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L'Ouie
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L'Ouie
Allegory of Music, 1649. Creator: Laurent de la Hyre Featured Image

Allegory of Music, 1649. Creator: Laurent de la Hyre

Allegory of Music, 1649.
allegorical figure tunes a theorbo. At her shoulder is a songbird, symbol of natural music, whereas by contrast she may be a representation of modern music theory and practice. To the right are various contemporary instruments and scores: a lute, a violin, two recorder

© Heritage Art/Heritage Images

17th Century, Allegorical Figure, Allegory, Animal, Arts, Bird, Birds, Century, Colour, Country, Female, Fiddle, France, French, Heritage Art, Hyre, Hyre Laurent De La, Laurent De La, Laurent De La Hire, Laurent De La Hyre, Laurent De Lahire, Location, Lute, Metropolitan Museum Of Art, Museum, Music, Musical Instrument, Musical Instruments, Oil On Canvas, Oil Painting, Painting, People, Recorder, Recorders, Seventeenth Century, Sheet Music, Songbird, Stringed Instrument, The Met, The Metropolitan Museum Of Art, Theorbo, Tuning, Violin, Woman, Women

The Gore Family with George, third Earl Cowper, c1775, (1942). Creator: Johan Zoffany Featured Image

The Gore Family with George, third Earl Cowper, c1775, (1942). Creator: Johan Zoffany

The Gore Family with George, third Earl Cowper, c1775, (1942). Portrait of Englsih art collector and patron George Clavering-Cowper, 3rd Earl Cowper (1738-1789), with Emilie Gore, Elizabeth Gore, Hannah Anne Gore and Charles Gore. Gore's daughter, Hannah, is top left, Gore is centre and the aspiring groom is the standing figure on the right'. Cowper married sixteen-year-old Hannah Anne on 2 June 1775. Painting in the Yale Center for British Art, New Haven, Connecticut, USA. From "English Music, by W. J. Turner. [Collins, London, 1942]

© The Print Collector/Heritage Images

The Parsonage, c1780-1825. Creator: Thomas Rowlandson Featured Image

The Parsonage, c1780-1825. Creator: Thomas Rowlandson

The Parsonage, c1780-1825. This drawing of The Parsonage is vigorous, emphatic, and one might say brilliant in Rowlandson's best manner. He gives us an idea of the luxurious habits of the upper classes in the England of that time. With this type of subject it is difficult to establish a line of demarcation between seriousness and humor, for the scene is only one of many where the cultivated are real material for the subjects of Rowlandson's imaginative and prolific pen...Rowlandson's typical and conventional pretty lady holds the attention of her dashing suitor with a selection on the spinet, while on the other hand, a group of over-indulgent and unattractive elders are completely absorbed in themselves'. From "The Watercolour Drawings of Thomas Rowlandson from the Albert H. Wiggin Collection in the Boston Public Library" with commentary by Arthur W. Heintzelman. [Watson-Guptill Publications, Inc. New York, 1947]

© Shirley Markham Collection/Heritage Images


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