Öl auf dem Segeltuch,das echte Aroma von alten Meistern

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Künstler: unknow artist
unknow artist San Bruno oil painting picture wholesale


unknow artist San Bruno oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62409
unknow artist
San Bruno
Madrid Author: PEREYRA, Manuel Title: San Bruno , 1601-1650 , Portuguese Form: sculpture , religious
(new21/unknow artist-222754.jpg)

Künstler: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Shepherds oil painting picture wholesale


Domenico Ghirlandaio Adoration of the Shepherds oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62410
Domenico Ghirlandaio
Adoration of the Shepherds
167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps
(new21/Domenico Ghirlandaio-455374.jpg)

Künstler: unknow artist
unknow artist Sorrow oil painting picture wholesale


unknow artist Sorrow oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62411
unknow artist
Sorrow
1816 Marble, height 135 cm P?re-Lachaise Cemetery, Paris The P?re-Lachaise Cemetery in Paris, opened in 1804, was soon covered with monuments and these, together with the beauty of the site and the many plants and shrubs surrounding the tombs, made it during the romantic period a popular resort on half-days and holidays. Under the Ancien R?gime, people sought to ensure their salvation by endowing foundations; in the nineteenth century, their successors were anxious above all that their memory should not die, oblivion being in their eyes ultimate death. The decree law of 1804, followed by the creation of the big cemeteries outside the city walls, was an expression of this new materialistic form of respect for the dead and guaranteed the success of the sale of burial plots in perpetuity and monuments designed to preserve - and extol - the memory of the deceased. In keeping with this trend, images depicting Death were seldom placed in cemeteries. On the other hand, the representation of Grief, am indirect way of paying tribute to the dead, is a favourite theme very much in evidence in funerary sculpture, expressed sometimes in allegorical, sometimes in narrative form. As early as 1816 Milhomme created a fine figure expressing the sorrow of the widow and six children of Pierre Gareau, killed in an accident. The Milhomme figure begot many more of the same kind, but the scenes of affliction came to an end with the years 1820-25. Author: MILHOMME, Fran?ois-Dominique-Aim? Title: Sorrow, Tomb of Pierre Gareau Form: sculpture , 1801-1850 , French , religious
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Künstler: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Magi oil painting picture wholesale


Domenico Ghirlandaio Adoration of the Magi oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62412
Domenico Ghirlandaio
Adoration of the Magi
1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome
(new21/Domenico Ghirlandaio-773597.jpg)

Künstler: NOTKE, Bernt
NOTKE, Bernt St George and the Dragon oil painting picture wholesale


NOTKE, Bernt St George and the Dragon oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62413
NOTKE, Bernt
St George and the Dragon
1487 Painted wood Storkyrkan, Stockholm This sculptor and painter, whose presence at L?beck is documented from 1467 onwards, is the greatest medieval artist from the Hanseatic region. Notke is traditional in his feeling for complex composition, but a vigorous innovator in the individual qualities that he brings to the concentration of action and of figures. This terrifying confrontation of Heaven and Hell is his greatest achievement. One of the numerous works that he carved for Scandinavian towns, it was commissioned by the Swedish authorities for the national sanctuary to commemorate the victory over the Danes at Brukeberg on St. George's Day, 1471
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Künstler: unknow artist
unknow artist Tomb of Empress oil painting picture wholesale


unknow artist Tomb of Empress oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62414
unknow artist
Tomb of Empress
1825 Marble Church, Rueil-Malmaison When Jos?phine de Beauharnais ((Marie Jos?phe Rose, Tascher de la Pagerie) died on May 29th 1814, her children decided to pay her a tribute by building a tomb deserving her and her legendary generosity. After eleven years of delay - explained by political background, opposition of State officials and hesitations from the commissioners - on September 28th 1825, however, the mortal remains of the Empress were put down in a white-marble tomb due to Louis Berthault, architect, and Pierre Cartellier, sculptor. The kneeling figure of the praying Empress surmounts her tomb
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Künstler: unknow artist
unknow artist Ecce Homo oil painting picture wholesale


unknow artist Ecce Homo oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62415
unknow artist
Ecce Homo
1560-70 Polychrome wood Diocesan Museum, Valladolid One of the more interesting foreign artists who worked in Spain during the second third of the sixteenth century is the Frenchman Juan de Juni, whose sculpture is noted for its spirituality, manifested in full and beautiful forms, natural in their proportions but declamatory in their distortion of gesture. Juni may have been trained in Italy, since his art shows evidence of contact with the Lombard Renaissance and Michelangelo. In about 1533 he appears in Le?n but by 1541 he was settled in Valladolid. Several of his works deserve individual mention, among them the retables in Valladolid and Burgo de Osma cathedrals, and the Entombment in Segovia cathedral, dating from 1571, which combines figures on the same theme forming part of another Entombment, preseved in the Museum in Valladolid
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Künstler: Francois Boucher
Francois Boucher Adoration of the Shepherds oil painting picture wholesale


Francois Boucher Adoration of the Shepherds oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62417
Francois Boucher
Adoration of the Shepherds
1750 Oil on canvas Mus?e des Beaux-Arts, Lyon Boucher had never been a committed artistic believer. Although he had worked in Italy, the Italian tradition did not tempt him into vast imaginative schemes. He never aimed at a heroic vision. He expressed no glorious promises about heaven: either as an Olympian refuge for aristocratic families, or in ordinary Christian terms. Like most French eighteenth-century painters, he could not evolve a satisfactory idiom for religious pictures of any kind; and he was particularly unsuited to the task by the nature of his real abilities. The picture shows one of his rare paintings of religious subject
(new21/Francois Boucher-985785.jpg)

Künstler: Juan de Flandes
Juan de Flandes Herodias Revenge oil painting picture wholesale


Juan de Flandes Herodias Revenge oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62420
Juan de Flandes
Herodias Revenge
75 x 50,4 cm Museum Mayer van den Bergh, Antwerp Herod and Herodias sit at a table in a Renaissance interior. Salome presents the severed head of John the Baptist to them on a platter.Herod recoils from the atrocity, but Herodias holds a knife ready to pierce John's tongue in revenge for the saints's denunciation of her sinful behaviour. The panel belonged to an altarpiece devoted to the story of John the Baptist which was painted in 1496 for the Carthusian monastery of Miraflores near Burgos. The original form of the altarpiece has been partially reconstructed. Its central panel was the Baptism of Christ, now in a Madrid collection. Each wing consisted of at lest two panels placed one on top of the other. Although the work of Juan de Flandes is not really Southern Netherlandish in character, we nevertheless detect the clear influence of painters from Ghent and Bruges, especially Hugo van der Goes. He uses painterly techniques to create a strange atmosphere. The bright lighting and accentuation of the green, red and orange sections generate a nervous tension. Placing the main protagonists in the foreground lends the scene an expressive aura and a pronounced monumentality, which is further heightened by the dramatic movement, the sharply delineated forms and the realistic appearance of the figures. Author: JUAN DE FLANDES Title: Herodias' Revenge , 1501-1550 , Spanish Form: painting , religious
(new21/Juan de Flandes-848964.jpg)

Künstler: Francois Boucher
Francois Boucher The Milliner oil painting picture wholesale


Francois Boucher The Milliner oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62421
Francois Boucher
The Milliner
1746 Oil on canvas, 64 x 53 cm Nationalmuseum, Stockholm The painting, commissioned by Count Tessin, the ambassador of Switzerland, is part of a series of four representing morning, noon, afternoon and night, respectively. Author: BOUCHER, Fran?ois Title: The Milliner (The Morning) , 1701-1750 , French Form: painting , genre
(new21/Francois Boucher-729395.jpg)

Künstler: Johan Christian Dahl
Johan Christian Dahl St Benedict Chanting Psalms oil painting picture wholesale


Johan Christian Dahl St Benedict Chanting Psalms oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62424
Johan Christian Dahl
St Benedict Chanting Psalms
1754-56 Wood, 213 x 140 cm Benedictine Abbey, Ottobeuren Contrasting with the dynamic exuberance of the atlantes and the overall decoration is the calmer style appearing in the nine gilded wood reliefs representing scenes from the life of St Benedict. The sculptor conveys the idea of deep space through the perspective flight of the architecture and the variation in the depth of the relief, from forms almost in outline to forms modelled in the round. The restraint and gracefulness of his subtly modelled surfaces, distantly reminiscent of Ghiberti, create an intimate atmosphere in which is revealed the Rococo feeling for the supernatural and the ecstatic. Author: CHRISTIAN, Johann Josef Title: St Benedict Chanting Psalms (detail of the organ) , 1751-1800 , German Form: sculpture , religious
(new21/Johan Christian Dahl-995393.jpg)

Künstler: Theodore Chasseriau
Theodore Chasseriau Peace oil painting picture wholesale


Theodore Chasseriau Peace oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62426
Theodore Chasseriau
Peace
340 x 362 cm Mus?e du Louvre, Paris This is a from the decoration of the building of the Cour des Comptes, burnt in 1871. Author: CHASS?RIAU, Th?odore Title: Peace Form: painting , 1801-1850 , French , other
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Künstler: JUANES, Juan de
JUANES, Juan de San Segundo oil painting picture wholesale


JUANES, Juan de San Segundo oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62427
JUANES, Juan de
San Segundo
1573 Alabaster Church of San Segundo, Avila The statue is in a church situated outside the ramparts of Avila, in the place where, according to tradition, the house in which San Segundo lived used to be. Author: JUNI, Juan de Title: San Segundo , 1551-1600 , Spanish Form: sculpture , religious
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Künstler: unknow artist
unknow artist The Statue of Saint Peter oil painting picture wholesale


unknow artist The Statue of Saint Peter oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62428
unknow artist
The Statue of Saint Peter
1300 Bronze Treasury of San Pietro, Vatican This statue of Apostle Peter, seated on a throne, is one of the few surviving monumental bronze statues from the Middle Ages. The antique elements of the work, such as the drapery, make this figure one of the outstanding examples of classicising tendencies of thirteenth-century European sculpture. The majestic figure looks grave and solemn, with dense curls in the hair and beard, and is dressed, antique style, with tunic, heavy mantle, and sandals, while holding the symbolic keys of St Peter in his left hand and giving a blessing with his right. The statue was originally made for the apse of the oratory of San Martino situated externally, near the right side of the apse of Constantine. From 1605 it is placed in front of the first column on the right of the dome in St Peter's. Author: ARNOLFO DI CAMBIO Title: The Statue of Saint Peter , 1251-1300 , Italian Form: sculpture , religious
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Künstler: Juan de Flandes
Juan de Flandes Virgin and Child before a Landscape oil painting picture wholesale


Juan de Flandes Virgin and Child before a Landscape oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62430
Juan de Flandes
Virgin and Child before a Landscape
1510 Oil on panel, 26 x 19,5 cm Private collection The composition of this remarkably refined little painting is based on a lost small work by Memling, which is best reflected in the Virgin of the Metropolitan Museum, New York. Since the dimensions correspond, the work must have been done with a tracing or punch-cardboard based on the original. The version discussed here shows the image in the right direction. The Virgin is represented high above a landscape, more monumental than the prototype. She stands behind a wall over which a white cloth is draped with very heavy folds. This also differs from the model. The panel was incorrectly ascribed to Michel Sittow, and later attributed to Juan de Flandes in 1966. On account of the quality, the typical facial features and the vaporous green-grey landscape, this attribution cannot be doubted. The panel originated about the time of the Retablo Mayor of Palencia (c. 1510) and may have been the central panel of a small triptych described in the accounts of Palencia Cathedral as the 'tabla oratorio de tress pie?as'. If so, it could have been a work in the style of Memling's Triptych of Benedetto Portinari (Florence, Galleria degli Uffizi), with a donor and a saint in front of a continuous landscape on the wings. Author: JUAN DE FLANDES Title: Virgin and Child before a Landscape , 1501-1550 , Spanish Form: painting , religious
(new21/Juan de Flandes-644984.jpg)

Künstler: Francois Boucher
Francois Boucher Winter oil painting picture wholesale


Francois Boucher Winter oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62431
Francois Boucher
Winter
55,3 x 71,3 cm Frick Collection, New York The painting, comissioned by Marquise de Pompadour for one of her residences, is part of a series of four representing the four seasons. Author: BOUCHER, Fran?ois Title: Winter , 1701-1750 , French Form: painting , genre
(new21/Francois Boucher-547347.jpg)

Künstler: Albani, Francesco
Albani, Francesco Summer oil painting picture wholesale


Albani, Francesco Summer oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62432
Albani, Francesco
Summer
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Summer , 1601-1650 , Italian Form: painting , mythological
(new21/Albani, Francesco-866292.jpg)

Künstler: Albani, Francesco
Albani, Francesco Autumn oil painting picture wholesale


Albani, Francesco Autumn oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62433
Albani, Francesco
Autumn
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter.
(new21/Albani, Francesco-864593.jpg)

Künstler: Albani, Francesco
Albani, Francesco Winter oil painting picture wholesale


Albani, Francesco Winter oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62434
Albani, Francesco
Winter
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Winter , 1601-1650 , Italian Form: painting , mythological
(new21/Albani, Francesco-359668.jpg)

Künstler: WEYDEN, Goossen van der
WEYDEN, Goossen van der Virgin with the Blessing Child oil painting picture wholesale


WEYDEN, Goossen van der Virgin with the Blessing Child oil painting picture wholesale

Gemälde IDENTIFIZIERUNG::  62435
WEYDEN, Goossen van der
Virgin with the Blessing Child
1450-55 Metalpoint on white paper mounted on pink-coloured sheet, 216 x 133 mm Museum Boijmans Van Beuningen, Rotterdam The Virgin is seated between two columns which stand on a low wall, probably intended as walled loggia or hall with behind it in the middle an opening flanked by columns, as Van der Weyden painted in his St Luke painting the Virgin. The situation is strongly reminiscent of the configuration of nearly all of Memling's enthroned Virgins, so that one wonders whether this drawing might not reflect the ultimate prototype of Memling's formula. This conclusion is further enhanced by the position of the Child who, seated on one of his mother's hands and gently restrained with the other, is turning sideways in an attitude of blessing. This is also Memling's basic motif. The high finish of the modelling and draperies and the summary treatment of the architectural setting seem to suggest a copy drawn by the master himself of the main figure of one of his own paintings. The drawing would thus have been intended as a studio model which later ended up in Bruges workshops. It is impossible, however, to `reconstruct' Van der Weyden's lost painting from the derived versions, which are far too divergent; in some the Mother and Child are worshipped by one or two founders, in others they are surrounded by holy women or flanked by angels. The inscription 'Alberto Durer' at top left is a later addition from the 19th century
(new21/WEYDEN, Goossen van der-425657.jpg)

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