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By Michel Laclotte

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It is therefore conceivable that the Maesta in the Louvre antedates the Maesta of This altarpiece, originally intended, Santa Trinita 5! in the Ujfi%i ITALIAN SCHOOL Gallery in Florence. -Florence, 1332) ALTARPIECE OF Wood. 314 X Signed: FRANCIS ST. 162 cms. ) OPVS JOCTI FLORENTINI Musee Napoleon. Inv. 309 Like Cimabue's Maesta this altarpiece by Giotto also came originally from the church of San Francesco in Pisa. The four scenes depicting events in the life of St. ssisi: St. Francis Receiving the Stigmata, The Vision of Innocent III, Innocent III Approving the Statutes of the Order, St.

The Douai Belfry, in common with Sens Cathedral (1874), demonstrates Corot' assuredness, candour and freedom of approach in his final period. The work, painted in twenty sessions, was executed in May 1S/1. Corot had been visiting Arras, Douai and the surrounding district regularly for over twenty years to see his numerous friends, either painters or art lovers, including Constant Dutilleux, Charles Desavary and Alfred Robaut. The latter, the owner of the Douai Belfry, was Corot' s biographer and compiled the catalogue of his work.

To judge by the apparent age of Largilliere and the two women always supposing of course that the picture is indeed of the artist and his family the work was probably painted around i/ij, and to be singing — is one of the artist's finest pieces. 34 FRENCH SCHOOL — Antoine Watteau (Valenciennes, 1684-Nogent-sur-Marne, 1721) THE EMBARKATION FOR CYTHERA Canvas. 128 X 193 cms. ) Academie Royale Collection, acquired by the Louvre in 1795. Inv. 8525 Although made an associate of the Academie Royale de Peinture et de Sculpture in 17 12, Watteau did not become an academician until August 28th, 1717, the date of presentation The theme of Cythera, synonymous with the of the Embarkation for Cythera.

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Musee du Louvre Paintings by Michel Laclotte

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