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It is now at The Met in New York.","Hercules chasing Avarice from the Temple of the Muses, by Ugo da Carpi, ca. 1520–27",{"_297":438,"_299":439,"_301":440},"https://img.ochreeditions.com/m/1028.jpg?dl=1","/art/hercules-chasing-avarice-from-the-temple-of-the-muses-met-337700","/galleries/style/italian-renaissance/hercules-chasing-avarice-from-the-temple-of-the-muses-met-337700",{"_293":436,"_295":437},{"_228":425,"_125":426,"_287":427},{"_278":422,"_280":423,"_282":424,"_283":408},47.622011702424075,54.3,23.622011702424075,{"_289":228,"_123":434,"_154":435,"_140":89},{"_289":125,"_123":431,"_154":432,"_140":433},{"_289":287,"_123":428,"_154":429,"_140":430},"era/16-italy","16th-century Italy",66,"style/print-16","More prints of the 16th century",54,"artist/contemporaries-of-ugo-da-carpi","Ugo da Carpi's contemporaries","black","snow","https://img.ochreeditions.com/a/1028/480.jpg","https://img.ochreeditions.com/a/1028/960.jpg","https://img.ochreeditions.com/a/1028/1920.jpg",{"_313":454,"_315":455},{"_313":452,"_315":453},{"_313":450,"_315":451},{"_313":448,"_315":449},{"_313":446,"_315":447},"#e3d7cc",0.0635,"#b8a798",0.1438,"#988a7c",0.2191,"#686059",0.2264,"#7f736a",0.3472,"Ugo da Carpi","ugo-da-carpi","Italian, 1480–1532",1480,1532,"Carpi","Bologna","portrait-of-a-young-man-met-435581","Portrait of a Young Man",{"_42":510,"_225":511,"_327":512,"_329":330,"_331":513,"_333":514,"_335":515,"_337":515,"_339":-5,"_140":101},"ca. 1470","Oil on wood","10 5/8 x 8 1/8 in. (27 x 20.6 cm)",20.6,27,0.758357462490129,[495,496,497,498,499],{"_224":374,"_225":375,"_42":376,"_306":377},"14.40.645","Antonello da Messina (Antonello di Giovanni d'Antonio) painted this in about 1470, aged about 35. It is now at The Met in New York.","Portrait of a Young Man, by Antonello da Messina (Antonello di Giovanni d'Antonio), ca. 1470",{"_297":492,"_299":493,"_301":494},"https://img.ochreeditions.com/m/1058.jpg?dl=1","/art/portrait-of-a-young-man-met-435581","/galleries/style/italian-renaissance/portrait-of-a-young-man-met-435581",{"_293":294,"_295":296},{"_228":487,"_125":488,"_287":489},{"_278":484,"_280":485,"_282":486,"_283":470},35.475651487233485,42,20.475651487233485,{"_289":228,"_123":490,"_154":491,"_140":89},{"_289":125,"_123":290,"_154":291,"_140":292},{"_289":287,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-antonello-da-messina-antonello-di-giovanni-d-antonio","Antonello da Messina (Antonello di Giovanni d'Antonio)'s contemporaries","https://img.ochreeditions.com/a/1058/480.jpg","https://img.ochreeditions.com/a/1058/960.jpg","https://img.ochreeditions.com/a/1058/1920.jpg",{"_313":508,"_315":509},{"_313":506,"_315":507},{"_313":504,"_315":505},{"_313":502,"_315":503},{"_313":500,"_315":501},"#552f1a",0.0785,"#a37452",0.0934,"#7a4525",0.1133,"#2b2019",0.1484,"#0f0d0a",0.5664,"Antonello da Messina (Antonello di Giovanni d'Antonio)","antonello-da-messina-antonello-di-giovanni-d-antonio","Italian, 1430–1479",1430,1479,"Messina","the-feast-of-the-gods-nga-1138","The Feast of the Gods",{"_42":567,"_225":568,"_327":569,"_329":330,"_331":570,"_333":571,"_335":572,"_337":572,"_339":573,"_140":101},"1514/1529","oil on canvas","overall: 170.2 x 188 cm (67 x 74 in.) framed: 203.8 x 218.4 x 7.6 cm (80 1/4 x 86 x 3 in.)",188,170.2,1.091684434968017,[552,553,554,555,556],{"_224":303,"_225":304,"_42":305,"_306":307},"1942.9.1","Giovanni Bellini painted this in 1514/1529, aged about 90. It is now at the National Gallery of Art in Washington, DC.","The gods picnic in a woodland clearing, served by satyrs and nymphs, with wine, fruit heaped in a blue and white porcelain bowl, and a general air of drowsy excess. The story comes from Ovid: at the right, Priapus reaches for the sleeping nymph Lotis, an advance about to be spoiled by the braying of Silenus’s donkey.","Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting. They are set within a landscape with craggy rocks, cliffs, and trees. Most of the people face us, and the men, women, and child have pale skin. The two satyrs have men’s torsos and furry goat’s legs, and they have darker, olive complexions. Most of the men wear voluminous, knee-length togas wrapped in short robes in shades of white, topaz blue, grass green, coral orange, or rose pink. Most of the women wear long, dress-like garments in tones of shell pink, apricot orange, or lapis blue over white sleeves. For all but one woman, their garments have fallen off one shoulder to reveal a round, firm breast. Several objects are strewn on the rocky, dirt ground in front of the group, including a wide, wooden bucket with a piece of paper affixed to its front to our right, a glass goblet, a pitchfork, a large blue and white ceramic dish filled with grapes and small yellow fruits, and an overturned cup near the center. Cliff-like, craggy rocks rise steeply behind the group to our left, filling much of the sky opposite a tall grove of leafy, dark green trees to our right. A few puffy white clouds float across the vivid blue sky. The slip of paper on the barrel has been inscribed, “joannes bellinus venetus p MDXIIII.”",{"_297":549,"_299":550,"_301":551},"https://img.ochreeditions.com/m/1318.jpg?dl=1","/art/the-feast-of-the-gods-nga-1138","/galleries/style/italian-renaissance/the-feast-of-the-gods-nga-1138",{"_293":294,"_295":296},{"_228":541,"_125":542,"_287":543},{"_278":538,"_280":539,"_282":522,"_283":540},203,187.2109375,172.2109375,{"_289":228,"_123":547,"_154":548,"_140":89},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"style/painting-16","More paintings of the 16th century",95,"artist/contemporaries-of-giovanni-bellini","Giovanni Bellini's contemporaries","https://img.ochreeditions.com/a/1318/480.jpg","https://img.ochreeditions.com/a/1318/960.jpg","https://img.ochreeditions.com/a/1318/1920.jpg",{"_313":565,"_315":566},{"_313":563,"_315":564},{"_313":561,"_315":562},{"_313":559,"_315":560},{"_313":557,"_315":558},"#3e5f7a",0.0711,"#92927e",0.1212,"#856c41",0.1509,"#624937",0.2217,"#372e27",0.4351,"Giovanni Bellini","giovanni-bellini","Italian, 1424–1516",1424,1516,"Venice","Giovanni Bellini, son of the painter Jacopo and brother-in-law of Andrea Mantegna, led Venetian painting for half a century.","mars-and-venus-united-by-love-met-437891","Mars and Venus United by Love",{"_42":621,"_225":622,"_327":623,"_329":330,"_331":624,"_333":625,"_335":626,"_337":572,"_339":-5,"_140":103},"1570s","Oil on canvas","81 x 63 3/8 in. (205.7 x 161 cm)",161,205.7,0.7785,[606,607,608,609,610],{"_224":374,"_225":375,"_42":376,"_306":377},"10.189","Paolo Veronese (Paolo Caliari) painted this in the 1570s, aged about 42. It is now at The Met in New York.","Mars and Venus United by Love, by Paolo Veronese (Paolo Caliari), 1570s",{"_297":603,"_299":604,"_301":605},"https://img.ochreeditions.com/m/1174.jpg?dl=1","/art/mars-and-venus-united-by-love-met-437891","/galleries/style/italian-renaissance/mars-and-venus-united-by-love-met-437891",{"_293":294,"_295":296},{"_228":598,"_125":599,"_287":600},{"_278":595,"_280":596,"_282":597,"_283":581},175.13744999999997,220.7,160.13744999999997,{"_289":228,"_123":601,"_154":602,"_140":89},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"artist/contemporaries-of-paolo-veronese-paolo-caliari","Paolo Veronese (Paolo Caliari)'s contemporaries","https://img.ochreeditions.com/a/1174/480.jpg","https://img.ochreeditions.com/a/1174/960.jpg","https://img.ochreeditions.com/a/1174/1920.jpg",{"_313":619,"_315":620},{"_313":617,"_315":618},{"_313":615,"_315":616},{"_313":613,"_315":614},{"_313":611,"_315":612},"#3d4c48",0.0829,"#8c7b60",0.1043,"#5f4d30",0.1767,"#3a2e1c",0.2902,"#1c1610",0.3459,"Paolo Veronese (Paolo Caliari)","paolo-veronese-paolo-caliari","Italian, 1528–1588",1528,1588,"Verona","portrait-of-a-woman-with-a-man-at-a-casement-met-436896","Portrait of a Woman with a Man at a Casement",{"_42":673,"_225":674,"_327":675,"_329":330,"_331":676,"_333":677,"_335":338,"_337":678,"_339":-5,"_140":103},"Tempera on wood","25 1/4 x 16 1/2 in. (64.1 x 41.9 cm)",41.9,64.1,0.6627096774193548,[658,659,660,661,662],{"_224":374,"_225":375,"_42":376,"_306":377},"89.15.19","Fra Filippo Lippi painted this in about 1440, aged about 29. It is now at The Met in New York.","Portrait of a Woman with a Man at a Casement, by Fra Filippo Lippi, ca. 1440",{"_297":655,"_299":656,"_301":657},"https://img.ochreeditions.com/m/1115.jpg?dl=1","/art/portrait-of-a-woman-with-a-man-at-a-casement-met-436896","/galleries/style/italian-renaissance/portrait-of-a-woman-with-a-man-at-a-casement-met-436896",{"_293":294,"_295":296},{"_228":650,"_125":651,"_287":652},{"_278":647,"_280":648,"_282":649,"_283":633},57.47969032258064,79.1,42.47969032258064,{"_289":228,"_123":653,"_154":654,"_140":89},{"_289":125,"_123":290,"_154":291,"_140":292},{"_289":287,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-fra-filippo-lippi","Fra Filippo Lippi's contemporaries","https://img.ochreeditions.com/a/1115/480.jpg","https://img.ochreeditions.com/a/1115/960.jpg","https://img.ochreeditions.com/a/1115/1920.jpg",{"_313":671,"_315":672},{"_313":669,"_315":670},{"_313":667,"_315":668},{"_313":665,"_315":666},{"_313":663,"_315":664},"#a8835c",0.0778,"#694d2e",0.1868,"#281e17",0.1879,"#4d241c",0.25,"#4a341f",0.2975,"Fra Filippo Lippi","fra-filippo-lippi","Italian, 1406–1469",1406,1469,"Spoleto","a-bear-walking-met-459184","A Bear Walking",{"_42":732,"_225":733,"_327":734,"_329":330,"_331":735,"_333":736,"_335":737,"_337":738,"_339":739,"_140":99},"ca. 1482–85","drawing","Drawings","silverpoint on light buff prepared paper","4 1/16 x 5 1/4 in. (10.3 x 13.3 cm)",13.3,10.3,1.2957198443579767,[717,718,719,720,721],{"_224":374,"_225":375,"_42":376,"_306":377},"1975.1.369","Leonardo da Vinci drew this in about 1482–85, aged about 25. It is now at The Met in New York.","A bear lumbers forward on all fours, drawn in silverpoint on prepared paper with fine, patient strokes that describe its fur, its heavy paws and the shifting weight of its body. Leonardo made the study in the early 1480s as part of his lifelong curiosity about the anatomy and movement of living things.","A Bear Walking, by Leonardo da Vinci, ca. 1482–85",{"_297":714,"_299":715,"_301":716},"https://img.ochreeditions.com/m/1267.jpg?dl=1","/art/a-bear-walking-met-459184","/galleries/style/italian-renaissance/a-bear-walking-met-459184",{"_293":436,"_295":437},{"_228":707,"_125":708,"_287":709},{"_278":703,"_280":704,"_282":705,"_283":706},49,43.29429429429429,25,19.294294294294293,{"_289":228,"_123":712,"_154":713,"_140":99},{"_289":125,"_123":710,"_154":711,"_140":91},{"_289":287,"_123":167,"_154":166,"_140":169},"style/drawing-15","More drawings of the 15th century","artist/leonardo-da-vinci","More by Leonardo da Vinci","https://img.ochreeditions.com/a/1267/480.jpg","https://img.ochreeditions.com/a/1267/960.jpg","https://img.ochreeditions.com/a/1267/1920.jpg",{"_313":730,"_315":731},{"_313":728,"_315":729},{"_313":726,"_315":727},{"_313":724,"_315":725},{"_313":722,"_315":723},"#faf2db",0.051,"#b39b82",0.0826,"#c9b094",0.191,"#bfa68c",0.2529,"#c4ac94",0.4225,"Leonardo da Vinci","leonardo-da-vinci","Italian, 1452–1519",1452,1519,"Vinci","Amboise","Leonardo trained in Florence in the studio of Andrea del Verrocchio and spent much of his career in Milan in the service of Ludovico Sforza, where he painted The Last Supper.","allegory-nga-35082","Allegory",{"_42":788,"_225":789,"_327":330,"_329":330,"_331":-5,"_333":-5,"_335":-5,"_337":-5,"_339":-5,"_140":103},"c. 1515-1525","oil on panel","overall: 43 x 39.2 cm (16 15/16 x 15 7/16 in.) framed: 63.5 x 59.1 x 6.4 cm (25 x 23 1/4 x 2 1/2 in.)",39.2,43,0.909423828125,[773,774,775,776,777],{"_224":303,"_225":304,"_42":305,"_306":307},"1948.17.1","Pietro degli Ingannati painted this in about 1515-1525. It is now at the National Gallery of Art in Washington, DC.","A sleeping nude woman lies on a rose-pink cloth while a satyr reaches towards her and another, holding a jug, glances back over his shoulder.","A nude woman, pudgy child, and two satyrs, which have men’s heads and torsos with goat’s legs and horns, are in a landscape in this octagonal painting. The scene is divided in half by a tree stump which only reaches to the center of the composition. To the left of the stump, the pale-skinned, nude child stands and hunches over to draw on the ground with a V-shaped compass. Two pieces of paper and a violin lie nearby. The landscape behind him has a body of water leading back to a town with buildings streaked with peach, perhaps flames. A band of peach sky separates the blue silhouettes of mountains lining the horizon from the vivid blue sky above. At the bottom center of the painting, a shield with an oval horizontally striped with red and white leans on the boy’s side of the tree, which has one leafy branch growing on the left side. One satyr holds a jug and kneels close to the tree with his back to it as he looks back over one shoulder. He and the other satyr both have dark, peach-toned skin and full beards. The second satyr hovers to the right of the nude, sleeping woman, both hands reaching for her or the rose-pink cloth surrounding her. The woman has blond curls, a round face, and she sleeps with one hand resting across her belly and her head tipped to our left. The trio are on a grassy area enclosed by dense, dark-green bushes and trees.",{"_297":770,"_299":771,"_301":772},"https://img.ochreeditions.com/m/1492.jpg?dl=1","/art/allegory-nga-35082","/galleries/style/italian-renaissance/allegory-nga-35082",{"_293":294,"_295":296},{"_228":765,"_125":766,"_287":767},{"_278":762,"_280":763,"_282":764,"_283":747},54.105224609375,58,39.105224609375,{"_289":228,"_123":768,"_154":769,"_140":89},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"artist/contemporaries-of-pietro-degli-ingannati","Pietro degli Ingannati's contemporaries","https://img.ochreeditions.com/a/1492/480.jpg","https://img.ochreeditions.com/a/1492/960.jpg","https://img.ochreeditions.com/a/1492/1920.jpg",{"_313":786,"_315":787},{"_313":784,"_315":785},{"_313":782,"_315":783},{"_313":780,"_315":781},{"_313":778,"_315":779},"#f9f9f8",0.0981,"#586a54",0.1527,"#a87d4e",0.2282,"#6e4f2f",0.2476,"#3b2e23",0.2734,"Pietro degli Ingannati","pietro-degli-ingannati","madonna-and-child-with-saint-jerome-and-saint-bernardino-of-nga-1140","Madonna and Child with Saint Jerome and Saint Bernardino of Siena",{"_42":837,"_225":838,"_327":839,"_329":330,"_331":840,"_333":841,"_335":-5,"_337":-5,"_339":-5,"_140":103},"c. 1480/1485","tempera on panel","overall: 70.3 × 50 cm (27 11/16 × 19 11/16 in.) framed: 88.9 × 68.58 × 11.43 cm (35 × 27 × 4 1/2 in.)",50,70.3,0.657470703125,[822,823,824,825,826],{"_224":303,"_225":304,"_42":305,"_306":307},"1942.9.3","Benvenuto di Giovanni painted this in about 1480/1485, aged about 44. It is now at the National Gallery of Art in Washington, DC.","Madonna and Child with Saint Jerome and Saint Bernardino of Siena, by Benvenuto di Giovanni, c. 1480/1485",{"_297":819,"_299":820,"_301":821},"https://img.ochreeditions.com/m/1320.jpg?dl=1","/art/madonna-and-child-with-saint-jerome-and-saint-bernardino-of-nga-1140","/galleries/style/italian-renaissance/madonna-and-child-with-saint-jerome-and-saint-bernardino-of-nga-1140",{"_293":294,"_295":296},{"_228":814,"_125":815,"_287":816},{"_278":811,"_280":812,"_282":813,"_283":797},61.2201904296875,85.3,46.2201904296875,{"_289":228,"_123":817,"_154":818,"_140":89},{"_289":125,"_123":290,"_154":291,"_140":292},{"_289":287,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-benvenuto-di-giovanni","Benvenuto di Giovanni's contemporaries","https://img.ochreeditions.com/a/1320/480.jpg","https://img.ochreeditions.com/a/1320/960.jpg","https://img.ochreeditions.com/a/1320/1920.jpg",{"_313":835,"_315":836},{"_313":833,"_315":834},{"_313":831,"_315":832},{"_313":829,"_315":830},{"_313":827,"_315":828},"#fcfaf7",0.0699,"#a76642",0.0882,"#7d6345",0.1894,"#2c3021",0.2139,"#c6a16c",0.4386,"Benvenuto di Giovanni","benvenuto-di-giovanni","Sienese, 1436 - before 1517",1436,1517,"the-holy-family-nga-41590","The Holy Family",{"_42":889,"_225":890,"_327":891,"_329":330,"_331":892,"_333":893,"_335":-5,"_337":-5,"_339":-5,"_140":103},"probably c. 1500","oil on panel transferred to hardboard","overall: 37.3 x 45.6 cm (14 11/16 x 17 15/16 in.) framed: 55.9 x 64.8 x 7.6 cm (22 x 25 1/2 x 3 in.)",45.6,37.3,1.2333634447455586,[874,875,876,877,878],{"_224":303,"_225":304,"_42":305,"_306":307},"1952.2.8","Giorgione painted this (probably c. 1500), aged 23. It is now at the National Gallery of Art in Washington, DC.","An old man and a young woman holding an infant are seated together in the center of this almost square painting. All three people have pale, peachy skin. To our left, the man sits on a low, tan brick wall with his head bowed to look at the baby on the woman’s lap. A periwinkle-blue cloak is wrapped around the kelly-green robe that covers his shoulders, back, and legs. One hand grips a short staff planted on the ground. His receding white hair and beard are thin and scraggly with tufts sticking out over his ears. The woman sits next to and slightly in front of him, to our right, on a low rock, her body angled toward the man. A long, cobalt-blue cloak is draped around her shoulders and covers her knees over her rose-pink gown. Her honey-brown hair is parted in the middle and gathered at the back of her head. Her brown eyes look down at the infant, who is blond with brown eyes. A long white shawl is tucked into the neckline of her dress, drapes over her shoulders, and wraps under the baby as she cradles his body with one hand under his backside and the other behind his head. The baby lies on his back with his head turned toward the woman, and he points to her with one outstretched arm. The dirt ground is scattered with pebbles that make a loose ring around the trio, with moss-green growth to either side. A brown brick wall fills the upper half of the composition behind the people and extends off the top edge. A rounded arch pierces the back wall to our right of the woman. On the other side of the opening, trees with copper-brown leaves grow up along the left and the landscape beyond opens onto rocky hills with a white, square tower. In the deep distance, the silhouette of a town is painted in robin’s egg-blue against a pale peach horizon line. Thin, white clouds skim across the blue sky above.",{"_297":871,"_299":872,"_301":873},"https://img.ochreeditions.com/m/1498.jpg?dl=1","/art/the-holy-family-nga-41590","/galleries/style/italian-renaissance/the-holy-family-nga-41590",{"_293":294,"_295":296},{"_228":866,"_125":867,"_287":868},{"_278":863,"_280":864,"_282":848,"_283":865},60.6,51.9720703125,36.9720703125,{"_289":228,"_123":869,"_154":870,"_140":89},{"_289":125,"_123":290,"_154":291,"_140":292},{"_289":287,"_123":167,"_154":166,"_140":169},"artist/contemporaries-of-giorgione","Giorgione's contemporaries","https://img.ochreeditions.com/a/1498/480.jpg","https://img.ochreeditions.com/a/1498/960.jpg","https://img.ochreeditions.com/a/1498/1920.jpg",{"_313":887,"_315":888},{"_313":885,"_315":886},{"_313":883,"_315":884},{"_313":881,"_315":882},{"_313":879,"_315":880},"#426787",0.1575,"#9b7a33",0.1605,"#bba78a",0.1764,"#423326",0.1845,"#835d3f",0.3211,"Giorgione","giorgione","Venetian, 1477/1478–1510",1477,1510,"saint-jerome-nga-91442","Saint Jerome",{"_42":944,"_225":945,"_327":946,"_329":330,"_331":947,"_333":948,"_335":-5,"_337":-5,"_339":-5,"_140":103},"1565/1570","Drawing","pen and brown ink over red chalk over leadpoint, reworked with reed pen and brown ink","overall: 30.9 × 21.8 cm (12 3/16 × 8 9/16 in.)",21.8,30.9,0.705810546875,[930,931,932,933,934],{"_224":303,"_225":304,"_42":305,"_306":307},"1995.8.1","Alessandro Vittoria drew this in 1565/1570, aged about 40. It is now at the National Gallery of Art in Washington, DC.","The image shows a sketch of a seated bearded figure holding an orb. The figure appears muscular, with a beard merging into long hair. The face is not detailed, and draped fabric covers part of the body. There is no jewelry, and the background is plain.",{"_297":927,"_299":928,"_301":929},"https://img.ochreeditions.com/m/1626.jpg?dl=1","/art/saint-jerome-nga-91442","/galleries/style/italian-renaissance/saint-jerome-nga-91442",{"_293":436,"_295":437},{"_228":919,"_125":920,"_287":921},{"_278":916,"_280":917,"_282":918,"_283":902},45.8095458984375,54.9,21.8095458984375,{"_289":228,"_123":925,"_154":926,"_140":89},{"_289":125,"_123":922,"_154":923,"_140":924},{"_289":287,"_123":428,"_154":429,"_140":430},"style/drawing-16","More drawings of the 16th century",35,"artist/contemporaries-of-alessandro-vittoria","Alessandro Vittoria's contemporaries","https://img.ochreeditions.com/a/1626/480.jpg","https://img.ochreeditions.com/a/1626/960.jpg","https://img.ochreeditions.com/a/1626/1920.jpg",{"_313":942,"_315":943},{"_313":941,"_315":666},{"_313":939,"_315":940},{"_313":937,"_315":938},{"_313":935,"_315":936},"#886750",0.0531,"#b68d6b",0.1135,"#d3af8a",0.1285,"#e7cfad","#f1e3c7",0.5181,"Alessandro Vittoria","alessandro-vittoria","Venetian, 1525–1608",1525,1608,"the-annunciation-to-zacharias-verso-the-angel-of-the-annunci-met-458977","The Annunciation to Zacharias; (verso) The Angel of the Annunciation",{"_42":996,"_225":997,"_327":998,"_329":330,"_331":999,"_333":1000,"_335":398,"_337":398,"_339":1001,"_140":97},"ca. 1455–60","Overall: 29 7/8 in. × 17 in. (75.9 × 43.2 cm)",43.2,75.9,0.4765,[981,982,983,984,985],{"_224":374,"_225":375,"_42":376,"_306":377},"1975.1.37","Giovanni di Paolo painted this in about 1455–60, aged about 54. It is now at The Met in New York.","In the Temple at Jerusalem the aged priest Zacharias is visited by the angel Gabriel, who announces that his wife Elizabeth, long childless, will bear a son, the future John the Baptist. Zacharias doubts, and is struck dumb until the child is born.","The Annunciation to Zacharias; (verso) The Angel of the Annunciation, by Giovanni di Paolo, ca. 1455–60",{"_297":978,"_299":979,"_301":980},"https://img.ochreeditions.com/m/1246.jpg?dl=1","/art/the-annunciation-to-zacharias-verso-the-angel-of-the-annunci-met-458977","/galleries/style/italian-renaissance/the-annunciation-to-zacharias-verso-the-angel-of-the-annunci-met-458977",{"_293":294,"_295":296},{"_228":973,"_125":974,"_287":975},{"_278":970,"_280":971,"_282":972,"_283":955},51.16635,90.9,36.16635,{"_289":228,"_123":976,"_154":977,"_140":97},{"_289":125,"_123":290,"_154":291,"_140":292},{"_289":287,"_123":167,"_154":166,"_140":169},"artist/giovanni-di-paolo","More by Giovanni di Paolo","https://img.ochreeditions.com/a/1246/480.jpg","https://img.ochreeditions.com/a/1246/960.jpg","https://img.ochreeditions.com/a/1246/1920.jpg",{"_313":994,"_315":995},{"_313":992,"_315":993},{"_313":990,"_315":991},{"_313":988,"_315":989},{"_313":986,"_315":987},"#754b2e",0.1058,"#040303",0.1371,"#362f27",0.1673,"#594b34",0.2747,"#846f4b",0.3151,"Giovanni di Paolo","giovanni-di-paolo","Italian, 1398–1482",1398,1482,"Giovanni di Paolo spent his long career in Siena, where he was one of the city’s leading painters through the fifteenth century.","the-coronation-of-the-virgin-met-435853",{"_42":1047,"_225":1048,"_327":1049,"_329":330,"_331":1050,"_333":1051,"_335":462,"_337":1052,"_339":-5,"_140":101},"after 1595","46 3/8 x 55 5/8 in. (117.8 x 141.3 cm)",141.3,117.8,1.169248757673195,[1032,1033,1034,1035,1036],{"_224":374,"_225":375,"_42":376,"_306":377},"1971.155","Annibale Carracci painted this (after 1595), aged about 35. It is now at The Met in New York.","The Coronation of the Virgin, by Annibale Carracci, after 1595",{"_297":1029,"_299":1030,"_301":1031},"https://img.ochreeditions.com/m/1070.jpg?dl=1","/art/the-coronation-of-the-virgin-met-435853","/galleries/style/italian-renaissance/the-coronation-of-the-virgin-met-435853",{"_293":294,"_295":296},{"_228":1024,"_125":1025,"_287":1026},{"_278":1021,"_280":1022,"_282":1006,"_283":1023},156.3,135.84682500000002,120.84682500000001,{"_289":228,"_123":1027,"_154":1028,"_140":89},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"artist/contemporaries-of-annibale-carracci","Annibale Carracci's contemporaries","https://img.ochreeditions.com/a/1070/480.jpg","https://img.ochreeditions.com/a/1070/960.jpg","https://img.ochreeditions.com/a/1070/1920.jpg",{"_313":1045,"_315":1046},{"_313":1043,"_315":1044},{"_313":1041,"_315":1042},{"_313":1039,"_315":1040},{"_313":1037,"_315":1038},"#6c6252",0.0827,"#7c5937",0.1563,"#030202",0.1991,"#4c3a2c",0.2381,"#302a24",0.3238,"Annibale Carracci","annibale-carracci","Italian, 1560–1609",1560,1609,"Rome","orpheus-nga-1139","Orpheus","Unrecorded Italian maker","c. 1515","oil on panel transferred to canvas","overall: 39.5 x 81 cm (15 9/16 x 31 7/8 in.) framed: 67.3 x 101.1 x 4.4 cm (26 1/2 x 39 13/16 x 1 3/4 in.)",81,39.5,1.7407564810879728,[1085,1086,1087,1088,1089],{"_224":303,"_225":304,"_42":305,"_306":307},"1942.9.2","An unrecorded Venetian artist painted this in about 1515. It is now at the National Gallery of Art in Washington, DC.","Two women, a man, and a satyr, a man with goat’s legs, are in two pairs in a forested landscape in this horizontal painting. The pale-skinned women are nude, and their blond hair is tied up and back. One woman sits on a brown boulder to the left of center. One hand covers her groin, and the other hand rests on the satyr’s shoulder. The satyr has deeply tanned skin, short white hair, and a long white beard. A white cloth wraps over one shoulder and across his hips. He holds up an object, perhaps a shell, with one hand. That arm crosses over the woman’s breasts. His other hand is by his lower belly, and he looks at the shell. A bit farther back and to our right, a second nude woman also sits on a boulder. She faces away from us and holds up a long stick with her left arm, which arcs over her body. A clean-shaven, pale-skinned man sits with his back against the boulder. He has long brown hair and looks off to the distance to our right. He wears a carnation-pink robe over a sapphire-blue tunic. His legs splay in front of him, his feet bare, as he holds a bow to a violin-like instrument tucked under his chin. The two pairs sit in a grassy glade occupied also by five pheasant- or peacock-like birds. A thin river running behind the glade is lined with spindly trees that together make an impenetrable bronze-brown and laurel-green canopy. The second woman’s stick points or is directed to a gray, mountain lion-like cat on the far bank. Closer inspection reveals deer and another person, who points, tucked among the trunks. A glimpse of blue sky is visible through a break in the tree trunks.",{"_297":1082,"_299":1083,"_301":1084},"https://img.ochreeditions.com/m/1319.jpg?dl=1","/art/orpheus-nga-1139","/galleries/style/italian-renaissance/orpheus-nga-1139",{"_293":294,"_295":296},{"_228":1077,"_125":1078,"_287":1079},{"_278":1074,"_280":1075,"_282":1059,"_283":1076},96,61.531494140625,46.531494140625,{"_289":228,"_123":1080,"_154":1081,"_140":77},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"artist/unrecorded-italy","More by unrecorded makers of Italy","https://img.ochreeditions.com/a/1319/480.jpg","https://img.ochreeditions.com/a/1319/960.jpg","https://img.ochreeditions.com/a/1319/1920.jpg",{"_313":1098,"_315":1099},{"_313":1096,"_315":1097},{"_313":1094,"_315":1095},{"_313":1092,"_315":1093},{"_313":1090,"_315":1091},"#b17758",0.053,"#ab915a",0.102,"#7d653a",0.1806,"#5e4f33",0.2934,"#433922",0.371,"brother-gregorio-belo-of-vicenza-met-436917","Brother Gregorio Belo of Vicenza",{"_42":1147,"_225":1148,"_327":1149,"_329":330,"_331":1150,"_333":1151,"_335":572,"_337":1152,"_339":1153,"_140":99},"1547","34 3/8 x 28 in. (87.3 x 71.1 cm)",71.1,87.3,0.82,[1132,1133,1134,1135,1136],{"_224":374,"_225":375,"_42":376,"_306":377},"65.117","Lorenzo Lotto painted this in 1547, aged 72. It is now at The Met in New York.","Brother Gregorio Belo, a friar of the Hieronymite order, holds a book in one hand and strikes his chest with the other in a gesture of penitence, while behind him a small scene of the Crucifixion appears in a landscape, as if conjured by his meditation.","Brother Gregorio Belo of Vicenza, by Lorenzo Lotto, 1547",{"_297":1129,"_299":1130,"_301":1131},"https://img.ochreeditions.com/m/1122.jpg?dl=1","/art/brother-gregorio-belo-of-vicenza-met-436917","/galleries/style/italian-renaissance/brother-gregorio-belo-of-vicenza-met-436917",{"_293":294,"_295":296},{"_228":1124,"_125":1125,"_287":1126},{"_278":1121,"_280":1122,"_282":1123,"_283":1106},86.586,102.3,71.586,{"_289":228,"_123":1127,"_154":1128,"_140":99},{"_289":125,"_123":544,"_154":545,"_140":546},{"_289":287,"_123":428,"_154":429,"_140":430},"artist/lorenzo-lotto","More by Lorenzo Lotto","https://img.ochreeditions.com/a/1122/480.jpg","https://img.ochreeditions.com/a/1122/960.jpg","https://img.ochreeditions.com/a/1122/1920.jpg",{"_313":1145,"_315":1146},{"_313":1143,"_315":1144},{"_313":1141,"_315":1142},{"_313":1139,"_315":1140},{"_313":1137,"_315":1138},"#232e1c",0.0274,"#583f24",0.0318,"#2d2113",0.1147,"#110d08",0.3567,"#1d150c",0.4694,"Lorenzo Lotto","lorenzo-lotto","Italian, 1475–1556",1475,1556,"Loreto","Lotto was born in Venice but spent much of his restless career elsewhere: in Treviso, Bergamo and the towns of the Marches, with a stay in Rome.",{"_1155":-5,"_1156":1157,"_1158":1159,"_1160":8,"_1161":1162,"_1163":8},"user","csrf","6290fc6687fe00938c8872db8ed65a3cb7cf5cc9","cartCount",0,"dropLive","legal",[1164,1165,1166,1167,1168,1169,1170,1171,1172,1173,1174,1175],"uploadsEnabled",{"_225":1198,"_20":1199},{"_225":1196,"_20":1197},{"_225":1194,"_20":1195},{"_225":1192,"_20":1193},{"_225":1190,"_20":1191},{"_225":1188,"_20":1189},{"_225":1186,"_20":1187},{"_225":1184,"_20":1185},{"_225":1182,"_20":1183},{"_225":1180,"_20":1181},{"_225":1178,"_20":1179},{"_225":1176,"_20":1177},"credits","Open-Access Credits","accessibility","Accessibility Statement","vulnerability-disclosure","Vulnerability Disclosure Policy","own-photo","Printing Your Own Photo","copyright","Copyright and DMCA Policy","agents","Agent & API Terms","acceptable-use","Acceptable Use Policy","cookies","Cookie Policy","privacy","Privacy Policy","limited-editions","Limited Editions and Certificates","sale","Terms of Sale","terms","Terms of Use"]