United States or Italy ? Vote for the TOP Country of the Week !
But when the Gallery also acquired the drawing of the Arundel Collection, labelled "Mr. Morett" in Hollar's engraving from it, the painting was held to be unquestionably identified by it as Hubert Morett, goldsmith to Henry VIII. Nor is there anything incongruous in this belief. Such a master goldsmith was no tradesman, in our sense of the word.
From this "perffight" painting, which could not have been more than one of his portrait studies, he afterwards completed that full-length oil painting which is worthy to rank with his great Morett portrait.
This is another work which has undergone more than one transformation in the course of its records. As late as 1657 it was correctly ascribed to Holbein in the Modena Collection. But the first syllable of the sitter's name has been its only constant. In time Morett slipped into Moretta, and then like Meier in the Madonna picture into Morus. So far it seems to have clung to some English tradition. But when Morus got changed to Moro it was but natural for an Italian to think of Ludovico Sforza, "Il Moro." Long before this Holbein had become Olbeno; and thereafter a puzzle. When the portrait was labelled Sforza, however, who could its obviously great painter be but Leonardo? Et voil
The campaign of 978 was still more eventful: the Leinster men quarrelled with their Danish allies, who had taken their king captive, and in an engagement at Belan, near Athy, defeated their forces, with the loss of the heir of Leinster, the lords of Kinsellagh, Lea and Morett, and other chiefs.
The campaign of 978 was still more eventful: the Leinster men quarrelled with their Danish allies, who had taken their king captive, and in an engagement at Belan, near Athy, defeated their forces, with the loss of the heir of Leinster, the lords of Kinsellagh, Lea and Morett, and other chiefs.
First visit to England Sir Thomas More; his home and portraits The Windsor drawings Bishop Fisher Archbishop Warham Bishop Stokesley Sir Henry Guildford and his portrait Nicholas Kratzer Sir Bryan Tuke Holbein's return to Basel Portrait-group of his wife and two eldest children; two versions Holbein's children, and families claiming descent from him Iconoclastic fury Ruined arts Death of Meyer zum Hasen Another Meyer commissions the last paintings for Basel Return to England Description of the Steelyard Portraits of its members George Gysze Basel Council summons Holbein home "The Ambassadors" at the National Gallery; accepted identification Coronation of Queen Anne Boleyn Lost paintings for the Guildhall of the Steelyard; the Triumphs of Riches and Poverty The great Morett portrait; identifications Holbein's industry and fertility Designs for metal-work and other drawings Solomon and the Queen of Sheba.
Holbein himself greatly surpassed it in the matter of subtle and noble simplicity, in his two greatest extant pieces of portraiture the Morett of Dresden and the Duchess of Milan, now in our National Gallery. But in technical powers, and the power of subordinating their very virtuosity to the requirement of a true picture, this was a superlative expression of his matured method.
And it was probably about this time that he painted what is in some respects the greatest of all his portraits one of the galaxy of supreme works of all portraiture the oil painting of Morett, or Morette, so long regarded as a triumph of Leonardo da Vinci's art. The figure is life-size.
Word Of The Day