The origins of the Revolutionary War can be found in the details of Charles Willson Peale’s early American portrait.
He brewed his own beer instead of drinking London ale.
When 80-year-old Emily Sims Motley posed for her grandson, her eyes focused on the artist working in front of her. That direct gaze now invites us to look carefully at this portrait.
I am a school social worker at Anne Beers Elementary School in Washington, D.C.
Ludolf Backhuysen, whose name appears in the literature in a number of different forms (for example, Bakhuysen, Backhuisen, and Bakhuizen), was born in the German town of Emden on December 18, 1631. He was the son of a scribe, Gerhard Backhaus, and initially followed in his father’s footsteps, working as a clerk in the government offices at Emden.
Washington, D.C., 1995: 14-15. 2002 Beer, Gerlinde de.
In 1648 a contemporary writer noted that Willem Claesz Heda was a specialist in breakfast and banquet still lifes, painting „fruit, and all kinds of knick-knacks.“ At first sight, Heda’s largest known still-life painting appears to welcome the viewer to a sumptuous feast. Yet pewter plates teeter precariously over the table’s edge, while a translucent goblet and a silver tazza have toppled over, indicating that the feast has already been enjoyed.
cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer
Steen initially depicted him thrusting aloft a tall beer glass instead of holding
depictions of the nude. [2] Bellows to Katherine Hiller, 1910, quoted in Thomas Beer
See these 10 works by queer artists during your next visit.
Chester Dale Collection, 1963.10.158 “Why should I paint dead fish, onions, and beer
The three cargo ships in this large painting are the type of wide-bellied, seagoing vessels used to transport much of the commodities that generated the wealth of the Dutch in the seventeenth century. Flying the red, white, and blue flag of the Dutch Republic, these floating symbols of national prosperity are nevertheless in peril of crashing on the rocky shore.
New Haven, 1995: 223-224, repro. 2002 Beer, Gerlinde de.
rounded out the feast, which would have been washed down with ample glasses of beer
The crest bearing three cows’ heads, visible on the wall behind the sitter, indicates that this young man is a member of the prosperous Coymans family of Haarlem. The cows’ heads refer directly to the Dutch family name, which translates as „cow man.“ Archival and genealogical information, combined with the Latin inscription „AETA SVAE.22 / 1645“ below the shield, identifies the sitter as Willem Coymans, who was twenty-two years old in 1645.
National Gallery of Art, Washington (undated, 1960s): 20, as Balthasar Coymans. 1963 Beeren
