Greg Lloyd boosted
Ele Willoughby, PhD
@minouette@spore.social  ·  activity timestamp last month
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Ele Willoughby, PhD
@minouette@spore.social  ·  activity timestamp last month
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
Johannes Vermeer, Girl With a Pearl Earring ca 1665 Medium: Oil Support: Canvas Size: 44.5 cm x 39 cm Art period: Baroque Mauritshuis, The Hague Painting This is the famous painting of the young Dutch woman in gold jacket with white collar, gold and blue turban with large pearl earrings looking over her shoulder at the viewer, against a near-black background. “Vermeer, Girl with a Pearl Earring is an exceptional example of Vermeer’s genius, it is a portrait of an unknown girl or maybe a generalized female head (called a ‘tronie’ in Netherlands). The pigment analysis revealed a limited palette consisting of red, brown and yellow ochre, natural ultramarine, indigo, lead white, and the rare yellow pigment weld (luteoline).” Red ochre is hematite. Via ColourLex
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
An image of a cave painting and analysis of pigments used. There’s a rotund beige horse outlined in black from the Lascaux caves, and a collection of squares of browns and black labelled with the mineral pigment used to produce these colours at Lascaux. 6 squares are due to Goethite in umbers and browns. 2 dark browns from Hematite. Black from magnetite. 5 brown squares from: Lepidocrocite, Akaganeite, Maghemite, Feroxyhyte, Ferrihydrite and Fe(III) hydroxy-Sulfate.
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Kyanite is a naturally occurring aluminum silicate mineral that typically forms as bladed crystals, and occasionally it occurs as radiating masses of crystals. The name kyanite is derived from the Greek word kyanos which means “blue.” Gem quality kyanite has a royal blue color similar to fine sapphire. This material is highly prized by those who cut gemstones. Kyanite can be cut en cabochon, faceted, or fashioned into beads, however its variability in hardness and color zoning can make it difficult to fashion and facet. Transparent intense blue kyanite is beautiful and is considered to be an exotic gemstone because it is not often seen in jewelry. Kyanite is predominately found in shades of blue and green, but it can also be yellow, white and orange. This 5.87ct gem is an intense deep blue color and the largest and finest kyanite from Nepal in the National Gem Collection. Smithsonian Museum"
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Edgar Degas, Portrait of Elena Carafa ca 1875 Medium: oil Support: canvas Size: 70,1 x 55 cm Art movements: Impressionism, Realism National Gallery London NG4167 “The sitter for this portrait, Elena Carafa, was Degas’ first cousin, who lived with her sister Camilla and their mother Stefanina, Duchess Montejasi-Cicerale, in Naples. The portrait of Elena Carafa by Edgar Degas shows an assured young lady” wearing a black dress and blue shawl, seated back in a floral armchair with red floral wallpaper and white door behind her. She has dark brown hair piled high on her head and looks at the viewer with her chin forward like she’s daring you to judge her. Uses red ochre (hematite) as a pigment
Greg Lloyd boosted
Ele Willoughby, PhD
@minouette@spore.social  ·  activity timestamp 2 months ago
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
Ele Willoughby, PhD
@minouette@spore.social  ·  activity timestamp 2 months ago
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Title: Elephant and two boys Period: Qing dynasty (1644–1911) Date: 19th century Culture: China Medium: Kosmochlor jadeitite Dimensions: H. 5 1/4 in. (13.3 cm); W. 4 1/4 in. (10.8 cm) Classification: Jade Credit Line: Bequest of Edmund C. Converse, 1921 Object Number: 21.175.113 This sculpture of two boys seated on a crouching elephant is from the Met. https://www.metmuseum.org/art/collection/search/43285
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Hieronymus Bosch, The Haywain Triptych ca 1510-16 “Hieronymus Bosch, The Haywain Triptych consists of four parts: the left panel named ‘Paradise’ shows the origin of sin on Earth with Adam and Eve being expulsed from Paradise by Archangel Michael. The center panel depicts mankind in sin trying to avail themselves of the earthly possessions symbolized by the hay. The right panel depicts the fires of Hell, while the back sides of both side panels show an old pilgrim trying to find his way in a dangerous world. The triptych was thoroughly investigated by The Bosch Research and Conservation Project. The results of this investigation … reveals a limited palette consisting of the cheaper pigments employed in the Renaissance period, such as azurite, lead-tin yellow, vermilion, carmine kermes, and ochres.” Via https://colourlex.com/project/hieronymus-bosch-haywain-triptych/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Anthony van Dyck, Lord John Stuart and his Brother, Lord Bernard Stuart ca 1638 “Medium: Oil Support: Canvas Size: 237.5 x 146.1 cm Art period: Baroque National Gallery London NG6518 A late portrait of the two sons of the 3rd Duke of Lennox. The two figures are prominently placed and worked out in considerable detail, while the background is left sketchy and gives an unfinished impression. The pigment analysis casts light on the elaborate handling of painting materials in the costumes of both young men. Lord Bernard’s blue satin dress is painted in several layers of indigo, lead white and azurite to achieve the rich sheen of the fabric.” Via https://colourlex.com/project/van-dyck-lord-john-stuart-brother-lord-bernard-stuart/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
Raphael, Saint Catherine of Alexandria ca 1507 “Medium: Oil Support: Poplar Size: 72.2 x 55.7 cm Art period: High Renaissance National Gallery London NG168 Saint Catherine of Alexandria was also known as Saint Catherine of the Wheel and The Great Martyr. She was a Christian saint and virgin, who was martyred on the spiked wheel in the early 4th century at the hands of the pagan emperor Maxentius (in later versions Maximinus or Maximianus).” This Renaissance painting shows shows the blond saint in blue dress, green shirt and gold and red cape looking skywards, in a natural setting with trees, lake, mountains and cloudy sky. Pigment analysis shows azurite in mixed colours in several places. Via https://colourlex.com/project/raphael-saint-catherine-alexandria/
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