| Artist |
Alix d'Anethan
RKD
VIAF
Wikidata
|
|---|---|
| Title | Allegory (study) |
| Period |
19th century
20th century |
| Collection | paintings AAT |
| Object type | oil paintings (visual works) AAT |
| Inventory number | 1926-L |
| Acquisition credit |
long-term loan
Vlaamse Gemeenschap Brussels 1926 |
| Current whereabouts | Work on display |
| Permalink | https://mskgent.be/collection/work/data/1926-L |
| IIIF Manifest | https://imagehub.mskgent.be/iiif/3/1052/manifest.json |
| Art & Architecture Thesaurus |
300055865
symbolism (artistic concept)
AAT
300055866 allegory (artistic device) AAT |
|---|---|
| Keywords Iconclass |
25H112
rocks
Iconclass
25H214 lake Iconclass 31A71 male sex; man Iconclass 31A72 female sex; woman Iconclass 31D112 child Iconclass 41B1 open fire (in general) Iconclass 9 Classical Mythology and Ancient History Iconclass |
| School / Style | Symbolism (artistic concept) AAT |
| Catalogus van het Museum van Schoone Kunsten Gent : II: Moderne Meesters / Georges Chabot, Fritz Van Loo. - Gent : Ad. Hoste, 1932 (p. 17) |
| Museum voor Schone Kunsten Gent : Catalogus schilderkunst ; Deel I: 14de - 18de eeuw ; Deel II: 19de - 20ste eeuw / Robert Hoozee, Johan De Smet, Bruno Fornari, Ruth Monteyne. - Gent : Museum voor Schone Kunsten Gent, 2007 (dl. II, p. 51 (ill.)) |
| Museum voor Schone Kunsten Gent : De collectie (tentoonstelling vanaf 21 maart 2021) / Johan De Smet, Bart Ooghe, Frederica Van Dam, Lieven Van Den Abeele, Cathérine Verleysen. - Gent : Museum voor Schone Kunsten Gent, 2021 |
| Musée des Beaux-Arts de Gand : La Collection (exposition dès le 21 mars 2021) / Johan De Smet, Bart Ooghe, Frederica Van Dam, Lieven Van Den Abeele, Cathérine Verleysen. - Gand : Musée des Beaux-Arts de Gand, 2021 |
| Museum of Fine Arts Ghent : The Collection (exhibition opened on March 21th 2021) / Johan De Smet, Bart Ooghe, Frederica Van Dam, Lieven Van Den Abeele, Cathérine Verleysen. - Ghent : Museum of Fine Arts Ghent, 2021 |
| Elles étaient peintres : XIXe - début XXe siècle / Martine Lacas. - Paris : Seuil, 2022 (p.123) |
|
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