The Venus at Bath was commissioned in 1756 and completed c. 1767. Its concept, derived loosely from Giambologna, is much better than the execution, whereby the goddess remains lumpish and her draperies inert and mechanical. However, it was praised by Diderot. This appealed to Madame Du Barry, who obtained the Venus and placed it at Louveciennes, and commissioned in 1772 from the sculptor a pendant of virtually the same subject in less languorous mood: a Diana surprised by Actaeon (also in the Louvre, Paris), completed five years later and then exhibited in the artist’s studio.
The style of the Flemish painters, who brought with them the new technique of transparent oil painting, was adopted by the court of Castile in the second third of the fifteenth century. Among the pioneers of this style was Louis Alincbrot who painted the complex triptych depicting scenes from the life of Christ. The picture shows the central panel of the triptych which depicts Jesus Debating with the Doctors of the Church, The Road to Calvary, and in the background, The Crucifixion. The left panel depicts The Circumcision, while the on the right has a Pietà, with the sarcophagus for Christ’s burial in the background.
The present portrait belongs to the early part of the artist’s career, cut short by his untimely death in 1845.
This animal picture can be found in Ulisse Aldrovandi, “De quadrupedibus digitatis viviparis”, Bologna 1637, 267.
These animal pictures can be found in the “Tavola di animali” vol. 6/2, fol. 87.
This animal picture can be found in Ulisse Aldrovandi “Monstrorum historia cum paralipomenis historiae omnium animalium”, Bologna 1642, 127.
This animal picture can be found in Ulisse Aldrovandi “Quadrupedum omnium bisulcorum Historia”, Bologna 1621, 369.
These animal pictures can be found in the “Tavola di animali” vol. 5/1, fol. 20.




















