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Painting:: all people --> Style:: woman

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Artist: Joaquin Sorolla

Two Sisters
Painting ID::  61709
mk275 1909 Oil on canvas 175 x 115 cm Art Institute of Chicago


Artist: Joaquin Sorolla

Walking the beach
Painting ID::  61712
mk275 1909 Oil on canvas 205 x 200 cm Art Institute of Chicago


Artist: Joaquin Sorolla

On the beach
Painting ID::  61715
mk275 1910 Oil on canvas 100 x 115 cm Art Museum St. Louis, Missouri


Artist: Joaquin Sorolla

Portrait of Antonia to sing the Queen in Europe
Painting ID::  61856
mk275 1908 Oil on canvas 150 x 118cm Mudd Resor Royar memorial hall


Artist: Pontormo

Reported pregnancy plans
Painting ID::  62033
mk276 1526 frescos years Kaposi Chapel 250 x 110cm


Artist: William Hogarth

The woman clutching his heart
Painting ID::  62170
mk279 Oil on canvas 100.4 x 126.5 1759 years


Artist: William Hogarth

Pharaoh's daughter
Painting ID::  62171
mk279 Oil on canvas 172.7 x 208.3cm 1746 years


Artist: Giovanni Battista Tiepolo

Mandolin played the young woman
Painting ID::  62181
mk280 Oil on canvas 92.1 x 74.9cm


Artist: Sandro Botticelli

Judith Villa return
Painting ID::  62203
mk281 Year 1469-1470


Artist: Sandro Botticelli

Courage
Painting ID::  62213
mk281 1470


Artist: GRECO, El

Penitent Magdalen
Painting ID::  62342
118 x 105 cm Private collection Autograph version, signed 'dom?nikos theot?kopoulos epoiei'. It is a late composition of the artist, recalling the iconography of Titian. Author: GRECO, El Title: Penitent Magdalen , 1551-1600 , Spanish Form: painting , religious


Artist: Caravaggio

Magdalene
Painting ID::  62386
122,5 x 98,5 cm Galleria Doria-Pamphili, Rome This picture and The Rest on the Flight into Egypt must have been painted around the same time, for the same girl sat for the Magdalene and the Madonna. On this occasion, however, there are none of the usual signs of a religious scene such as a halo. A young girl, seen from above, is seated on a low stool in one of Caravaggio's favourite cave-like settings, with a triangle of light high up on the wall behind her. Discarded jewellery - a string of pearls, clasps, a jar (perhaps holding precious ointment) - lies on the floor. The girl's hair is loose, as if it has just been washed. Her costume, consisting of a white-sleeved blouse, a yellow tunic and a flowery skirt, is rich. Bellori, who gives a careful description of this picture, which he came across in the collection of Prince Pamphilj, regards its title as an excuse; for him it is just a naturalistic portrayal of a pretty girl. This seems to show a willful failure to understand Caravaggio's intention or the wishes of the man who commissioned it, Monsignor Petrignani. The repentant Mary Magdalene, like the repentant Peter, was a favourite subject of Counter-Reformation art and poetry, which valued the visible expression of the state of contrition 'the gift of tears'. Caravaggio's heroine is sobbing silently to herself and a single tear falls down her cheek. She is, as it were, poised between her past life of luxury and the simple life she will embrace as one of Christ's most faithful followers. It is a sign of the painter's skill that he makes this inner conflict moving at the same time as he makes its representation delectable. Although nothing painted in the sixteenth century is as emotive as the statue in wood of the haggard saint carved by Donatello (c.1456-60), by the time Titian's bare-breasted Magdalene of the 1530s (Palazzo Pitti, Florence) had become the more modest and affecting Magdalene of the 1560s, there had been a move in religious sensibility towards the humble and pathetic, a change which thirty years later Caravaggio could take for granted


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Painting:: people --> Style:: woman

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