104. 拉茨(LATZ)设计的路易十五(LOUIS XV)镀金青铜镶嵌乌木胡桃木、红玳瑁和黄铜首映式PARTIE BOULLE Marquery BUREAU PLAT,于1744年签署,日期为19世纪第二季度的Marquery,可能取代了早期的类似设计 - A-LOUIS-XV-GILT-BRONZE-MOUNTED-EBONIZED-WALNUT-AND-RED-Tortoisehell-AND-BRASS-PREMIERE-PARTIE-BOULLE-Marquery-BUREAU-PLAT-BY-LATZ-SIGNED-AND-Date-1744-THE-Marquery-SECOND-QUARTER-19世纪-可能-替换-早期-类似-设计 高清作品[25%]

A LOUIS XV GILT BRONZE -MOUNTED EBONIZED WALNUT AND RED TORTOISESHELL AND BRASS PREMIERE PARTIE BOULLE MARQUETRY BUREAU PLAT BY LATZ, SIGNED AND DATED 1744, THE MARQUETRY SECOND QUARTER 19TH CENTURY, LIKELY REPLACING AN EARLIER SIMILAR DESIGN-A-LOUIS-XV-GILT-BRONZE--MOUNTED-EBONIZED-WALNUT-AND-RED-TORTOISESHELL-AND-BRASS-PREMIERE-PARTIE-BOULLE-MARQUETRY-BUREAU-PLAT-BY-LATZ-SIGNED-AND-DATED-1744-THE-MARQUETRY-SECOND-QUARTER-19TH-CENTURY-LIKELY-REPLACING-AN-EARLIER-SIMILAR-DESIGN

A LOUIS XV GILT BRONZE -MOUNTED EBONIZED WALNUT AND RED TORTOISESHELL AND BRASS PREMIERE PARTIE BOULLE MARQUETRY BUREAU PLAT BY LATZ, SIGNED AND DATED 1744, THE MARQUETRY SECOND QUARTER 19TH CENTURY, LIKELY REPLACING AN EARLIER SIMILAR DESIGN-A-LOUIS-XV-GILT-BRONZE--MOUNTED-EBONIZED-WALNUT-AND-RED-TORTOISESHELL-AND-BRASS-PREMIERE-PARTIE-BOULLE-MARQUETRY-BUREAU-PLAT-BY-LATZ-SIGNED-AND-DATED-1744-THE-MARQUETRY-SECOND-QUARTER-19TH-CENTURY-LIKELY-REPLACING-AN-EARLIER-SIMILAR-DESIGN
(拉茨(LATZ)设计的路易十五(LOUIS XV)镀金青铜镶嵌乌木胡桃木、红玳瑁和黄铜首映式PARTIE BOULLE Marquery BUREAU PLAT,于1744年签署,日期为19世纪第二季度的Marquery,可能取代了早期的类似设计-A-LOUIS-XV-GILT-BRONZE-MOUNTED-EBONIZED-WALNUT-AND-RED-Tortoisehell-AND-BRASS-PREMIERE-PARTIE-BOULLE-Marquery-BUREAU-PLAT-BY-LATZ-SIGNED-AND-Date-1744-THE-Marquery-SECOND-QUARTER-19世纪-可能-替换-早期-类似-设计)

109. 鹤群,18世纪`Flock of Cranes, 18th century by Ishida Yutei 高清作品[25%]

AF-Flock of Cranes, <em>18</em>th century

图片文件尺寸: 9587×4268 px

鹤群,18世纪-石田裕泰

-Ishida Yutei was the teacher of Maruyama Okyo (1733–1795), the famous and influential champion of Western-influenced naturalism in Japan during the 18th century and founder of the Maruyama School. Although trained in the traditional Kano school methods, Yutei was typical of Kano artists of his time in adopting an eclectic approach to painting. Here, he combined the monumentality and stylization associated with Kano painting with the repetition of a single theme often seen in Rinpa school painting. While Yutei may have derived the postures of individual cranes from Kano instruction manuals, the idea of combining them all to depict an entire flock presages Okyo\'s interest in naturalism.