With paintings by Italian artists contemporary to Porpora.

IV. Eia ergo, advocata nostra, illos tuos misericordes oculos ad nos converte.

Paintings by
1, 2: Andrea Celesti
3: Francesco de Mura
4: Corrado Giaquinto
5: Francesco Zugno
6: Giambattista Pittoni
7: Sebastiano Ricci
8: Sebastiano Conca

V. Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende.

Paintings by
1: Jacopo Amigoni
2: Antonio Balestra
3, 4: Gaspare Diziani

VI. O clemens, O pia, O dulcis Virgo Maria, salve.

Paintings by
1: Salvatore Mollo
2: Francesco Mancini
3: Sebastiano Ricci
4: Gianantonio Guardi

With paintings by Italian artists contemporary to Porpora.

I. Salve, Regina, mater misericordiæ: vita, dulcedo et spes nostra, salve.

Paintings by
1-9: Giovanni Battista Tiepolo

II. Ad te clamamus, exsules, filii Evæ.

Paintings by
1: Giovanni Battista Piazzetta
2: Giuseppe Angeli
3, 5, 6: Sebastiano Ricci
4: Francesco Fontebasso

III. Ad te suspiramus, gementes et flentes in hac lacrimarum valle.

Paintings by
1. Giambattista Pittoni
2. Giambettino Cignaroli
3. Gianantonio Guardi
4. Felice Torelli

Pavel Nikolayevich Filonov(January 8, 1883--December 3, 1941) was a Russian avant-garde painter, art theorist, and a poet.

Filonov was born in Moscow on January 8, 1883 (Gregorian calendar) or December 27, 1882 (Julian calendar). In 1897, he moved to St. Petersburg where he took art lessons. In 1908, he entered St. Petersburg Academy of Arts, from which he was expelled in 1910.

In 1910--1914, he took part in the arts group Soyuz Molodyozhi created by artists Elena Guro and Mikhail Matyushin. In 1912, he wrote the article The Canon and the Law, in which he formulated the principles of analytical realism, or "anti-Cubism". According to Filonov, Cubism represents objects using elements of their surface geometry but "analytical realists" should represent objects using elements of their inner soul. He was faithful to these principles for the remainder of his life.

During the years 1913 to 1915, Filonov was close to Vladimir Mayakovsky, Velimir Khlebnikov, and other futurists. In the autumn of 1916, he enlisted for service in World War I and served on the Romanian front. Filonov participated actively in the Russian Revolution of 1917 and served as the Chairman of the Revolutionary War Committee of Dunay region.

In 1919, he exhibited in the First Free Exhibit of Artists of All Trends at the Hermitage. In 1923, he became a professor of St. Petersburg Academy of Arts and a member of the Institute for Artistic Culture (INKhUK). He organized a large arts school of Masters of Analytical Realism (over seventy artists). Their work influenced suprematism and expressionism.

In 1929, a large retrospective exhibition of Filonov art was planned at the Russian Museum; however, the Soviet government forbade the exhibition from going forward. From 1932 onward, Filonov literally starved but still refused to sell his works to private collectors. He wanted to give all his works to the Russian Museum as a gift so as to start a Museum of Analytical Realism. He died of starvation on December 3, 1941 during the Siege of Leningrad.

Under the umbrella of Universal Flowering, Filonov put forth a manner of working that proceeded from the particular to the general. He believed that objects and fields should be built up from small details and bits and stated that doing it the other-way-round was nothing short of "charlatanism". To this end, he worked, and required his students to work, with very small brushes in painting and the finest of points when drawing.

Most of Filonov's works were saved by his sister Yevdokiya Nikolayevna Glebova. She stored the paintings in the Russian Museum's archives and eventually donated them as a gift. Exhibitions of Filonov's work were forbidden. In 1967, an exhibition of Filonov's works in Novosibirsk was permitted. In 1988, his work was allowed in the Russian Museum. In 1989 and 1990, the first international exhibition of Filonov's work was held in Paris

Henri Julien Félix Rousseau (May 21, 1844 -- September 2, 1910) was a French Post-Impressionist painter in the Naive or Primitive manner. He is also known as Le Douanier (the customs officer) after his place of employment. Ridiculed during his life, he came to be recognized as a self-taught genius whose works are of high artistic quality.

He was born in Laval in the Loire Valley into the family of a plumber. He attended Laval High School as a day student and then as a boarder, after his father became a debtor and his parents had to leave the town upon the seizure of their house. He was mediocre in some subjects at the high school but won prizes for drawing and music.He worked for a lawyer and studied law, but "attempted a small perjury and sought refuge in the army," serving for four years, starting in 1863. With his father's death, Rousseau moved to Paris in 1868 to support his widowed mother as a government employee. With his new job in hand, in 1869 he started a relationship with a cabinetmaker's daughter, Clémence Boitard, who became his first wife and he wrote a waltz bearing her name. They went on to have nine children but tuberculosis was rife at the time and seven died at an early age.In 1871, he was promoted to the toll collector's office in Paris as a tax collector. He started painting seriously in his early forties, and by age 49 he retired from his job to work on his art.His wife died in 1888 and he later remarried.

Rousseau claimed he had "no teacher other than nature", although he admitted he had received "some advice" from two established Academic painters, Félix Auguste-Clément and Jean-Léon Gérôme. Essentially he was self-taught and is considered to be a naive or primitive painter.

His best known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his army service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrated books and the botanical gardens in Paris, as well as tableaux of "taxidermified" wild animals. He had also met soldiers, during his term of service, who had survived the French expedition to Mexico and listened to their stories of the subtropical country they had encountered. To the critic Arsène Alexandre, he described his frequent visits to the Jardin des Plantes: "When I go into the glass houses and I see the strange plants of exotic lands, it seems to me that I enter into a dream."

Along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs.

He claimed to have invented a new genre of portrait landscape, which he achieved by starting a painting with a view such as a favourite part of the city, and then depicting a person in the foreground.

Rousseau's work exerted an "extensive influence ... on several generations of vanguard artists, starting with Picasso and including Léger, Beckmann and the Surrealists," according to Roberta Smith, an art critic writing in The New York Times. "Beckmann's amazing self-portraits, for example, descend from the brusque, concentrated forms of Rousseau's portrait of the writer Pierre Loti"

In 1911 a retrospective exhibition of Rousseau's works was shown at the Salon des Indépendants. His paintings were also shown at the first Blaue Reiter exhibition.

Two major museum exhibitions of his work were held in 1984-85 (in Paris, at the Grand Palais; and in New York, at the Museum of Modern Art) and in 2001 (Tübingen, Germany). "These efforts countered the persona of the humble, oblivious naïf by detailing his assured single-mindedness and tracked the extensive influence his work exerted on several generations of vanguard artists," critic Roberta Smith wrote in a review of a later exhibition.

A major exhibition of his work, "Henri Rousseau: Jungles in Paris," was shown at Tate Modern from November 2005 for four months, organised by the Tate and the Musée d'Orsay, where the show also appeared. The exhibition, encompassing 49 of his paintings, was on display at the National Gallery of Art in Washington from July 16--October 15, 2006.

A major collection of Rousseau's work were shown at The Grand Palais from March 15 to June 19, 2006.

Hieronymus Bosch,(c. 1450 -- August 9, 1516) was an Early Netherlandish painter of the fifteenth and sixteenth centuries. Many of his works depict sin and human moral failings. Bosch used images of demons, half-human animals and machines to evoke fear and confusion to portray the evil of man. The works contain complex, highly original, imaginative, and dense use of symbolic figures and iconography, some of which was obscure even in his own time.

Bosch produced several triptychs, works of three paintings on wooden panels that are attached to each other. Among his most famous is The Garden of Earthly Delights. This triptych depicts paradise with Adam and Eve and many wondrous animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel. When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth. These paintings have a rough surface from the application of paint; this contrasts with the traditional Flemish style of paintings, where the smooth surface attempts to hide the fact that the painting is man-made.

Bosch never dated his paintings and may have signed only some of them (other signatures are certainly not his). Fewer than 25 paintings remain today that can be attributed to him. Philip II of Spain acquired many of Bosch's paintings after the painter's death; as a result, the Prado Museum in Madrid now owns several of his works, including The Garden of Earthly Delights.

Pieter Brueghel the Elder was influenced by Bosch's work and produced several paintings in a similar style, including the 1562 work The Triumph of Death.

In earlier centuries it was often believed that Bosch's art was inspired by medieval heresies and obscure hermetic practices. Others thought that his work was created merely to titillate and amuse, much like the "grotteschi" of the Italian Renaissance. While the art of the older masters was based in the physical world of everyday experience, Bosch confronts his viewer with, in the words of the art historian Walter Gibson, "a world of dreams [and] nightmares in which forms seem to flicker and change before our eyes." In the first known account of Bosch's paintings, in 1560 the Spaniard Felipe de Guevara wrote that Bosch was regarded merely as "the inventor of monsters and chimeras". In the early seventeenth century, the Dutch art historian Karel van Mander described Bosch's work as comprising "wondrous and strange fantasies", however he concluded that the paintings are "often less pleasant than gruesome to look at."

In the twentieth century, scholars have come to view Bosch's vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. His depictions of sinful humanity, his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers attach a more profound significance to his paintings than had previously been supposed, and attempt to interpret it in terms of a late medieval morality. It is generally accepted that Bosch's art was created to teach specific moral and spiritual truths, and that the images rendered have precise and premeditated significance. According to Dirk Bax, Bosch's paintings often represent visual translations of verbal metaphors and puns drawn from both biblical and folkloric sources.

However, some writers see Bosch as a proto-type medieval surrealist, and parallels are often made with the twentieth century Spanish artist Salvador Dali. Others writers attempt to interpret his imagery using the language of Freudian psychology. However such thesis' are commonly rejected; according to Gibson, "what we choose to call the libido was denounced by the medieval church as original sin; what we see as the expression of the subconscious mind was for the Middle Ages the promptings of God or the Devil.

Marcel Duchamp(July 28, 1887 -- October 2, 1968) was a French artist (he became an American citizen in 1955) whose work and ideas had considerable influence on the development of post-World War II Western art, and whose advice to modern art collectors helped shape the tastes of the Western art world.

While he is most often associated with the Dada and Surrealism movements, his participation in Surrealism was largely behind the scenes, and after being involved in New York Dada, he barely participated in Paris Dada.

Thousands of books and articles attempt to interpret Duchamp's artwork and philosophy, but in interviews and his writing, Duchamp only added to the mystery. The interpretations interested him as creations of their own, and as reflections of the interpreter.

A playful man, Duchamp prodded thought about artistic processes and art marketing, not so much with words, but with actions such as dubbing a urinal "art" and naming it Fountain. He produced relatively few artworks as he quickly moved through the avant-garde rhythms of his time.

Duchamp's early art works align with Post-Impressionist styles. He experimented with classical techniques and subjects, as well as Cubism and Fauvism. When he was later asked about what influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but quietly individual.

He studied art at Académie Julian (1904 to 1905), but preferred playing billiards to attending classes. During this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use visual and/or verbal puns. Such play with words and symbols engaged his imagination for the rest of his life.

Marcel Duchamp died on October 2, 1968 in Neuilly-sur-Seine, France and is buried in the Rouen Cemetery, in Rouen, Normandy, France. His grave bears the epitaph, "D'ailleurs, c'est toujours les autres qui meurent;" or "Besides, it's always other people who die."

Peter Paul Rubens (June 28, 1577 -- May 30, 1640) was a prolific seventeenth-century Flemish and European painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England.

Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635.

His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.

Paintings can be divided into three categories: those painted by Rubens himself, those which he painted in part (mainly hands and faces), and those he only supervised. He had, as was usual at the time, a large workshop with many apprentices and students, some of whom, such as Anthony Van Dyck, became famous in their own right. He also often sub-contracted elements such as animals or still-life in large compositions to specialists such as Frans Snyders, or other artists such as Jacob Jordaens