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Longer titles found: The Sitter (1977 film) (view), The Sitter (1991 film) (view), The Sitter Downers (view)

searching for The Sitter 397 found (893 total)

alternate case: the Sitter

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portrait by the Early Netherlandish painter Jan van Eyck, dated 1432. The sitter has not been identified, but his highly individual features suggest a

sheet music, indicating that the sitter was a musician. Many musicians active in Milan have been proposed as the sitter; Franchinus Gaffurius was the

Venetian tradition. The sitter is shown in three-quarter profile set against a red background. The portrait which shows the sitter from close up accentuates

While the Children Sleep (also known as The Sitter) is a 2007 American made-for-television horror film directed by Russell Mulcahy and starring Mariana

portraits of the Northern Renaissance. Art historian Joel Upton described the sitter as resembling "a polished pearl, almost opalescent, lying on a cushion

now in the Gemäldegalerie Alte Meister, in Dresden. Speculation about the sitter has ranged from a young bride to a prostitute or some family member of

dogs. It differs from multi-day kennel boarding and pet sitting, where the sitter comes to the pet's home. Dog daycares arose out of traditional kennels

collection of The Sovereign Military Order of Malta. There is no firm idea who the sitter is, although some historians have wondered if the portrait is indeed a

Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1660. The sitter, Bernardo de Iriarte, was a patron and friend of the painter; the dedicatory

the painting. If the sitter is a Madame Aymon, Ingres may also have portrayed her husband, though no such work is known. The sitter is shown in three-quarters

painting's title, applied as early as the seventeenth century, identifying the sitter as the wife or daughter of an ironmonger (a ferronnier), was said to be

portrait. This painting has many interpretations as it is unclear who the sitter is exactly. Agnolo Bronzino painted Portrait of a Young Man with a Book

Portrait of a Man is an oil painting by Titian, made about 1515, now in the Indianapolis Museum of Art. It may have been the painting seen by Carlo Ridolfi

obvious today that a painted portrait is intended to achieve a likeness of the sitter that is recognisable to those who have seen them, and ideally is a very

classical, idealized Madonnas and figures from antiquity, this portrait shows the sitter in a realistic manner. The Pope is depicted with the weight of late middle

La Schiavona ('the woman from Dalmatia'), also known as Portrait of a Lady, is a 1510–1512 portrait by Titian of an unknown woman. The painting was being

this, some historians and scholars disagree as to the true identity of the sitter. The portrait is drawn in red chalk on paper. It depicts the head of an

the Art Institute of Chicago. It is considered a pendant portrait, but the sitter is unknown and therefore the pendant is not certain. This painting of

held in the Musée des Beaux-Arts de Lyon, which acquired it in 1902. The sitter never posed for the final work, which was instead based on sketches made

members of the Spanish royal family, their courtiers and court servants, the sitter in Lady with a Fan has not yet been convincingly identified; there is

after 1475), which is now generally accepted. The panel was painted when the sitter was about 30 years old and is considered one of van der Weyden's finest

Portrait of Isabella d'Este is an oil on canvas painting of a young woman by Titian. It can be dated to the 1530s and is held in the Kunsthistorisches

determination. Ingres' portrait was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and

sofa in the shape of a chair that is long enough to support the legs of the sitter. In modern French, the term chaise longue refers to any long reclining

burst into tears when she first saw the painting. It originally depicted the sitter full-length, but by 1867 Manet had cut away the bottom section. The tonality

and now in Chatsworth House. It is considered a pendant portrait, but the sitter is unknown and therefore the pendant is not certain. This painting was

portrait by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter, Betty de Rothschild (1805–1886) had married her paternal uncle banker

It is also the only portrait in which he included a landscape behind the sitter. He signed it on a cartouche on the trompe-l'œil marble parapet in the

landscape, the freshness of which was intended to reflect the youth of the sitter. The background is not deeply portrayed; the perspective is shallow and

to Rome. It currently belongs in a private collection. The identity of the sitter is not confirmed, but strongly believed to be Caterina Savelli, “Principessa

endurance. A small platform is typically placed at the top of the pole for the sitter. Led by the stunt actor and former sailor Alvin "Shipwreck" Kelly, flagpole

was found in a private Lithuanian collection in 1923. The identity of the sitter is lost; however, in dress and hairstyle, she appears to be Venetian rather

career, perhaps around 1436. It is now in the Gemäldegalerie, Berlin. The sitter wears a large grey fur lined hat, and grey clothes, fur lined at the neck

identity of the sitter remains somewhat ambiguous among Watteau scholars; two of the artist's contemporaries were thought to be the sitter: the Catholic

1528. David J. King suggests it might have been done in winter, since the sitter wears a warm fur hat. During this first stay, Holbein worked largely for

aquatints. Invented in France in 1783–1784, it was popular for some decades. The sitter climbed into a wooden frame (1.75m high x 0.65m wide), sat and turned

singular. The dialogue with the viewer initiated by the challenging gaze of the sitter is continued in the "spoken" address on the frame". This sentiment is

Fine Arts in Brussels, having been in the royal collection since 1812. The sitter is Don Antonio Pimentel de Prado. He wears a sash known as a bandi carmesi

his little finger. Van Eyck's surviving early portraits typically show the sitter holding an emblem of his profession and class. The man is dressed in ceremonial

portraits he adhered to Mannerist style, utilizing a slight Contrapposto in the sitter with their head turned from the body. This pose gave the depiction a spontaneity

English portraiture of the period "flattered the sitter", Saltzman explains, by depicting the sitter as a member of a powerful ruling class whose very

scholarship, and is one of the most popular and recognisable portraits of the sitter. Erasmus was a renowned humanist scholar and theologian. He respected

brushwork on the coat and a lack of hard contour lines. The identity of the sitter for this portrait has been debated by scholars since 1900. In 1900, this

and ink, and brush and ink on pale pink prepared paper. 40.1 × 29.2 cm The sitter is James Butler, 9th Earl of Ormond and 2nd Earl of Ossory. Formerly identified

painting by the French artist Jean Metzinger. It has been suggested that the sitter depicted in the painting represents either Guillaume Apollinaire or Max

painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter was Louise de Broglie, Countess d'Haussonville, of the wealthy House of

remains as to the identity of the sitter; the most plausible theory is that she is Francesca degli Stati of Urbino. The sitter is shown in profile, reflecting

the Mona Lisa was a woman, there are two theories which propose that the sitter may have been a man in drag. One theory is that the model for the portrait

of his sisters and approximately 13 years old at the time. She is also the sitter for Apropos of Little Sister. Both sisters appear, together with their

Reynolds, created in either 1785 or 1788 and measuring 765 x 638 mm. The sitter is unknown, but possibly, was Reynolds's great-niece, Theophila Gwatkin

has been in the collections of Nationalmuseum in Stockholm since 1966. The sitter is Maria Marow Gideon nee Wilmot, later Lady Eardley (1743–1794), the

is inscribed and signed, but there is no mention of the identity of the sitter, and it was only identified as Berck in 1908. The portrait is noted for

identity of the sitter. Aaltje van Uylenburgh, a cousin of Rembrandt's wife Saskia, is the most common conjecture. The pose of the sitter suggests the

doubt in anyone's mind as to the name of the artist; but the identity of the sitter remains a mystery. The portrait represents a very young woman, hardly

Rensselaer's "high-minded aesthetic ideals". The work was given in 1917 by the sitter to the Metropolitan Museum of Art. "Mrs. Schuyler Van Rensselaer (Mariana

Portrait of Leslie W. Miller is a 1901 painting by Thomas Eakins, Goodrich catalogue #348. It is in the permanent collection of the Philadelphia Museum

for the sitter to know what situations they can or cannot handle on their own, and when to call for professional medical assistance.[6] Although the sitter

perhaps 50th wedding anniversary, considering the age of 72 of the sitter. The sitter herself remains unknown, though it and its pendant have been traditionally

best-known source of information on the provenance of the work and identity of the sitter. Leonardo's assistant Salaì, at his death in 1524, owned a portrait which

Portrait of Georg Giese is a 1532 portrait by Hans Holbein the Younger, now in the Gemäldegalerie, Berlin. It is one of a series of portraits of wealthy

the portrait contains the date anno dni 1585, together with the age of the sitter expressed by the Latin text ætatis suæ 21, meaning of his own age 21.

inscribed with the date 1626, but there is no mention of the identity of the sitter. For many years this led to debate, and it was often assumed to be a self-portrait

dit Actors of the Comédie-Française. There were attempts to identify the sitter of the painting, who was notably thought to be Watteau's contemporary

the Prado, while mentioning that "specific names have been proposed for the sitter, including that of Cervantes", and even "that the painting could be a

to pay import tax. The debate focused on whether the sitter was Roman and it was argued that the sitter should have been better dressed. The first painting

Antoine is shown half profile staring aloofly into the middle distance. The sitter wears the livery collar of Order of the Golden Fleece, a chivalric order

costume is typical of Mary’s reign which would accord with the age of the sitter, about fifteen to twenty, circa 1555-60 Elizabeth I when a Princess by

debate to later generations." Debate continues about the identity of the sitter(s) for potential portraits. Two portrait miniatures by Hans Holbein the

relationship with his artist's model Knobloch secret. His relationship to the sitter was concealed when it was exhibited in 1890. Since the painting was publicly

always been praised, there has been much discussion as to the identity of the sitter. It was long thought to be a portrait of Ariosto, then a self-portrait

either supposed painted self-portrait to confirm the identification of the sitter. List of paintings by Michaelina Wautier "toegeschreven aan Michaelina

Moreel, she would have been too young in 1480 to be the woman portrayed. The sitter wears a truncated hennin under a sheer veil which falls across her face

carefully carved details such as the pouches under the Cardinal's eyes. The sitter was identified by comparing the bust with a portrait of Bentivoglio by

Quite unusually for this type of portrait at the time is the fact that the sitter does not look directly at the viewer, but is depicted while doing his

York; given by him in 1890 to the Museum. Despite extensive research, the sitter and earlier owners of this painting are unknown. Surface examination has

on the art market without identification of the sitter, and was not commissioned and retained by the sitter as portraits normally were. Similar unidentified

"Lady Iayne", is in the upper-left corner, above the woman's shoulders. The sitter is described by art critic Charlotte Higgins as a slender and "demure

(the artist's wife) is a painting by the Austrian artist Egon Schiele. The sitter is Edith Harms, "a middle-class woman from a well established family."

Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's

is a bowed bench made from a grid of wood that "gives way to support the sitter". In 2010, he was named a fellow by United States Artists. Rosecrans Baldwin

to this picture, Boccaccio and Alessandro de' Medici, are incorrect. The sitter is now thought to be Jacopo Sannazaro, a poet and humanist from Naples

half-length portrait of a middle-class man who is about 30 years old. The sitter (who is not identified) has a rather glassy complexion and regular features

bearing and strength of character. He achieved these effects by placing the sitter on a higher level than the viewer and by creating a contrast between the

"emblem" of the sitter. Instead of going with a customary full-face or strict profile view, Russell chose a three-quarter view in which the sitter turns his

are characterized by identically draped, silk-fringed curtains framing the sitter, rendered in various colours, and one of several carpets on the floor

are characterized by identically draped, silk-fringed curtains framing the sitter, rendered in various colours, and one of several carpets on the floor

Croÿ's portrait is inscribed with the family crest and the title used by the sitter from 1454 to 1461. The right hand panel depicts Philip I de Croÿ, chamberlain

common photographers' studio props. This imparted a touch of "culture" to the sitter, hence the many tintype, ambrotype, etc. images of men and women, with

were more "egalitarian" in tastes, thus their portraits tended to depict the sitter in outdoor scenes and pastoral attire. Women: Court dress included elaborate

glazes. For instance, they appear particularly on the temples and cheek of the sitter. The lines are visible on the IR photos, carefully designing the hair

century that have been claimed to represent Shakespeare, although in each the sitter is either unidentified or the identification with Shakespeare is debatable

Dutch art painter Ferdinand Bol (1616 - 1680), though the identity of the sitter is held in doubt by the Rijksmuseum. Until 1911 it was thought to be by

Research and Restoration" to argue that the transparent gauze veil worn by the sitter is a guarnello, typically used by women while pregnant or just after giving

Leonardo, "the envy of Nature", which has permitted the identification of the sitter: "She seems to listen and not talk." Ludovico acted as regent and assumed

contributing to a sustainable future on Earth. The sculptor observes the sitter on a rotating chair, working over seven or eight hours building up the

when working in portraiture, he used dark planes to focus attention on the sitter. It was not until Hans Memling (c. 1435–1494), a pupil of van der Weyden

1881. This canvas was probably destroyed by the artist in a dispute with the sitter, however a photograph of it exists in the Whistler Archives, University

but were painted in the 17th century. Scholars at first supposed that the sitter was Margaret Throckmorton (d. 1576), Robert Pemberton's wife, who had

How the painting appeared before the first 20th century restoration, with the sitter as St. Catherine of Alexandria with wheel and palm frond

been attributed to Rembrandt since the 19th-century, but the name of the sitter is unknown. This painting came into the collection via the Benjamin Altman

mediums receiving any verbal and non-verbal cues about the sitter. During the next phase, the sitter was instructed to answer only “yes” or “no” to the medium’s

worn-up hair and a purple dress, seen in profile gazing toward the left. The sitter was Maria Sèthe, who belonged to an affluent musical family with an interest

be subjected to such scrutiny must t times be most uncomfortable for the sitter, for who knows what may be revealed." He added: "They have become technically

seen full face. This nude is painted in a somewhat awkward studio pose. The sitter has been identified (but without certainty) as Mademoiselle Rose, an artists'

Petersburg, Russia. It was probably painted in 1621 or 1622 in Mantua, Italy. The sitter, who is holding a theatre mask, is believed to be a commedia dell'arte

Portrait of a Woman by Frans Hals, about 1655–1660. The sitter wears a white tippet. Ferens Art Gallery, Hull, England

7228, 4. Exhibited at Amsterdam, 1872, and 1900, No. 127. Painted for the sitter, and since preserved in his family. In the collection of J. Six, Amsterdam

drawing her subject over time, recording subtle shifts in movement in the sitter or landscape during that period. Her work is characterized by a flat sense

known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin

Kaiser). In the collection of Mrs. Collis P. Huntington, New York." The sitter of this painting was only identified in 1954 after discovery of a copy

between 1435–1440 by the Netherlandish artist Rogier van der Weyden. The sitter in this small work wears a wide, white hennin over a brown dress, which

A portrait painting with more empty space on the side that the sitter is facing

abbots of the monastery of St. Gall settlers began to colonization of the Sitter river valley in the late 11th century. It is mentioned, in a deed granting

portrait. Furthermore, the existence of so many early copies indicates that the sitter was a man of fame. The Cobbe portrait is inscribed with the words Principum

ETATIS // SVÆ 24 1543 — indicates that the sitter was twenty-four in 1543 and consequently born circa 1519. The sitter has hooded eyes and a turned up nose;

results, and claimed partial credit for the new findings. The identity of the sitter is, however, still believed to be de Vere by some Oxfordians. Oxfordian

2010-10-10 at the Wayback Machine Miskowski, S. P. (August 15, 2008). "The Sitter, a.k.a. While the Children Sleep (2007)". "WHILE THE CHILDREN SLEEP (LIFETIME)"

to "transfer" energy into the sitter, which will presumably make them weightless. The lifters then retry lifting the sitter the same way as before. Also

was known of Leonora di Garzia di Toledo, and she was not identified as the sitter of several portraits of her. The facts of her life have emerged from the

the sleeves, and covered the young woman's cleavage. The identity of the sitter remains unknown; although there is a typological likeness, she is not

("Beautiful Creatures", "Don't Go Away", " O Vida") together with John Powell. The Sitter Step ("Jump"), which won the Critics Choice Award for best song in a documentary

features. They lack any attempt at flattery or idealisation, instead the sitter is depicted as he probably was; overweight, with a long, straight nose

Directed by Written by Original air date Prod. code 1 1 "The Sick Boy and the Sitter" Sheldon Leonard Carl Reiner October 3, 1961 (1961-10-03) 1 In the series

artistic freedom because they were generally not ordered directly by the sitter. A majority of Kokoschka’s subjects were clients of the architect Loos

industry in the Netherlands during the Eighty Years' War. It is thought that the sitter is the same as that in De koppelaarster, painted in the same year. In

the statue was finished. The statue is unprecedented, for not only was the sitter portrayed with startling informality, but it was the first life-size marble

"Worst 2011 Weekend: 'New Year's Eve' #1 But Underperforming; So Is 'The Sitter' #2; 'Tinker Tailor' Strong $75K Screen Average". Deadline. Showing yet

1780s Gainsborough developed a type of portrait in which he integrated the sitter into the landscape. An example of this is his portrait of Frances Browne

growth, a reoccurring feature in van Eyck's early male portraits, where the sitter is often either unshaven, or according to Lorne Campbell "rather inefficiently

and Albert Museum, London (museum no. CAI.100). The identification of the sitter is based on the old, but probably not original, inscription on the windowsill

the portraits have the sitter with the body almost face-on, with a slight three-quarter turn of the head to the left. The sitter looks at the viewer

was always the face that got the attention and the light, except when the sitter was a lady. In that case he also focused on the lady's décolleté. Graff

(vessels), where the emptiness of the pot represented the "receptiveness of the sitter.... to the divine". Her 2010 exhibition, "black stone white stone", takes

transference to a new canvas. Nothing is known as to the identity of the sitter. He may just as well have belonged to some family related through a female

a ruff, and a black silk dress with a fur-trimmed cloak. The name of the sitter is known from an inscription on the back and from the coat-of-arms. [Pendant

attributed to the school of Leonardo da Vinci, the La belle ferronnière, where the sitter wears such an ornament. However, this painting's title was assigned in

The pose was used in 18th-century British portraiture as a sign that the sitter was from the upper class. An early 18th-century guide on "genteel behavior"

earlier portrait of Frances, Lady Chandos, by George Gower is dated 1579, the sitter was formerly thought to be Frances' mother-in-law Dorothy Bray, Baroness

important components of the background can be found on the table behind the sitter along with the cupboard to his left. The papers located on top of the

photographs, the model's head appears separated from the body; often the sitter holds it in their own hands. Although this genre is called headless portraiture

flesh-tones. A superb picture." Hofstede de Groot noticed that the dress of the sitter in this painting is similar to two other paintings by Hals, and he included

on a business trip to Portland, Oregon leaving the kids at home with the sitter, Nancy. George and Kathy are stalked by the presence to Oregon where they

whole 18th century" in a 1927 article full of enthusiastic descriptions. The sitter was subsequently identified as Berti by Francesco Barocelli in 1990. Roy

work on his portrait in 1910. The interfusion and interrelation between the sitter and the background of the painting reflect Bergson’s concepts about the

the Clark Art Institute in Williamstown, MA. After the 1908 death of the sitter, Francis Frew Wade (who had owned and kept the painting in London since

especially the wide neckline and rich ornaments. The reserved attitude of the sitter and the ring on her left hand indicate that she is a married woman. Her

novelty photographs which combined a portrait of the sitter with a caricatured body, produced by the sitter holding between two sticks a canvas on which Coolidge

velvet shoes, green, red, and white. There is a discrepancy as to who the sitter is in the Hans Eworth portrait which is featured. The coat of arms in

bronze is typical of his style which unites the realistic depiction of the sitter with a modernist treatment of the surface. - September 3, 0118 2:00 PM

(325 ft) high bridge (the highest railroad bridge in Switzerland) over the Sitter river near St. Gallen (built between 1908 and 1910) Travelling with the

detailed analysis of the subject. The painting is a third life-size with the sitter sitting in three-quarters profile. His stubbled face is heavily lined

long and untidy hair, against a stormy grey sky. The viewpoint is below the sitter, who looks down at the viewer with a sombre expression. The right side

Shakespeare. Cooper points to the earring and the loose shirt-ties of the sitter, which were emblematic of poets (the poet John Donne and Shakespeare's

Collection, at Gripsholm Castle, formerly with later inscriptions identifying the sitter as Queen Elizabeth, has sometimes been identified as Anne, Lady Harington

collection of Archduke Leopold Wilhelm of Austria. Neither the identity of the sitter nor the date the portrait was painted is known, although the work has

addition, it too started from an attempt to decipher the enigmatic look of the sitter in a painting of the period. Another theme - that is demonstrated in the

Isabella in Red (also called Portrait of the Aged Isabella d'Este) is a portrait of a woman by Peter Paul Rubens in the Kunsthistorisches Museum in Vienna

Eleanor Frances Dixie, the daughter of Wolstan Dixie c. 1753, by Henry Pickering. The sitter is wearing a bergère hat.

wristbands. His white shirt peeps out at the throat and the sleeves. The sitter is not the famous Admiral Michael Adriaensz de Ruyter, as was formerly

disturbed, a motive derived from Rembrandt. The vivid representation of the sitter is characteristic of van der Helst's early work. Van der Helst found his

The Sitter is the largest tributary of the Thur river, and flows through the Swiss cantons of Appenzell Innerrhoden, Appenzell Ausserrhoden, St. Gallen

questioned, but was confirmed as an authentic Rembrandt work in 2006. The sitter is framed by a feigned picture frame of which only the bottom and right

senior claimant, James VI of Scotland. There is a discrepancy as to who the sitter is in the Hans Eworth portrait which is featured. The coat of arms in

these portraits survive) and to then produce the painted portrait without the sitter being present. The Louvre has drawings done as studies for the hands of

internal evidence (that is, a reading of the clothing of the sitter, the status of the sitter, the date on the portrait, and the artistic style), and a

London. (Timken Museum of Art, San Diego, CA) Youth Holding an Arrow. The sitter portrayed crowned with a laurel-entwined fillet, is likely to be the poet

the governmental Galleria Nazionale d'Arte Antica. It is assumed that the sitter in the painting is the patron that commissioned it, but there is no evidence

detail, but show Ingres thinking through the eventual form and pose of the sitter. The earliest consists of a brief sketch of the princess in a seated pose

The creamy impasto paint of the backgrounds holds the picture together. The sitter then holds the background together. Like a jigsaw. She is the pattern

the sitter whom it is positioned behind and the skill of the painter. By referring to Giovanna's beauty, Ghirlandaio conveys the beauty of the sitter

shown. The picture seems to be unfinished. In the Rijksmuseum catalogue the sitter is identified as Geertruyt van Erp (1596–1620). If this is correct the

results as it was in this medium that he best captured the character of the sitter. As early as October 1843 Bock was taking daguerreotypes in Hobart even

the great society photographers of the 1950s. Known for catchphrases to the sitter such as "Give me Rembrandt", her ingredients for a good portrait were

and execution. As the work progresses, the artist's relationship with the sitter develops and a uniquely personal story begins to evolve. Robinson frequently

either lucky coincidences, or the result of knowledge on her part of who the sitter was and of his or her family affairs, I now believe her to be in possession

possibly somewhat later. The Kunsthistorisches Museum, however, identifies the sitter as Benedetto Varchi without any qualification, and states that it was

modelling subtly worked to suggest a three-dimensional sculptural effect. The sitter is presented in three-quarter view and appears lively and direct. Her

either lucky coincidences, or the result of knowledge on her part of who the sitter was and of his or her family affairs, I now believe her to be in possession

modelling subtly worked to suggest a three-dimensional sculptural effect. The sitter is presented in three-quarter view and appears lively and direct. Her

published. He has since published three other adult-oriented novels: The Sitter, Eye Candy, and Red Rain. In the first decade of the 21st century, Stine

his work. The study of trust that develops between the photographer and the sitter and the exploration of the power of the photographic medium on people

background is plain and dark and gives no indication of the space occupied by the sitter. A number of obstacles stood in the way of contemporary women who wished

modern viewer. There was probably a relationship between the painter and the sitter. As mentioned, Rembrandt knew his client and his family personally. In

most distinguishing feature of Stieler's portraits is his utter focus on the sitter. Decorative additions are left out, and there is nothing that distracts

described the style of the painting as being "modernist", explaining that the sitter "did not want her picture to be realistic; it had to be stylised." In

and achieves the Renaissance ideal of capturing the individuality of the sitter, an accomplishment that places him in the tradition of Rembrandt, Velasquez

mittleren Ostgrenze des Bez. A. [The village A. is situated in the middle of the Sitter valley floor on the central eastern border of district A.]" "A-Objekte"

Kostka Potocki, David signed in the collar of the dog that is barking at the sitter. In Death of Socrates, his signatures also have meaning. His initials

arrangements. Attempts at portrait photography with the Chevalier lens required the sitter to face into the sun for several minutes while trying to remain motionless

dangles. This portrait was documented by Hofstede de Groot in 1910, before the sitter was identified. He wrote "384. PORTRAIT OF A WOMAN. M. 206. Half-length

suae 26, anno 1624 in Latin and means that the portrait was painted when the sitter was 26 and in the year 1624, and was therefore born in 1597 or 1598. The

which is named after the river. At Bischofszell, at the confluence with the Sitter, the Thur changes its direction and continues in a general westward direction

already a popular society portraitist, the painting was not commissioned by the sitter. Rather, Sargent saw Ribblesdale speaking in public in 1894, and the artist

and is mentioned in 1532 by Marcantonio Michiel, when it was owned by the sitter, Andrea Odoni. It was also seen by Giorgio Vasari, presumably on his visit

likeness of Queen Catherine Howard. Inscribed ETATIS SVÆ 21, indicating that the sitter was depicted at the age of twenty-one, the portrait has long been associated

a woman's dogs went missing for three months following a Rover visit. The sitter who had been watching the dogs was still accepting new clients and available

depict the Old Testament life of Joseph, reading from left to right (for the sitter). The museum houses the private chapel of the bishop, built in the time

Rover individuals show higher PKG expression than Sitter individuals, and the Sitter phenotype can be converted to Rover by over-expression of the dg2 gene

air date 1 "Quarter Back Camp" November 30, 2008 (2008-11-30) 2 "Snoop the Sitter" December 7, 2008 (2008-12-07) 3 "Dogg Fight" December 14, 2008 (2008-12-14)

enfolded frame. On the back of each portrait is a golden monogram of the sitter. Maria Fyodorovna, Tsar Nicholas II's mother, served with the Red Cross

LACMA M.2007.211.928 Eleanor Frances Dixie, c. 1753, by Henry Pickering. The sitter is wearing a bergère hat and a brocaded silk sack-back gown. Robe à la

Ireland, England and America. His later portraits show great sensitivity to the sitter. However, he was a poor businessman and was never financially secure.

in the portrait of Isabella of Naples; they may allude respectively to the sitter and the artist in the Mona Lisa. Manet likely had this painting in mind

prioritized his artistic vision and message over the actual personality of the sitter, his wife. Critics and friends alike were unsettled by the lack of humanity

Collection dates the former picture slightly later (c. 1516). Although the sitter has not been identified, this portrait was apparently well known, at least

misidentification of the sitter happened already in the 18th century. It probably has its roots in the fact that the head of the sitter emerges from the shadow

R, and G. There is apparently no evidence for the identification of the sitter as M. de Wael. [Pendant to 243. Compare 282.] Canvas, 47 inches by 30

papers, endorsing them as "Notes of olde Mr. Thorisbye". Lady Dacre is the sitter in two significant portraits by Hans Eworth. Susan E. James writes of

portrait of Jacques de Norvins was painted by Ingres in 1811–12, when the sitter was Napoleon's Chief of Police in Rome. Originally, instead of the curtain

the Theatrum Pictorium of Archduke Leopold Wilhelm of Austria in 1660. The sitter is thought to be Gian Giacomo Bartolotti (fl. 1491–1530), a physician

an accurate, natural, true to life, or even near photographic image of the sitter as is evident in the work of Bouguereau.[citation needed] The comparative

plate. When the shutter bulb was pressed, this image and the picture of the sitter were captured on the plate. Thus a single exposure on this plate carried

signed and dated to 1882. It has been in the Rijksmuseum since 2000. The sitter was identified in 2000 by Eveline Sint Nicolaas as Kees Pop, an African

portrait of a woman in an armchair by Backer seemed more attractive to the sitter mentioned by Sandrart than the portraits by Frans Hals of her Haarlem

1940s and has remained there since. Turning with animation to the right, the sitter is trying a falcon which he holds on his left hand. The head is slightly

cross-legged posture in which the ankles are placed together in front of the sitter) Seiza (a kneeling posture using a bench or zafu) It is not uncommon for

formerly in the Boston Museum of Fine Arts. This romantic portrait, in which the sitter appears swathed in ermine, was deaccessioned from the Museum early in

focused on a particular format of portraiture. It can be seen in video the sitter talking, and the painting evolving from blank canvas to the very conclusion

portrait of the same sitter in a Dresden museum in 2017, and suspects that the sitter had been a member of Prussian king Frederick the Great's royal court.

focused on a particular format of portraiture. It can be seen in video the sitter talking, and the painting evolving from blank canvas to the very conclusion

abstract pattern, which has a life and meaning of its own", transforming the sitter into a "more than human symbol", whereas with Annigoni "...there is no

Bauma–Hinwil line. The electrification of the line required the replacement of the Sitter, Glatt, Uze and Thur bridges between St. Gallen and Wil and the wooden

marking a new development in Netherlandish portraiture. It no longer shows the sitter in front of a neutral background, but in a concrete space defined by the

Archinto. Bacon adapts the Old Master's device to isolate and distance the sitter from the viewer; the black ground-paint is visible through the folds,

days of the Paris Salon of 1799, after a dispute between the artist and the sitter. It is now part of the collection of the Minneapolis Institute of Arts

Portrait of a New Zealand suffragette, c. 1880. The sitter wears a white camellia, symbolic of support for advancing women's rights.

Timmy Episode: "Monsters in My Room" 1986 Amazing Stories Lance Episode: "The Sitter" 1986 Spenser: For Hire Andy Chandler Episode: "The Hopes and Fears" 1987

in blue tones. In the portrait, the faint chromaticism of the face of the sitter, despite its delicacy in the tonal variations, manages to prevail and

Episode: "The Uncle Devil Show" 1986 Amazing Stories Barbara Lynn Episode: "The Sitter" 1986 Fuzzbucket Mom TV movie 1986 A Year in the Life Anne Gardner-Maxwell

and commented that Brack was not concerned with the social standing of the sitter, but rather the artistic merit of their participation in the piece. Brack's

"Vanessa In The Garden" Amazing Stories: The Movie V (1992) - contains "The Sitter", "Grandpa's Ghost", "Dorothy and Ben" and "Gershwin's Trunk" Amazing

right, the eyes cast down. The light brown hair is close cropped, and the sitter is wearing a brown doublet, trimmed with black, with a small, open falling

investigating the relationship between the colonial photographer and the sitter. His other research includes an international comparative three-year Australian

Portrait of Rev. William Basil Jones, c1875, signed by the sitter

work reflected the "psychological relationship between the artist and the sitter". In April 1913, he wrote to Marinetti, "I am Sée's guest, I am guzzling

to Appenzell 29.7 Herisau S2 S23 S81 RE1 S23 to Gossau SG (bridge over the Sitter) 24.4 St. Gallen Haggen S2 S81 S20 S21 S22 to Gais St. Gallen S20 S21

lowering the angle of the lower body, keeping the spine in alignment and the sitter properly positioned to task. The benefit of this position is that if one

Teufen AR S1 S5 to Gossau SG 24.4 St. Gallen Haggen S4 S81 (Bridge over the Sitter) S23 to Gossau SG 29.7 Herisau S81 VAE RE1 S23 to Appenzell 33.4 Schachen

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shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433

C. He traveled for a time, supporting himself painting portraits. "If the sitter was satisfied, the price was $2.50," he once said. "It cost him nothing

white pillow and handkerchief. As with all of Ingres' female portraits, the sitter seems limbless, as if her body was not supported by a bone structure.

as a camera obscura or mirror, as the Hockney–Falco thesis speculates. The sitter is depicted as having a homely face—widely spaced and flat—with a small

and famous British people, selected on the basis of the significance of the sitter, not that of the artist. The collection includes photographs and caricatures

1995 "Fountain of Youth" – February 10, 1995 "Hung Jury" – July 5, 1996 "The Sitter" – July 12, 1996 "E-Mail" – July 19, 1996 "Sleepless Nights" – July 26

paints a portrait, she takes photographs, for an hour, of the sitter before painting them. The sitter is asked to talk about themselves during the photography

portraits in the collection. These inscriptions purported to identify the sitter, although the identification is unreliable. The added inscription was

later, Girodet would depict Mlle. Lange as Venus at the Salon of 1799. The sitter expressed her disapproval of the work in a written letter. The artist

Movie) Murder 101 (2006) Hallmark Channel Final Approach (2007) (TV Movie) The Sitter (2007) (TV Movie) Backwoods (2007) (TV Movie) If Wishes Were Horses (August

against a blue background, turned three-quarters to the viewer's right. The sitter is wearing a deep black velvet cap and a black silk gown, a shade lighter

book in the library's collection—confirming the traditional view that the sitter was Lisa. The note, written by Agostino Vespucci in 1503, states that

and Benjie TV movie 1970 Nanny and the Professor Dr. Neilson "My Son, the Sitter" 1973 Marcus Welby, M.D. Jenny Bailey "Gemini Descending" 1973 Owen Marshall:

that he would not, as he only travelled to the sitter in the case of royalty. But then he enquired who the sitter was, and on being told it was the father

obliterated, he could repaint the resemblance without the assistance of the sitter. He died in indigent circumstances, at his apartments in Moorfields, some

Teufen AR S2 S4 S81 VAE RE1 to Herisau 84.1 St. Gallen Bruggen Bridge over the Sitter 86.4 St. Gallen Winkeln S23 to Herisau Gossau SG S23 S1 to Wil 18.6 Arnegg

(Route 463) between the towns of Stein and Teufen across the gorge of the Sitter river. It is located a few kilometers south of the city of St. Gallen

Peckwell at Wikimedia Commons, with links to further information regarding the sitter (especially via Sotheby's 2012). www.darwinproject.ac.uk janus.lib.cam

masterpiece Portrait of an Unknown Woman in Peasant Dress. The identity of the sitter for the painting remains uncertain, whilst studies have suggested that

living nomadically, is usually considered to be the main benefit for the sitter. House sitters can experience living like locals in different countries

the same man as in the painting. The drawing may have been made while the sitter was asleep, or after his death, in which case it would have served as

Peckwell at Wikimedia Commons, with links to further information regarding the sitter (especially via Sotheby's 2012). www.darwinproject.ac.uk janus.lib.cam

African in 18th century Britain, but also for the difficulty of identifying the sitter. A documentary that features this painting, exploring the many meanings

Foxglove Cylinders" Scott Handcock James Goss TBA November 2024 (2024-11) 3 "The Sitter" Scott Handcock Lizzie Hopley TBA November 2024 (2024-11) 4 "Signal and

Muhammad al-Wazzan al-Fasi Portrait of a Humanist, c. 1520. The identity of the sitter is unknown but suggested possibly to be Leo Africanus Born al-Hasan Muhammad

genre painting of an everyday scene than a portrait, and the name of the sitter is not known. X-ray photography has revealed that the canvas originally

(2004), Mysterious Island (2005), The Curse of King Tut's Tomb (2006), The Sitter (2007), Crash and Burn (2007), The Scorpion King: Rise of a Warrior (2008)

including Portrait of Napoleon III, who was not very well received by the sitter. However, he is much more known today for his monumental decorative paintings

Portrait of Mimi Cramer by Albert von Keller, 1875. The sitter wears a blue silk polonaise basque over a white underskirt.

in the richness of the visual details and the confident glance which the sitter casts towards the viewer. For his portraits, he employed the specialist

"Some Enchanted Evening" 1986 Amazing Stories Jennifer Mowbray Episode: "The Sitter" 1986 The Colbys Fortune Teller Episode: "The Honeymoon" 1986 Tales from

possibly an extension of the artists' work on foreshortening, making the sitter appear two dimensional and merely a silhouette. Aquado's unique composition

low" and not offering enough height adjustment and opportunities for the sitter to move. The Aeron chair has been credited with revolutionizing the design

table from where a hat emerges, which in turn rests on a velvet carpet. The sitter wears a sober black coat, with the symbols of his power, a gold chain

The shoulder of the sitter has been reconstructed. The reconstruction was based on the other versions of the portrait. The sitter is posed against a

the public. Sometimes the medium stands to receive messages and only the sitter is seated; in some churches, the message service is preceded by a "healing

simple chair may have a simple straight or curved bar near the bottom for the sitter to place their feet on. Actual chair dimensions are determined by measurements

known for his pastel oval portraits depicting the head and shoulders of the sitter. These pastels were lively and affordable, costing around six guineas

attempt at placing her on the throne. The distinctive crown-shaped jewel the sitter wears can be traced to an inventory of jewels that belonged to Catherine

S2 S4 S81 S82 RE1 VAE to Herisau 84.1 St. Gallen Bruggen Bridge over the Sitter 86.4 St. Gallen Winkeln S23 to Herisau 90.1 Gossau SG S23 S5 to Sulgen

kneeling in profile. It was also "exceptional" at this period to show the sitter so evidently in a particular mood—here lost in thought. The intimacy of

a few hours, once or twice a week. Care must be taken to assure that the sitter-companion is trained in what to do if an emergency occurs while the regular

a few hours, once or twice a week. Care must be taken to assure that the sitter-companion is trained in what to do if an emergency occurs while the regular

Jacques-Louis David as well as his interest in Florentine Renaissance art. The sitter had originally wanted to be painted in full-length but Girodet persuaded

has him painting the portrait of a Dutch merchant in Portsmouth. After the sitter refused to pay him, saying it was a bad likeness, Cole added wings and

art historian Maria Kusche, have claimed it is by Sofonisba Anguissola. The sitter is also unknown, but considering the painting's royal provenance, the

(born 1480). The faint gilding in the shape of a halo above the head of the sitter implies it is of a saint, and she wears a dress similar to those worn

later owner, though this has always been a controversial attribution of the sitter. This failed to reach its minimum estimate in a Christie's auction in

the late 15th century to early 16th century. Although it is unknown who the sitter truly was, it is known for fact that the painting was created in Florence

unknown figure is painted with hard edges and a descriptive quality. Though the sitter is unknown, she is thought (and perhaps wrongly) to be Lucrezia Borgia

being a complete portrait in every way" and the Irish Times that "Even if the sitter were not my father, I'd still be struck by the beauty, quiet majesty and

position as a cardinal of the Roman Church. The movement and liveliness of the sitter is one of the busts’ most pertinent features. The cardinal looks to his

and holding a Japanese fan to her right with trailing green fabric. The sitter may have been a life model posed on a stage. She is viewed from below

Portrait of a Princess by Pisanello - the sitter may be Ginevra. The woman also wears a twig of juniper an allusion to her name.

watered by two streams that descend from the Säntis, the Urnasch joining the Sitter (on which is the capital, Appenzell), which later flows into the Thur

Gary Nelson Earl Hamner December 4, 1970 (1970-12-04) 26 11 "My Son, the Sitter" Bruce Bilson Arthur Alsberg & Don Nelson December 11, 1970 (1970-12-11)

survives, and Leopoldine nurses him back to health. The true identity of the sitter in the portrait remains a mystery, however. In February 1934, in the middle

along a back wall, near the hearth, with the panelled back protecting the sitter from the cold, damp walls of traditional Irish houses. In parts of Ireland

profile. The ermine plainly carries symbolic meaning, relating either to the sitter, or to Ludovico who belonged to the prestigious Order of the Ermine. Leonardo's

Made-for-TV While the Children Sleep Tate Walker Made-for-TV Also known as The Sitter 2008–10 As the World Turns Craig Montgomery Role from: December 3, 2008

left) show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino. In the

1889, and she published three more volumes over the next two decades: The Sitter on the Rail (1891), From the Maori Sea (1908) and Land of the Morning

woman in the background with her arm extended and holding a cup resembles the sitter in his portrait of Madame Moitessier (1856). The face of the woman with

hung at Castle Howard before donated to the Tate by the family in 1913. The sitter was born The Hon. Mary Cathcart (1 March 1757 – 26 June 1792). She was

around 900 m (3,000 ft) above sea level. The Rotbach, a tributary of the Sitter, flows from northeast to the southwest through the village and then turns

{{cite journal}}: Cite journal requires |journal= (help) Hughes, Jabez (1865). "About Light, and Lighting the Sitter". Photographic Journal. 10: 103–110.

{{cite journal}}: Cite journal requires |journal= (help) Hughes, Jabez (1865). "About Light, and Lighting the Sitter". Photographic Journal. 10: 103–110.

synchronous arms, which adjust simultaneously. The headrest tilts forward as the sitter reclines, keeping the head in an upright position. Liberty Chair, 2004:

A portrait by Aleksey Antropov. The sitter is sometimes identified as Elizaveta Vorontsova.

around 900 m (3,000 ft) above sea level. The Rotbach, a tributary of the Sitter, flows from northeast to the southwest through the village and then turns

Boone en van Roestraten was likely close as van Roestraten may have been the sitter for Boone's picture of A bearded man squeezing a lemon over a roasted

drawings, to which Chantrey would add the finishing touches in front of the sitter. A plaster cast would be made of the clay model, and then a marble replica

the Royal Academy's Summer Exhibition in 1790. It was commissioned by the sitter as a gift for Frederick, Duke of York. On York's death in 1827 it was

Breck, ""A terra-cotta bust by Chinard", Art in America 7 (1919:161). The sitter was Henriette de Verninac, sister of the painter-politician Eugène Delacroix

mocking smile (although it is somewhat forced in the painting), however the sitter is tilted more to the left. The Uffizi, portrait (also by Rubens) was

the male commissioner, but with subtle variations making it clear that the sitter is not a Royal. One way that this was accomplished was through a cartouche

Saint Paul show the pope's saintly protectors and reinforce the office of the sitter. Bernini shows the thickness of the fabric and the rigidity of the embroidery

size', coloured or plain. It was claimed to be the only photograph of the sitter. A portrait in oils of Ellis was presented to the Working Men's Institute

such as grandeur and nobility with precise individual characteristics of the sitter. Bernini paid careful attention to and played with the hair, eyes, nose

the traditional naming is derived; there were also attempts to identify the sitter of the painting, who was notably thought to be Watteau's contemporary

interpretation leads to a chain of possible interpretations: who was the sitter in relation to Leonardo da Vinci? What significance did she have to him

artist to paint a very unusual portrait of Unton. In addition to showing the sitter as he appeared shortly before his death, the painting also uses a narrative

of Alfred Jarry 1895 Destroyed by the sitter, who disliked it Sargent Head of Sir Henry Irving Destroyed by the sitter, who disliked it Chase, William Merritt

been attributed to Rembrandt since the 19th-century, but the name of the sitter is unknown. This painting came into the American collection possibly through

Lady #3 Film 1998 Everybody Loves Raymond Lisa Season 3, episode 3 – "The Sitter" 1998 One World Natalie Zuckerman Season 1, episode 8 – "Crushes, Lies

Schouburgh. Further evidence may be found in the fact that Lairesse, like the sitter, is said to have been a syphilitic; cf. Houbraken, i. 285. Signed, "Rembrandt

destroyed by fire in 1698; on seeing the painting, Bernini allegedly remarked the sitter was the saddest person he had ever seen and was destined for a violent

Dragonheart by Scott Squires, Industrial Light & Magic (ILM), US 1998 – The Sitter by Liang-Yuan Wang, TW Titanic by Robert Legato and Digital Domain, US

University Press, 1998) An added inscription on this painting misidentifies the sitter as Edward Sackville, Richard's younger brother, later 4th Earl of Dorset

is the largest municipality in the valley between the Glatt Valley and the Sitter River and lies on the intersection of the St. Gallen-Zürich and Thurgau-Appenzell

style with late Baroque devices such as the inclusion of the arms of the sitter. His sculptures were so popular in Amsterdam that the leading Dutch writers

work was conservative in style but very sensitive to the character of the sitter; his best works are beautifully executed. The colours are opaque, and

three daughters. His second daughter, Susan Hicks Beach (1878-1965), was the sitter representing Britannia on the reverse of the Edward VII silver florins

painting as showing a goldsmith at his bench. Only starting in 1817 was the sitter characterized as “a goldsmith or rather the patron of goldsmiths—Saint

artists had been freed from the usual obligation to flatter and idealized the sitter and instead allowed to sculpt without artifice.: 38  Greek, Foreigners

look into each person's unvarnished soul, however familiar or famous the sitter." In 2016, speaking in Artforum, Lindbergh stated that: "A fashion photographer

(including Lake Zurich), the Glatt, the Töss, the Murg, the Thur, and the Sitter. Between them there are hill countries, in the canton of Thurgau also

image that captured the spirit and character of the Australian soldier". The sitter for the portrait was Thomas Henry (Harry) Ivers, a sergeant with the 1st

glances at a person that she can portray better than anybody else with the sitter posing in front. Despite a measure of fame in her home town of Ravenna

brothel". Sutherland's Portrait of Winston Churchill (1954) greatly upset the sitter, who initially refused to accept its presentation. The elderly Churchill

"Portrait of a Woman c.1560". Royal Collection Trust. Retrieved 19 July 2024. The sitter has been linked tentatively to Frances Brandon, Duchess of Suffolk. Williamson

or Chicoutimi Tongue Twister The Hockey Game Peter Rabbit The Friends The Sitter and the Butter and the Better Batter Fritter Windshield Wipers I wrote

the quality of personal courage of the sitter. You are powerfully drawn to the face, you have a sense that the sitter trusted the artist to see into the

look into each person's unvarnished soul, however familiar or famous the sitter." In 2016, speaking in Artforum, Lindbergh stated that: "A fashion photographer

Beechey of the British general William Beresford, 1st Viscount Beresford. The sitter was born in 1768 as the illegitimate son of the Irish aristocrat George

glances at a person that she can portray better than anybody else with the sitter posing in front. Despite a measure of fame in her home town of Ravenna

support the identification with Galilei. It revealed under the left eye of the sitter a circular irregularity which seems to evoke the wart that is depicted

produced a small bust for Poussin, with details carefully worked out. The sitter has a melancholy face. The stylish rendering of moustache and beard and

duplicates of royal images) was to paint the whole face in the presence of the sitter, probably in at least two sittings. He kept a number of prepared flesh-coloured

initiated appear to have had this purpose, and not to have been sold to the sitter. The subjects of his non-religious figure paintings are equally hard to

white lace collar and white wristbands. In the Rijksmuseum catalogue the sitter is identified as Nicolaes Hasselaer (1593-1635); but his wife, Geertruyt

contemporary copies are in Russian collections. Vigée-Lebrun described the sitter as "sweet and beautiful like an angel.(...) She did nothing all day, she

the Royal Academy of Arts. It was given to Manchester Art Gallery by the sitter in 1932. She was the second woman to sit on the Liverpool Autumn Exhibition

were described as "breathtaking real, as though they were reflection of the sitter in the mirror." A common feature of his portrait is the presence of large

Episode: "Love Thy Neighbor" 1986 Amazing Stories Mrs. Abbott Episode: "The Sitter" 1986 Hardcastle and McCormick Mrs. Vassah Episode: "In the Eye of the

Golden Age painting, such as his expressive use of light and shadow. The sitter is shown seated on a chair with maroon upholstery and studs. Smith wears

accommodate all aspects of the scene. Mercereau's book, the still-life next to the sitter, the man, and the environment are all symbols of fundamental importance

hand the photographer has used the light-coloured and unfocused eyes of the sitter to give a spiritual appearance to the face. On the other hand, by using

the attribution to Velázquez is regarded as certain, the identity of the sitter is still open to question. Some art historians consider this new study

typical elements of his portraiture: the restricted palette used for the sitter, the careful delineation and representation of the features and the inclusion

nose for name-brand accessories and need to get home before 10 p.m. so the sitter can brush her braces. July's cover story deals with those bikers who first

since 1901. Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the pictorial

the portrait of Rebecca Orne as a child in the Worcester Art Museum, the sitter holds a squirrel. Badger incorporated an emblematic squirrel into some

portrait sculpture in terracotta by Jon Edgar which is in the collection of the sitter and was exhibited at Yorkshire Sculpture Park in 2013 as part of the Sculpture

was a regular recurring Electric Company character. 19 "Spidey Meets the Sitter" Jim Boyd A burglar (Luis Avalos) uses an old lady's wig and dress in

World, Gregory Day (Transit Lounge) Edenglassie, Melissa Lucashenko (UQP) The Sitter, Angela O'Keeffe (UQP) Hospital, Sanya Rushdi (Giramondo) Stone Yard Devotional

2013). "Greatest TV Pilots: The Dick Van Dyke Show's "The Sick Boy and the Sitter" remains an effective, entertaining opener". PopOptiq. Retrieved 2 July

sustained interest in portraiture and the intimacy developed between the sitter and the photographer in the controlled environment of the studio. The

south-west of the Sitter river. It includes the settlement of Schwende as well as the western portion of Weissbad which is between the Sitter and south of

taken with a 4×5 camera on a tripod, a situation in which he said "both the sitter and photographer look at each other, and what they both see and feel is

unknown New Zealand suffragette by Charles Hemus Studio Auckland, c. 1880—the sitter wears a white camellia and has cut off her hair, both symbolic of support

touching the face as it passes, on the breast. Life size, half-length. The sitter is identified as Rembrandt's brother Adriaen. But as Adriaen was a poor

The Day Dream (1880). The sitter is Jane Morris.

Pinacoteca Nazionale di Bologna. It is believed the larger one, which shows the sitter in half-length format, is the original. The larger format allowed the

but concludes that there is not enough evidence to conclude Josquin is the sitter. Clercx-Lejeune also suggested Josquin was depicted in Jean Perréal's

other small vessels. They would sometimes contain locks of hair gifted by the sitter to further accentuate the sentimentality of the piece. The hair could

paints outward facial features, but he also reveals the personality of the sitter. In his oil paintings, he represents realistic objects with a somewhat

exceptional sensitivity to line, facial detail, and the intellectual aura of the sitter. A lesser-known aspect of Stella's work is the collages he made in the

structure all imply a distant sexuality "under the professional control of the sitter", rather than offered for the viewer's delectation. Classical sources

ISBN 978-0-300-16630-9. Vassar College and the Smithsonian Institution state that the sitter is identified as O'Keeffe. The book A Woman on Paper: Georgia O'Keeffe

seen in the Ducal Palace of Mantua (Italy), is the largest. Depicting the sitter in half length, it is the only one showing her hands. It has also added

complained that painters entirely failed to do justice to the reality of the sitter. The question of decorum in religious art became the focus of intense

that of the inventor is really his. As well as the identification of the sitter given by John Ainsworth, the "French" clothing and tricorne were characteristic

associates would fill in the backgrounds with various props that symbolized the sitter. Perhaps because of this, very few of his paintings are signed and attribution

a Fan is purported to be a likeness of the duchess, although the features of the sitter differ remarkably from other extant portraits of Marie Aimée.

ownership of the portrait prior to 1928 is unknown, as is the identity of the sitter. Both are being researched by Omnis, Inc. A Mother Feeding Her Child,

local inhabitants show the influence of Joshua Reynolds, often posing the sitter looking directly out of the frame—the figure highlighted against a shadowed

brushstrokes, that distinguish this work from the Fauves. While the face of the sitter is treated with natural colors, the rest of the canvas appears treated

forced to talk while working.... What a nuisance having to entertain the sitter and to look happy when one feels wretched." In that same year, Sargent

purpose, an iron lattice bridge designed by Karl Etzel was built over the Sitter, the original Sitter Viaduct. A train coming from Winterthur derailed

bodice for effect. Filippino Lippi uses chiaroscuro to model the face of the sitter and define the details of his simple garment. The light and shadow on

2 ravines - the Galgentobel, formed by Steinach creek to the east and the Sitter river valley to the west. The municipality consists of the village sections

surrounding the subject. Her close attention to detail displayed the wealth of the sitter, which made her popular among the rich. Fontana's self-portraiture strikes

Three women painters also produced portraits using the convention of the sitter in character. The earliest was Beatrice Offor (1864–1920), whose sitter's

for a living. On the same occasion, Sander took a similar photograph of the sitter. In this version, the woman is still seated, legs crossed, and looks directly

subject. As I proceed with my brush, the detailed features and character of the sitter are infused in the painting.” Pauline was at the forefront of a trend

It is apt that the painting is labelled, not with the true identity of the sitter, but with the fictitious advertiser’s title, Alice. As a young woman,

Copies of an etching Müller-Ury made of Depew, signed by the artist and the sitter, are in the American National Portrait Gallery in Washington, DC, the