Picking Up the Brush for Emperors and Sultans. Imperial Portraits as Representations of Power in The Early Modern Mediterranean (Ca. 1450-Ca. 1650) by Zeynep Olgun

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Szathmári, a great documentary artist by Ionescu, Adrian-Silvan

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Szathmári, un mare artist documentarist by Ionescu, Adrian-Silvan

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0274 The Man of Sorrows by Hans von Aachen in Břevnov Monastery in Prague by Štěpán Vácha

“…This study presents a hitherto unpublished painting of The Man of Sorrows, located in Břevnov monastery in Prague, by the Rudolfine court painter Hans von Aachen. The aim is to investigate not only the provenance of the work and the presumable commissioner, Abbot Wolfgang Selender of Prošovice, but also the painting’s place in Von Aachen’s œuvre, possible sources of inspiration for its iconography as well as formal design in Italy and Prague. …”
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Horse portraiture and blazing saddles - research report on the artist Emil Volkers (1831-1905) by Selke, Raimond, Gohl, Walter

“…After Dresden Art Academy, he developed a unique style, and aristocrats provided commissions. He became "court painter" to Prince Charles of Romania, and was commissioned by William I to paint him on horseback. …”
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The Suzhou handscroll: oblique images of a Far East city between remembrance and future by Agostino De Rosa, Alessio Bortot, Giulia Lazzaretto

“…The author was Xu Yang, a court painter of the Qing Dynasty who spent 24 years working on the scroll. …”
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The Study of Mikhail Bakhtin's Concept of Polyphony and Dialogism in Reza Abbasi's Paintings by fatemeh shahkolahi, Asghar Fahimifar

“…Reza Abbasi, a prominent painter of the Isfahan painting school, is one of the few Persian painters who attends to the general public and society as a "public painter" and illustrates court orders and figures of kings and nobles as a "court painter" in the Safavid court at the same time. …”
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West's influence on the Iranian painting from the beginning of Qajar rule to the end of Naseri Era by مصطفی لعل شاطری, عباس سرافرازی, هادی وکیلی

“…The present study aims to investigate the process of influence of Western styles in the Iranian painting from the beginning of Qajar period (1210 A.H / 1795 A.D.) to the end of Naser al-Din Shah rule (1313 A.H / 1895 A.D.) and consequently the approach of Qajar kings and court painters by the descriptive-analytical method and based on recent research and scrutinize and analyze it.…”
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Iranian Painting, A Government Multi-Purpose Media (Case Study: Safavid Period Garden Painting) by Soniya Nouri, Mehdi Mohamadzade, Mohammad Abbaszadeh, Ali Vandshoari

“…These paintings have paid attention to the awareness and precision of court painters in expressing identity components and conveying effective messages to their audiences.…”
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Identifying the Causes of the Emergence of Religious Themes and Its Important Components in the Murals of Religious Monuments of the Qajar Era (Case Study: Sacred Shrines of Guilan... by atieh youzbashi, Seyed Reza Hoseini, Abdolreza Chareie

“…Due to the post-constitutional developments, religious painting was mainly limited to folk paintings, which were mostly produced in sacred shrines by non-court painters and aimed at folk artists. The Qajar dynasty covered a wide variety of subjects, with opportunities for governmental, religious, literary, archeological, scientific, fictional, and everyday propaganda. …”
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Study of the Structural Elements of the Painting of the Great Dervish Curtain of the Qajar Period based on the Historiography of the Old and the New Sections in the Astan Quds Muse... by Elaheh Panjehbashi

“…The results indicate that the main and old part of the painting was worked by court painters and has the feature of Qajar official figurative painting, while the other part is newer, and having been later added to the work, displays a lower image quality compared to the older part.The qualities are lower. …”
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