1606–1669) finished in 1654.
The Lictors Bring to Brutus the Bodies of His Sons is a work in oils by the French artist Jacques-Louis David. On a canvas of 146 square feet, this painting was first exhibited at the Paris Salon in 1789. The subject is the Roman leader Lucius Junius Brutus, founder of the Roman Republic, contemplating the fate of his sons. They had conspired to overthrow the republic and restore the monarchy, and Brutus himself was compelled to order their deaths. In doing so, Brutus became the heroic defender of the republic, at the cost of his own family. The painting was a bold allegory of civic virtue with immense resonance for the growing cause of republicanism. Its themes of virtue, sacrifice, and devotion to the nation sparked much controversy when it was unveiled in the politically charged era of the French Revolution.
Fourteen Rembrandt paintings are held in collections in Southern California. This accumulation began with J. Paul Getty's purchase of the Portrait of Marten Looten in 1938, and is now the third-largest concentration of Rembrandt paintings in the United States. Portrait of Marten Looten is now housed at the Los Angeles County Museum of Art (LACMA).
Self-Portrait with Two Circles is an oil-on-canvas painting by the Dutch artist Rembrandt, painted c. 1665–1669, one of over 40 painted self-portraits by Rembrandt.
The Polish Rider is a seventeenth-century painting, usually dated to the 1650s, of a young man traveling on horseback through a murky landscape, now in The Frick Collection in New York. When the painting was sold by Zdzisław Tarnowski to Henry Frick in 1910, there was consensus that the work was by the Dutch painter Rembrandt. This attribution has since been contested, though those who contest it remain in the minority.
Self-Portrait is a 1660 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Painted when the artist was fifty-four, it has been noted as a work in which may be seen "the wrinkled brow and the worried expression the troubled condition of his mind". Part of the Benjamin Altman Collection, it has been in the Metropolitan Museum of Art in New York City since 1913.
Portrait of a Young Man with a Gold Chain is an oil painting usually attributed to the Dutch painter Rembrandt. Signed and dated 1635, it was traditionally regarded as a self-portrait, although contemporary criticism tends to challenge this hypothesis.
Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.
Self-portrait wearing a white feathered bonnet is an oil painting attributed to the Dutch painter Rembrandt. It is signed and dated 1635. It was traditionally regarded as a Rembrandt self-portrait until 1968, when it was rejected on stylistic grounds in the Rembrandt catalogue raisonné by Horst Gerson. In 2013, art historian Ernst van de Wetering re-attributed the painting as an original Rembrandt. It is one of over 40 painted self-portraits by Rembrandt.
Susanna and the Elders is a painting by the Dutch artist Rembrandt from the Baroque period. It is an oil painting on a Peltogyne panel completed in the year 1647. It depicts the story of Susanna, a Deuterocanonical text from the book of Daniel in the Bible. The painting is currently housed at the Gemäldegalerie in Berlin.
Walter Arthur Liedtke, Jr. was an American art historian, writer and Curator of Dutch and Flemish Paintings at the Metropolitan Museum of Art. He was known as one of the world's leading scholars of Dutch and Flemish paintings. He died in the 2015 Metro-North Valhalla train crash.
Saint Rosalie Interceding for the Plague-stricken of Palermo is a painting of 1624 by Anthony van Dyck, in the Metropolitan Museum of Art in New York since 1871.
Esther Before Ahasuerus is a painting by the 17th-century Italian artist Artemisia Gentileschi. It shows the biblical heroine Esther going before Ahasuerus to beg him to spare her people. The painting is now in the Metropolitan Museum of Art in New York, having been donated to the museum by Elinor Dorrance Ingersoll in 1969. It is one of Gentileschi's lesser known works, but her use of lighting, characterization, and style help in successfully portraying Esther as a biblical heroine as well as the main protagonist of the work.
Antonio Ruffo was an important Sicilian politician, nobleman, patron and collector from the Ruffo di Calabria family. He was probably born in Castle Bagnara or Messina and died in Messina.
Homer Dictating his Verses is a 1663 oil-on-canvas painting by Rembrandt, signed and dated by the artist. It is now in the Mauritshuis, to which it was bequeathed in 1946 by Abraham Bredius, who had loaned it to the museum since 1894, when he first bought it in London.
