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Tableau:: people

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Artiste: Caravaggio
Caravaggio St Catherine of Alexandria oil painting picture wholesale


Caravaggio St Catherine of Alexandria oil painting picture wholesale

ID de tableau::  62387
Caravaggio
St Catherine of Alexandria
173 x 133 cm Thyssen-Bornemisza Collection, Madrid The painting formerly belonged to Cardinal Del Monte, one of the artist's patrons. Here we see a single female figure in an interior devoid of architectural allusions. The image appears with a boldness and an immediacy that combine the nobility of the subject (St Catherine was a king's daughter) with the almost plebeian pride of the model (no doubt a Roman woman of the people, who appears on other paintings of the artist, too). The breadth of conception and realization, and the perfect mastery of a very difficult composition (the figure and objects completely fill the painting, in a subtle play of diagonals) are striking. Caravaggio here chose a "grand" noble approach that heralds the great religious compositions he would soon do for San Luigi dei Francesi. The extraordinary virtuosity in the painting of the large, decorated cloth is absorbed as an integral part of the composition. This is something his followers would not often succeed in doing, for they frequently dealt with the single components of the painting individually, with adverse effects on the unity of the whole.
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Artiste: Caspar David Friedrich
Caspar David Friedrich The Wanderer above the Mists oil painting picture wholesale


Caspar David Friedrich The Wanderer above the Mists oil painting picture wholesale

ID de tableau::  62388
Caspar David Friedrich
The Wanderer above the Mists
1817-18 Oil on canvas, 94,8 x 74,8 cm Kunsthalle, Hamburg In this painting Friedrich shows a lonely figure confronting nature in astonished reverence. Friedrich's figures who habitually turn their backs to gaze into the horizon or stare from windows with rapt attention are images of the artist. His Wanderer, frock-coated and stick in hand, has climbed to a rocky peak above swirling mountain mists; the viewer looks with his eyes, the angle of vision being exactly aligned to their level in the picture space. The foreground, the conventional plateau to give the viewer a fix on the subject, has been entirely dispensed with. Listen to Franz Schubert's Wanderer Fantasy, a piano piece composed in the same Romantic spirit as manifested by Friedrich's painting
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Artiste: Caravaggio
Caravaggio David oil painting picture wholesale


Caravaggio David oil painting picture wholesale

ID de tableau::  62390
Caravaggio
David
110 x 91 cm Museo del Prado, Madrid This painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill. Caravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbar?n. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak,', ', ', ', ', ', ', '); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone
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Artiste: unknow artist
unknow artist George Frideric Handel oil painting picture wholesale


unknow artist George Frideric Handel oil painting picture wholesale

ID de tableau::  62392
unknow artist
George Frideric Handel
height 136 cm Victoria and Albert Museum, London Roubilliac sculpted the portrait of Handel for the Vauxhall Gardens in London. The composer is fingeringthe strings of hi lyre like another Apollo while a putto transcribes the notes at his feet; yet Handel is dressed in ordinary clothes and has even neglected to remove what appears to be his nightcap. Listen to an example of Handel's music, the famous Largo from his opera Serse (Xerxes)
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Artiste: unknow artist
unknow artist Tomb of Juan de Padilla oil painting picture wholesale


unknow artist Tomb of Juan de Padilla oil painting picture wholesale

ID de tableau::  62393
unknow artist
Tomb of Juan de Padilla
1489-93 Alabaster Museo Provincial, Burgos The kneeling figure is a detail from the Tomb of Juan de Padilla, carved in the same period than the Tomb of Infante Alfonso in the Monastery of Miraflores, Burgos. Original location of the tomb was the Monastery of Fresdelval
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Artiste: unknow artist
unknow artist Paganini oil painting picture wholesale


unknow artist Paganini oil painting picture wholesale

ID de tableau::  62394
unknow artist
Paganini
height 32 cm Mus?es de la Ville de Paris, Paris All the Romantic sculptors executed medallions, a form of portrait that was quicker, less burdensome and cheaper than the bust. Many of them embarked on the portrait statuette connected with the contemporary world of politics and the theatre, unless it concerned the intimate effigy of the artist's wife and children. With Dantan, the statuette shifts towards the burden, born of the excessive use of phrenology and physiognomy, of the accumulation of accessories. Forming the Mus?e Dantan, or Dantanorama, this collection of caricatures which includes literary, political, artistic and scientific figures constitutes the satirical counterparts to David's medallions. Paganini was one of the greatest violin virtusosos of all time, he wrote numerous difficult studies for the instrument, many of which including ground-breaking new techniques of playing. In addition, he composed many pieces for guitar. Listen to an example of Paganini's guitar music
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Artiste: unknow artist
unknow artist Book of Hours oil painting picture wholesale


unknow artist Book of Hours oil painting picture wholesale

ID de tableau::  62395
unknow artist
Book of Hours
1452-60 Illumination on parchment Mus?e Cond? Chantilly The miniature was executed by Jean Fouquet (1420-1480). There are 40 beautiful miniatures in the Chantilly Museum from the horary book of ?tienne Chevalier. One of these represents ?tienne Chevalier and his Patron. Chevalier is similar than in the Berlin portrait by Fouquet, however, he looks much older in the miniature. Other miniatures from this Book of Hours can be seen at Jean
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Artiste: Sandro Botticelli
Sandro Botticelli Madonna and Child with an Angel oil painting picture wholesale


Sandro Botticelli Madonna and Child with an Angel oil painting picture wholesale

ID de tableau::  62396
Sandro Botticelli
Madonna and Child with an Angel
1465-67 Tempera on panel, 87 x 60 cm Spedale degli Innocenti, Florence It is possible that this somewhat awkward painting of the Madonna was produced while Botticelli was still working in the workshop of his teacher, Filippo Lippi. The initial inspiration for the painting came from the latter's famous Madonna in the Uffizi. Botticelli replaced the landscape with an arched architecture which frames the heads of the mother and child and emphasizes the two main figures as the centre of the devotional scene
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Artiste: Benozzo Gozzoli
Benozzo Gozzoli Adoration of the Magi oil painting picture wholesale


Benozzo Gozzoli Adoration of the Magi oil painting picture wholesale

ID de tableau::  62397
Benozzo Gozzoli
Adoration of the Magi
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
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Artiste: Sandro Botticelli
Sandro Botticelli Holy Trinity oil painting picture wholesale


Sandro Botticelli Holy Trinity oil painting picture wholesale

ID de tableau::  62398
Sandro Botticelli
Holy Trinity
1491-93 Tempera on panel, 215 x192 cm Courtauld Institute Galleries, London The altarpiece shows the Holy Trinity with Mary Magdalene, St John the Baptist and Tobias and the Angel The Holy Trinity appears as a vision between the penitent saints Magdalene and John in a bleak desert landscape. The Baptist is inviting the observer to worship the Trinity, and Mary Magdalene is turning to face it full of emotion. The exhausted figure of the penitent, a late work of Donatello's, had a decisive influence on Botticelli's Magdalene. The penitent sinner was the patron saint of the nuns' monastery of the Magdalenes, and this pala or altarpiece was ordered for their church. The figures of Tobias and the angel are very small compared to the others. They might be a reference to the donors of the altar, the guild of doctors and apothecaries: archangel Raphael was their patron saint
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Artiste: Lorenzo Ghiberti
Lorenzo Ghiberti Sacrifice of Isaac oil painting picture wholesale


Lorenzo Ghiberti Sacrifice of Isaac oil painting picture wholesale

ID de tableau::  62399
Lorenzo Ghiberti
Sacrifice of Isaac
1401 Bronze relief Museo Nazionale del Bargello, Florence This panel, together with that made by Filippo Brunelleschi, both depicting the sacrifice of Isaac, have great artistic and historical importance. They are the famous trial pieces presented in a competition for the right to construct the door of the Baptistry. The lyrical elegance of Ghiberti's version undoubtedly expresses more coherently the famous Biblical episode. Ghiberti won the competition. *** Keywords: ************* Author: GHIBERTI, Lorenzo Title: Sacrifice of Isaac , 1401-1450 , Italian Form: sculpture , religious
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Artiste: Sandro Botticelli
Sandro Botticelli Study of two standing figures oil painting picture wholesale


Sandro Botticelli Study of two standing figures oil painting picture wholesale

ID de tableau::  62400
Sandro Botticelli
Study of two standing figures
1475 Metal point on primed paper, white highlights, 165 x 100 mm Mus?e des Beaux-Arts, Lille This study is one of the few remaining drawings directly related to a painting by Botticelli. The artist, who to judge by the style may have been Botticelli's student Filippino Lippi, was testing the posture and stance of the two young men who can be seen at the front left in the Adoration of the Magi. There are differences in the head and hand positions of the figure at the rear, so that it is likely that this work was produced as part of the preparations for that group of figures
(new21/Sandro Botticelli-282854.jpg)

Artiste: Benozzo Gozzoli
Benozzo Gozzoli Procession of the Middle King oil painting picture wholesale


Benozzo Gozzoli Procession of the Middle King oil painting picture wholesale

ID de tableau::  62401
Benozzo Gozzoli
Procession of the Middle King
1459-60 Fresco Chapel, Palazzo Medici-Riccardi, Florence The middle king is represented with the features of Emperor John VII Paleologus. For this representation Benozzo based his work on a medallion designed by Pisanello in 1438. However, he made the face younger and replace the traditional and unwieldy Byzantine tiara with a crown resting on a peacock-plumed velvet cap. Author: GOZZOLI, Benozzo Title: Procession of the Middle King (detail) , 1451-1500 , Italian Form: painting , religious
(new21/Benozzo Gozzoli-296843.jpg)

Artiste: Domenico Ghirlandaio
Domenico Ghirlandaio Study oil painting picture wholesale


Domenico Ghirlandaio Study oil painting picture wholesale

ID de tableau::  62402
Domenico Ghirlandaio
Study
220 x 170 mm Galleria degli Uffizi, Florence The picture shows a study to the fresco of the Birth of Mary executed in the Cappella Tornabuoni of the Santa Maria Novella in Florence. The only figure in the fresco who conveys any sense of movement is the servant pouring water into a brass basin for the child to bathe in. Ghirlandaio prepared for the painting by drawing this detailed individual study. The cloth fluttering behind her is lower in the fresco than here, in order not to obstruct our view of Anne. The sleeves were also altered at her elbows. The cross-hatching and the strong contours so typical of Ghirlandaio's style of drawing are clearly recognizable
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Artiste: Domenico Ghirlandaio
Domenico Ghirlandaio Annunciation oil painting picture wholesale


Domenico Ghirlandaio Annunciation oil painting picture wholesale

ID de tableau::  62403
Domenico Ghirlandaio
Annunciation
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio
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Artiste: Domenico Ghirlandaio
Domenico Ghirlandaio Birth of St John the Baptist oil painting picture wholesale


Domenico Ghirlandaio Birth of St John the Baptist oil painting picture wholesale

ID de tableau::  62404
Domenico Ghirlandaio
Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious
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Artiste: Antonio Canova
Antonio Canova Tomb of Pope Clement XIII oil painting picture wholesale


Antonio Canova Tomb of Pope Clement XIII oil painting picture wholesale

ID de tableau::  62405
Antonio Canova
Tomb of Pope Clement XIII
1792 Marble Basilica di San Pietro, Vatican Here, too, Berninian references are not lacking, as in the figure of the pope, but the overall setting places the whole amongst the finest works of Neoclassical in general, not just in Rome. The asymmetrical figures of Religion and Genius generate a circular movement that pervades the entire composition. Author: CANOVA, Antonio Title: Tomb of Pope Clement XIII Form: sculpture , 1751-1800 , Italian , religious
(new21/Antonio Canova-393836.jpg)

Artiste: MOLA, Pier Francesco
MOLA, Pier Francesco Virgin Annunciate oil painting picture wholesale


MOLA, Pier Francesco Virgin Annunciate oil painting picture wholesale

ID de tableau::  62406
MOLA, Pier Francesco
Virgin Annunciate
1608-09 Marble, over life-size Museo dell'Opera del Duomo, Orvieto Mochi first achieved fame with his Angel of Annunciation of 1603-05 for the Orvieto Cathedral, a work whose vigour and directness reflect the artist's earnestness in reformulating a conventional theme. Three years lie between the Angel of Annunciation and the Virgin Annunciate which completed the composition. Here Mochi evoked reminiscences of Rome, in particular the suavity of Mariani and the more active type of Classical statuary, but added his own flair for dramatic gestures by showing the Virgin starting from her chair. Mochi's work has sometimes been explained as a response to Caravaggio, yet it is better understood as part of a general concern with conveying emotions through external expressions, something manifests in the work of Carracci and Reni, as well as that of Caravaggio. Interestingly enough, the forcefulness of Mochi's Virgin Annunciate was not to the liking of the Bishop of Orvieto, who opposed its placement in the cathedral for three years. See also the Angel of Annunciation. Author: MOCHI, Francesco Title: Virgin Annunciate , 1601-1650 , Italian Form: sculpture , religious
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Artiste: Mainardi, Sebastiano
Mainardi, Sebastiano Annunciation oil painting picture wholesale


Mainardi, Sebastiano Annunciation oil painting picture wholesale

ID de tableau::  62407
Mainardi, Sebastiano
Annunciation
1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious
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Artiste: unknow artist
unknow artist Assumption of St Catherine oil painting picture wholesale


unknow artist Assumption of St Catherine oil painting picture wholesale

ID de tableau::  62408
unknow artist
Assumption of St Catherine
1667 Marble Santa Catarina da Siena a Magnapoli, Rome Caffa was the best of Bernini's followers. His relief of the Sienese mystic stands in direct relationship to Bernini's Ecstasy of St Theresa and would have been unthinkable without it. A pupil of Ferrata, Caffa directly established himself through his models and drawings, and even Bernini let it be known that the younger man had overtaken him in his art. Caffa's sculpture reinvented the aesthetic qualities of Bernini's late style in new terms, thereby establishing a bridge between High and Late Baroque sculpture. This is seen most clearly in the Ecstasy of St Catherine of Siena in the Dominican convent of Santa Caterina da Siena a Magnapoli in Rome.
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