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Gemälde::. All people >> religious

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Künstler: unknow artist
unknow artist Passion Altarpiece Germany oil painting reproduction


unknow artist Passion Altarpiece Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64140
unknow artist
Passion Altarpiece
1490-95 Oak, 88,5 x 87,5 cm Museum Mayer van den Bergh, Antwerp Brabant workshops were world-famous in the 15th and 16th centuries for their carved and painted altarpieces. These works were not only designed for local use, they were exported all over Europe. Some altarpieces were extremely large, and only a few were produced on a miniature scale. This example in the Mater van den Bergh Museum is one of them. Small altarpieces of this kind were undoubtedly intended for private use. The little Passion altarpiece corresponds in form and style to the works produced in Brussels in around 1500. The mark of the Brussels joiners who made the case can still be seen, confirming the city of origin. It was once possible to close the altarpiece by means of painted wings. As so often, however, these have been lost. Nevertheless, the beautifully painted groups of carved figures tell us a great deal about the artistic talent of the painter and the rich colour scheme that must once have characterized the piece. , Artist: UNKNOWN MASTER, Flemish , Passion Altarpiece , 1451-1500 , Flemish , sculpture , religious
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Künstler: unknow artist
unknow artist Scenes from the Legend of St George Germany oil painting reproduction


unknow artist Scenes from the Legend of St George Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64142
unknow artist
Scenes from the Legend of St George
1500-10 Oil on oak panel, 133,2 x 98,8 cm Groeninge Museum, Bruges There are two wings with episodes from the legend of St George in the Groeninge Museum in Bruges. They were painted by an unknown master in Bruges around the turn of century. , Artist: UNKNOWN MASTER, Flemish , Scenes from the Legend of St George , 1501-1550 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist Adoration of the Magi Germany oil painting reproduction


unknow artist Adoration of the Magi Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64144
unknow artist
Adoration of the Magi
1500-10 Oil on oak panel, 151 x 115,5 cm Groeninge Museum, Bruges The altarpiece - shown in the original frame - probably hung in the Chapel of the Magi in the former Saint Donatian's Church in Bruges. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist Nativity Germany oil painting reproduction


unknow artist Nativity Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64145
unknow artist
Nativity
1475-1500 Oil on oak panel, 35,8 x 30,5 cm Detroit Institute of Arts, Detroit The composition was inspired by the central panel of the Bladelin triptych (Berlin, Staatliche Museen) by Rogier van der Weyden. But as with Memling, the Virgin is here in an attitude of prayer (Nativity, Prado, Madrid; Floreins triptych, Memlingmuseum, Bruges). Formerly attributed to Van der Weyden and the Master of the Legend of St Catherine, it came to be regarded as a Bruges work by most art historians who expressed a view about it. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1451-1500 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist Portrait of the Artist and his Wife Germany oil painting reproduction


unknow artist Portrait of the Artist and his Wife Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64172
unknow artist
Portrait of the Artist and his Wife
1500 Wood, 97,7 x 57,7 cm (central part), 95,4 x 28,3 cm (each wing) Museum Mayer van den Bergh, Antwerp The two saints flanking the Virgin are St Catherine and St Barbara. , Artist: UNKNOWN MASTER, Flemish , Retable with the Virgin and Child , 1451-1500 , Flemish , sculpture , religious
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Künstler: unknow artist
unknow artist Graduale Germany oil painting reproduction


unknow artist Graduale Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64173
unknow artist
Graduale
1490-1508 Parchment Nationalbibliothek, Vienna The folio from this gradual with polyphonic masses contains the Missa Salve diva parens, from Kyrie I, by Jacob Obrecht (Hobrecht). View the portrait of the composer by Hans Memling. , Artist: MINIATURIST, Flemish , Graduale , 1451-1500 , Flemish , illumination , religious
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Künstler: unknow artist
unknow artist Scenes from the Germany oil painting reproduction


unknow artist Scenes from the Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64174
unknow artist
Scenes from the
1440s Oil on pinewood, 54,5 x 162 and 55 x 150 cm, respectively Wallraf-Richartz Museum, Cologne This minor Cologne master painting in popular style may well have worked in the studio of the Master of 1456. This studio was responsible for another cycle with the legend of St Ursula in the St Ursula Church in Cologne, the so-called `large cycle', dated 1456. Both panels, which belong to a series of fifteen, may have been used as the lids or doors of a reliquary. It is one of the oldest known extensive Ursula cycles. Hans Memling clearly drew inspiration from these panels for similar scenes in his Ursula Shrine. , Artist: UNKNOWN MASTER, German , Scenes from the 'Small Ursula Cycle' , 1401-1450 , German , painting , religious
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Künstler: unknow artist
unknow artist Nativity Germany oil painting reproduction


unknow artist Nativity Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64177
unknow artist
Nativity
1400 Tempera on wood, 33 x 21 cm Museum Mayer van den Bergh, Antwerp This small panel originally belonged to a polyptych which was probably conceived as a portable altarpiece or devotional painting, as it could be folded up to a size that would fit readily into a small box or leather pouch. Other panels from the polyptych representing St Christopher and the Resurrection are also in the same museum. The iconography of St Joseph in the Nativity panel is unusual. What we find here is the story of 'Joseph's stockings'. Jesus' father sits at the bottom of the panel, cutting up one of his leggings. Certain Middle Dutch and German Christmas carols tell that the Christ Child was swaddled in cloth cut from this undergarment. Aachen Cathedral once owned a relic said to be 'Joseph's Stockings', which were the subject of intense veneration in around 1400. It is likely, therefore, therefore, that this little panel was produced in the Aachen area (or at least the region between the Meuse and Rhine), probably some time around 1400. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1401-1450 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist The Preaching Germany oil painting reproduction


unknow artist The Preaching Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64179
unknow artist
The Preaching
1475-80 Wood, 98 x 69 cm Musee du Louvre, Paris The painting, called also 'The Pastoral Sermon', shows in the background the church of St Gudule in Brussels. Consequently, the unknown painter of this panel is referred to as Master of the view of St Gudule. , Artist: UNKNOWN MASTER, Flemish , The Preaching of St Gery , 1451-1500 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist Resurrection Germany oil painting reproduction


unknow artist Resurrection Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64180
unknow artist
Resurrection
1400 Tempera on wood, 33,1 x 21,2 cm Museum Mayer van den Bergh, Antwerp This small panel originally belonged to a polyptych which was probably conceived as a portable altarpiece or devotional painting, as it could be folded up to a size that would fit readily into a small box or leather pouch. Other panels from the polyptych representing St Christopher and the Nativity are also in the same museum. , Artist: UNKNOWN MASTER, Flemish , Resurrection , 1401-1450 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist Calvary Germany oil painting reproduction


unknow artist Calvary Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64181
unknow artist
Calvary
1400 Oak, 70,5 x 141 cm Groeninge Museum, Bruges The immense growth and renewal of painting as an artistic medium that occurred in the Southern Netherlands from around 1425-30 meant that most existing altarpieces were gradually replaced. Examples of fourteenth- or even early fifteenth-century panel painting are thus extremely scarce. One such work, from around 1400, is the Crucifixion with Saint Catherine and Saint Barbara, also known as the 'Tanners' Crucifixion', because it probably once belonged to the Bruges tanners' guild. It is one of the very few well-preserved examples of local Flemish painting in the Gothic International Style, which conquered Europe with its courtly and artful grace, elegant curves and decorative linearism. Tightly knit groups of figures are arranged on either side of the Cross in matching curved formations. The Virgin and Saint John form the nucleus of the group on the left, while the centurion and high priest do the same on the right. The sky is an unreal, golden plane with decorative motifs in relief. The painting is a 'chest retable', so called because the lid folds up to reveal a blue painted surface showing a geometric, starry sky. It is often held up as an exemplar of Bruges painting before Van Eyck, even though it could equally well have been produced in Brabant. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1401-1450 , Flemish , painting , religious
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Künstler: unknow artist
unknow artist The Annunciation Germany oil painting reproduction


unknow artist The Annunciation Germany oil painting reproduction

Gemälde IDENTIFIZIERUNG::  64183
unknow artist
The Annunciation
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
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