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Публічні продажі цього самого художника, ранжовані за технікою, роком створення, розмірами й давністю продажу.
La Comtesse de Rouge and La Marquise de Divonne, both daughters of Bartolini (sale: Christie’s. Lond...
Jean Bartoloni, Château de Versoix, Switzerland and heirs.
Frederick Mont (New York), Sold to the Cleveland Museum of Art.
On loan to Muse d'art et d'Histoire, Geneva, Switzerland.
La Comtesse de Rouge and La Marquise de Divonne, both daughters of Bartolini (sale: Christie’s. London, no. 101, pl. LIII); [Frederick M. Mont, New York]. Jean Bartoloni, Château de Versoix, Switzerland and heirs. Frederick Mont (New York), Sold to the Cleveland Museum of Art. On loan to Muse d'art et d'Histoire, Geneva, Switzerland.
Golden Anniversary of Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 16, 1966). Re-presenting the Baroque. Samuel P. Harn Museum of Art (organizer) (October 1, 1997-April 1, 1998). on loan to the Musée d'Art et d'Historie, Geneva, from ca. 1950 to 1960. Golden Anniversary Acquisitions, Cleveland Museum of Art, Cleveland, Ohio (September 10–October 16, 1966). Re-presenting the Baroque, Samuel P. Harn Museum, Gainesville, Florida (October 1997– April 1998).
Du Jin (Chinese, 1446-c. 1519) · 1460
Frederick Gottwald (American, born Austria, 1860–1941) · 1914
Henri-Edmond Cross (French, 1856–1910) · 1891
Paul Gauguin (French, 1848–1903) · 1889
Suzanne Valadon (French, 1865–1938) · 1889
Venus, the goddess of love, urged her mortal lover Adonis to hunt only the easiest game. Yet he insisted on pursuing boar, which eventually gored him to death. In this scene, Venus discovers the young man robbed of his youth, yet the painting eternally preserves him in a state of perfection. This paradox corresponds to wordplay in Italian poetry from the 1600s, with which many artists sought visual parallels in their work. This painting derives from a 1623 poem by Giovanni Battista Marino. The painter remains unknown, although the sophisticated literary reference, dramatic use of light, and vivid use of color demonstrate the artist’s awareness of trends converging in Naples in the mid-1600s.
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