Luca Giordano was an Italian late-Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence, and Venice, before spending a decade in Spain.
Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
The Thyssen-Bornemisza National Museum, or simply the Thyssen, is an art museum in Madrid, Spain, located near the Prado Museum on one of the city's main boulevards. It is known as part of the "Golden Triangle of Art", which also includes the Prado and the Reina Sofía national galleries. The Thyssen-Bornemisza fills the historical gaps in its counterparts' collections: in the Prado's case this includes Italian primitives and works from the English, Dutch and German schools, while in the case of the Reina Sofia it concerns Impressionists, Expressionists, and European and American paintings from the 20th century.
Bonifacio Veronese, birth name: Bonifacio de' Pitati was an Italian Renaissance painter who was active in the Venetian Republic. His work had an important influence on the younger generation of painters in Venice, particularly Andrea Schiavone and Jacopo Tintoretto.
The Transfiguration is the last painting by the Italian High Renaissance master Raphael. Cardinal Giulio de Medici – who later became Pope Clement VII – commissioned the work, conceived as an altarpiece for Narbonne Cathedral in France; Raphael worked on it in the years preceding his death in 1520. The painting exemplifies Raphael's development as an artist and the culmination of his career. Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with the next episode from the Gospels in the lower part of the painting. The work is now in the Pinacoteca Vaticana in the Vatican City.
Sebastiano Ricci was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting.
The Galleria Sabauda is an art collection in the Italian city of Turin, which contains the royal art collections amassed by the House of Savoy over the centuries. It is located on Via XX Settembre, 86.
The Orleans Collection was a very important collection of over 500 paintings formed by Philippe d'Orléans, Duke of Orléans, mostly acquired between about 1700 and his death in 1723. Apart from the great royal-become-national collections of Europe it is arguably the greatest private collection of Western art, especially Italian, ever assembled, and probably the most famous, helped by the fact that most of the collection has been accessible to the public since it was formed, whether in Paris, or subsequently in London, Edinburgh and elsewhere.
Christ Washing the Disciples' Feet was a favourite theme of Tintoretto, and there are at least six known works by him on the subject. The scene comes from a passage in John 13 where before the Last Supper Christ washes the feet of his disciples. This passage called for a complex image with many characters in a variety of poses and motions, and the diversity and challenge attracted Tintoretto. The paintings were commissioned for various churches of Venice, though since then four of the six have left Italy.
Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.
The Venetian painter Titian and his workshop made at least six versions of the same composition showing Danaë, painted between about 1544 and the 1560s. The scene is based on the mythological princess Danaë, as – very briefly – recounted by the Roman poet Ovid, and at greater length by Boccaccio. She was isolated in a bronze tower following a prophecy that her firstborn would eventually kill her father. Although aware of the consequences, Danaë was seduced and became pregnant by Zeus, who, inflamed by lust, descended from Mount Olympus to seduce her in the form of a shower of gold.
A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. There is a precise date for only one version, that in the Prado in Madrid, which is documented in correspondence between Titian and Philip II of Spain in 1554. However, this appears to be a later repetition of a composition first painted a considerable time earlier, possibly as early as the 1520s.
Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in the early 1580s, now in the Museo del Prado, in Madrid.
Venus and Musician refers to a series of paintings by the Venetian Renaissance painter Titian.
The Finding of Moses, sometimes called Moses in the Bullrushes, Moses Saved from the Waters, or other variants, is the story in chapter 2 of the Book of Exodus in the Hebrew Bible of the finding in the River Nile of Moses as a baby by the daughter of Pharaoh. The story became a common subject in art, especially from the Renaissance onwards.
The Finding of Moses is an early 1630s painting by Orazio Gentileschi. There are two versions, the prime version is in The National Gallery in London and the second is in Museo del Prado in Madrid.
The Finding of Moses is a n oil-on-canvas painting by Paolo Veronese, executed ca. 1580 and now in the Museo del Prado in Madrid It is one of at least eight variants of the subject of the finding of Moses by him and his studio.
The Finding of Moses is a c.1581 oil-on-canvas painting by Paolo Veronese. It is the smallest of at least eight works on the subject by him and his studio showing the finding of Moses – art historians often consider it to be the preparatory sketch for the variant in Dresden.
The Finding of Moses is an oil-on-canvas painting, now in the Walker Art Gallery in Liverpool, to which it was formally transferred in 1948 by the Liverpool Royal Institution, to which it had been given in 1843 by J. W. Gibsone. It had hung at the Walker on loan since 1893. Previously thought to be an autograph work by Paolo Veronese, it is now thought to be largely or wholly by his studio. A copy of the work is now at the Musee des Beaux Arts de Dijon
The Finding of Moses is a 1580 oil-on-canvas painting by Paolo Veronese of the finding of Moses, which has been in the Musee des Beaux Arts de Dijon since 1812. Its attribution to Veronese is early, with Lépicié stating it was "painted by the artist at the height of his powers", though Louis Clément de Ris argued it was a copy in 1861. It is now thought to be largely autograph with studio assistance as argued by Florence Ingersoll-Smouse in 1928, Bernard Berenson in 1932 and 1936 and Giuseppe Fiocco in 1934.
Engraving by John Baptist Jackson after Veronese, after the painting in the Joseph Smith collection
Painting in the Royal collection by Sebastiano Ricci
Version by Veronese in the Prado
