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Art History Diary

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Art History Diary

Art Blog for your daily inspiration! Learn and enjoy!

15/04/2026

“But the law of loving others could not be discovered by reason, because it is unreasonable.”
— Leo Tolstoy, Anna Karenina.

Józef Simmler, Portrait of Emilia Włodkowska, 1865, Muzeum Narodowe w Warszawie, Poland.

05/04/2026

Max Schödl (1834—1921) was an Austrian painter renowned for his exquisite still lifes, particularly those capturing the opulent beauty of antique objects.

Max Schödl, Two Vases and a Carved Wooden Figure, 1889, Private collection.

01/04/2026

Henry VIII’s clothes were designed to convey magnificence and to enhance the reputation of the Tudor court both at home and abroad. In 1516 he was described by the Venetian Ambassador as ‘the best dressed sovereign in the world’. Portraits like this predominantly show the king wearing colours traditionally associated with monarchy (black, white, red and gold) in rich fabrics – silk, fur and cloth of gold, with an abundance of large jewels. During the early part of Henry’s reign male doublets were cut fairly low across the chest.

Joos Van Cleve, Henry VIII, c. 1535, Royal Collection Trust, UK.

31/03/2026

‘The Lute Player’ is a Baroque painting by Caravaggio (1571—1610). It exists in two official versions, one in the Wildenstein Collection, US and another in the State Hermitage Museum, Russia.

The music shown here includes identifiable madrigals by the Franco-Flemish composer Jacques Arcadelt (1515–1568), specifically from his First Book of Four-Part Madrigals. The visible text includes the French phrase “Vous savez que je vous aime et vous adore” (“You know that I love you and adore you”).

Michelangelo Merisi da Caravaggio, The Lute Player, c. 1595, State Hermitage Museum, St. Petersburg, Russia

27/03/2026

Isabella Farnese (1692—1766), the daughter of Odoardo II, Prince of Parma, and of Dorothea Sophie of Neuburg, married Philip V of Spain in 1714. This portrait is a replica of one made in Parma by Molinaretto, after the Queen’s arrival in Spain, copying a miniature or a portrait prior to her departure from Italy, and from which she later commissioned replicas that she had brought to Spain, giving away one of the copies to Cardinal Alberoni (today in the Galleria Alberoni, Piacenza).

Giovanni Maria delle Piane, Queen Esabella Farnese, c. 1715 (On display elsewhere), Museo Nacional del Prado

21/03/2026

Spanish painter and engraver Isidoro Santos Lozano Sirgo (1826—1895) has depicted the King Ferdinand II wearing a red mantle embroidered with gold, holding a scroll in his left hand and the scepter in his right, resting on a table upon which rests the shield with the Cross of St. James.

Isidoro Santos Lozano Sirgo, Ferdinand II, King of León, 1851, Museo Nacional del Prado, Madrid

18/03/2026

The portrait of Ferdinand II of Aragon, called the Catholic(1452—1516) was a part of ‘The Chronological Series of the Kings of Spain’ Prado museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the queen assented to the creation and display of a portrait gallery that would represent all the preceding monarchs in chronological order. To fill the gaps of the medieval kings, of whom there were no images in the Royal Collections, portraits were commissioned from a number of young painters. At the same time, given that the clear political purpose of the series was to provide visual legitimisation for Isabella’s right to the crown, a special effort was made to represent the queens of Spain’s history.

Bernardino Montañés y Pérez, Ferdinand the Catholic, c. 1848 (on display elsewhere), Museo Nacional del Prado, Madrid

17/03/2026

The painting shows the interior of the Doge’s Palace (Palazzo Ducale) in Venice, Italy, specifically the Chamber of the Great Council. This hall is 53 meters long and 25 meters wide, served as the focal point of Venetian democracy and political power for centuries.

The current decoration dates back to the restorations carried out after the fire of 1577, featuring works by artists such as Veronese, Jacopo and Domenico Tintoretto, and Palma il Giovane. The walls were decorated with episodes of the Venetian history, while the ceiling was decorated with the Virtues and individual examples of Venetian heroism, and a central panel containing an allegorical glorification of the Republic.

Giuseppe Borsato, Doge Morosini Receives the Command Staff, 1838, Kunsthistorisches Museum

15/03/2026

Italian artist Evaristo Baschenis (1617—1677) became widely known for the painting of musical instruments. During his lifetime Baschenis, himself a musician, amassed an impressive collection of instruments and musical scores. The artist would arrange these into carefully choreographed, highly geometrical compositions for his paintings, presenting novel and daringly foreshortened views of the instruments.

Evaristo Baschenis, Still Life with Musical Instruments, Books and Sculpture, 1650, Museum Boijmans Van Beuningen, Rotterdam

04/03/2026

“I, Albrecht Dürer of Nuremberg have portrayed myself in everlasting colours at the age of twenty-eight.”— each word of this inscription in Latin was carefully chosen.

Albrecht Dürer’s (1471—1528) ‘Self-Portrait at Twenty-Eight’, painted in 1500, was a groundbreaking work that challenged artistic conventions and profoundly influenced the perception of artists. This panel painting offers a complex and layered portrayal, providing a glimpse not only into Dürer’s psyche but also into the core beliefs of the Northern Renaissance.

Albrecht Dürer, Self-Portrait with Fur-Trimmed Robe, 1500, Alte Pinakothek, Munich

26/02/2026

‘The Lute Player’ is a Baroque painting by Caravaggio (1571—1610). There are two versions, one in the Wildenstein Collection, US and another in the State Hermitage Museum, Russia.

The music shown here includes identifiable madrigals by the Franco-Flemish composer Jacques Arcadelt (1515–1568), specifically from his First Book of Four-Part Madrigals. The visible text includes the French phrase “Vous savez que je vous aime et vous adore” (“You know that I love you and adore you”).

Michelangelo Merisi da Caravaggio, The Lute Player, c. 1595, State Hermitage Museum, St. Petersburg, Russia

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