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Jacopo Palma il Giovane
Portrait of a Gentleman

16th Century

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  • Portrait of a Gentleman
    Located in New York, NY
    Circle of Jacques-Louis David (French, 18th Century) Provenance: Private Collection, Buenos Aires Exhibited: “Art of Collecting,” Flint Institute of Art, Flint, Michigan, 23 November 2018 – 6 January 2019. This vibrant portrait of young man was traditionally considered a work by Jacques-Louis David, whose style it recalls, but to whom it cannot be convincingly attributed. Rather, it would appear to be by a painter in his immediate following—an artist likely working in France in the first decade of the nineteenth century. Several names have been proposed as the portrait’s author: François Gérard, Louis Hersent, Anne-Louis Girodet (Fig. 1), Theodore Gericault, and Jean-Baptiste Wicar, among others. Some have thought the artist Italian, and have proposed Andrea Appiani, Gaspare Landi...
    Category

    18th Century Old Masters Paintings

    Materials

    Canvas, Oil

  • Head of a Classical Poet (Socrates?)
    By Pier Francesco Mola
    Located in New York, NY
    Provenance: Possibly Antonio Amici Moretti, Rome, 1690 Roy Clyde Gardner, Union, Mississippi, 1970s until 2004; by whom given to: Mississippi Band of Choctaw Indians, 2004-2010 Lit...
    Category

    17th Century Baroque Paintings

    Materials

    Canvas, Oil

  • Portrait of George and Edward Finch-Hatton in Van Dyck Dress
    By David Martin
    Located in New York, NY
    Appointed Portrait Painter to the Prince of Wales in Scotland in 1785, David Martin was the leading Scottish portrait painter of his generation. The artist is best known in the United States for his portrait of Benjamin Franklin, which is in the White House collection, Washington, D.C. The sitters depicted in this double portrait were the sons of the British diplomat Edward Finch-Hatton. George (1747-1823), later of Eastwell Park, Kent, is shown seated, reading an ancient charter or medieval manuscript...
    Category

    18th Century and Earlier Paintings

    Materials

    Canvas, Oil

  • Three Angels
    By Domenico Piola the Elder
    Located in New York, NY
    Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...
    Category

    17th Century Baroque Figurative Paintings

    Materials

    Canvas, Oil

  • Head of an Angel
    Located in New York, NY
    Procaccini was born in Bologna, but his family moved to Milan when the artist was eleven years old. His artistic education was evidently familial— from his father Ercole and his elder brothers Camillo and Carlo Antonio, all painters—but his career began as a sculptor, and at an early age: his first known commission, a sculpted saint for the Duomo of Milan, came when he was only seventeen years old. Procaccini’s earliest documented painting, the Pietà for the Church of Santa Maria presso San Celso in Milan, was completed by 1604. By this time the artist had made the trip to Parma recorded by his biographers, where he studied Correggio, Mazzola Bedoli, and especially Parmigianino; reflections of their work are apparent throughout Procaccini's career. As Dr. Hugh Brigstocke has recently indicated, the present oil sketch is preparatory for the figure of the angel seen between the heads of the Virgin and St. Charles Borrommeo in Procaccini's altarpiece in the Church of Santa Afra in Brescia (ill. in Il Seicento Lombardo; Catalogo dei dipinti e delle sculture, exh. cat. Milan 1973, no. 98, pl. 113). As such it is the only known oil sketch of Procaccini's that can be directly connected with an extant altarpiece. The finished canvas, The Virgin and Child with Saints Charles Borrommeo and Latino with Angels, remains in the church for which it was painted; it is one of the most significant works of Procaccini's maturity and is generally dated after the artist's trip to Genoa in 1618. The Head of an Angel is an immediate study, no doubt taken from life, but one stylistically suffused with strong echoes of Correggio and Leonardo. Luigi Lanzi, writing of the completed altarpiece in 1796, specifically commented on Procaccini's indebtedness to Correggio (as well as the expressions of the angels) here: “Di Giulio Cesare...
    Category

    17th Century Old Masters Figurative Paintings

    Materials

    Canvas, Paper, Oil

  • Portrait of a Young Boy
    Located in New York, NY
    Signed and dated, lower left: Louise Hersent/ 1823 Provenance: Private Collection, Chicago, by 1996 Private Collection, Florida This charming portrait of a young boy is the work of Louise-Marie-Jeanne Hersent, a little-known woman artist of the French Restoration often identified by her maiden name, Mauduit. While Hersent—as we will call her here following the signature on the painting—has been understudied, the known details of her life and career reveal that she held a privileged position in artistic life in the early nineteenth century in Paris. She exhibited at the Salon from 1810 until 1824, and in 1821 she married the painter Louis Hersent, a successful pupil of Jacques-Louis David who was patronized by Louis XVIII and Charles X. It is likely through her husband’s royal patronage that Hersent’s Louis XIV Visits Peter the Great was purchased for the Royal Collection in Versailles. In 1806, while still Louise Mauduit, she painted a portrait of Napoleon’s youngest sister, Pauline Bonaparte...
    Category

    1820s Old Masters Paintings

    Materials

    Canvas, Oil

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