Clark Art Institute 10 of 11


Orpheus and Eurydice. Netherlandish: Jan Mandyn (c. 1500 - c. 1559) c. 1540 Oil on panel 4,571.38 KB
Orpheus and Eurydice. Netherlandish: Jan Mandyn (c. 1500 - c. 1559) c. 1540 Oil on panel
 Bust of the Emperor Antoninus Pius. French: Nicolas Cordier(1567 - 1612) c. 1600 Marble 3,603.46 KB
Bust of the Emperor Antoninus Pius. French: Nicolas Cordier(1567 - 1612) c. 1600 Marble
 Portraint of a Gentleman. Flemish: Jan Gossaert (1472-1532) c. 1530. Oil on panel, transferred to canvas. Despite his dictictive facial features, this sitter's identity is unknow. His extravegant costume, fine gloves, and manicured hands suggest a life of wealth and luzury, and his hat is adorned with a pin showing a young man struggling to lift a stone tower. The inscription surrounding this image may be a warning about the folly of decadence. It translates from French as: He who holds too much wearies himself in vain. 10,241.70 KB
Portraint of a Gentleman. Flemish: Jan Gossaert (1472-1532) c. 1530. Oil on panel, transferred to canvas. Despite his dictictive facial features, this sitter's identity is unknow. His extravegant costume, fine gloves, and manicured hands suggest a life of wealth and luzury, and his hat is adorned with a pin showing a young man struggling to lift a stone tower. The inscription surrounding this image may be a warning about the folly of decadence. It translates from French as: "He who holds too much wearies himself in vain."
The Crucifixion. Italian: Giovanni Battista Cremonini (1550 - 1510) c. 1595, Oil on Copper. Two episodes from Christ's Passion-- the Agony in the Garden and the Crucifxion-- appear on the two sides of this copper panel, which may originally have been place on a freestanding altar, perhaps in a private chapel. These episodes are the first and last of the five sorrowful mysteries that Catholics were encouraged to contemplate when praying the rosary. Here, Christ has been crucified, his grieving mother and John the Evangelist are the only mourners who remain at the foot of the cross. 1,951.73 KB
The Crucifixion. Italian: Giovanni Battista Cremonini (1550 - 1510) c. 1595, Oil on Copper. Two episodes from Christ's Passion-- the Agony in the Garden and the Crucifxion-- appear on the two sides of this copper panel, which may originally have been place on a freestanding altar, perhaps in a private chapel. These episodes are the first and last of the five "sorrowful mysteries" that Catholics were encouraged to contemplate when praying the rosary. Here, Christ has been crucified, his grieving mother and John the Evangelist are the only mourners who remain at the foot of the cross.
 Portrait of a man. Italian: Ridolfo Ghirlandiaio (1483-1561) c. 1500-20. Temera and oil on panel. 1,845.16 KB
Portrait of a man. Italian: Ridolfo Ghirlandiaio (1483-1561) c. 1500-20. Temera and oil on panel.
 Virgin and Child with Saints Elizabeth and John the Baptist. South Netherlandish: Quinten Massys (1466-1530) c 1520-25 3,816.06 KB
Virgin and Child with Saints Elizabeth and John the Baptist. South Netherlandish: Quinten Massys (1466-1530) c 1520-25
Bacchante. French: Elisabeth Louise Vigee-Lebrun (1755-1842) 1785. Crowned with a wreath of grapes and vines, this smiling woman with flushed cheeks repreesents a bacchante-- a follower of the wine god Bacchus. Though Vigee-Lebrun was a successful portratist, this work was probably not intended as an image of a particular individual. Instead, the mythological theme allowed the artist to paint an openly erotic image and demonstrate her skill capturing lively facial expressions. 4,247.81 KB
Bacchante. French: Elisabeth Louise Vigee-Lebrun (1755-1842) 1785. Crowned with a wreath of grapes and vines, this smiling woman with flushed cheeks repreesents a bacchante-- a follower of the wine god Bacchus. Though Vigee-Lebrun was a successful portratist, this work was probably not intended as an image of a particular individual. Instead, the mythological theme allowed the artist to paint an openly erotic image and demonstrate her skill capturing lively facial expressions.
 Viscount Hampden. English: Thomas Gainsborough (1727-1788) c. 1780 6,246.20 KB
Viscount Hampden. English: Thomas Gainsborough (1727-1788) c. 1780
 Elizabeth and Thomas Linley. English: Thomas Gainsborough (1727 - 1788) c. 1768 Elizabeth and Thomas Linley belonged to a family of accomplished musicians from Bath, in England-- she was a celebrated singer and he, a precocious violinist. Gainsborough knew the Linleys well and his affection for the brother and sister is evident in this engaging, sympathetic portrait. The sitterseyes shine and their finely painted features contrast with the loose brushwork of their hair, clothing, and rustic surroundings. 4,620.89 KB
Elizabeth and Thomas Linley. English: Thomas Gainsborough (1727 - 1788) c. 1768 Elizabeth and Thomas Linley belonged to a family of accomplished musicians from Bath, in England-- she was a celebrated singer and he, a precocious violinist. Gainsborough knew the Linleys well and his affection for the brother and sister is evident in this engaging, sympathetic portrait. The sitters' eyes shine and their finely painted features contrast with the loose brushwork of their hair, clothing, and rustic surroundings.
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