Sans titre

This Transition period piece (1765-75) is unusual in that it stands on very high legs, giving the impression that the dresser is about to jump, like a frog.

Eugène Delacroix, then 18 years old, is believed to have painted his self-portrait in 1816. However, it is less this subject of debate that makes the young Delacroix so interesting than the doubts surrounding his paternity.

At the time of his son's conception, his putative father, Charles-François Delacroix, suffering from erectile dysfunction, returned to Paris in early September 1797 to find his wife pregnant.

Probably works by the family friend Charles-Maurice de Talleyrand, Charles Delacroix's successor as Minister of Foreign Affairs.

Portrait of Charles-Maurice de Talleyrand, 1817

This is confirmed by the striking resemblance of the adult Eugène, in both appearance and character. Orphaned at 16, the young Delacroix was protected by Talleyrand throughout his career as a painter.

Engraving by Frédéric Villot after Eugène Delacroix's self-portrait of 1819

To present it to the Cercle Artistique in Brussels in January 1877, Rodin initially titled his work The Vanquished, then The Awakening Man, and finally The Age of Bronze, in reference to the successive stages of human evolution as described by the Greek poet Hesiod in Works and Days.

Through sculpture, Rodin depicts the painful awakening of individual consciousness, the history that precedes it, and the challenge of its own survival.

The depiction of the human body with extreme fidelity, as if the man were waking from a horrific nightmare, gave rise to the hypothesis that Rodin had molded his figure from the body of his model.

He became a principal dancer at the Paris Opera in 1956.

In 1919, upon his return from Brazil, the composer Darius Milhaud adapted a popular song of the time, "O Boi no Telhado" (in English, "The Ox on the Roof"). This melody, offered to Jean Cocteau for the ballet-concert project he was developing, adopted the title "Le Bœuf sur le Toit," a literal translation of the Brazilian song.

The group Les Six, Cocteau at the piano, Darius Milhaud standing on the left

He arrived in Paris in 1897 on a modest scholarship and was soon joined by his sister, Ruth. The siblings attended evening art classes at the Académie Colarossi and anatomy classes at the École des Beaux-Arts.

In 1900, Carl met the artist Olga Granner, to whom he became secretly engaged—a pivotal year for his future.

The plaster cast of Hylas, the young boy abducted by nymphs in Greek mythology, created in 1899 and exhibited at the 1900 Paris Salon, received an honorable mention.

Carl Milles was then commissioned by a Swedish patron to create a marble copy of Hylas. This sculpture is now located in the lobby of the Stadshotellet in Västerås.

The sculpture, delivered in 1907, appears in the foreground of a photograph of Milles' studio, with his sister Ruth standing in the doorway.

Commissioned from the master for the chapel of Francesco del Pugliese by his youngest son, Piero, the latter is depicted twice.

First, in the lower right, praying with his family in the figure of the Virgin and Angels.

But also in this double portrait of friendship by Filippino Lippi, "Double Portrait of Piero del Pugliese and Filippino Lippi," about 1484. Denver Art Museum:

Dating from the first half of the 17th century (1600–1647), the 1.59m x 1.38m painting, originally from the collection of Everhard Jabach (1618–1695), was acquired from him in 1662 for the collection of Louis XIV at the Palace of Versailles, in the King's private apartments.

While Hagar and her son Ishmael were wandering in the desert, dying of thirst, God sent them an angel to save them.