Masterpiece Cards

Masterpiece Cards

250 famous paintings are reproduced and reviewed on 4" x 6" Cards (see a sample art history card). Covers Renaissance paintings through Pop, 500 years of art history.

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Famous Paintings by Art Museum

What art paintings are must-see at certain art museums? Here's what art historians recommend most often in these landmark art museums:

Louvre, Paris: Famous-Artwork-The-Louvre

Metropolitan Museum of Art: Art-Paintings-to-See-at-the-Metropolitan-Museum

National Gallery, LondonArt-Paintings-to-See-at-the-National-Gallery

 

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Art History Blogs

Art Blog by Bob : not to be missed

ArtHistory.net: good biographical info about famous artists

Your Daily Art: an art history blog by Martha Lattie (a guest blogger here!)

Christine Miller’s Art History blog

Macvay AP Art History

Early Modern Art Blog :a new blog with an emphasis on 17th century Italy.

Famous Paintings Reviewed

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Famous Paintings: St. Luke Drawing the Virgin

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No famous painters list would be complete without inclusion of Flemish master Rogier van der Weyden (about 1400 - 1464). His masterpiece St. Luke Drawing the Virgin is analyzed by David Nolta, Ph.D., Professor of Art History, Massachusetts College of Art and Design.  Luckily for me, St. Luke is at the Museum of Fine Arts in my hometown of Boston.

Dr. Nolta comments:

Among the most important Northern Renaissance paintings in North America, van der Weyden’s St. Luke Drawing the Virgin marks a high point in the Flemish artist’s early career. It demonstrates Van der Weyden’s understanding and mastery of the new technique of oil painting, as that technique was explored by his putative teacher, Robert Campin, and perfected by his great contemporary, Jan van Eyck.

famous paintings guide, saint luke drawingRogier’s work, which is compositionally similar to and most likely dependent upon Van Eyck’s earlier Madonna and Child with Chancellor Rolin, nevertheless offers numerous proofs of a unique and original artistic personality. Northern artists were already famous for the striking naturalism of their rendering of surface textures and details, but the sensitivity - the quiet blend of diligence and devotion — which imbues the facial expression of the Evangelist Luke (traditionally accepted as Van der Weyden’s self-portrait), is entirely the artist’s own. And Van der Weyden replaces the usual solemnity of the religious scene with a suggestion of great celebratory joy, concentrated in the exquisite detail of the extended fingers of the obviously delighted infant Christ.


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