88 Sentences With "reattributed" | Random Sentence Generator

The recently reattributed work was last publicly exhibited at the Royal Academy summer exhibition of 20180.

Although the tracking stock structure adds a layer of complexity, Liberty has in the past reattributed assets and liabilities.

However, almost immediately, the work was kidnapped by art criticism as a political activist act and even reattributed to a male artist.

By 2008 then, the very term Street Art had come to be radically reattributed by the market, the media, and municipal authority.

Two are of anonymous men, and the more dashing one was reattributed to Velázquez in 2009, after cleaning revealed subtler brushwork, especially in the curly hair.

Long considered to be a copy, the painting was reattributed to Murillo after art scholar Benito Navarrete Prieto travelled to Penrhyn Castle in north Wales to view the work.

Over the centuries, many of their paintings were lost, destroyed or reattributed to their male colleagues, and it wasn't until the 19th century that the process of rehabilitation began.

The choice of this painting was pertinent, not only because it depicted a woman drawing, but because it had recently been reattributed to a woman, Constance Marie Charpentier (219–21822).

The expressive canvas, estimated at 22017,213.1 pounds to 25.7 million pounds ($230,173 to $217 million), had long been thought to be the work of Pierre Andrieu, a Delacroix pupil, but it was reattributed to his master in 2800.

That group can vote on whether a track legally should be removed or its revenue reattributed, and both plaintiffs and committee members must put up a small financial stake they'll lose if their claim is frivolous or they make erroneous decisions.

Just this week, during TEFAF in New York, there was much interest in a bust of Jesus bought by scholar and dealer Andrew Butterfield in London for a reported £99,000 (~$121,000), who, having reattributed the work to Gian Lorenzo and Pietro Bernini, is now asking around $10 million for it.

Bought for under $22013,20153 at a Louisiana auction when it was thought to be the work of a minor painter, a painting of Jesus titled "Salvator Mundi" was reattributed to Leonardo da Vinci and sold for $22015 million at auction in 216 to a Saudi prince believed to have been bidding on behalf of Crown Prince Mohammed bin Salman, though there are still doubts about whether it is a Leonardo at all.

In 2000, the painting Saint John Preaching in the Desert (Musée des Beaux-Arts, Carcassonne), previously believed to be a work by Sébastien Bourdon, was reattributed to Pierre Rabon.Collection des Musées de France (Joconde), Reférence 04400001087.

It was then attributed to Titian, but Giovanni Morelli reattributed it as an early work by a young Correggio - this became the dominant attribution, supported by "the minute technical execution and the clear and shining colours".

477 Another landscape attributed to the artist is the Grape Harvest in the Academy of Fine Arts Vienna. This work was originally attributed to an anonymous follower of Goya before it was reattributed to Jan de Momper.

Marco Boschini described the work whilst it was in cardinal Leopoldo de' Medici's collection. At that time it was attributed to an unknown Venetian artist, though it was later reattributed to Tintoretto and then back to Savoldo.

Recent books or sites on the Francken family no longer list Jan Baptist Francken. Paintings earlier attributed to Jan Baptist Francken have now been reattributed to other painters, sometimes members of the Francken family, sometimes others like Louis de Caullery.

The fragment however is uninscribed and Davies' identification of the owner of the statuette as Imyremeshaw is based solely "on grounds of provenance".W. Davies: A royal statue reattributed, British Museum occasional paper 28, London, 1981 The statuette is now in the Egyptian Museum, JE54493.

Bellatin Madonna (c. 1515) by Domenico Beccafumi The Bellanti Madonna is a c.1515 oil on canvas painting. Long attributed to Girolamo del Pacchia, Vigni reattributed it as a youthful work by Domenico Beccafumi in 1936, an attribution accepted by most other later art historians.

Many drawings long considered by Titian are now thought to be by Domenico, and attribution of many is still disputed, as some earlier drawings are disputed between his father Giulio, Titian, and Giorgione. Drawings have also been reattributed from Domenico to Giulio Campagnola.See for example no. D9 on p.

Various other paintings were on long-term loan from the Amsterdam Museum and have been returned, but the majority are all still in the collection of the Rijksmuseum today. Some of the paintings have been reattributed to other artists since 1956. No works by women artists were included in the selection.

In 2003, a Nisi Dominus previously thought to be by Galuppi was reattributed to Vivaldi. The music of the latter, a generation earlier than Galuppi, had gone out of fashion after his death, and unscrupulous copyists and editors found that Galuppi's name on the title page increased a work's appeal.Talbot, Michael (2004). Notes to Hyperion CD 66849Wigmore, Richard.

Leonardo da Vinci, Head of a Woman, c.1508. At the time of its arrival in Florence it was attributed to Leonardo da Vinci, but was reattributed to Luini by Gouthiez based on an 1890 inventory - Beltrami dated it to c.1527-1530, late in Luini's life. Art historians argue Salome's face was based on Leonardo's drawing Head of a Woman (Parma).

'In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias', Amsterdam University Press, 2006, p. 93 Van Mander reported that Badens painted in the Italian style. His body of work is not firmly established and some works attributed to Pieter Isaacsz have been tentatively reattributed to Badens. This includes a Venus and Cupid auctioned at Sotheby's on 29 October 2009, London, lot 14.

Rembrandt Harmensz. van Rijn: The Old Man Sitting in a Chair By 1974 Konstam was contending he had proved the case that Rembrandt observed reality and reflections etc. to help create his masterpieces rather than using his imagination, the scholars' view, as noted in his eBook. Konstam wrote to the Rembrandt Research Project on two occasions vigorously requesting they reattributed “The Old Man Sitting in a Chair” to Rembrandt.

Francis Haskell, Nicholas Penny. Taste and the Antique: The Lure of Classical Sculpture, 1500–1900, p. 241. Yale University Press, 1981. It was first attributed to the Veiian artist Vulca, who decorated the Temple of Jupiter Capitolinus, and then reattributed to an unknown Etruscan artist of around 480–470 BC. Winckelmann correctly identified a Renaissance origin for the twins; they were probably added in 1471 AD or later.

Then attributed to Giorgione, it was later reattributed as an early work by Titian. Some art historians have also suggested an attribution to Romanino. At the centre is a group of figures freeing the child Adonis from his mother, who has just been transformed into a tree. To the left is a pair of lovers (referring to Adonis' conception), whilst on the left is his future lover Venus.

The piece was initially thought to be an early work of Johann Sebastian Bach. However, Bach scholars reattributed the piece to his cousin, Johann Ludwig Bach. The piece was likely composed in Meiningen in 1704 for the first day of Eastertide, known as Easter Sunday. There is some evidence that it may have been performed again under the aegis of Johann Sebastian Bach on 21 April 1726 in Leipzig.

The Musicians' Brawl is an oil on canvas painting by the French artist Georges de La Tour, produced at an unknown date between 1620 and 1630. Previously attributed to Caravaggio, the work was in Lord Trevor's collection by 1928. It was reattributed to de la Tour in 1958 by Charles Sterling and Francois- Georges Pariset and sold in 1972. Its present owner the J. Paul Getty Museum acquired it in 1973.

His later writings contain eulogies for both parents, from which the love and respect he felt toward them are evident. Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer".

A bronze bust of the courtier poet and diplomat Antonio Galli (1510–61) at the Frick Collection, New York, formerly attributed to Leone Leoni, was reattributed to Brandani by John Pope-Hennessy.John Pope-Hennessy, The Frick Collection: An Illustrated Catalogue. Vol. III: Sculpture; Italian (New York: Abrams); the attribution did not convince Jennifer Montague, reviewing the catalogue in The Burlington Magazine 114 No. 831 (June 1972), p. 411; Illustration of the bust .

The inventory of the Proveniershuis was drawn up by Pieter Langendijk and though some of the paintings have since been reattributed, his list is largely intact.Collections of Paintings in Haarlem, 1572-1745 by Pieter Biesboer The impressive regents' rooms have been rebuilt from other Haarlem locations. A room on the street side has a curious keystone above the door with masonic symbols denoting a mason's society and the text 'Metsselaars Proef-Kamer 1648 12/29'.

Coordinates: Herbert Winlock's 1915 photography of the tomb of Intef III. The tomb was tentatively attributed to Intef II by Winlock and reattributed to Intef III by Arnold.Herbert Winlock: "The Theban Necropolis in the Middle Kingdom", The American Journal of Semitic Languages and Literatures, Volume 32, available online copyright-free. The necropolis of the kings of the 11th Dynasty is located in El-Tarif, on the opposite bank of the Nile from Thebes.

One, originally thought to be Veronese's work, was reattributed when the name "Stefano", in Hebrew letters, was discovered in a cartouche. As of now, some fifty works have been identified as his with some certainty. Many of his works were originally attributed to Francesco Vecellio and Polidoro da Lanciano.Cernotto @ Artibus et Historiae There is some evidence that he worked for Titian in the 1520s and was primarily his student, rather than Veronese's, as formerly believed.

Benjamin Altman was an avid collector of Rembrandt paintings and Oriental porcelain, much of which he acquired through his friend, art dealer Henry J. Duveen. He was often advised in his painting purchases by Max Friedlander. The painting collection alone was notable for including the museum's first Vermeer and 20 Rembrandts, though a few have since been devoted and reattributed. Upon his death, he donated the collection to the Metropolitan Museum of Art.

A similar manifestation of distress when displaced into a North American medical culture may lead to a very different, even adverse outcome for a given individual and his or her family. The history and etymology of some syndromes such as Brain- Fag Syndrome, have also been reattributed to 19th century Victorian Britain rather than West Africa. In 2013, the DSM 5, dropped the term culture-bound syndrome, preferring the new name “Cultural Concepts of Distress”.

One painting of the subject, simply titled Salvator Mundi, was attributed or reattributed to Leonardo da Vinci in 2011. This painting disappeared from 1763 until 1900, when it was acquired from Sir Charles Robinson. It was at the time thought to be a work by Leonardo's follower, Bernardino Luini, and was purchased for the Doughty House in Richmond, London by Sir Francis Cook . By this time Christ's face and hair had been extensively repainted.

On the French Revolution it was sold to a Lyon painter and engraver Jean-Jacques de Boissieu and was used in 1797 as the model for one of his prints, Les pères du désert. A few years later, in 1807, de Boissieu sold it to the musée des Beaux-Arts de Lyon, where it has hung ever since. It was long misattributed to José de Ribera, before being reattributed to Zurbarán in 1847.

From the 1940s until 2018 it was thought to be an 18th-century copy by Ignatius de Roore of a work by van Steen.Museum voor Schone Kunsten Antwerpen is een topstuk rijker, VRT NWS, 9 February 2018Stefan Kuiper, De Jan Steen die geen Jan Steen was, is dus wél een Jan Steen, de Volkskrant, 12 February 2018 It was investigated and restored at the Mauritshuis in The Hague in 2018 and reattributed back to Steen.

Very little is known about van den Berghe and he was only rediscovered as an independent artist in the 1950s when some works formerly attributed to other artists were reattributed to him. It is believed that he was born in Antwerp and that his family left Flanders to settle in Middelburg. He may have trained under Ambrosius Bosschaert. In 1619 he registered in the Guild of St. Luke in Middelburg and in 1621 he was dean of the Guild.

Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994. It later entered the Farnese collection in Parma as a work by Parmigianino, with the Farnese's librarian Orsini acting as an intermediary - it is also known to have previously been in his collection. It was brought to Naples with most of the rest of the Farnese collection in 1739 but was only reattributed to Rosso in 1940 thanks to Roberto Longhi.Antonio Natali, Rosso Fiorentino, Silvana Editore, Milano 2006.

Before building of the Contract House, the Kontraktova Square was known as Mahistratska Square.Old new Podil (Старий новий Поділ). Hmarochos Kyiv. The western part of the square was ending with the Pyrohoshcha Church that was mentioned in the 12th century epic poem The Tale of Igor's Campaign. Following traditions of medieval cities, in the 18th century in front of magistrate was built a rotunda along with fountain of Felicitas (Roman goddess) and later in 19th reattributed to Samson.

It was later inherited by the Borghese family, in whose family inventories it appeared as a work by Giorgione in 1693. It was finally bought from an art dealer in Florence by Herbert Horne in 1912 for 2000 lira. Roberto Longhi reattributed it to Dosso's mature phase and more recently it has been assigned to the 1530s due to stylistic similarities with the Myth of Pan in the Getty Museum and the Sant' Andrea di Ferrara Altarpiece.

Early peoples and kingdoms of Ireland; the three kingdoms labelled Cairbre may perhaps represent the remains of Coirpre's conquests in the midlands Coirpre mac Néill (fl. c. 485–493), also Cairbre or Cairpre, was said to be a son of Niall of the Nine Hostages. Coirpre was perhaps the leader of the conquests that established the southern Uí Néill in the midlands of Ireland. The record of the Irish annals suggests that Coirpre's successes were reattributed to Muirchertach Macc Ercae.

With the insurance money from the theft, the museum bought a large Peter Paul Rubens painting, The Leopards, which it promoted as the largest Rubens in Canada. However, years later a conservator had the paint tested and found that the red pigments in it were mixed around 1687, four decades after Rubens died; the painting has since been reattributed to Rubens' students. In 2007, on the 35th anniversary of the theft, it was removed from exhibit and remains in storage.

Willem Drost's recognized lifetime output of artwork is very small, while Rembrandt is credited with more than 2,000 paintings and etchings, the majority of which are not signed. In recent years, some paintings attributed to Rembrandt have had their authenticity come under question. The importance of these Rembrandt works is such that the Foundation Rembrandt Research Project was established in Amsterdam to review the attribution of all of his works. Scholars have now reattributed a number of Rembrandt's paintings to his pupils and associates.

I, p. 51. It contains not only references to Veronese but a closer attention to classical values, so much so that Denis Mahon calls it "proto-Poussinesque". It is based on a preparatory drawing traditionally attributed to Ludovico Carracci, but later reattributed to Agostino Carracci, now in the British Museum, though Annibale alters it in several ways.Catalogue entry - British Museum This work and Saint Roch Giving Alms were the only two early paintings by the artist to be reproduced in print during the painter's lifetime.

The composition David slaying Goliath (1618, Museo del Prado, Madrid) is a collaborative work with Pieter Brueghel the Younger, in which the figures were the work of van Stalbemt. One group of works previously attributed to Adam Elsheimer has been reattributed to van Stalbemt. The influence of Elsheimer, which is particularly apparent in the composition, is believed to have been passed on via David Teniers the Elder, who had worked for a period in Elsheimer's studio. Van Stalbemt's later work shows similarities with Hendrick van Balen's work.

The London copy It was donated to the church of św. Elżbiety in Wrocław by city councillor Anton Götz von Schwanenfliess in 1708 as a Rembrandt. It was reattributed to Rembrandt's pupil Ferdinand Bol during the 19th century, then to a German follower of Rembrandt in an 1879 catalogue of the Museum of Fine Arts in Wrocław. In 1855 it was moved to the Ständehaus on Krupnicza Street and in 1879 to the Silesian Museum of Fine Arts (Schlesisches Museum der bildenden Künste) as inventory number 259).

Brian Kritt: Seleucid Coins of Bactria, p. 22. Ai-Khanoum apparently had a city symbol (a triangle within a circle, with various variations), which was found imprinted on bricks coming from the oldest buildings of the city. The same symbol was used on various Seleucid eastern coins, suggesting that they were probably minted in Ai-Khanoum. Numerous Seleucid coins were thus reattributed to the Ai-Khanoum mint rather recently, with the conclusion that Ai-Khanoum was probably a larger minting center than even Bactra.

The Young Woman in a Black Dress is an oil painting by Titian, dating to around 1520 and now held at the Kunsthistorisches Museum in Vienna. It was later misattributed to Palma il Vecchio, then to Giovanni Cariani, until Roberto Longhi reattributed it as by Titian, which is now the critical consensus. It depicts a woman half-length, facing the viewer, with her torso slightly twisted to give a sense of movement. One hand holds her black dress over her white shift, with a generous cleavage.

Matthias Depoorter, Jan Brueghel at Baroque in the Southern Netherlands The second nickname is a reference to his specialization in flower still lifes and the last one to his invention of the genre of the paradise landscape. His brother Pieter Brueghel the Younger was traditionally nicknamed "de helse Brueghel" or "Hell Brueghel" because it was believed he was the author of a number of paintings with fantastic depictions of fire and grotesque imagery. These paintings have now been reattributed to Jan Brueghel the Elder.Alexander Wied and Hans J. Van Miegroet.

380px Minerva is a c.1490-1495 oil on panel painting by Fra Bartolomeo, now in the Louvre in Paris Serena Padovani (ed.), Fra' Bartolomeo e la scuola di San Marco, Marsilio, Venezia 1996.. It forms a pair with Porcia (Uffizi). The work was first recorded in 1942 in an antiques shop in Toulouse, at which time it was attributed to Lorenzo Costa. Three years later it was acquired by France's Réunion des Musées Nationaux as a work by an anonymous French artist, reattributed to Perréal and assigned to the Musée de Moulins.

It and two other Titians reattributed at the same time were briefly put on public exhibition there, for the first time, in 2015.Apsley, 10 Until January 2021 it is in an exhibition at the National Gallery, London."Titian: Love, Desire, Death", Until 17 January 2021 The upper part of the painting was cut away in the late 18th century, apparently because it was damaged. This version is known from copies and a print, and included a face of Jupiter in the cloud, and his attribute of an eagle clutching bolts of lightning.

The bronze and stone apparatus of the Mausoleum of Martinengo in the Museum of Santa Giulia, Brescia, the ark of Sant'Appollonio in the Duomo Nuovo of Brescia, the altar of San Girolamo at the Church of Saint Francis of Assisi were all restored to Gasparo Cairano's oeuvre in the 2000s, while the bronze statues of the Martinengo mausoleum have been shown to be the works of Bernardino delle Croci. The funeral monuments of Altobello de Averoldi and Raffaele Riario in the Santi Nazaro e Celso, Brescia were reattributed to Lorenzo Bregno in 1990.

It is precisely the sculptural treatment of his figures and the crisp modelling of the faces, which are regarded as evidence of the influence of the Florentine master. Kreidl suggests that possibly he trained in Bronzino's workshop as early as the mid-1550s. On the basis of these characteristics Kreidl reattributed two portraits (art market) previously given to Santi di Tito to Huybrecht. The kitchen maid and her helpers In their energetic and bold drawing of the main outlines of their compositions the brothers also show their common artistic background.

380px Portrait of a Woman is a 1512 oil on canvas painting by Sebastiano del Piombo, dated by the artist and now in the Uffizi in Florence. A 1589 inventory misattributed it to Raphael and another to Giorgione, with the latter misattribution lasting until 1784. The gallery's director Tommaso Puccini reverted to Raphael in 1793 and - exhibiting it in the Tribuna of the Uffizi - claimed it was Raphael's portrait of La Fornarina mentioned by Vasari. Missirini argued its subject was Vittoria Colonna and reattributed its underdrawing to Michelangelo and painting to Sebastiano.

380px Madonna and Child with Saint Catherine of Alexandria and Saint Barbara is a c.1520 oil on panel painting by the Master of Hoogstraeten, an anonymous Antwerp master active between around 1490 and 1530. It is now in the Uffizi Gallery in Florence. Long attributed to Hugo van der Goes (an attribution strongly opposed by Giovanni Battista Cavalcaselle), it was later reattributed to Civetta and finally received its present attribution in 1929 thanks to research by Max Friedländer, who compared it to a work in the Benda collection in Vienna.

Type of statuette now reattributed to Vāsudeva, with three attributes (mace, wheel, conch), hand in abhaya mudra and without an aureole, 3rd-4th century. Cult images of Vāsudeva continued to be produced during the period, the worship of this Mathuran deity being much more important than that of Vishnu until the 4th century CE. Statues dating to the 2nd and 3rd century show a possibly four-armed Vāsudeva standing with his attributes: the wheel, the mace and the conch, his right hand saluting in Abhaya mudra.Fig.1 Fig.2 Fig.

Symbolism was a device to distinguish the main features of the Revolution and ensure public identification and support. In order to effectively illustrate the differences between the new Republic and the old regime, the leaders needed to implement a new set of symbols to be celebrated instead of the old religious and monarchical symbolism. To this end, symbols were borrowed from historic cultures and redefined, while those of the old regime were either destroyed or reattributed acceptable characteristics. These revised symbols were used to instil in the public a new sense of tradition and reverence for the Enlightenment and the Republic.

In 1947, Mrs. Harry Turpin gifted a Stanzione original painting titled David With the Head of Goliath to the Fine Arts Gallery of San Diego (now the San Diego Museum of Art); the work was then attributed to Ribera, but was reattributed to Stanzione by Mario Modestini in 1951, an attribution confirmed by Schleier, Felton, Zeri, and Spinosa. The painting is dated to approximately 1630. Caravaggio was an important influence in Stanzione’s artistic style and this painting illustrates a combination of styles from Caravaggio’s brutally realistic elements and dramatic lighting to classical 17th-century artistic trends including the lyrical style of Bologna artists.

Belgian reports bemoaned the state of the pitch and refereeing decisions, claiming that the second goal was offside. The group's second match, played in windy conditions,Freddi, p. 9 witnessed the first tournament hat-trick, scored by Bert Patenaude of the United States against Paraguay. Until 10 November 2006, the first hat-trick that FIFA acknowledged had been scored by Guillermo Stábile of Argentina, two days after Patenaude; however, in 2006 FIFA announced that Patenaude's claim to being the first hat-trick scorer was valid, as a goal previously assigned to teammate Tom Florie was reattributed to Patenaude.

In 1903 it was moved again,this time to the Silesian Museum of Artistic Crafts and Antiquities (Schlesisches Museum für Kunstgewerbe und Altertümer) as inventory number 396: 04. From 1945 to 1947 it was cared for by Wrocław's Department of Museums and Monuments Protection, before being transferred to its present home in 1947 of the city of Wrocław before moving to its present home. In 1973, by reading letters discovered on the canvas by Bożena Steinborn, the work was reattributed again, this time to the painter known as the HvT Monogramist. Steinborn argued that the work resembled the style of Christoph Paudis.

300px Portrait of Maria Luisa of Parma is a portrait of Maria Luisa of Parma, wife of Charles IV of Spain, produced as a pendant painting to a portrait of her husband. Both works were long thought to be a copy after an autograph work by Francisco Goya, but they have now been definitively reattributed as autograph works by Goya himself, produced late in the 18th century. Goya was a court artist to the royal family, though most of his paintings of them are still in the Prado Museum. The two works were commissioned by the couple's daughter Maria Isabella of Spain.

Though long lacking a modern biography, and with the chronology of his works rather unclear, his style emerged from various influences and makes his works distinctive, although his collaborations with his father and works by his imitators often make attributions uncertain. His follower Abraham van Calraet represents a particular problem, and the signatures on paintings are not to be relied on. The Rijksmuseum has reattributed many works to other painters; Abraham van Calraet does not even appear in a Museum catalogue until 1926, and even then he was not given his own entry.Riemsdijk, (1926), p. 47.

300px Portrait of Charles IV of Spain is a portrait of Charles IV of Spain in hunting dress with a hunting dog. Both it and a pendant of his wife were long thought to be a copy after an autograph work by Francisco Goya, but they have now been definitively reattributed as autograph works by Goya himself, produced late in the 18th century. Goya was a court artist to the royal family, though most of his paintings of them are still in the Prado Museum. The two works were commissioned by Charles's daughter Maria Isabella of Spain along with.

His style is closely related to that of Luis Tristán, and the influence of Orrente is obvious. A large canvas of "Saint Bernard with his Monks", in the convent of the Basilica of San Francisco el Grande, once believed to be the work of Francisco Pacheco, has been reattributed to him. Still-lifes form the bulk of his work and he seems to have developed his style from the works of Juan Sánchez Cotán, but with a lighter touch that seems to follow Venetian examples. Many of them also contain human figures; after the style of Bartolomeo Passerotti.

In 1963 Charles Sterling researched the work, removing the attribution to Perréal and instead assigned it to the Emilian Renaissance. He was also the first to link it back to Porcia (then thought to be a Saint Agnes or Virgin of the Annunciation from the circle of Lorenzo di Credi or of Franciabigio), which Sterling happened to have seen at the Istituto Centrale del Restauro in Rome. Minerva was reassigned yet again to a Florentine painter in 1967, the same year as it was moved to the Louvre's stores. It formed part of an exhibition in 1982, for which Sylvie Béguin reattributed it to Fra Bartolomeo's youth.

Due to a lack of rules and regulations as far as whose name was included on the final work, the author of the original tkhine may be left off in favor of the editor, printer, copyist, or typesetter, who would instead attach their own name to the work. Additionally, during the height of tkhine popularity, tkhines were reprinted multiple times to be included into different collections. Many times, the original name attached to the tkhine was either left off or reattributed to either the adaptor or the compiler of the collection, or someone else entirely. Thus, many tkhines are attributed to different authors depending on the collection.

1537 for his year of birth (Babelon 1927, p. 33). Connat & Colombier say that Babelon's date of 1583 is incorrect; the cited document is dated 15 May 1581, from which his year of birth would be calculated as c. 1535.), several early works have been reattributed to him, including the marble grouping Diana with a Stag (originally at the Château d'Anet, Eure-et-Loir; now at the Louvre).Diana with a Stag was formerly attributed to Jean Goujon, but Anthony Blunt conclusively rejected that attribution in 1953 and argued the statue is very likely an early work of Germain Pilon (see Blunt & Beresford 1999, pp. 80–81).

Detlev Kreidl, Joachim Beuckelaer und der Monogrammist HB, in: Oud Holland, Vol. 90, No. 3 (1976), published by Brill, pp. 162-183 The two paintings were found to bear the monogram HB and in 1997 infra-red reflectography conducted on The kitchen maid and her helpers revealed the signature 'Beuckler' and a date of 1570 or 1676 next to the already familiar monogram HB. Based on this discovery Kreidl was able to identify the 'Monogrammist HB' as Huybrecht Beuckeleer. The first Passover feast (Sotheby's New York sale, 26 January 2012, lot 105) is another painting previously attributed to Joachim that was reattributed to Huybrecht.

350px Madonna and Child with St Anthony of Padua and St Roch is a c.1511 oil on canvas painting by Titian, originally given to Philip IV of Spain by his viceroy of Naples Ramiro Núñez de Guzmán and now in the Prado Museum in Madrid. In 1657 it was recorded in the sacristy of the Escorial Monastery, where it was misattributed to "Bordonon", perhaps a misspelling of Paris Bordone. Later reattributed to Giorgione, Pordenone and then Francesco Vecellio, it was finally returned to its correct attribution by most critics due to its composition and symmetry Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969..

French revolutionaries wearing Phrygian caps and tricolor cockades Symbolism in the French Revolution was a device to distinguish and celebrate (or vilify) the main features of the French Revolution and ensure public identification and support. In order to effectively illustrate the differences between the new Republic and the old regime, the leaders needed to implement a new set of symbols to be celebrated instead of the old religious and monarchical symbolism. To this end, symbols were borrowed from historic cultures and redefined, while those of the old regime were either destroyed or reattributed acceptable characteristics. New symbols and styles were put in place to separate the new, Republican country from the monarchy of the past.

63–65, on JSTOR Later Roger Fry disagreed with some of Cook's optimistic Giorgione attributions, especially Cook's 1913 acquisition of 'La Schiavona', which he catalogued as The portrait of Caterina Cornaro by Giorgione (finished by Titian).The portrait of Caterina Cornaro by Giorgione (finished by Titian), 1915 on Worldcatcatalog entry 536 in 1913 The other Giorgione in his collection that was purchased in 1907, has since been reattributed to Giovanni Cariani.catalog entry 137 in 1913 He was a member of the Arundel Club and served on committees for foreign exhibitions and organised several in London. In 1930, he also gave £1000 to the University of London for the Courtauld Institute of Art.

In 2000, following a review of all radio services, Radio France director, Jean-Marie Cavada, initiated its Plan Bleu, essentially a vast re-organisation of its radio frequencies. Under the plan the local radio stations (Les locales de Radio France) were to be syndicated with Radio Bleue to form one network – the unified France Bleu officially launched on 4 September 2000 at 5:00am CET. Its network of thirty-eight local radio stations were all renamed "France Bleu ______", followed by its broadcast area, to bring the network closer to the Radio France family of stations. Expanding its coverage, local FM frequencies in small to medium-sized towns were reattributed to France Bleu.

A copy is now in the Capodimonte Museum in Naples, probably after being taken there by Joachim Murat, although it is not known where it was first exhibitedTouring Club Italiano, p. 228.. When the Bourbons were restored to the throne of Naples, the painting was initially moved off public display and into a barn at the Palace of Portici. The work was attributed to Gérard in the 1840s and the work was moved to the main floor of the palace. In an 1874 inventory the work was reattributed to Anne-Louis Girodet de Roussy-Trioson and moved to the Palace of Capodimonte, where it still hangs in Room 54 within the Royal ApartmentsTouring Club Italiano, p.

A similar fate befell the painting the museum bought with the money it received from its insurers. A group of 20 of them paid out nearly $2 million to settle the claim; they in turn posted a $50,000 reward for the return of the paintings, which under the terms of the insurance policies they legally owned as a result of paying the theft claim. The museum used the money to purchase a Rubens, The Leopards, which the museum promoted as the largest Rubens exhibited in Canada. But like the Brueghel, it was later reattributed to the painter's assistants, after a conservationist determined that its red pigments were mixed four decades after Rubens' death, reducing its value and interest to museumgoers.

On September 4, 1972, the museum was the site of the largest art theft in Canadian history, when armed thieves made off with jewellery, figurines and 18 paintings worth a total of $2 million at the time (approximately $ million today), including works by Delacroix, Gainsborough and a rare Rembrandt landscape (Landscape with Cottages). One painting, believed at the time to have been a Jan Brueghel the Elder but later reattributed to one of his students, was returned by the thieves as a way of opening ransom negotiations; the rest have never been recovered. The thieves likewise have never been identified, although there is at least one informal suspect. In 2003, The Globe and Mail estimated that the Rembrandt alone would be worth $1 million.

There is an early record of puppet performance of the legend, dating to Samuel Pepys's diary of 21 September 1668, which reads: "To Southwark Fair, very dirty, and there saw the puppet show of Whittington, which was pretty to see". At Covent Garden, performances of "Whittington and his Cat" were put on by the puppeteer Martin Powell (fl. 1710–1729). Powell was a successful showman, providing such a draw that the parish church of St. Paul would be drained of its congregation during hours of prayer when his plays were on.Steele, The Spectator No. 14, Friday, 16 March 1711; In Morley's annoted new edition, pp. 24–26 An advertisement bill of the puppet show has been copied out in Groans of Great Britain, once credited to Daniel Defoe but since reattributed to Charles Gildon (d.

In 1652 the governors of the " Old Men's Home" at Rotterdam agreed to receive him into the institution on condition of his paying a sum of 1225 florins and painting a picture representing them assembled together. Cool died there in 1660, and was buried in the church of the institution. The work, which he executed in accordance with the agreement, was the only one known to be by him when Michael Bryan was writing; and it had been shortly before that reattributed to him. Lamme ascribed it to Aart Mytens; Bürger gave it to Jacob Backer; and it is attributed to Daniel Mytens, the elder, by the catalogue, of 1867, of the Rotterdam Museum, where it has been since its removal from the Old Men's Home in 1849.

Investigation of the crime proved difficult in the early going, since it occurred over the Labour Day holiday weekend, when many of the museum's officials including its director were vacationing far away from Montreal. It was further complicated by continuing news coverage of the Blue Bird Café fire, Montreal's deadliest arson, three days earlier, dominating the headlines; the next day the killings of Israeli athletes by Palestinian terrorists at the Olympics in Munich further diminished media coverage. A sting operation conceived after the thieves returned the Brueghel (later reattributed to his students) and mailed photos of the other works to the museum seeking a ransom payment went awry; a later attempt to negotiate their return cost the museum $10,000 with no results. The thieves took advantage of weakened security, resulting from the renovations at the museum, which had left the skylight's alarm disabled.

It was listed with a description of "with all elegance that might be expected of a ducal commission," which implies that the subject was thought to be Ludovico Sforza, an employer of Leonardo and the Duke of Milan at the time. A 1686 inventory attributed it to Bernardino Luini, but this was soon crossed out and corrected to "or rather by Leonardo". In 1796, Napoleon Bonaparte took the Codex Atlanticus to France but left behind Portrait of a Musician and the work was soon after reattributed to Luini. In the early 20th century it was relabeled to be a Leonardo, the theory being that it was a counterpart to the Portrait of a Lady, now attributed to Giovanni Ambrogio de Predis but at the time thought to be a Leonardo portrait of Beatrice d'Este, Ludovico's wife.

While some art historians have questioned whether Jan van Kessel the Younger was a still life painter, various still lifes have been attributed to him. Similar in style to those of his father, these still lifes are perfectly balanced compositions, which are characterized by an attention for detail and the use of delicate colours. It has been speculated that the Flemish style of these still lifes gradually took on some of the features of the style of still life painting of his adoptive country Spain.Jan van Kessel the Younger (Antwerp 1654 – Madrid 1708) at Gallery De Jonckheere A number of still life works previously given to Jan van Kessel the Younger by scholars Klaus Ertz and Christa Nitze-Ertz in their 2012 publication on the painters called Jan van Kessel, has since 2017 been reattributed by the Netherlands Institute for Art History (RKD) to Pseudo-Jan van Kessel the Younger.

Page from the 1073 Izbornik Censorship in Russia dates back to long before the codified legal censorship of the Russian Empire. The first known list of banned books is found in the Izbornik of 1073, when much of what is now European Russia, Ukraine, and Belarus was governed by a polity known as Rus', centered in Kiev. The Izbornik, which also contained a large selection of Byzantine biblical, theological, and homiletic writings, was copied from a Bulgarian original that was probably created on the initiative of the Bulgarian tsar Simeon I. Most historians agree that the Russian version was made by order of Grand Duke Izyaslav Yaroslavich, though it was later reattributed to the prince Svyatoslav Yaroslavich. The list of banned books in the Izbornik did not necessarily indicate that the banned books had previously been available: N. A. Kobyak notes that out of the twenty-three apocryphal writings listed, only nine were available in Old Church Slavonic and Old East Slavic translations or adaptations.

It has been known since the 18th century, when it was probably in the collection of John Smith Barry (grandfather of Arthur Smith-Barry, 1st Baron Barrymore) at Marbury Hall near Northwich in Cheshire, UK. His heirs auctioned it at Sotheby's in London on 21 June 1933 as a work by Mantegna, by whom the young Correggio was strongly influenced. At that auction, it was bought by the Duveen Brothers, who then sold it in March 1937 to Samuel Henry Kress, who gave it to the new National Gallery of Art in Washington, where it now hangs. It was reattributed to Correggio by Corrado Ricci in 1930 and that attribution was accepted by Roberto Longhi in 1958 and Arturo Carlo Quintavalle in 1970. However, Cecil Gould disagreed in 1976, quoting the inventories of the Kress collection in 1959, which still held it to be by Mantegna, and in 1968, which held it to be "circle of Mantegna, possibly Correggio".

Her works are hard to tell apart from her sister's and mother's work, but Sam Segal has reattributed 30 of 91 folios in the British Museum to her Dorothea Maria Graff was born in Nuremberg as the daughter of the painters Maria Sibylla Merian and Johann Andreas Graff, and learned to paint from them and her sister Johanna who was ten years older.Dorothea Maria Graff in the RKD In 1681 her mother returned to Frankfurt without her father, in order to live with her mother after her stepfather Jacob Marrel's death.Dorothea Maria Graff in the Instituut voor Nederlandse Geschiedenis Though Johann Graff joined his family later, in 1686 Merian left her husband and moved with her two daughters and her mother to a religious community of Labadists in Wieuwerd, Friesland. Johann Graff made various attempts at reconciliation but eventually returned to Germany. In 1691 the four women moved to Amsterdam, where they set up a studio painting flowers and botanical subjects, continuing Merian's work on "The Caterpillar Book".

350px Job Taunted by his Wife is a painting by the French artist Georges de La Tour, produced at an unknown date between 1620 and 1650 - Sterling argues the work was produced in the painter's youth, but Rosenberg argues it was produced at the end of his career around 1650. It is now in the Musée départemental d'art ancien et contemporain in the French town of Épinal. Originally misattributed to an unknown 17th century Italian painter, it was acquired by its present owner in 1829 and reattributed to de La Tour in 1922, a reattribution confirmed by a 1972 restoration which revealed the painter's signature.Pierre Rosenberg et Marina Mojana, Georges de La Tour : Catalogue complet des peintures, Paris, Bordas, coll. « Les fleurons de l'art » (no 12), 1992 () The painting depicts a scene from the Old Testament in which Job, a once rich and influential man who in a short space of time lost his children, his possessions and his health but not his piety, is being chided by his wife for maintaining his faith and urged to curse God and die.

In 1923 Umberto Gnoli reattributed it to Giacomo di Ser Guglielmo of Città della Pieve - according to Gnoli this painter had collaborated on all the works Perugino painted in his birthplace after 1510 Umberto Gnoli, Pietro Perugino, publication Claudio Argentieri, Spoleto,1923 . He argued that the "large square forms, especially in the faces" were typical of Ser Giacomo, as were the thick and stocky figures and the red hairs still visible in Deposition (Santa Maria dei Servi church, Città della Pieve), in Madonna in glory with four saints (Duomo di Città della Pieve) and in the fresco of Antony the Great. These features of works produced in Città delle Pieve by Perugino and his studio are not found in the Monteleone d'Orvieto altarpiece, attributed to Ser Giacomo by Gnoli, but he argues that this is only because they were made illegible by repainting during its 1938 restoration. Fernando Cogna instead argues that the underdrawing was by Perugino and that the painting was by his pupil Ser Guglielmo de Castel della PieveFernando Corgna, Monteleone d'Orvieto: Storia del paese, delle Chiese e della vita sociale e religiosa, comune di Monteleone d'Orvieto, 2004.