Category: 1700s

Rosalba Carriera

Rosalba Carriera

Africa (from Allegories of Four Continents)

Italy (c. 1712)

Pastel on blue paper; 34 x 28 cm.

Portrait of Omai, c. 1776, by Joshua Reynolds …

Portrait of Omai, c. 1776, by Joshua Reynolds (1723-1792)

Portrait of Mary Gainsborough, 1777, by Thomas…

Portrait of Mary Gainsborough, 1777, by Thomas Gainsborough (1727-1788)

George Clive and his Family with an Indian Mai…

George Clive and his Family with an Indian Maid, 1765, by Joshua Reynolds (1723-1792)

Portrait of Charlotte of Mecklenburg-Strelitz,…

Portrait of Charlotte of Mecklenburg-Strelitz, c. 1768, by Nathaniel Dance-Holland (1735-1811)

Bani Thani, by Nihâl Chand (1710-1782)

Bani Thani, by Nihâl Chand (1710-1782)

Detail of Portrait of Archduchess Maria Christ…

Detail of Portrait of Archduchess Maria Christina, Duchess of Teschen, 1776, by Johann Zoffany (1733-1810)

Detail of Portrait of María Carolina de Habsbu…

Detail of Portrait of María Carolina de Habsburgo-Lorena, reina de Nápoles, 1768, by Anton Raphael Mengs (1728-1779)

Portraits of Madame Adélaïde de France (1732-1…

Portraits of Madame Adélaïde de France
(1732-1800) by Jean-Marc Nattier (1685-1766)

Madame Adélaïde de France, 1749 l Madame Adélaïde de France Tying Knots, 1756

The Repentant Mary Magdalene, by Antonio Canov…

The Repentant Mary Magdalene, by Antonio Canova (1757-1822)

“According to legend, the sinner Mary Magdalene repented after meeting Christ and spent many years in the desert, where she lamented her past sins. In keeping with tradition, Canova shows the Magdalene as a young beautiful woman dressed as a hermit. The skull at her feet signifies the brevity of earthly existence. Mary once held a cross, symbol of the Crucifixion. In the grief-stricken figure and the gesture of the helpless, drooping hands, we see not a Classical ideal of beauty but an emotional image which reflects the observation of nature. Born into a family of stonemasons, the sculptor had a perfect mastery of the art of working with marble. The polished marble of the Magdalene’s body and the shining surface of the skull contrast with the roughly worked rock of the base.”