Список из самых популярных хештегов по теме #MORONI

Like most of the women Moroni painted, the sitter wears clothing and accessories that display her wealth and status, and there are no identifying attributes or inscriptions. Her pendant cross is suspended from a pearl necklace. The sitter was recently proposed to be Isotta Brembati but the identification is difficult to confirm as the physiognomic similarities to the other portraits of Isotta are relatively generic. The sitter’s style of dress is similar to that in Moroni’s Pace Rivola Spini, which suggests that the present portrait was painted late in the artist’s career. #moronimondays #moroni #frickcollection ___ Giovanni Battista Moroni, Portrait of a Woman, ca. 1575−79, oil on canvas, Private collection.

#ActualidadScrum #Rugby ¡Cinco #Jaguares en el team ideal de las semis! Tomás #Lavanini, Pablo #Matera, Tomás #Cubelli, Matías #Orlando y Matías #Moroni. ¡Ah! Hay siete jugadores de #Hurricanes y sólo uno de #Crusaders... ‍♂️‍♂️

#ActualidadScrum #Rugby ¿En qué estarán pensando Tute #Moroni y Jero #DeLaFuente? ¡Qué poco falta para la final entre #Jaguares y #Crusaders! Mirala este sábado desde las 3 de la madrugada argentina en ESPN 2 y ESPN Play. #JAGUARESxESPN

#MomentoScrum #Rugby ¿Por qué #Matera, #Moroni y #Orlando estuvieron en el equipo ideal del fin de semana? Entre otras cosas, ¡por jugadas así! ✨ #JAGUARESxESPN

Don’t miss your chance to see #MoroniattheFrick... named as a “Critic’s Pick” in the @nytimes! On view through June 2! Reminder: Members can “skip the line" this weekend during Member Mornings. ‪June 1, 9-10a, and June 2, 10-11a. Vistor’s can join onsite! #frickcollection #moroni‬ ‪___‬ The portrait of the sculptor Alessandro Vittoria was presumably painted early in Moroni’s career, when both artists were in Trent in the early 1550s. It shares a number of qualities with another of Moroni’s portraits, The Tailor, above all the portrayal of the figure as if suspended in an act related to his profession, here addressing the viewer as if interrupted while presenting, studying, or working on a sculpture. Vittoria’s sleeve is rolled up to reveal his muscular forearm, as if to suggest the physical strength that sculpting requires. Vittoria owned at least five painted portraits of himself, and Moroni’s is probably one of two large paintings listed in the inventory of the sculptor’s possessions made after his death. ___ Moroni, Alessandro Vittoria, ca. 1551, oil on canvas, Gemäldegalerie, Kunsthistorisches Museum, Vienna; photo: KHM-Museumsverband @kunsthistorischesmuseumvienna

Final weekend! Don’t miss your chance to see #MoroniattheFrick... named as a “Critic’s Pick” in the @nytimes! On view through June 2! Reminder: Members can “skip the line" during Member Mornings. ‪June 1, 9-10a, and June 2, 10-11a. Vistor’s can join onsite! #frickcollection #moroni‬ ‪___‬ Moroni, Lucia Albani Avogadro, called La Dama in Rosso (The Lady in Red), ca. 1554–57, oil on canvas. @nationalgallery ___ Daughter of Gian Gerolamo Albani, the collaterale generale of Venice, Lucia was celebrated by her contemporaries as a talented poet. Giovanni Bressani dedicated a poem to her, and the poet Bernardo Tasso praised her in his verses. However, nothing of this aspect of her identity is conveyed in this portrait, which centers instead on the exquisite crimson satin overgown that gives the painting its popular title. This work is one of only three full-length portraits of women painted by the artist.

In honor of #NationalTextilesDay... we highlight a 16th-century Italian or Spanish example currently on loan from @metmuseum. Shown within the context of #MoroniattheFrick, this brocaded velvet fragment allows the viewer to discover the physical and visual qualities of the 3-demensional fabric translated by the artist into paint. The production of textiles like these was labor-intensive and extremely costly. For example (swipe for detail), each filé (metal strip wrapped around a silk core) would have been wrapped by hand and the loops raised individually as the filé was brocaded (or woven) in, creating the characteristic bouclé effect of raised hoops. #frickcollection #themet #moroni ___ Italian or Spanish, Fragment of Brocaded Velvet, 16th century, composite fragment of red cut velvet voided on a blue ground with a pattern weft of yellow silk and paired drawn wire and details brocaded in silver and silver-gilt filé bouclé, 11 3/8 x 22 3/4 in. (28.9 x 57.8 cm, The Metropolitan Museum of Art, New York; Gift of Nanette B. Kelekian, in honor of Olga Raggio, 2002 (2002.494.598) Metropolitan Museum of Art, New York / Art Resource, NY. Photomicrograph of velvet fragment at 20x magnification; Photo Cristina Balloffet Carr, The Metropolitan Museum of Art

I've been asked many times which is my favorite temple. It's hard to answer the question because there's a variety of categories that could apply. Is it my favorite because of a spiritual experience, or is it architecturally my favorite, or is it my favorite because I was sealed there? I am reluctant to answer the question in detail because there's a legitimate reason for every temple I've been to, to be my favorite. But If I were to average every reason together, the Laie Hawaii temple would be in the top 3 for me. As a child, my aunt lived in Laie. She was a professor at BYU Hawaii (Church College of Hawaii). Her house was literally next door to the temple. We took a vacation to Hawaii and stayed at her house, which unbeknownst to me, President Gordon B. Hinckley was staying next door. However, he was not the prophet at the time. I have many fond memories of Laie as a child, from the temple grounds, Hukilau Beach, the Polynesian Cultural Center and everything in between. Since, I have made it an effort to revisit as often as I can. This is the Celestial version of the Laie Temple as part of my recent series. I hope you enjoy it. Thanks for your support. -Alan

This is believed to be the earliest of Moroni’s independent portraits of women, which number about fifteen of the nearly one hundred twenty-five portraits attributed to him today. The sitter was identified in the nineteenth century as the Bergamasque noblewoman and poet Isotta Brembati. #MoroniMondays #MoroniattheFrick #frickcollection #moroni @accademia_carrara ___ Giovanni Battista Moroni, Bust of Isotta Brembati, ca. 1550, oil on canvas, Accademia Carrara, Bergamo