To the right of the Doge's Palace are the state prisons, while to the left are the library, Zecca, and the State Granaries (now destroyed), before which is moored the ducal galley. It was used by the doge for all state occasions except the Ascension Day ceremony.
[National Gallery, London - Oil on canvas, 58.1 x 76.4 cm]
Louis Hersent (Paris, March 10, 1777 - October 2, 1860) was a French painter. In 1798, seriously ill, he left Baron Jean-Baptiste Regnault’s studio. His parents put him into commerce where he lasted 18 months, painting on Sundays, until his kinsman, M. Crouzet, director of the military academy at St Cyr, gave him a post as drawing-master to the students.
[Musée du Louvre, Paris - Oil on canvas, 140 x 175 cm]
Natasha Milashevich was born in 1967 in Dushanbe in the former Soviet Union. She started her studies locally, graduating from the Art College of Dushanbe in 1989. She continued her studies in St. Petersburg in the studio of the renowned artist Vasili V. Sokolov at the Repin Academy of Painting, Sculpture and Architecture from which she graduated in 1995. Since that time, she has been a member of the Russian Fine Artist’s Association. Her work has been included in more than 30 exhibitions in Russia, Finland, Holland, France, Chile and Kazakhstan.
In Giovanni Lanfranco's highly original design, a few large figures stand on a bit of ground in a wide open, receding space. Using a low viewpoint and dramatic foreshortening, Lanfranco depicted the figures as if seen from below, imbuing them with monumentality. The powerful composition communicated both to spectators standing far away and to viewers standing far beneath the painting.
In the Old Testament story, Moses sent spies into Canaan to determine whether the land bore fruit. Lanfranco depicted these spies as they returned, laden with grapes, pomegranates, and figs as signs of the plenty of the Promised Land. Laying the ample harvest at Moses' feet, they reported, "surely it floweth with milk and honey."
In Catholic theology, the plentiful grapes of the Promised Land prefigured the wine served at the Last Supper. Appropriately, this picture and Elijah Receiving Bread from the Widow of Zarephath flanked a painting of the Last Supper in the large Chapel of the Blessed Sacrament in the church of San Paolo fuori le Mura (Saint Paul's-without-the-Walls) in Rome. Six additional paintings by Lanfranco, all related to the Eucharist, also hung high on the walls of the chapel.
[Getty Centre, Los Angeles - Oil on canvas, 85.75 x 97 inches]
The composition of this painting, listed in 1653 in the inventory of the collection of Cardinal Mazarin, is borrowed from that of a fresco painted by Antonio Carracci at the Palazzo del Quirinale in Rome between May and November 1616.
[Louvre Museum, Paris - Oil on canvas laid on board, 166 x 247 cm]
Probably painted in 1890 on the Cote d’Azur in southern France, this sun-filled painting shows two female figures at the beach. The seated figure is shown in profile, her right hand holding a parasol on the sand. She exchanges a look with the standing figure to her right who holds a basket at her side. The women are joined by a small white dog, and before the water stands a young boy dressed in blue, seemingly throwing an object into the ocean. The standing figure serves as a vertical force which connects the horizontally banded foreground, water, and sky.
The women appear carefree and neither at work nor in the presence of men. Painted later in Renoir’s career, a period at which point the artist expressed skepticism of industrialism and machines, this quiet seascape pays homage to the resplendent beauty of what is ordinary and simple.
[Metropolitan Museum of Art, New York - Oil on canvas, 52.7 x 64.1 cm]
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This painting is recorded as having been made as one of a pair for the Comte de Luc. The scene is largely fanciful but includes reminiscences of real buildings, notably the Naples lighthouse, recorded by Vernet in a drawing in Vienna. The washerwomen by the river to the right are observed by the fashionably dressed ladies on a platform of rock on the left. The latter have with them a black page and a man in military costume who gestures across to the river. This group, balanced in the composition by the trees to the right, is silhouetted against the sun and overshadowed by the dark cloud that stretches over the lighthouse on the central axis of the painting. This Italian coastal scene bathed in soft sunlight is clearly influenced by the port scenes of Claude, though much of the effect in Vernet's painting depends upon its picturesque human detail.
[National Gallery, London - Oil on copper, 62.2 x 85.1 cm]