Search

The article discusses the "New York Goose Vase," a southern Italian or Apulian red figure calyx-krater dated to around 400 BCE housed at the Metropolitan Museum of Art in New York City. The authors discuss the vase's iconography, which features a depiction of a comic theatrical performance, and argue that the piece should be attributed to the Dolon Painter, not the Tarporley Painter.

The article focuses on the French artist Claude Simpol, who, in 1996, was identified as the rightful artist of four artworks at the Metropolitan Museum of Art in New York City that were previously thought to be the work of artist Bernard Picart. The article discusses the biography of Simpol, including his participation in the competition for the grand prix of the Académie Royale de Peinture et Sculpture and his mentor, Louis de Boullogne the Younger, as well as commissions by publisher Jean Mariette and the goldsmiths' guild of the cathedral of Notre Dame in Paris, France. The article also discusses Simpol's wife, Hélène Denis, and the subject of the harpsichord in his paintings.

The article discusses the drawing "Man Pulling a Curtain Aside," part of the collection of the Metropolitan Museum of Art in New York City, and suggests that it is a study by 18th-century artist Étienne Parrocel for his painting "Abimelech Discovering Isaac and Rebecca," sold at auction at Sotheby's in London, England in 1992. Other topics include Parrocel's career painting religious subject in Rome, Italy, differences between the drawing and painting, and a drawing by Parrocel showing a griffon similar to the one decorating the bench in the painting.

The article focuses on the attribution of De Witt Clinton Vases in New York City. It revealed that he was a tireless advocate for the Erie Canal, first as a mayor of New York City and later as governor of the state. Because of his efforts in advancing the canal project, the Pearl Street merchants voted to present awards of silver to the governor and conduct a contest for the best design of the two vases. Several silversmiths joined the competition and luckily Messrs Fletcher & Gardiner of Philadephia got the prize. It was a design made by Thomas Fletcher and Sidney Gardiner. Discussed are the details of the designs of the vases.

The article reviews two panel paintings catalogued under the name of Florentine painter Francesco Granacci. The paintings, "The Birth of St. John the Baptist" and "The Preaching of St. John the Baptist," are part of the collection of the Metropolitan Museum of Art in New York City. The article suggests however, that the second painting is attributed to Rafaello Botticini. The article also discusses two other panels of the same cycle of paintings, one held at the Cleveland Museum of Art in Ohio, and one at the Walker Art Gallery in Liverpool, England. The article presents a lengthy discussion on the attributions of the paintings.

The article reviews a group of 16 panel paintings that represent the 15 Mysteries of the Rosary, and a larger 16th panel that depicts the Virgin of the Rosary being crowned the Queen of Heaven while holding the Christ Child in her arms. The paintings were acquired by the Department of European Paintings of the Metropolitan Museum of Art in New York City through an anonymous bequest. The paintings were originally attributed to Hans Memling, however the author suggests that the artist is possibly Goswijn van der Weyden.