Genre Collection (page 9)

Photographic Study for the painting The Last Day of a Condemned Man, c
498410 Photographic Study for the painting The Last Day of a Condemned Man, c.1869 (b/w photo) by Munkacsy, Mihaly (1844-1900); Private Collection; eArchives Charmet; Hungarian, out of copyright

The Betrothal: A Young Couple in an Elegant Interior, 1678 (oil on canvas)
BAL207906 The Betrothal: A Young Couple in an Elegant Interior, 1678 (oil on canvas) by Neer, Eglon Hendrick van der (1634-1703); 85.5x70.1 cm; Private Collection; (add.info.: ewer and basin)

Returning from the Fair, 1837 (oil on canvas)
SC22711 Returning from the Fair, 1837 (oil on canvas) by Webster, Thomas (1800-86); Victoria & Albert Museum, London, UK; English, out of copyright

Lady on a Swing - Gallant Scene in the Park 1, c. 1760 (oil on limewood)
5614476 Lady on a Swing - Gallant Scene in the Park 1, c.1760 (oil on limewood) by Grund, Norbert Joseph Carl (1717-67); 27.2x22 cm; Narodni Galerie, Prague, Czech Republic; Bohemian, out of copyright

The Thames near Kew (w / c)
6200208 The Thames near Kew (w/c) by Sellar, Charles Andrew (1856-1926); 37.8x55.9 cm; The McManus, Dundee, UK; Dundee Art Galleries and Museums; English, out of copyright

Boy Playing with Marbles (oil on panel)
BAL160831 Boy Playing with Marbles (oil on panel) by Steen, Jan Havicksz. (1625/26-79); 28x21.5 cm; Private Collection; Johnny Van Haeften Ltd. London; Dutch, out of copyright

Tavern Scene, c. 1635 (oil on oak)
BAC155179 Tavern Scene, c.1635 (oil on oak) by Brouwer, Adriaen (1605/6-38); 48x67 cm; National Gallery, London, UK; Flemish, out of copyright

Man Smoking, 1888 (oil on canvas)
BRN158910 Man Smoking, 1888 (oil on canvas) by Gogh, Vincent van (1853-90); 47.6x62.9 cm; The Barnes Foundation, Philadelphia, Pennsylvania, USA; eBarnes Foundation; Dutch, out of copyright

Le Garcon Cabaretier (The Cellar Boy) engraved by Charles Nicolas Cochin I (1688-1754
5934124 Le GarAzon Cabaretier (The Cellar Boy) engraved by Charles Nicolas Cochin I (1688-1754) 1750 (etching & engraving) by Chardin, Jean-Baptiste Simeon (1699-1779) (after); Fitzwilliam Museum

L Ecureuse, engraved by Charles-Nicolas Cochin I (1688-1754
5934121 L Ecureuse, engraved by Charles-Nicolas Cochin I (1688-1754) 1740 (etching & engraving) by Chardin, Jean-Baptiste Simeon (1699-1779) (after); Fitzwilliam Museum, University of Cambridge

Adriaen Brouwer (engraving)
815608 Adriaen Brouwer (engraving) by Flemish School, (18th century); Private Collection; (add.info.: Adriaen Brouwer. 1605 - January 1638)

The Stolen Kiss, c. 1760 (oil on canvas)
3472231 The Stolen Kiss, c.1760 (oil on canvas) by Fragonard, Jean-Honore (1732-1806); 48.3x63.5 cm; Metropolitan Museum of Art, New York, USA; French, out of copyright

The Conquests Of Civilization, The Archbishop Of Milan Makes A Pastoral Visit By Electric Car (Colour Litho)
2798683 The Conquests Of Civilization, The Archbishop Of Milan Makes A Pastoral Visit By Electric Car (Colour Litho) by Beltrame

The Scottish Market Place, 1818 (oil on canvas)
WAG292638 The Scottish Market Place, 1818 (oil on canvas) by Wilkie, David (1785-1841) (attr.); 50x71 cm; Wolverhampton Art Gallery, West Midlands, UK; eWolverhampton Art Gallery; British

The Farewell, 1878 (oil on canvas)
3745692 The Farewell, 1878 (oil on canvas) by Backer, Harriet (1845-1933); 81.5x99 cm; Nasjonalgalleriet, Oslo, Norway; Norwegian, out of copyright

Sunday Morning, 1866 (oil on canvas)
1079457 Sunday Morning, 1866 (oil on canvas) by Johnson, Eastman (1824-1906); 61.6x91.4 cm; Collection of the New-York Historical Society

Coming to the Point, a sequel to Bargaining for a Horse, 1854 (oil on canvas)
1079447 Coming to the Point, a sequel to Bargaining for a Horse, 1854 (oil on canvas) by Mount, William Sidney (1807-68); 63.5x76.2 cm; Collection of the New-York Historical Society

The Wind Mill, 1858 (oil on canvas)
1079456 The Wind Mill, 1858 (oil on canvas) by Edmonds, Francis William (1806-63); 61x51.1 cm; Collection of the New-York Historical Society

Sowing the Word, 1868 (oil on linen)
1079407 Sowing the Word, 1868 (oil on linen) by Huntington, Daniel (1816-1906); 113x142.9 cm; Collection of the New-York Historical Society

Manhood, after Nicholas Lancret, 1840 (oil on cardboard)
1079317 Manhood, after Nicholas Lancret, 1840 (oil on cardboard) by Durand, Asher Brown (1796-1886); 28.9x34 cm; Collection of the New-York Historical Society, USA; (add.info.: Manhood)

Aeneas and Creusa, 1771 (oil on linen)
1079289 Aeneas and Creusa, 1771 (oil on linen) by West, Benjamin (1738-1820); 188x142.2 cm; Collection of the New-York Historical Society, USA; (add.info.: Aeneas and Creusa)

Chryseis Returned to her Father, 1771 (oil on canvas)
1079288 Chryseis Returned to her Father, 1771 (oil on canvas) by West, Benjamin (1738-1820); 188x142.2 cm; Collection of the New-York Historical Society

Still Life inside a Barn, 1634 (oil on panel)
XKH150807 Still Life inside a Barn, 1634 (oil on panel) by Saftleven, Herman the Younger (1609-85); 53x46.6 cm; Hamburger Kunsthalle, Hamburg, Germany; Dutch, out of copyright

Still Life (oil on canvas)
XKH150802 Still Life (oil on canvas) by Son, Joris van (1623-67); 87.5x88.3 cm; Hamburger Kunsthalle, Hamburg, Germany; Flemish, out of copyright

The Washerwoman, engraved by J. Laurent Julien (c18th) and Jean-Baptiste Morret (fl
STC169276 The Washerwoman, engraved by J. Laurent Julien (c18th) and Jean-Baptiste Morret (fl.1790-1820) (colour litho) by Saint-Aubin

Apple Vendor, c. 1889 (oil on canvas)
BRN159688 Apple Vendor, c.1889 (oil on canvas) by Renoir, Pierre Auguste (1841-1919); The Barnes Foundation, Philadelphia, Pennsylvania, USA; eBarnes Foundation; French, out of copyright

The Post Office (oil on canvas)
LMG157835 The Post Office (oil on canvas) by Rippingille, Edward Villiers (1798-1859); 48.7x68.9 cm; Leeds Museums and Galleries (Lotherton Hall) U.K.; eLeeds Museums and Galleries; English

Blind Mans Buff, c. 1775-80 (oil on canvas)
BAL29556 Blind Mans Buff, c.1775-80 (oil on canvas) by Fragonard, Jean-Honore (1732-1806); 216.2x197.8 cm; National Gallery of Art, Washington DC, USA; French, out of copyright

The Village Blacksmith, 1826 (oil on canvas)
XKH179074 The Village Blacksmith, 1826 (oil on canvas) by Burkel, Heinrich (1802-69); 43x54.5 cm; Hamburger Kunsthalle, Hamburg, Germany; German, out of copyright

A Family Meal, c. 1645-55 (oil on canvas)
2563441 A Family Meal, c.1645-55 (oil on canvas) by Le Nain Brothers (17th Century) (circle of); 92x120.5 cm; Cleveland Museum of Art, OH, USA; Gift of Mrs Salmon P

Lepeintre aine, l un des meilleurs comiques dans le genre du vaudeville (engraving)
6005492 Lepeintre aine, l un des meilleurs comiques dans le genre du vaudeville (engraving) by French School, (19th century); Private Collection; (add.info.: Lepeintre aine)

James Clarke Hook, from The Magazine of Art, published 1878 (litho)
1772378 James Clarke Hook, from The Magazine of Art, published 1878 (litho) by English School, (19th century); Private Collection; (add.info.: James Clarke Hook, 1819 - 1907)

"Will you walk a little faster? said a Whiting to a Snail"
4075104 " Will you walk a little faster? said a Whiting to a Snail", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

"He dipped it into his cup of tea and looked at it again"
4075088 " He dipped it into his cup of tea and looked at it again", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

"So she set the little creature down", illustration for Lewis Carroll
4075086 " So she set the little creature down", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

"Singing a sort of lullaby", illustration for Lewis Carrolls Alice
4075085 " Singing a sort of lullaby", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

"Serpent! screamed the Pigeon", illustration for Lewis Carroll
4075083 " Serpent! screamed the Pigeon", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

"Old Father William balancing an Eel on the end of his nose"
4075081 " Old Father William balancing an Eel on the end of his nose", illustration for Lewis Carrolls Alices Adventures in Wonderland, 1901 (litho) by Newell

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"Exploring the Boundaries of Genre: From Classic Comedy to Surrealism and Beyond" Step back in time with Laurel and Hardy, as they bring laughter and joy in their 1939 film "Flying Deuces. " This iconic duo captivated audiences with their slapstick humor and timeless performances. In another corner of the cinematic world, Charlie Chaplin takes center stage alongside Paulette Goddard in the unforgettable final scene from "Modern Times" (1936). Chaplin's genius shines through as he effortlessly blends comedy with social commentary, leaving a lasting impact on the genre. Venturing into the realm of art, Diego Velazquez's masterpiece "Old Woman Cooking Eggs" (1618) showcases his mastery of capturing everyday life. The detailed brushwork transports us to a simpler time while highlighting the beauty found in ordinary moments. Oscar Wilde's provocative play "Salome" comes alive through Aubrey Beardsley's striking pen and ink drawing. The intricate lines depict a climactic moment that perfectly encapsulates Wilde's decadent style. Sergey Solomko introduces us to an enchanting creature - the Blue Bird or Bird Sirin. This mystical artwork invites us to explore folklore and mythology within different genres, blurring boundaries between reality and imagination. Returning to Laurel and Hardy once more, we witness their comedic brilliance in "Big Business" (1929). Their hilarious antics leave us doubled over with laughter as they navigate absurd situations with impeccable timing. From laughter to fear, we delve into horror with James Whale's iconic film poster for "Bride of Frankenstein" (1935). It represents a pivotal moment when this classic monster tale became ingrained in popular culture forevermore. Henry Scott Tuke captures a serene seaside scene in his painting "The Run Home. " Through his masterful use of light and color, he transports us into a tranquil world where genre becomes irrelevant compared to sheer beauty.