Giorgione

Giorgione (born Giorgio Barbarelli da Castelfranco; c. 1477/8 – 1510) was an Italian painter of the High Renaissance in Venice. Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are acknowledged for certain to be his work. The resulting uncertainty about the identity and meaning of his art has made Giorgione one of the most mysterious figures in European painting.
The little known of Giorgione’s life is given in Giorgio Vasari’s Vite. The painter came from the small town of Castelfranco Veneto, 40 km inland from Venice. His name sometimes appears as Zorzo. The variant Giorgione (or Zorzon) may be translated “Big George”. How early in boyhood he went to Venice we do not know, but stylistic evidence supports the statement of Carlo Ridolfi that he served his apprenticeship there under Giovanni Bellini; there he settled and made his fame.
Contemporary documents record that his gifts were recognized early. In 1500, when he was only twenty-three (that is, if Vasari is correct about his age when he died), he was chosen to paint portraits of the Doge Agostino Barbarigo and the condottiere Consalvo Ferrante. In 1504 he was commissioned to paint an altarpiece in memory of another condottiere, Matteo Costanzo, in the cathedral of his native town, Castelfranco.
The difficulty in making secure attributions of work by Giorgione’s hand dates from soon after his death, when some of his paintings were completed by other artists, and his considerable reputation also led to very early erroneous claims of attribution. The vast bulk of documentation for paintings in this period relates to large commissions for Church or government.

Moses’ trial by fire, 1496
Oil on paneel
Galleria degli Uffizi, Florence, Italy ▼

The judgment of Solomon, 1496
Oil on paneel
Galleria degli Uffizi, Florence, Italy ▼

The Holy Family, 1500
Oil on panel
The National Gallery of Art
Washington DC, USA ▼

La Vecchia, 1503
Oil on canvas
Galleria dell’Accademia
Venice, Italy ▼

Adoration of the Magi, 1504
Oil on panel, National Gallery, London, UK ▼

Judith, 1504
Oil on canvas, transferred from panel
The Hermitage Museum
St. Petersburg, Russia ▼

Adoration of the shepherds, 1504
Oil on panel
National Gallery of Art, Washington DC, USA ▼

Sacra conversazione, 1505
Oil on panel
Galleria dell’Accademia, Venice, Italy ▼

A young man, 1506
Oil on canvas
Gemaldegalerie, Berlin, Germany ▼

Castelfranco Madonna, 1506
Oil on wood
Castelfranco Venero
San Liberalre, Italy ▼

Portrait of a young woman (Laura), 1506
Oil on wood
Kunsthistorisches Museum
Vienna, Austria ▼

The three philosophers, 1508
Oil on canvas
Kunsthistorisches Museum
Vienna, Austria ▼

Sleeping Venus, 1508
Oil on canvas
Alte Meister Gallerie
Dresden, Germany ▼

Singer, 1510
Oil on canvas
Museo Galleria Borghese
Rome, Italy ▼

The tempest, 1510
Oil on canvas
Galleria dell’Accademia
Venice, Italy ▼

Portrait of a young man (Antonio Broccardo?), 1510
Oil on canvas
Szépmüvészeti Múzeum
Budapest, Hungary ▼

The three ages of man, 1510
Oil on canvas
Palazzo Pitti, Galleria Palatina, Florence, Italy ▼

Madonna and Child with St. Anthony and St. Roch, 1510
Oil on canvas
Prado Museum, Madrid, Spain ▼

Portrait of a venetian gentleman, 1510
Oil on canvas
The National Gallery of Art
Washington DC, USA ▼

Christina Robertson

Christina Robertson (née Sanders, 1796-1854) was a Scottish portrait painter of the mid-19th Century, who spent many years at the Russian Imperial Court in St. Petersburg, where she gained extensive renown. She was considered by contemporaries to be one of the most talented artists of her day, a remarkable achievement for a woman and mother of a large family in the male-dominated world of 18th Century portrait painting. It is also remarkable — and unfortunate — that, despite her great success and popularity, very little is known about the artist’s life.

Christina Sanders was born in Fife, Scotland, in 1796. It is unknown when she first started painting, and where received her education. In 1822, she married the artist James Robertson, and together, they settled in London. The marriage would produce eight children, four of whom would die in childhood.

Starting from 1823, Christina Robertson began participating in the annual exhibitions of the Royal Academy in London and Edinburgh. She also exhibited her works with the Society of British Artists (starting from 1824) and the British Institution (from 1833), and was frequently lauded by critics. In 1829, she was elected an honorary member of the Scottish Academy — the first woman to ever receive this distinction. During the 1830s, she traveled to Paris several times.
Her portraits were frequently used as the basis for engravings for journals and magazines of the 1830s and 40s, including The Court Magazine, La Belle Assemblée, Heath’s Book of Beauty and John Burke’s Portrait Gallery of Distinguished Females. It was through these publications that her fame spread to the Russian nobility in St. Petersburg.
In 1837, Robertson traveled to Paris, and it was here that she painted the portraits of several Russian clients, any one of whom could’ve recommended the artist to the Imperial Court. This was a period of “anglomania” in Russian high society, and anything British was very fashionable.
In 1849, she painted two portraits of the Emperor’s daughters-in-law. One of these works was rejected outright, while the other was deemed by the Emperor to be “unsatisfactory.” Despite this, Robertson continued to receive commissions from the Imperial family and the St. Petersburg court. In 1850, she painted several portraits of Grand Duchess Maria Aleksandrovna, the Emperor’s daughter-in-law whose earlier portrait he had rejected, and her children. In 1852, she worked on a portrait of the Empress.
By this time, Robertson’s health had begun to decline, and might have been running into financial difficulties, as there is evidence that several of her clients had refused to pay her.

Christina Robertson died in St. Petersburg, in 1854 and was interred in the Volkovo Cemetery.

Self portrait, 1822
Watercolor on ivory
23 x 18.3 cm with frame
Victoria & Albert Museum
London, UK ▼

Portrait of Grand Duchess Alexandra Nikolaevna, 1840
Oil on canvas, 249 x 151 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Prince Nicholas Yusupov, 1840
Oil on canvas, 106 x 78.5 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Count Vladimir Orlov-Davydov, 1840
Oil on canvas, 230 x 147 cm
The Russian Museum
St. Petersburg, Russia ▼

Portrait of Empress Alexandra Fedorovna, 1841
Oil on canvas, 264 x 162 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Princess Zinaida Yusupova, 1841
Oil on canvas, 95.5 x 62.5 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Empress Alexandra Fedorovna, 1841
Watercolor and white highlights, with traces of a pencil sketch on Bristol card, 25.3 x 19.6 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Grand Duchess Maria Nikolaevna, 1841
Oil on canvas, 249 x 151 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Grand Duchess Olga Nikolaevna, 1841
Oil on canvas, 249 x 151 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Princess Tatiana Vasilievna Yusupova, 1841
Oil on canvas, 92.5 x 61.5
The Hermitage Museum
St. Petersburg, Russia ▼

Grand Duchess Maria Nikolaevna with her children, 1849
Oil on canvas, 91 x 104.5 cm
The Russian Museum
St. Petersburg, Russia ▼

Children with a parrot, 1850
Oil on canvas, 112 x 104 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Grand Duchess Maria Aleksandrovna, 1850
Watercolor, pencil, and white highlights on fine white card, 34.2 x 24.6 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Grand Duchess Maria Nikolaevna, 1851
Watercolor, gouache, white highlights, and pencil on fine white card, 34.2 x 20.4 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Empress Alexandra Fedorovna, 1851
Watercolor, whitewash on paper, 34.5 x 25 cm
The Hermitage Museum
St. Petersburg, Russia ▼

Portrait of Grand Duchess Maria Nikolaevna
Cardboard, watercolor, gouache, whitewash
The Pushkin Museum of Fine Art
Moscow, Russia ▼

Lorenzo Lotto

Lorenzo Lotto (c. 1480 – 1556) was a Northern Italian painter draughtsman and illustrator, traditionally placed in the Venetian school. He painted mainly altarpieces, religious subjects and portraits. While he was active during the High Renaissance, he already constitutes, through his nervous and eccentric posings and distortions, a transitional stage to the first Florentine and Roman Mannerists of the 16th century.
Born in Venice, he worked in Treviso (1503–1506), the Marches (1506–1508), in Rome (1508–1510), Bergamo (1513–1525), in Venice (1525–1549), Ancona (1549) and finally as a Franciscan lay brother in Loreto (1549–1556).
In 1508 he began the Recanati polyptych altarpiece for the church of S Domenico. This two-tiered, rather conventional painted polyptych consists of six panels. His portrait Young Man against a White Curtain (1508) is a famous painting from this period (Kunsthistorisches Museum, Vienna).
At the end of his life it became increasingly difficult for him to earn a living. Furthermore, in 1550 one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, he entered in 1552 the Holy Sanctuary at Loreto, becoming a lay brother. During that time he decorated the basilica of S Maria and painted a Presentation in the Temple for the Palazzo Apostolico in Loreto. He died in 1556 and was buried, at his request, in a Dominican habit.

Self portrait
Oil on canvas ▼

Portrait of a young man, 1505
Oil on wood
Galleria degli Uffizi
Florence, Italy ▼

Allegory, 1505
Oil on wood
The National Gallery of Art
Washington DC, USA ▼

Maiden’s dream, 1505
Oil on wood
The National Gallery of Art
Washington DC, USA ▼

Portrait of a young man against a white curtain, 1508
Oil on wood
Kunsthistorisches Museum
Vienna, Austria ▼

Susanna and the elders, 1517
Oil on wood
Galleria degli Uffizi
Florence, Italy ▼

San Bernandino altarpiece, 1521
Oil on wood
S. Bernandino in Pignolo, Bergamo, Italy ▼

Christ taking leave of His Mother, 1521
Oil on canvas
Gemaldegalerie, Berlin, Germany ▼

St. Catherine, 1522
Oil on wood
The National Gallery of Art
Washington DC, USA ▼

Portrait of Messer Marsilio and his wife, 1523
Oil on canvas
Prado Museum, Madrid, Spain ▼

The nativity, 1523
Oil on wood
The National Gallery of Art
Washington DC, USA ▼

The legend of St. Barbara, 1524
Fresco
Oratory of the Suardi Family
Trescore, Italy ▼

An architect, 1530
Oil on canvas
Gemaldegalerie, Berlin, Germany ▼

Portrait of a young man with a book, 1526
Oil on wood
Sforza Castle, Civiche Raccolte d’Arte
Milan, Italy ▼

A young man, 1526
Oil on canvas, Gemaldegalerie
Berlin, Germany ▼

The annunciation, 1527
Oil on canvas
Pinacoteca Comunale
Recanati (Macerata), Italy ▼

Portrait of Andrea Odoni, 1527
Oil on canvas
Hampton Court, Royal Collection, UK ▼

The Angel of the Annunciation, 1530
Oil on wood
Pinacoteca Comunale
Jesi (Ancona), Italy ▼

Lady with a drawing of Lucretia, 1533
Oil on wood
National Gallery, London ▼

Christ and the adulteress, 1530
Oil on canvas
Louvre Museum, Paris, France ▼

St. Lucia before the Judge, 1532
Oil on wood
Pinacoteca Comunale
Jesi (Ancona), Italy ▼

Madonna with Child, St. Catherine, and St. Jacob, 1533
Oil on canvas
Kunsthistorisches Museum
Vienna, Austria ▼

Madonna and Child with St. Jerome, St. Joseph and St. Anne, 1534
Oil on canvas, Galleria degli Uffizi, Florence, Italy ▼

Husband and wife, 1534
Oil on canvas
The Hermitage Museum, St. Petersburg, Russia ▼

Sleeping Apollo, Muses and Fama
Oil on canvas
Szépmüvészeti Múzeum, Budapest, Hungary ▼

The carrying of the Cross
Oil on wood
Louvre Museum, Paris, France ▼

Venus and Cupid
Oil on canvas
The Metropolitan Museum of Art, New York, USA ▼

Cornelis de Vos

Cornelis de Vos (1584, Hulst – May 9, 1651, Antwerp) was a Flemish Baroque painter best known for his portraiture.
He was born in Hulst near Antwerp, now in the Dutch province of Zeeland. Little is known of his childhood; however, Cornelis and his younger brothers Paul and Jan studied under the little-known painter David Remeeus (1559–1626). His sister Margaretha married Frans Snyders, while Cornelis himself was married to Jan Wildens’s half-sister Susanna Cock. Although both Paul de Vos and Snyders were animaliers, or painters of animals, and Wildens was known for his landscapes, Cornelis did not share either of these specializations. Instead, he painted mythological, biblical and history scenes, still lifes and, in the late 1620s, some monumental genre paintings. However, De Vos was probably most successful as a painter of individual and group portraits. Additionally, when he became a citizen of Antwerp in 1616 he listed his occupation as an art dealer. De Vos joined the guild of Saint Luke in 1608 at the age of twenty four, later serving as its dean in 1628.
His style closely follows that of Anthony van Dyck and, to a lesser extent, Peter Paul Rubens. However, De Vos worked frequently as a collaborator with Rubens. Around 1617 he painted two panels, the Nativity and the Presentation in the Temple, to join thirteen others by local painters, including Rubens — who oversaw the project — Van Dyck, and Jacob Jordaens, in the “Mystery of the Rosary Cycle” for Antwerp’s church of St. Paul (the series culminated in Caravaggio’s Madonna of the Rosary, which was placed in the church in 1620). In 1635, De Vos assisted Rubens on the joyous entry of Cardinal-Infante Ferdinand, a project for which he painted twelve royal portraits to Rubens’s designs. Between 1636 and 1638 worked again for Rubens, along with his brother Paul in decorating the Torre de la Parada, a hunting lodge of Philip IV of Spain near Madrid. His work is recognizable by intense color and powerful facial expressions.
De Vos died in Antwerp, where he was buried in the cathedral.

Magdalena and Jan-Baptist de Vos, 1622
Oil on canvas, 78 x 92 cm
Gemäldegalerie, Berlin, Germany ▼

The Family of the artist, 1635
Oil on canvas
144.5 x 203.5 cm
Museum voor Schone Kunsten, Ghent, Belgium ▼

Allegory of Earth
Oil on canvas, 140 x 122 cm
Johnny van Haeften Gallery, London, UK ▼

Antonio da Correggio

Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually known as Correggio, was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century.
Antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise, little is known about Correggio’s life or training. In the years 1503-1505 he apprenticed to Francesco Bianchi Ferrara of Modena. Here he probably knew the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510.
By 1516, Correggio was in Parma, where he generally remained for the rest of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter. In 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. One of his sons, Pomponio Allegri, became an undistinguished painter.
Correggio’s first major commission (February-September of 1519) was the ceiling decoration of the private dining salon of the mother-superior (abbess Giovanna Piacenza) of the convent of St Paul called the Camera di San Paolo at Parma. Here he painted a delightful arbor pierced by oculi opening to glimpses of playful cherubs. Below the oculi are lunettes with images of feigned monochromic marble. The fireplace is frescoed with an image of Diana. The iconography of the unit is complex, joining images of classical marbles to whimsical colorful bambini. While it recalls the secular frescoes of the pleasure palace of the Villa Farnesina in Rome, it is also a strikingly novel form of interior decoration.

The mystic marriage of St. Catherine, 1515
Oil on panel
The National Gallery of Art
Washington DC, USA ▼

Madonna and child with St. John, 1515
Oil on wood
Prado Museum, Madrid, Spain ▼

Portrait of a lady, 1519
Oil on canvas
The Hermitage, St. Petersburg, Russia ▼

Vision of St. John the Evangelist, 1524
Fresco in the cathedral dome
San Giovanni Evangelista
Parma, Italy ▼

The adoration of the Child, 1520s
Oil on wood
Uffizi Gallery, Florence, Italy ▼

The rest on the flight into Egypt, 1520s
Oil on wood
Uffizi Gallery, Florence, Italy ▼

Adoration of the shepherds (The Holy Night), 1522
Oil on wood
Alte Meister Gallerie
Dresden, Germany ▼

Do not touch me, 1522
Oil on canvas
Prado Museum, Madrid, Spain ▼

Madonna del Latte, 1523
Oil on canvas
Szépmüvészeti Múzeum
Budapest, Hungary ▼

The assumption of the Virgin, 1525
Fresco
Parma Cathedral, Parma, Italy ▼

Mercury with Venus and Cupid (The School of Love), 1525
Oil on canvas
The National Gallery, London, UK ▼

Madonna and child with St. George, 1520s
Oil on canvas
Alte Meister Gallerie
Dresden, Germany ▼

Venus, Satyr and Cupid, 1525
Oil on canvas
Louvre Museum, Paris, France ▼

The mystic marriage of St. Catherine, with St. Sebastian. In the background is the martyrdom of two saints, 1527
Oil on canvas
Louvre Museum, Paris, France ▼

Allegory of the virtues, 1530s
Tempera on canvas
Louvre Museum, Paris, France ▼

Allegory of the vices, 1530
Tempera on canvas
Louvre Museum, Paris, France ▼

The abduction of Ganymede, 1532
Oil on canvas
Louvre Museum, Paris, France ▼

Zeus and Io, 1532
Oil on canvas
Louvre Museum, Paris, France ▼

Leda and swan, 1532
Oil on canvas
Staatliche Museen zu Berlin
Gemaldegalerie, Berlin, Germany ▼

Danae, 1531
Oil on canvas
Galleria Borghese, Rome, Italy ▼

Portrait of a young man
Oil on wood
Louvre Museum, Paris, France ▼

Ivan Khrutsky

Ivan Fomich Khrutsky was a Russian-Polish painter known by his still lifes and portraits.
He was born Ivan Fomich Khrutsky into a family descended from Polish gentry in the village of Ula, Vitebsk Gubernia (currently Belarus). In 1827, Khrutsky came to St. Petersburg and in 1830 entered the Imperial Academy of Arts.
His first known works are dated 1832. The paintings gradually gathered public and critical acclaim. Khrutsky also worked as an interior designer, and became a popular amongst the wealthy home owners. In 1836, Khrutsky was awarded the Major Silver medal of the Academy for his still-lifes. Khrutsky also executed nice genre pictures and portraits. Old Woman Knitting a Sock, brought him the Minor Gold medal of the Academy. In 1839 he was awarded the title of the Academician.
After his father’s death in 1840 Khrutsky left St. Petersburg forever and settled in the family estate Zakharenichi (Zacharniczy), Polotsk region. This period was one of commissioned religious art, mostly from Lithuania. Besides religious paintings he also worked on portraits, such as I.I. Glazunov’s, Joseph Semashko’s, Mikolaj Malinowski’s and others. He died in 1885.

Self portrait, 1884
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Still life with candle, 1830
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Portrait of an unknown woman with fruit basket, 1835
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Still life, 1839
Oil on canvas
The Museum of the Academy of Arts
St. Petersburg, Russia ▼

View on Yelagin Island in St. Petersburg, 1839
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Still life. Flowers and fruit, 1839
Oil on canvas
The Tretyakov Gallery
Moscow, Russia ▼

Family portrait, 1854
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Still life, 1854
Oil on canvas
The Art Museum of Belarus, Minsk, Belarus ▼

Still life
Oil on canvas
The Perm Art Gallery, Perm, Russia ▼

Lawrence Alma-Tadema

Sir Lawrence Alma-Tadema (8 January 1836 – 25 June 1912) was one of the most renowned painters of late nineteenth-century Britain.
Sir Lawrence Alma-Tadema was born as Laurens Alma Tadema on 8 January 1836, in the small village of Dronrijp, in Friesland in the north of the Netherlands. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, who had had three sons by a previous marriage, and the third child of his mother, Hinke Dirks Brouwer (c. 1800–1863).
The Tadema family moved in 1838 to the near town of Leeuwarden, where Pieter’s position as a notary would be more lucrative.[2] His father died when Laurens was four, leaving his mother with five children: Laurens, his sister, and three boys from his father’s first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children’s education. He received his first art training with a local drawing master hired to teach his older half-brothers.
It was intended that the boy would become a lawyer, but in 1851 at the age of fifteen he suffered a physical and mental breakdown.
In 1852 he entered The Royal Academy of Antwerp where he studied early Dutch and Flemish art, under Egide Charles Gustave Wappers. During Alma-Tadema’s four years as a registered student at the Academy, he won several respectable awards.

The Education of the Children of Clovis (1861), oil on canvas, 127 x 176.8 cm, private collection. Queen Clotilde, wife of King Clovis, is shown training her three young children the art of hurling the ax in order to avenge the deaths of their father[4]Before leaving school, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known.
The outbreak of the Franco-Prussian War in July 1870 compelled Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and Gambart felt that the move would be advantageous to the artist’s career.
By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork.
For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into a most engaging smile.
In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality.
He died there on June 28, 1912 at the age of seventy-six. He was buried in a crypt in St. Paul’s cathedral in London.

Self portrait, 1896
Oil on canvas
Uffizi Gallery, Florence, Italy ▼

Faust and Marguerite, 1857
Watercolour on paper
John Constable Esq., UK ▼

The education of the children of Clovis, 1868
Oil on panel
M. Knoedler & Co., New York, USA ▼

An egyptian widow, 1872
Oil on panel
Rijksmuseum, Amsterdam, the Netherlands ▼

An audience at Agrippa’s, 1876
Oil on canvas
Dick Institute, Kilmamock ▼

94 degrees in the shade, 1876
Oil on canvas
Fitzwilliam Museum
Cambridge, UK ▼

Dalou, his wife and his daughter, 1876
Oil on canvas
Musée d’Orsay
Paris, France ▼

The tepidarium, 1881
Oil on panel
The Lady Lever Art Gallery, Port Sunlight, UK ▼

Roman Potter, 1884
Oil on canvas
Musée d’Orsay, Paris, France ▼

Anthony and Cleopatra, 1885
Oil on panel, 65.5 x 92 cm
Private collection ▼

An apodyterium, 1886
Oil on panel
Mr. & Mrs. Joseph M. Tenenbaum, Toronto, Canada ▼

Love votaries, 1891
Oil on canvas
Laing Art Gallery, Newcastle-upon-Tyne, UK ▼

Unconscious rivals, 1893
Oil on panel
Bristol Museum and Art Gallery, Bristol, UK ▼

In my studio, 1893
Oil on canvas
Location unknown ▼

Spring, 1894
Oil on canvas
J. Paul Getty Museum
Malibu, USA ▼

A coign of vantage, 1895
Oil on panel
Private collection ▼

The Coliseum, 1896
Oil on panel
Private Collection, USA ▼

A Family group, 1896
Oil on panel
Royal Academy, London, UK ▼

A difference of opinion, 1896
Oil on panel
Private Collection, UK ▼

The baths of Caracalla, 1899
Oil on canvas
Private Collection, UK ▼

A flag of truce, 1900
Oil on panel
Mr. & Mrs. Harold H. Stream
New Orleans, USA ▼

Silver favourites, 1903
Oil on panel
City of Manchester Art Galleries
Manchester, UK ▼

The finding of Moses, 1904
Oil on canvas
Private Collection, UK ▼

Caracalla and Geta, bear fight in the Coliseum: AD 203, 1907
Oil on panel, 123 x 154 cm, Private collection ▼

At Aphrodite’s cradle, 1908
Oil on canvas
Dr. & Mrs. Irving-Warner
California, USA ▼

A favourite custom, 1909
Oil on panel
The Tate Gallery, London, UK ▼

Summer offering, 1911
Oil on panel
Dr. George Nicholson, Oregon, USA ▼

The women of Amphissa
Oil on canvas
The Clark Institute, Williamstown, USA ▼

Valentin Serov

Valentin Alexandrovich Serov (January 19, 1865 – December 5, 1911) was a Russian painter, and one of the premier portrait artists of his era.
Serov was born in St. Petersburg, son of the Russian composer Alexander Serov, and his wife Valentina Bergman, a composer of German-Jewish[1] and English background. In his childhood he studied in Paris and Moscow under Ilya Repin and in the St. Petersburg Academy of Arts (1880–1885) under Pavel Chistyakov. Serov’s early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. Further influences on Serov were the old master paintings he viewed in the museums of Russia and Western Europe, friendships with Mikhail Vrubel and (later) Konstantin Korovin, and the creative atmosphere of the Abramtsevo Colony, to which he was closely connected.
The greatest works of Serov’s early period were portraits: The girl with peaches (1887), and The girl covered by the Sun (1888), both in the Tretyakov Gallery. In these paintings Serov concentrated on spontaneity of perception of the model and nature. In the development of light and color, the complex harmony of reflections, the sense of atmospheric saturation, and the fresh picturesque perception of the world, there appeared the features of early Russian impressionism.
During his late period, which began in 1900, Serov was a member of “The World of art”, an influential Russian art association and magazine which grew, in part, out of dissatisfaction with the Itinerants movement. At the turn of the century, Serov was at a stylistic turning point: features of impressionism disappeared from his work, and his modernistic style developed, but the characteristic truthful and realistic comprehension of the nature of his subjects remained constant.
The last years of Serov’s life were marked by works on themes from classical mythology. While addressing images from the ancient tradition, Serov endowed classical subject matter with a personal interpretation.
Valentin Serov died in Moscow on December 5, 1911.

Self portrait, 1880s
Oil on canvas, Private collection ▼

Portrait of Lialia (Adelaida) Simonovich, 1880
Oil on canvas, The Russian Museum
St. Petersburg, Russia ▼

Self portrait, 1883
Pencil on paper, The Russian Museum
St. Petersburg, Russia ▼

Bullocks, 1885
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Autumn evening. Domotcanovo, 1886
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

By the window. Portrait of Olga Trubnikova, 1886
Oil on canvas mounted on cardboard
The Tretyakov Gallery
Moscow, Russia ▼

Open window. Lilacs, 1886
Oil on canvas, The Art Museum of Belarus
Minsk, Belarus ▼

St. Mark Plaza in Venice, 1887
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Seaside in Venice, 1887
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Terrace in Vvedensk, 1880s
Oil on canvas, The Museum of Russian Art
Erevan, Armenia ▼

Girl with peaches. Portrait of Vera Mamontova, 1887
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

The overgrown pond. Domotcanovo, 1888
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Nadezhda Derviz with her child, 1889
Oil on iron plate, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Adelaida Simonovich, 1889
Oil on canvas, The Russian Museum
St. Petersburg, Russia ▼

Portrait of the artist Konstantin Korovin, 1891
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of the artist Ilya Repin, 1892
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of the artist Isaac Levitan, 1893
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

The White Sea, 1894
Oil on cardboard, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Liudmila Mamontova, 1894
Oil on canvas, Private collection ▼

Portrait of Maria Lvova, 1895
Oil on canvas, Private collection ▼

October. Domotcanovo, 1895
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Summertime. Portrait of Olga Serova, 1895
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Peasant woman in a cart, 1896
Oil on canvas, The Russian Museum
St. Petersburg, Russia ▼

Tundra. Travelling by deer, 1896
Gouache, graphite on paper
The Tretyakov Gallery, Moscow, Russia ▼

Coronation of the Emperor Nicholas II in the Uspensky Cathedral, 1896
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Sasha Serov, 1897
Watercolor, whitewash on paper
Private collection ▼

Portrait of Maria Morozova, 1897
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Grand Duke Pavel Alexandrovich, 1897
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

In winter, 1898
Gouache, pastel on cardboard
The Russian Museum
St. Petersburg, Russia ▼

In a village. Peasant woman with a horse, 1898
Pastel on paper mounted on cardboard
The Tretyakov Gallery, Moscow, Russia ▼

Herd, 1890s
Charcoal, gouache, and chalk on paper
Private collection ▼

Portrait of the Composer Nikolay Rimsky-Korsakov, 1898
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Alexander Pushkin on a Park Bench, 1899
Graphite, watercolor, whitewash on paper
The State Museum of Alexander Pushkin
St. Petersburg, Russia ▼

Portrait of Grand Duke Mikhail Nikolayevich, 1900
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Grand Duke Georgy Mikhailovich, 1901
Oil on canvas, The A. N. Radishchev Museum of Arts
Saratov, Russia ▼

Haystack, 1901
Oil on canvas, The Picture Gallery of Armenia
Erevan, Armenia ▼

Mika Morozov, 1901
Oil on canvas, The Tretyakov Gallery
Moscow, Russia ▼

Rinsing linen. On the river, 1901
Oil on cardboard, Whereabouts unknown ▼

Farm yard in Finland, 1902
Oil on cardboard, The Tretyakov Gallery
Moscow, Russia ▼

Portrait of princess Zinaida Yusupova, 1902
Oil on canvas
The Russian Museum, St. Petersburg, Russia ▼

Portrait of prince Felix Yusupov, count Sumarokov-Elstone, 1903
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Portrait of count Felix Sumarokov-Elstone, later Prince Yusupov, 1903
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Bathing of a horse, 1905
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Portrait of P. Semenov-Tien-Shansky, 1905
Charcoal, color pencils, chalk on paper
The Russian Museum
St. Petersburg, Russia ▼

Horses on a shore, 1905
Oil on canvas
The Russian Museum
St. Petersburg, Russia ▼

Portrait of the poet Konstantin Balmont, 1905
Pastel on paper mounted on cardboard
The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Nikolay Pozniakov, 1908
Oil on canvas
The Tretyakov Gallery
Moscow, Russia ▼

Anna Pavlova in the Ballet Sylphyde, 1909
Tempera on canvas
The Russian Museum
St. Petersburg, Russia ▼

Portrait of Margarita Morozova, 1910
Oil on canvas
Art Museum of Dnepropetrovsk
Dnepropetrovsk, Ukraine ▼

Portrait of Ida Rubenstein, 1910
Tempera and charcoal on canvas
The Russian Museum
St. Petersburg, Russia ▼

The rape of Europe, 1910
Oil on canvas
The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Alexei Stakhovich, 1911
Oil on canvas
The Memorial Museum of Konstantin Stanislavsky
Moscow, Russia ▼

Portrait of Vladimir Girshman, 1911
Oil on canvas
The Tretyakov Gallery
Moscow, Russia ▼

Portrait of Ivan Morozov
Tempera on cardboard
The Tretyakov Gallery, Moscow, Russia ▼

Frida Kahlo

Frida Kahlo de Rivera (July 6, 1907 – July 13, 1954; born Magdalena Carmen Frieda Kahlo y Calderón) was a Mexican painter, born in Coyoacán. Perhaps best known for her self-portraits, Kahlo’s work is remembered for its “pain and passion”, and its intense, vibrant colors. Her work has been celebrated in Mexico as emblematic of national and indigenous tradition, and by feminists for its uncompromising depiction of the female experience and form.
Kahlo had a stormy but passionate marriage with the prominent Mexican artist Diego Rivera. She suffered lifelong health problems, many of which stemmed from a traffic accident in her teenage years.
Frida Kahlo was born on July 6, 1907 in the house of her parents, known as La Casa Azul (The Blue House), in Coyoacán. At the time, it was a small town on the outskirts of Mexico City.

Her father, Guillermo Kahlo (1871–1941), was born Carl Wilhelm Kahlo in Pforzheim, Germany, the son of Henriette Kaufmann and Jakob Heinrich Kahlo. While Frida herself maintained that her father was of Hungarian-Jewish ancestry, one set of researchers have established that Guillermo Kahlo’s parents were not Jewish but Lutheran Germans. Carl Wilhelm Kahlo sailed to Mexico in 1891 at the age of nineteen and, upon his arrival, changed his German forename, Wilhelm, to its Spanish equivalent, ‘Guillermo’.

Frida’s mother, Matilde Calderón y Gonzalez, was a devout Catholic of primarily indigenous, as well as Spanish, descent. Frida’s parents were married shortly after the death of Guillermo’s first wife during the birth of her second child. Although their marriage was quite unhappy, Guillermo and Matilde had four daughters, with Frida being the third. She had two older half sisters. Frida remarked that she grew up in a world surrounded by females. Throughout most of her life, however, Frida remained close to her father. The actress, writer and singer Dulce María is her great grand-niece.

The Mexican Revolution began in 1910 when Kahlo was three. Later Kahlo claimed that she was born in 1910 so people would directly associate her with the revolution. In her writings, she recalled that her mother would usher her and her sisters inside the house as gunfire echoed in the streets of her hometown. Occasionally, men would leap over the walls into their backyard and sometimes her mother would prepare a meal for the hungry revolutionaries.

Kahlo contracted polio at age six, which left her right leg thinner than the left, which Kahlo disguised by wearing long, colorful skirts. It has been conjectured that she also suffered from spina bifida, a congenital disease that could have affected both spinal and leg development. As a girl, she participated in boxing and other sports. In 1922, Kahlo was enrolled in the Preparatoria, one of Mexico’s premier schools, where she was one of only thirty-five girls. Kahlo joined a clique at the school and fell in love with the leader, Alejandro Gomez Arias. During this period, Kahlo also witnessed violent armed struggles in the streets of Mexico City as the Mexican Revolution continued.

On September 17, 1925, Kahlo was riding in a bus when the vehicle collided with a trolley car. She suffered serious injuries in the accident, including a broken spinal column, a broken collarbone, broken ribs, a broken pelvis, eleven fractures in her right leg, a crushed and dislocated right foot, and a dislocated shoulder. An iron handrail pierced her abdomen and her uterus, which seriously damaged her reproductive ability.

Although she recovered from her injuries and eventually regained her ability to walk, she was plagued by relapses of extreme pain for the remainder of her life. The pain was intense and often left her confined to a hospital or bedridden for months at a time. She underwent as many as thirty-five operations as a result of the accident, mainly on her back, her right leg and her right foot.

Self portrait, 1926
Oil on canvas, 79 x 58 cm
Private collection ▼

Self portrait, 1940
Oil on canvas, 62 x 47.7 cm
Harry Ransom Humanities Research Center
University of Texas, Austin, TX, USA ▼

Self portrait, 1929
Oil on masonite, 79.4 x 70 cm
Private collection ▼

Portrait of Virginia (Nina), 1929
Oil on Masonite, 83.8 x 68 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Two women, 1929
Oil on canvas, 69.3 x 53.3
Private collection ▼

The bus, 1929
Oil on canvas, 26 x 56 cm
Dolores Olmedo Foundation, Mexico City, Mexico ▼

Self portrait, 1930
Oil on canvas, 66 x 56 cm
Private collection ▼

Frida and Diego Rivera, 1931
Oil on canvas, 99 x 78.7 cm
San Francisco Museum of Modern Art
San Francisco, CA, USA ▼

Portrait of Eva Frederick, 1931
Oil on canvas, 62.9 x 47 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Luther Burbank, 1931
Oil on Masonite, 88 x 62 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Henry Ford Hospital, 1932
Oil on metal, 31.1 x 39.3 cm
Dolores Olmedo Foundation, Mexico City, Mexico ▼

My birth, 1932
Oil on metal, 31 x 35 cm
Private collection ▼

Self portrait on the border line between Mexico and the United States, 1932
Oil on metal 31.7 x 35 cm
Private collection ▼

My dress hangs there, 1933
Oil and collage on masonite
45.8 x 50.2 cm
Private collection ▼

Self portrait, 1933
Oil on metal, 34.3 x 29.2 cm
Private collection ▼

A few small nips, 1935
Oil on metal, 38 x 48.2 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

My Grandparents, my Parents, and I, 1936
Oil and tempera on metal panel, 30.5 x 35 cm
The Museum of Modern Arts
New York, NY, USA ▼

My nurse and I, 1937
Oil on metal, 29.8 x 34.9 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Self portrait (Dedicated to Leon Trotsky), 1937
Oil on masonite, 76.2 x 61 cm
National Museum of Women in the Arts
Washington, D.C., USA ▼

Me and my doll, 1937
Oil on metal, 40 x 32 cm
Private collection ▼

Memory, 1937
Oil on metal, 38 x 48.2 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Portrait of Diego Rivera, 1937
Oil on wood, 461 x 31.7 cm
Private collection ▼

The frame, 1937
Oil on metal with glass, 29 x 21.5 cm
Musée National d’Art Moderne
Centre Georges Pompidou, Paris, France ▼

Fulang-Chang and I, 1937
Oil on composition board, 40 x 28 cm
The Museum of Modern Arts
New York, NY, USA ▼

What the water gave me, 1937
Oil on canvas, 96.5 x 76.2 c
Private collection ▼

Itzcuintli dog with me, 1938
Oil on canvas, 28 x 20 cm
Private collection ▼

Self portrait with monkey, 1938
Oil on masonite, 40 x 30 cm
Albright-Knox Art Gallery
Buffalo, NY, USA ▼

Four inhabitants of Mexico, 1938
Oil on wood panel, 31.1 x 47.6 cm
Private collection ▼

Girl with death mask, 1938
Oil on metal, 19.8 x 14.7 cm
Private collection ▼

Fruits of the Earth, 1938
Oil on Masonite, 34.5 x 60 cm
Collection of the Banco Nacional de Nexico
Fomento Cultural Banamex, Mexico City ▼

Tunas (Still life with prickly pear fruit), 1938
Oil on masonite ▼

Pitahayas, 1938
Oil on metal, 25.5 x 35.5 cm
Madison Art Center, Madison
Wisconsin, USA ▼

Two nudes in the forest, 1939
Oil on sheet metal, 25 x 30 cm
Private collection ▼

The two Fridas, 1938
Oil on canvas, 170 x 170 cm
Museo de Arte Moderno
Mexico City, Mexico ▼

The suicide of Dorothy Hale, 1939
Oil on masonite, 60.4 x 48.6 cm
The Phoenix Art Museum
Phoenix, AZ, USA ▼

The dream, 1940
Oil on canvas, 74 x 98.5 cm
Private collection ▼

Self portrait, 1940
Oil on Masonite, 59.8 x 40 cm
Private collection ▼

Self portrait, 1940
Oil on Masonite, 61 x 43 cm
Private collection ▼

Self portrait with monkey, 1940
Oil on Masonite, 53.2 x 42.6 cm
Private collection ▼

Self portrait with cropped hair, 1940
Oil on canvas 40 x 28 cm
The Museum of Modern Arts
New York, NY, USA ▼

Self portrait with Bonito, 1941
Oil on canvas, 55 x 43.5 cm
Private collection ▼

Self portrait with Braid, 1941
Private collection ▼

Me and my parrots, 1941
Oil on canvas, 81 x 62.2 cm
Private collection ▼

Portrait of Marucha Lavin, 1942
Oil on copper, 65 cm diameter
Private collection ▼

Thinking about death, 1943
Oil on canvas mounted on Masonite, 45 x 36.8 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Self portrait as a Tehuana, 1943
Oil on masonite, Private collection ▼

Self portrait with monkeys, 1943
Oil on canvas, 81 x 35 cm
Private collection ▼

The bride frightened at seeing life opened, 1943
Oil on canvas, 63 x 81.3 cm
Private collection ▼

Dona Rosita Morillo, 1944
Oil on canvas, mounted on masonite, 77.4 x 72.4 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Flower of life, 1944
Oil on mesonite, 29.5 x 23 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

The broken column, 1944
Oil on masonite, 38.6 x 31 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Self portrait with small monkey, 1945
Oil on Masonite, 56 x 41.1 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Without hope, 1945
Oil on canvas mounted on Masonite, 28 x 36 cm
Dolores Olmedo Foundation
Mexico City, Mexico ▼

Moses, 1945
Oil on Masonite, 94 x 50.8 cm
Private collection ▼

The little deer, 1946
Oil on masonite, 22.5 x 30 cm
Private collection ▼

Tree of hope, 1946
Oil on masonite, 55.8 x 40.7 cm
Private collection ▼

Self portrait with loose hair, 1947
Oil on masonite, 61 x 45 cm
Private collection ▼

Sun and life, 1947
Oil on Masonite, 40 x 49.5 cm
Private collection ▼

Diego and I, 1949
Oil on Masonite, 29.5 x 22.5 cm
Private collection ▼

The love embrace of the Universe, the Earth (Mexico), Diego, Me, and senor Xolotl, 1949
Oil on canvas, 69.8 x 60.6 cm
Private collection ▼

Portrait of Don Guillermo Kahlo, 1951
Oil on masonite, 60.4 x 46.4 cm
Frida Kahlo Museum
Mexico City, Mexico ▼

Self portrait with the portrait of doctor Farill, 1951
Oil on masonite, 41.8 x 50.2 cm
Private collection ▼

Still life with parrot, 1951
Oil on canvas, 25.4 x 28.9 cm
Harry Ransom Humanities Research Center
University of Texas, Austin, TX, USA ▼

Naturaleza viva, 1952
Oil on canvas, Private collection ▼

Fruit of life, 1954
Oil on masonite, 45 x 62 cm
Private collection ▼

Viva la vida, 1954
Oil on masonite, 59 x 50.7 cm
Frida Kahlo Museum
Mexico City, Mexico ▼

Diego Rivera

Diego Rivera (December 8, 1886 – November 24, 1957) was a prominent Mexican painter born in Guanajuato, Gto, an active communist, and husband of Frida Kahlo (1929–1939 and 1940–1954). His large wall works in fresco helped establish the Mexican Mural Renaissance.
Diego Rivera was born in Guanajuato City, Guanajuato, to a well-to-do family. Rivera was descended, on his mother’s side, from Jews who converted to Roman Catholicism, and, on his father’s side, from Spanish nobility. From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to continue study in Europe by Teodoro A. Dehesa Méndez, the governor of the State of Veracruz.

After arrival in Europe in 1907, Rivera initially went to study with Eduardo Chicharro in Madrid, Spain, and from there went to Paris, France, to live and work with the great gathering of artists in Montparnasse, especially at La Ruche, where his friend Amedeo Modigliani painted his portrait in 1914. His circle of close friends, which included Ilya Ehrenburg, Chaim Soutine, Amadeo Modigliani and Modigliani’s wife Jeanne Hébuterne, Max Jacob, gallery owner Leopold Zborowski, and Moise Kisling, was captured for posterity by Marie Vorobieff-Stebelska (Marevna) in her painting “Homage to Friends from Montparnasse” (1962).

In those years, Paris was witnessing the beginning of cubism in paintings by such eminent painters as Pablo Picasso and Georges Braque. From 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézanne’s paintings, Rivera shifted toward Post-Impressionism with simple forms and large patches of vivid colors. His paintings began to attract attention, and he was able to display them at several exhibitions.
In 1920, urged by Alberto J. Pani, the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissance frescoes. After Jose Vasconcelos became Minister of Education, Rivera returned to Mexico in 1921 to become involved in the government sponsored Mexican mural program planned by Vasconcelos.
In the autumn of 1927, Rivera arrived in Moscow, accepting an invitation to take part in the celebration of the 10th anniversary of the October Revolution. Subsequently, he was to paint a mural for the Red Army Club in Moscow, but in 1928 he was ordered out by the authorities because of involvement in anti-Soviet politics, and he returned to Mexico. In 1929, Rivera was expelled from the Mexican Communist Party. His 1928 mural In the Arsenal was interpreted by some as evidence of Rivera’s prior knowledge of the murder of Julio Antonio Mella allegedly by Stalinist assassin Vittorio Vidale. After divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August 1929.
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign which read, “God does not exist”.

Self portrait dedicated to Irene Rich, 1941
Oil on canvas, 61 x 43 cm
Smith College Museum of Art
Northampton, MA, USA ▼

The threshing floor. La era, 1904
Oil on canvas, 100 x 114.6 cm
Museo Casa Diego Rivera
Guanajuato, Mexico ▼

Head of a breton woman, 1910
Oil on canvas
129 x 141 cm. Museo Casa Diego Rivera
Guanajuato, Mexico ▼

View of Toledo, 1912
Oil on canvas, 112 x 91 cm
Fundación Amparo R. de Espinosa Yglesias
Puebla, Mexico ▼

The adoration of the Virgin, 1913
Encaustic, Private collection ▼

Portrait d’Adolfo Best Maugard, 1913
Oil on canvas, 227.5 x 161.5 cm
Museo Nacional de Arte
CNCA, INBA, Mexico ▼

Woman at a well, 1913
Oil on canvas, 144 x 125 cm
Museo Nacional de Arte, MUNAL – INBA
Mexico City, Mexico ▼

La Tour Eiffel, 1914
Oil on canvas, 115 x 92 cm
Private collection ▼

Portrait of two women, 1914
Oil on canvas, The Arkansas Arts Center
Little Rock, Arkansas, USA ▼

Portrait de Martin Luis Guzman, 1915
Oil on canvas, 72.3 x 59.3 cm
Collection Funfacion Televisa
Mexico ▼

Zapatista landscape – The guerrilla, 1915
Oil on canvas
Museo Nacional de Arte
Mexico City, Mexico ▼

Portrait of Ramon Gomez de la Serna, 1915
Oil on canvas, Private collection ▼

Motherhood – Angelina and the child Diego, 1916
Oil on canvas, 132 x 86 cm
Museo de Arte Alvar y Carmen T. de Carrillo Gil, MCG – INBA
Mexico City, Mexico ▼

The mathematician, 1918
Oil on canvas
Museo Dolores Olmedo Patino
Mexico City, Mexico ▼

Woman grinding maize, 1924
Encaustic on canvas, 106.7 x 121.9 cm
Museo Nacional de Arte, MUNAL – INBA
Mexico City, Mexico ▼

Flower festival, 1925
Oil on canvas, 147.3 x 120.7 cm
Los Angeles County Museum of Art
Los Angeles, CA, USA ▼

The pinole seller, 1936
Oil on canvas, 81.4 x 60.7 cm
Museo Nacional de Arte
Mexico City, Mexico ▼

Portrait of Lupe Marin, 1938
Oil on canvas, 171.3 x 122.3 cm
Museo de Arte Moderno
Mexico City, Mexico ▼

Portrait of Madesta and Inesita, 1939
Oil on canvas, 99 x 69 cm
Private collection ▼

The hands of Dr. Moore, 1940
Oil on canvas, 45.8 x 55.9 cm
San Diego Museum of Art
San Diego, CA, USA ▼

Portrait of Carlos Pellicer, 1942
Oil on hardboard, 55 x 43 cm
Private collection ▼

Portrait of Natasha Zakolkowa Gelman, 1943
Oil on canvas, 115 x 153 cm
Private collection ▼

The milliner. Portrait of Henri de Chatillon, 1944
Oil on masonite, Private collection ▼

Nude with Calla Lilies, 1944
Oil on hardboard, 157 x 124 cm
Private collection ▼

Day of the dead, 1944
Oil on hardboard, 73.5 x 91 cm
Museo de Arte Moderno
Mexico City, Mexico ▼

The temptations of Saint Antony, 1947
Oil on canvas, 90 x 110 cm
Museo Nacional de Arte
Mexico City, Mexico ▼

Dream of a Sunday afternoon in Alameda Park, 1948
Fresco, Musei Mural Diego Rivera, Mexico City
Originally in the Hotel del Prado on Alameda Park ▼

Portrait of Ruth Rivera, 1949
Oil on canvas, 199 x 100.5 cm
Private collection ▼

Pre-Hispanic America, 1950
Book cover for Pablo Neruda’s “Canto General”
Oil on canvas, Private collection ▼

Portrait of the young girl Elenita Carrillo Flores, 1952
Oil on canvas, 55 x 105 cm
Private collection ▼

Portrait of senora Dona Elena Flores de Carrillo, 1953
Oil on canvas, 140 x 221.5 cm
Private collection ▼

The painter’s studio, 1954
Oil on canvas, 178 x 150 cm
Private collection ▼

May Day procession in Moscow, 1956
Oil on canvas, 135.2 x 108.3 cm
Private collection. ▼

Evening twilight at Acapulco, 1956
Oil and tempera on canvas, 30 x 40 cm
Private collection ▼