Old Master Through Modern Prints October 31

Total Page:16

File Type:pdf, Size:1020Kb

Old Master Through Modern Prints October 31 Theocritus, et al., Idyllia, with contemporary hand- coloring, Venice, 1495/96. $40,000 to $60,000. ALDINE IMPRINTS & EARLY PRINTED BOOKS FROM THE LIBRARY OF KENNETH RAPOPORT OCTOBER 23 Swann is pleased to offer Aldine Imprints and Early Printed Books from the Library of Kenneth Rapoport, featuring 100 books from the Venetian press of the scholar-publisher Aldus Manutius and his successors. This is the most extensive selection of Aldines to appear at auction since the mid-1990s. Included are three incunables, nine Greek editiones principes, and 47 first Aldine editions of works by classical and later authors, many in contemporary fine bindings. Particularly noteworthy are Aristotle, Organon, 1499; Epistolae diversorum philosophorum, oratorum, rhetorum, 1499; Petrarca, Le Cose Volgari, 1501; Euripides, Tragoediae septendecim, 1503; Plato, Omnia Platonis opera, 1513; Galen, Librorum pars prima[-quinta], 1525; and Castiglione, Il Cortegiano, 1528. Among the non-Aldine highlights are Le Bible en Francoys, Lyon, 1547, in a contemporary Parisian binding made for Marcus Fugger; and Chevallier, Alphabetum Hebraicum, Geneva, 1566. Eldzier Cortor, Classical Composition No. 4, oil on canvas, circa 1973. $200,000 to $250,000. AFRICAN-AMERICAN FINE ART OCTOBER 18 Sale highlights include a collection of Henry Ossawa Tanner oil studies for Biblical paintings, including Christ and Nicodemus, 1923; The Flight into Egypt, circa 1916-22; and The Good Shepherd, circa 1917, obtained from Grand Central Art Galleries by the current owner more than 40 years ago. Also offered is a fine drawing study in conté crayon and charcoal for Tanner’s Head of Christ. Paintings by Eldzier Cortor are incredibly rare at auction, and this sale boasts two. His large, figurative Classical Composition No. 4, circa 1973, is the day’s Left: Vincent van Gogh, Homme à la Pipe: Portrait du Docteur Gachet, etching, 1890. $60,000 to $90,000. top lot, and Tête-à-Tête, oil on canvas,1934, is one of his earliest known works. Also featured are paintings by Norman Lewis, Robert Duncanson Bottom Left: Rembrandt van Rijn, Christ Healing the Sick: The Hundred Guilder Print (detail), etching, engraving, drypoint & burin, circa 1649. and Hughie Lee-Smith; Charles White’s 1953-54 pen and ink drawing Songs $150,000 to $200,000. of Life; and a Romare Bearden collage, Girl in a Garden, 1972. OLD MASTER THROUGH MODERN PRINTS OCTOBER 31 This auction of exceptionally scarce, museum-quality Old Master through 20th-century prints offers examples from the entire history of printmaking, ranging from Dürer and Rembrandt to Renoir and Whistler, Cadmus and Hopper, and Picasso and Miró. Swann remains the only U.S. auction house to devote regular sales to Old Master prints. Among the extraordinary impressions to be offered are Rembrandt’s Christ Healing the Sick: The Hundred Guilder Print, circa 1649, a bright and strong lifetime impression of the second, final state, still printing with burr; and van Gogh’s only etching, Homme à la Pipe: Portrait du Docteur Gachet, 1890, an intimate portrait of the doctor who taught the artist etching and administered to him in the final weeks of his life. Select highlights from this auction will be on view at Swann’s International Auctioneers partner Artcurial, in Paris October 4 through 8..
Recommended publications
  • Book of Abstracts: Studying Old Master Paintings
    BOOK OF ABSTRACTS STUDYING OLD MASTER PAINTINGS ­ TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE 16­18 September 2009, Sainsbury Wing Theatre, National Gallery, London Supported by The Elizabeth Cayzer Charitable Trust STUDYING OLD MASTER PAINTINGS ­ TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE BOOK OF ABSTRACTS 16­18 September 2009 Sainsbury Wing Theatre, National Gallery, London The Proceedings of this Conference will be published by Archetype Publications, London in 2010 Contents Presentations Page Presentations (cont’d) Page The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena 3 The rediscovery of sublimated arsenic sulphide pigments in painting 25 Marco Ciatti, Roberto Bellucci, Cecilia Frosinini, Linda Lucarelli, Luciano Sostegni, and polychromy: Applications of Raman microspectroscopy Camilla Fracassi, Carlo Lalli Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch Painting on parchment and panels: An exploration of Pacino di 5 The use of blue and green verditer in green colours in seventeenth­century 27 Bonaguida’s technique Netherlandish painting practice Carole Namowicz, Catherine M. Schmidt, Christine Sciacca, Yvonne Szafran, Annelies van Loon, Lidwein Speleers Karen Trentelman, Nancy Turner Alterations in paintings: From non­invasive in­situ assessment to 29 Technical similarities between mural painting and panel painting in 7 laboratory research the works of Giovanni da Milano: The Rinuccini
    [Show full text]
  • NEWS RELEASE Press Preview: Tues., May 24 9
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726).
    [Show full text]
  • Exhibition of Prints by Acclaimed Abstr...)
    Home Visit Exhibitions Collections Events About Membership Charles Loring Elliott, Portrait of Matthew Vassar, 1861 IN THE NEWS About: Home / In The News / 2017‑2018 In the News Publications Exhibition of prints by acclaimed abstract artist Helen Staff Frankenthaler makes its only northeast stop at the Articles Frances Lehman Loeb Art Center, October 6-December Art Department 10, 2017 Art Library Widely known for her iconic “soak‑stain” canvases, acclaimed artist Helen Frankenthaler Share (1928–2011) was an equally inventive printmaker who took risks in a medium not frequently explored by abstract expressionists. Fluid Expressions: The Prints of Helen Frankenthaler, from the Collections of Jordan D. Schnitzer and His Family Foundation highlights Frankenthaler’s often‑overlooked, yet highly original print production. The exhibition will be making its only northeast stop at Vassar College’s Frances Lehman Loeb Art Center October 6‑December 10, 2017. This exhibition is free and open to the public. Frankenthaler became well known through her large, almost 10‑feet‑wide oil painting, Madame Butterfly, 2000 woodcut Mountains and Sea, made in 1952. In a breakthrough development, she poured thinned Collection of Jordan D. Schnitzer oil paints onto raw, unprimed canvas to suggest the Nova Scotia landscape. With an 2003.201 element of chance, the paints bled into the bare cloth in a dramatic play of watercolor‑ © 2017 Helen Frankenthaler Foundation, Inc. / Artists Rights like washes, instinctual shapes, and receding space. Her pioneering, immediate approach Society (ARS), New York /Tyler widened the practices of abstract expressionists and went on to inspire Color Field Graphics Ltd., Mount Kisco, New York abstract painters such as Morris Louis and Kenneth Noland and generations of future artists.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Chapter 25 Baroque
    CHAPTER 25 BAROQUE Flanders, Dutch Republic, France,,g & England Flanders After Marti n Luth er’ s Re forma tion the region of Flanders was divided. The Northern half became the Dutch Republic, present day Holland The southern half became Flanders, Belgium The Dutch Republic became Protestant and Flanders became Catholic The Dutch painted genre scenes and Flanders artists painted religious and mythol ogi ca l scenes Europe in the 17th Century 30 Years War (1618 – 1648) began as Catholics fighting Protestants, but shifted to secular, dynastic, and nationalistic concerns. Idea of united Christian Empire was abandoned for secu lar nation-states. Philip II’s (r. 1556 – 1598) repressive measures against Protestants led northern provinces to break from Spain and set up Dutch Republic. Southern Provinces remained under Spanish control and retained Catholicism as offiilfficial re liiligion. PlitildititiPolitical distinction btbetween HlldHolland an dBlid Belgium re fltthiflect this or iiigina l separation – religious and artistic differences. 25-2: Peter Paul Rubens, Elevation of the Cross, 1610-1611, oil on Cue Card canvas, 15 X 11. each wing 15 X 5 • Most sought a fter arti st of hi s time - Ambassador, diplomat, and court painter. •Paintinggy style •Sculptural qualities in figures •Dramatic chiaroscuro •Color and texture like the Venetians • Theatrical presentation like the Italian Baroque •Dynamic energy and unleashed passion of the Baroque •Triptych acts as one continuous space across the three panels. •Rubens studied Renaissance and Baroque works; made charcoal drawings of Michelangelo’s Sistine Chapel and the Laocoon and his 2 sons. •Shortly after returning home , commissioned by Saint Walburga in Antwerp to paint altarpiece – Flemish churches affirmed their allegiance to Catholicism and Spanish Hapsburg role after Protestant iconoclasm in region.
    [Show full text]
  • The Implementation of Chiaroscuro Visual Characters Using Woodcut Printmaking Technique on Textile
    6th Bandung Creative Movement International Conference in Creative Industries 2019 (6th BCM 2019) The Implementation of Chiaroscuro Visual Characters Using Woodcut Printmaking Technique on Textile Mochammad Sigit Ramadhan1 1Craft Textile and Fashion, School of Creative Industries, Telkom University, Indonesia [email protected] Abstract One of the characteristics in the 15th century Renaissance that there was a dramatic visual expression in the worNs of art, especially painting. ,t‘s usually visualized Ey the artists at that time with the use of the light-dark principle on the objects presented in the artwork. This light-dark principle is known as chiaroscuro, and in the history of its development this chiaroscuro principle was applied also in printmaking by several artists in Europe. The chiaroscuro character can be built with the composition of color values with different intensities through the process of printing a matrix on the print media. There are two methods that can be used to produce color printmaking work, multi-block and reduction method that have their own advantages and disadvantages in visualizing the chiaroscuro principle. In addition to paper materials, the application of woodcut printmaking is also carried out on textile materials known as block-printing. However, there are not many works on textile materials that use the chiaroscuro principle because in general the coloring character in the visual image or design used tends to be solid color. Based on the explanation, there is an opportunity to apply the visual chiaro- scuro character to the textile materials by using woodcut printmaking technique. The use of woodcut printmaking technique allows artist to produce a number of different color values by referring to the light layer falling on the object, so that the impression of volume and depth created in the artwork will be more visible.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . "T 1215/842-6353 CONTACT: Randall Kremer Ellen Stanley (202) 842-6358 HOLD FOR RELEASE: Feb. 27, 1987 DRAWINGS FROM BRITISH ROYAL COLLECTION TO COME TO NATIONAL GALLERY Princess Alexandra to Represent Royal Family at Preview WASHINGTON - The National Gallery of Art announced today that it will present an exhibition of 61 of the finest master drawings from the collection of Her Majesty Queen Elizabeth II at the Royal Library, Windsor Castle, the first time a survey exhibition from the Royal Collection has ever traveled from England. The Royal Library includes superlative works of art in numerous areas but is most widely known for its extraordinary old master drawings, particularly of the Italian School. Entitled Italian Master Drawings from the British Royal Collection: Leonardo to Canaletto, the exhibition brings together works by the foremost Italian masters of the 15th through the 18th centuries, including Leonardo, Michelangelo and Raphael, as well as Giovanni Bellini and Domenico Ghirlandaio. The exhibition will be on view at the National Gallery of Art East Building, May 10 through July 26, 1987. Pan American World Airways has been designated the official carrier of the exhibition. The National Gallery also announced that Her Royal Highness Princess Alexandra will represent the Royal Family at a dinner in the East Building on May 6 to mark the occasion of this extraordinary Royal loan. The selection of drawings was made by Jane Roberts, curator of the Print Room at the Royal Library, Windsor, and Andrew Robison, senior curator at the National Gallery of Art.
    [Show full text]
  • Young Woman Feeding a Parrot
    Young Woman Feeding a Parrot 1663 Frans van Mieris oil on panel (Leiden 1635 – 1681 Leiden) 22.4 x 17.7 cm formerly signed and dated: “F.van Mieris fect Anno 1663” FM-112 How To Cite © 2017 Leiden Gallery Young Woman Feeding a Parrot Page 2 of 15 Quentin Buvelot, "Young Woman Feeding a Parrot", (FM-112), in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017 http://www.theleidencollection.com/archive/ This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Frans van Mieris’s fame derives from his interior genre scenes depicting the daily affairs of wealthy Dutch citizens.[1] Many of these paintings consist of two people interacting with each other in some idle fashion, but, as in this stunning painting, he also portrayed single figures relaxing within their domestic spheres. Here, within this darkened room,[2] a richly dressed young woman with a fashionable hairstyle has just interrupted her needlework—a needle cushion is on her lap and a thimble is on one of her fingers—to feed the tame gray parrot sitting on one of the perches of a fine wooden stand. Parrots were kept as pets in the seventeenth century, and Van Mieris Fig 1. “Maeghde-Wapen,” [3] depicted them on other occasions in his genre scenes. He may have engraving from Jacob Cats, painted this exotic bird, a Psittacus eritachus, for no other reason than to Houwelyck (Haarlem, 1642), with “Leer-sucht” (eagerness to emphasize the luxurious surroundings.[4] Notably, though, in images of the learn) depicted by the woman at the left Virgin Mary and in marriage portraits, parrots often alluded to virtuousness or marital chastity.
    [Show full text]
  • A Demonstration of Painting in Oils in the Chiaroscuro
    A DEMONSTRATION OF PAINTING IN OILS IN THE CHIAROSCURO (‘Light-dark’) METHOD by local award-winning artist KAY SPARKES Chiaroscuro (Italian for 'light-dark'), in art, is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. Similar effects in cinema and photography also are called chiaroscuro. St. Peter in Prison The underlying principle is that solidity of form is best achieved by Rembrandt, 1631 by the light falling against it. Artists known for developing the technique include Leonardo Da Vinci, Caravaggio, Vermeer, Goya and Rembrandt. It is one of the modes for painting colour in Renaissance art. ABOUT KAY SPARKES Kay was born and grew up on the land near Gulgong, Central Western NSW. Music has always been a major part of her life. When she moved to Sydney she worked in the music industry Red Jug and Pears by and sang professionally. Kay Sparkes Kay moved to Maitland in 1996 where she began to explore her love of art and in 2006, friend and artist James Casey introduced her to canvas and oil and the use of the old master’s techniques – light and shadow ( the chiaroscuro technique). Kay loves painting and stuff we eat, touch and use everyday and those things become the subjects of her still life artworks. Kay has won many prizes including the Maitland Art Prize and Newcastle Art Prize.
    [Show full text]
  • British Romanticism and the Reception of Italian Old Master Art, 1793–1840
    British Romanticism and the Reception of Italian Old Master Art, 1793–1840 Maureen McCue BRITISH ROMANTICISM AND THE RECEPTION OF ITALIAN OLD MASTER ART, 1793–1840 For my family British Romanticism and the Reception of Italian Old Master Art, 1793–1840 MAUREEN MCCUE Bangor University, UK First published 2014 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2014 Maureen McCue Maureen McCue has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library The Library of Congress has cataloged the printed edition as follows: McCue, Maureen. British Romanticism and the reception of Italian old master art, 1793–1840/ by Maureen McCue. pages cm.—(Studies in art historiography) Includes bibliographical references and index. ISBN 978-1-4094-6832-5 (hardcover) 1. English literature—18th century—History and criticism. 2. Romanticism—England.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • Netherlands / ART the 10 Most Important Old Masters in Dutch
    Netherlands / ART The 10 Most Important Old Masters in Dutch Painting by Samuel Spencer, CultureTrip.com https://theculturetrip.com/europe/the-netherlands/articles/the-10-most-important-old-masters- in-dutch-painting/ From stunning originals like Hieronymus Bosch through to the Dutch Golden Age of the 1650s, The Netherlands produced countless masterpieces across every category of painting. Most are familiar with towering figures like Rembrandt or Vermeer, but there is more to an art movement than two figures. From an internationally successful woman to Dürer’s great Dutch rival, the country has so much to offer art fans. Explore Holland with our guide to its best Old Masters. Rembrandt van Rijn (1606-1669) Perhaps the greatest and most famous portrait painter of all time, Rembrandt van Rijn was a master of observation, chiaroscuro and, perhaps most importantly, brutal honesty, as seen in his most famous works, the self-portraits. Critics and scholars disagree over how many he undertook, but whatever the actual number, it is a staggering collection including approximately 45 paintings, 30 etchings and seven drawings. These depict the ravages of time on the artist’s face without any sense of vanity, and are heartbreaking if seen in succession. His Biblical scenes and etchings are also superb, but it is those portraits that are his legacy. Johannes Vermeer (1632-1675) Virtually ignored in his own time, Vermeer is now truly considered an Old Master. Like many from the Golden Age of Dutch Painting, Vermeer’s fascination was light, and the faithful and beautiful reproduction of it on canvas. This can best be seen on his most famous work Girl With a Pearl Earring, in which the interplay of light upon the various fabrics and the wonderful reflection shining on that pearl earring make it one of the masterpieces of western art.
    [Show full text]