Unknown

Triumph Of Venus Oil On Canvas Late '700 Early '800, From Cardboard By Cignani C

1700s

Oil on canvas, applied to wooden plate. The saint is depicted in the foreground, half-length: the naked torso of the body is partially covered by a fur falling from the shoulders, ov...

The scene depicts a feast within a park enclosed by walls with arched gateways opening onto the countryside, and adorned on the right with an amphora on a small column and in the center, behind the figures, with a gushing fountain, with statues of cherubs and shells. Two couples of richly dressed ladies and gentlemen entertain themselves gallantly, surrounded by servants; one of the men is playing the violin, crouching in front of his lady, who, flanked by the damsel, follows the melody on the score held up by the dark-haired man at her side, while two musicians accompany the playing with flute and a mandolin; the other couple, in an attitude of intimate dialogue, listens on the left, while on the right the hunter returning from the hunt also observes the scene. Particularly prominent in the scene is the rich dress of the lady in the center, characterized by the wide back folds falling from her shoulders to create a cape. Such a dress corresponds to what was called "robe à la Watteau," named after the French painter Antoine Watteau who first portrayed ladies wearing this pattern. Antoine Watteau (1684 -1721), a French painter considered one of the most influential French exponents of Rococo painting, was the forerunner of the pictorial genre of gallant scenes, a genre that developed in France from the late 1600s and continued throughout the following century. The gallant scenes could be considered as the aristocratic version of the genre scene: characterized by music, dances, pleasant conversations between ladies and gentlemen surrounded by servants, they tended to enhance the costumes, fashionable clothes, and environments of the upper class, conveying a kind of detachment from the real times and places, projecting the viewer into an almost theatrical atmosphere of gestures, looks, colors and stage lights. Moreover, Watteau, along with the Fêtes galantes cycles, also distinguished himself for those inspired by the theater, absorbing his passion for the scenes and characters of that milieu from Claude Gillot...

Oil on Canvas. The scene takes place at a military camp: outside a tent on the left a leader of an army, probably Greek, is receiving offerings of a group of men, poor and ragged, ...

Oil on Canvas. The large painting, echoes the pictorial modes of the 17th century but is of later date, and was made on a canvas applied over an older one. The scene recounts the bib...

Signature: Signed Lower Right Original cover for The Saturday Evening Post, published August 8, 1936 and reprinted for the July / August 1996 issue. Kernan's Final Post Cover In the Eleventh Olympiad, Joseph Francis Kernan’s final cover for The Saturday Evening Post, a sprinter channels the speed and power of an eagle while preparing to represent the United States at the 1936 Olympic Games in Berlin. Kernan created 26 covers for The Saturday Evening Post between 1924 and 1936. Kernan’s depiction of the athlete was a fitting conclusion for the artist’s Post commissions, as much of his life’s work celebrated sportsmen and outdoor life. This now iconic cover held such impact that it was published twice – first on August 8, 1936, and later for the July / August 1996 issue to celebrate the 100th anniversary of the modern Olympic Games that took place in Atlanta, Georgia. Jesse Owens and the 1936 Summer Olympics The 1936 Summer Olympics were held from August 1 to 16 in Berlin, Germany, which was then under Adolf Hitler’s Nazi regime. The track and field competition garnered special attention that year, as Jesse Owens, the African American sprinter and long jumper, took home a historic four gold medals. Owens took center stage at the Games, setting new records in the 100- and 200-meter sprints, the long jump, and helped his team win a record-setting 4 x 100-meter relay. Jesse Owens and Ralph Metcalfe were not initially scheduled to compete in the relay. On the morning of the event, it was announced that Owens and Metcalfe would take the places of Marty Glickman and Sam Stoller, the only Jews on the U.S. track team. Glickman later blamed the controversial decision on the U.S. Olympic Committee president Avery Brundage and track coach Dean Cromwell, accusing them of appeasing the Nazi regime’s anti-semitism. The magnitude of Owens’ achievements as a black athlete was multiplied by the fact that Hitler had unsuccessfully attempted to use the Summer Olympics to validate his theories of Aryan racial superiority. As the first Games to be televised, and with radio broadcasts reaching 41 countries, Hitler envisioned the Olympics as a way to disseminate Nazi propaganda. The German Olympic...

A stunning study for a 1920s Kuppenheimer clothing advertisement featuring a fashionably-dressed couple kneeling in an embrace before a pair of ...

The Vigil-at-Arms, illustration for a poem by William Lucius Graves published in Scribner's Magazine, December 1904 Medium: Oil on Canvas Signature: Signed

Medium: Oil on Canvas Signature: Unsigned