More Related Content More from Elizabeth Fernandez More from Elizabeth Fernandez (9) Editor's Notes Creator: Titian, active about 1506; died 1576
Title: Bacchus and Ariadne
Date: 1520-3
Material: Oil on canvas
Measurements: 176.5 x 191 cm
Description: Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head.The programme for the series was probably devised by a humanist scholar in the service of Alfonso d'Este. The subject of Bacchus and Ariadne is derived from the classical authors Ovid and Catullus. The painting is one of a famous series by Bellini, Titian and the Ferrarese artist Dosso Dossi, commissioned for the Camerino d'Alabastro, (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso d'Este, Duke of Ferrara, who in around 1510 tried to include Michelangelo and Raphael among the contributors. Titian's painting was in fact a substitute for one with a similar subject which the Duke had commissioned from Raphael. Bellini's 'Feast of the Gods' for this room is dated 1514, and the three works by Titian were painted 1518-25.
Repository: The National Gallery, London
Repository: Bought, 1826
Accession Number: NG35
Related Item: http://www.nationalgallery.org.uk/paintings/NG35
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Bronzino, 1503 - 1572
Title: An Allegory with Venus and Cupid
Date: about 1545
Material: Oil on wood
Measurements: 146.1 x 116.2 cm
Description: The picture is likely to be that mentioned in Vasari's 'Life of Bronzino' of 1568: He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love. Venus and Cupid are identifiable by their attributes, as is the old man with wings and an hourglass who must be Time (not mentioned by Vasari). The identity of the other figures, and the meaning of the picture remain uncertain. The howling figure on the left has been variously interpreted as Jealousy, Despair and the effects of syphilis; the boy scattering roses and stepping on a thorn as Jest, Folly and Pleasure; the hybrid creature with the face of a girl, as Pleasure and Fraud; and the figure in the top left corner as Fraud and Oblivion. The erotic yet erudite subject matter of the painting was well suited to the tastes of King Francis I of France. It was probably sent to him as a gift from Cosimo I de' Medici, ruler of Florence, by whom Bronzino was employed as court painter. Bronzino was also an accomplished poet. The picture reflects his interest in conventional Petrarchan love lyrics as well as more bawdy poetic genres.
Repository: The National Gallery, London
Repository: Bought, 1860
Accession Number: NG651
Related Item: http://www.nationalgallery.org.uk/paintings/NG651
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Paolo Veronese, 1528 - 1588
Title: The Family of Darius before Alexander
Date: 1565-7
Material: Oil on canvas
Measurements: 236.2 x 474.9 cm
Description: The story illustrates the mistake made by the family of Darius, the defeated Persian Emperor, in identifying Alexander after the Battle of Issus. Alexander and his friend Hephaestion visited Darius's tent; the mother of Darius, misled by Hephaestion's splendour and bearing, offered him the obeisance due to the victorious monarch; Alexander forgave her.
Repository: The National Gallery, London
Repository: Bought, 1857
Accession Number: NG294
Related Item: http://www.nationalgallery.org.uk/paintings/NG294
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Luca Giordano, 1634 - 1705
Title: Perseus turning Phineas and his Followers to Stone
Date: early 1680s
Material: Oil on canvas
Measurements: 285 x 366 cm
Description: Andromeda was betrothed to Phineas, until Perseus rescued her from a sea monster and it was agreed she would marry him instead. At the wedding celebrations Phineas and his followers burst in to attack Perseus, who unveiled the severed head of the gorgon, Medusa, and turned them to stone. The subject comes from Ovid's 'Metamorphoses' (V, 1-235).This scene of high drama, recalling more tranquil feasts represented in 16th-century Venetian painting, is focused on the figure of Perseus in rich blue and his furious assailants, led by Phineas, who wears a helmet in the far left of the painting, turning the colour of stone as they prepare to hurl their spears. This is one of several versions of the subject by Giordano. The identity of the patron is not known but it was acquired with its companions, 'The Death of Jezabel' (private collection) and 'The Rape of the Sabines' (private collection), in Genoa in 1709 by Costantino Balbi.
Repository: The National Gallery, London
Repository: Bought, 1983
Accession Number: NG6487
Related Item: http://www.nationalgallery.org.uk/paintings/NG6487
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Jan Gossaert, active 1503; died 1532
Title: The Adoration of the Kings
Date: 1510-15
Material: Oil on oak
Measurements: 177.2 x 161.8 cm
Description: This large picture was painted as the altarpiece of the Lady Chapel of the Abbey of St Adrian's, Geraardsbergen, near Brussels. It was evidently commissioned by a local nobleman, Daniel van Boechout, Lord of Boerlare, who was to be buried there. Behind the kneeling king, Caspar, stands Melchior with a retinue of attendants. Balthazar is on the left, and Gossaert has signed his name on the border of his headdress and again on the collar worn by his attendant. The dove, symbol of the Holy Spirit, descends to the infant Christ from the brilliant star in the sky, and angels approach from a great distance through a series of arches, giving the scene a spectacular sense of space and depth. Gossaert used the bright colour and highly detailed oil painting technique of his 15th-century Netherlandish predecessors to sophisticated effect. The figures wear sumptuous costumes made of rich fabrics. The metalwork gifts presented by the kings are elaborate and reflect contemporary designs.
Repository: The National Gallery, London
Repository: Bought with a special grant and contributions from The Art Fund, Lord Glenconner, Lord Iveagh and Alfred de Rothschild, 1911
Accession Number: NG2790
Related Item: http://www.nationalgallery.org.uk/paintings/NG2790
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Sebastiano del Piombo, about 1485 - 1547
Title: The Raising of Lazarus
Date: about 1517-19
Material: Oil on canvas, transferred from wood
Measurements: 381 x 289.6 cm
Description: The subject of this painting is taken from the New Testament (John: 11). At the request of the sisters Martha and Mary, Jesus visits the grave of their brother Lazarus and raises him from the dead.This work was painted for Cardinal Giulio de' Medici in Rome in competition with Raphael's 'Transfiguration', now in the Vatican Gallery. It was subsequently taken to the Cathedral of Narbonne. Some of the main figures are based on drawings which Michelangelo supplied for the guidance of Sebastiano.The painting was purchased from the Angerstein collection.
Repository: The National Gallery, London
Repository: Bought, 1824
Accession Number: NG1
Related Item: http://www.nationalgallery.org.uk/paintings/NG1
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Jacopo Tintoretto, 1518 - 1594
Title: The Origin of the Milky Way
Date: about 1575
Material: Oil on canvas
Measurements: 149.4 x 168 cm
Description: The probable source for the subject was a Byzantine botanical text-book, 'Geoponica', in which it is related how Jupiter, wishing to immortalise the infant Hercules (whose mother was the mortal Alcmene), held him to the breasts of the sleeping Juno. The milk which spurted upwards formed the Milky Way, while some fell downwards giving rise to lilies. Lilies were once present at the base of the painting, until a part of the original canvas was cut off.
Repository: The National Gallery, London
Repository: Bought, 1890
Accession Number: NG1313
Related Item: http://www.nationalgallery.org.uk/paintings/NG1313
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Peter Paul Rubens, 1577 - 1640
Title: Samson and Delilah
Date: about 1609-10
Material: Oil on wood
Measurements: 185 x 205 cm
Description: Samson, the Jewish hero, fell in love with Delilah. She was bribed by the Philistines, and discovered that his strength came from his hair which had never been cut. While he was asleep it was cut, Samson was drained of his strength and the Philistines were able to capture him. (Old Testament, Judges 16: 17-20). Rubens depicts a candlelit interior; the Philistines wait at the door, one of their number cuts Samson's hair, while an elderly woman provides extra light. In a niche behind is a statue of the goddess of love, Venus, with Cupid - a reference to the cause of Samson's fate.This painting was commissioned by Nicolaas Rockox, alderman of Antwerp, for his town house in 1609-10. It shows the influence of the antique, as well as Michelangelo and Caravaggio. There is a preparatory drawing (private collection, Amsterdam) and a modello (Cincinnati Museum of Art).
Repository: The National Gallery, London
Repository: Bought, 1980
Accession Number: NG6461
Related Item: http://www.nationalgallery.org.uk/paintings/NG6461
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Nicolas Poussin, 1594 - 1665
Title: The Adoration of the Golden Calf
Date: 1633-4
Material: Oil on canvas
Measurements: 153.4 x 211.8 cm
Description: Moses climbed Mount Sinai to receive the tablets of the Ten Commandments. During his absence the Israelites built an idol with Aaron's help and worshipped it with song and dance. On his return, Moses was so angered by this that he smashed the tablets (Exodus: 32).'The Adoration of the Golden Calf' and its companion piece, 'The Crossing of the Red Sea' were made for Amadeo dal Pozzo, a cousin of Poussin's major Roman patron, Cassiano dal Pozzo. The paintings stayed together until 1945 when the National Gallery acquired 'The Adoration'.Poussin took the design for the group of dancers from his 'Bacchanalian Revel before a Term of Pan' (also in the Collection) another picture of pagan celebration, but turned the group through 180 degrees. The even distribution of blue, red and orange throughout the painting helps to unify the composition as a whole, but colour, for example the white of Aaron's cloak, is also used to isolate individual figures. Poussin also used emphatic gestures in order to tell the story.
Repository: The National Gallery, London
Repository: Bought with a contribution from The Art Fund, 1945.
Accession Number: NG5597
Related Item: http://www.nationalgallery.org.uk/paintings/NG5597
Collection: The National Gallery, London
Collection: http://www.nationalgallery.org.uk/
Rights: Photograph: ©The National Gallery, London
Rights: National Gallery Picture Library, The National Gallery Company, St. Vincent House, 30 Orange Street, London WC2H; Tel No: 02077475996
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Creator: Hans Holbein the Younger
Title: The Ambassadors
Date: 1533
Material: oil on oak
Measurements: 207 x 209.5 cm
Description: The French Ambassadors of King Henry II at the court of the English King Henry VIII.
Repository: National Gallery, London
Repository: NG1314
Collection: Art, Archaeology and Architecture (Erich Lessing Culture and Fine Arts Archives)
ID Number: 40-13-01/68
Source: Image and original data provided by Erich Lessing Culture and Fine Arts Archives/ART RESOURCE, N.Y.
Source: http://www.artres.com/c/htm/Home.aspx
Source: http://www.artres.com/c/htm/TreePfLight.aspx?ID=LES
Rights: Photo Credit: Erich Lessing/ART RESOURCE, N.Y.
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
