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Artist: GRECO, El

GRECO, El Apostle St Andrew oil painting picture wholesale

Painting ID:: 62345
GRECO, El
Apostle St Andrew
97 x 77 cm Museo de El Greco, Toledo Apostle, was brother of Peter, a Galilean fisherman, and the first to follow Christ (John 1:40-41). The gospels contribute little to his iconography; the chief source is the apocryphal book of the 'Acts of Andrew' (3rd century), retold in the Golden Legend. According to this he made missionary journeys to Scythian Russia, Asia Minor and Greece, preaching and performing many acts of healing. At Nicaea he delivered the inhabitants from seven demons who plagued them in the shape of dogs. At Thessalonica the parents of a young man whom he had converted to Christianity set fire to his house, with Andrew and their son in it. When the young man miraculously extinguished the fire by sprinkling a small bottle of water over the flames, his parents, still seeking vengeance, tried to enter the house by climbing ladders, but were immediately struck blind. The Golden Legend tells of a bishop dining with the devil, disguised as a courtesan. Just as he was about to yield to Satan, Andrew entered in the garb of a pilgrim, and drove the devil away. Andrew was executed by Egeas, the Roman governor of Patras in the Peloponnese. The governor's wife, Maximilla, being cured of a fatal sickness by the apostle, adopted Christianity and was persuaded by him to deny her husband his marital rights ever again. This, and not his preaching, seems to have been the cause of Andrew's imprisonment and subsequent crucifixion. Andrew is the patron saint of Greece and Scotland. Among differing accounts of his relics, one tells of their being carried to the town of St Andrews in Scotland in the 4th century. Apostle St Andrew in Art He is usually portrayed as an old man, white-haired and bearded. His chief attribute is a cross in the shape of an X, or saltire, though in earlier Renaissance painting he may have the more familiar Latin cross. He sometimes has a net containing fish, or a length of rope (he was bound, not nailed, to the cross). His inscription from the Apostles' Creed is: 'Et in Jesum Christum, filium ejus unicum Dominum nostrum'. All these episodes from the legends are depicted, also the stages of his martyrdom: scourging; led by soldiers to his execution; being tied to the cross; crucifixion; burial, assisted by Maximilla. Author: GRECO, El Title: Apostle St Andrew , 1551-1600 , Spanish Form: painting , religious
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Artist: GRECO, El

GRECO, El The Entombment of Christ late oil painting picture wholesale

Painting ID:: 62346
GRECO, El
The Entombment of Christ late
51,5 x 43 cm Alexandros Soutzos Museum, Athens This painting is one of the most attractive pictures of El Greco's Venetian period. The artist's barely disguised borrowings from Italian prints (e.g. the three Marys from a print of the Entombment by Parmigianino) are a notable feature of his Cretan- and Italian period pictures and reflect his formation as a painter in the post-Byzantine tradition accustomed to working from established compositional patterns. Author: GRECO, El Title: The Entombment of Christ , 1551-1600 , Spanish Form: painting , religious
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Artist: GRECO, El

GRECO, El Baptism of Christ oil painting picture wholesale

Painting ID:: 62347
GRECO, El
Baptism of Christ
24 x 18 cm Galleria Estense, Modena The Baptism of Christ is the right panel on the front of the Modena Triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Baptism of Christ , 1551-1600 , Spanish Form: painting , religious
(new21/GRECO, El-889733.jpg)

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Artist: GRECO, El

GRECO, El Annunciation oil painting picture wholesale

Painting ID:: 62348
GRECO, El
Annunciation
24 x 18 cm Galleria Estense, Modena Probably soon after his arrival in Venice El Greco painted the Modena Triptych. Here he adapts Renaissance principles of representation to a small-scale triptych of a post-Byzantine design common in the Venetian empire. As the wings of the triptych are opened in succession, the sequence of images reveals the state of Man before the Fall to his restoration to a state of Grace through Christ. The scene of The Annunciation is the left panel on the back of the triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Annunciation , 1551-1600 , Spanish Form: painting , religious
(new21/GRECO, El-233857.jpg)

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Artist: GRECO, El

GRECO, El The Adoration of the Shepherds oil painting picture wholesale

Painting ID:: 62349
GRECO, El
The Adoration of the Shepherds
114 x 105 cm Private collection In the eighteenth century this painting was attributed to Giovanni Lanfranco, and later to a member of the Bassano family. Since 1951 the authorship of El Greco is universally accepted. However, this picture owes a great deal to the nocturnal paintings of the Bassano. According to the X-radiograph the upper part of the canvas was completely repainted, and the canvas has been cropped at the top. Author: GRECO, El Title: The Adoration of the Shepherds , 1551-1600 , Spanish Form: painting , religious
(new21/GRECO, El-887792.jpg)

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Artist: GRECO, El

GRECO, El Escutcheon oil painting picture wholesale

Painting ID:: 62350
GRECO, El
Escutcheon
90 x 130 cm Private collection The sudarium (the cloth with which Veronica wiped Christ's face on the way to Calvary) is shown like a precious object, surrounded by a carved frame that is held by two cherubs or putti. (The cherubs were carved by Juan Bautista Monegro (c. 1545-1621). The ensemble formed part of the elaborate frame of the main altarpiece for the Cistercian convent of Santo Domingo el Antiguo in Toledo. Probably this was the last part of the altarpiece El Greco painted. In the painting, El Greco created a hauntingly disembodied likeness, with Christ staring at the viewer in the fashion of a Byzantine icon. Author: GRECO, El Title: Escutcheon with St Veronica's Veil , 1551-1600 , Spanish Form: painting , religious
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Artist: GRECO, El

GRECO, El The Resurrection oil painting picture wholesale

Painting ID:: 62351
GRECO, El
The Resurrection
210 x 128 cm Church of Santo Domingo el Antiguo, Toledo Painted for the side altar on the Epistle side (right) of the church, and still in place. Probably painted 1578-79, following the completion of the High Altarpiece. The presence of Saint Ildefonso, the patron Saint of Toledo, was stipulated in the documents. Diego de Castilla, the Dean of Toledo Cathedral, is probably represented in this figure, which certainly is a portrait. The figure assists in setting an ideal plane for the enacting of the mystic event. El Greco has eliminated the intrusion of an incongruous space. The ground running parallel with the plane of the action produces no conflict. The rhythm of the passages of colour and light over the surface helps to hold together the composition, with its dramatic split revealing the figure of the Risen Christ. What suggestions remain of an ordinary conception of space, of corporeality and of a schematic quality of composition, disappear in his final version of the subject (painted in 1596-1600, now in the Prado, Madrid). Author: GRECO, El Title: The Resurrection , 1551-1600 , Spanish Form: painting , religious
(new21/GRECO, El-272268.jpg)

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Artist: GRECO, El

Painting ID:: 62352
GRECO, El
The Resurrection
210 x 128 cm Church of Santo Domingo el Antiguo, Toledo Painted for the side altar on the Epistle side (right) of the church, and still in place. Probably painted 1578-79, following the completion of the High Altarpiece. The presence of Saint Ildefonso, the patron Saint of Toledo, was stipulated in the documents. Diego de Castilla, the Dean of Toledo Cathedral, is probably represented in this figure, which certainly is a portrait. The figure assists in setting an ideal plane for the enacting of the mystic event. El Greco has eliminated the intrusion of an incongruous space. The ground running parallel with the plane of the action produces no conflict. The rhythm of the passages of colour and light over the surface helps to hold together the composition, with its dramatic split revealing the figure of the Risen Christ. What suggestions remain of an ordinary conception of space, of corporeality and of a schematic quality of composition, disappear in his final version of the subject (painted in 1596-1600, now in the Prado, Madrid). Author: GRECO, El Title: The?Resurrection , 1551-1600 , Spanish Form: painting , religious
(new21/GRECO, El-592395.jpg)

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Artist: GRECO, El

GRECO, El An Allegory with oil painting picture wholesale

Painting ID:: 62353
GRECO, El
An Allegory with
1577-79 Oil on canvas, 65 x 90 cm Private collection The central figure is closely based on El Greco's earlier painting of a Boy Blowing on an Ember in Naples but the scene has been enlarged to include another male figure, wearing a yellow jacket and red cap, and a chained monkey, who emerges from the darkness on the left to look over the boy's shoulder. The composition, known in two other autograph versions (one of similar size in Edinburgh from around 1590, and another smaller and later in the Prado from around 1600), has usually been interpreted as an allegory with some sort of moralising intent; it is unlikely that it was conceived simply as a genre scene. It bears the traditional title 'F?bula', meaning fable or story. Author: GRECO, El Title: An Allegory with a Boy Lighting a Candle in the Company of an Ape and a Fool (F?bula) , 1551-1600 , Spanish Form: painting , genre
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Artist: Grunewald, Matthias

Grunewald, Matthias Establishment of the Santa Maria Maggiore in Rome oil painting picture wholesale

Painting ID:: 62357
Grunewald, Matthias
Establishment of the Santa Maria Maggiore in Rome
1517-19 Oil on wood St?dtische Museen, Freiburg im Breisgau The detail shows the background of the painting. The palace at the left has no wall and the dreaming pope can be seen in his bedroom. At the steps of the palace the patrician and his wife view the Mother of God in snow-white glory in the sky. On the right, in front of the Lateran Palace people are gathering, discussing the miracle and forming a procession
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Artist: Francisco Camilo

Francisco Camilo Adoration of the Magi oil painting picture wholesale

Painting ID:: 62358
Francisco Camilo
Adoration of the Magi
83 x 119 cm Museo de Bellas Artes, Bilbao This painting of intense colours shows Italian, particularly Venetian influences. The composition follows the example of Paolo Veronese's paintings of the same subject, painted one century earlier. This probably can be partly explained by the Italian origin of the artist
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Artist: Gian Lorenzo Bernini

Gian Lorenzo Bernini The Assumption oil painting picture wholesale

Painting ID:: 62359
Gian Lorenzo Bernini
The Assumption
1607-10 Marble Santa Maria Maggiore, Rome This relief was commissioned for the sacristy of the Santa Maria Maggiore. Inspired by contemporary paintings of the subject (particularly by Ludovico Carracci), Pietro Bernini's relief illustrates his virtuoso marble-carving ability and his exploitation of pictorial affects, more skills that he passed on to his son, the young Gianlorenzo. At the same time the relief is rooted in an approach to relief sculpture which differs little from the famous scenes of the life of the Virgin by the fourteenth-century Florentine sculpture Andrea Orcagna. We find in this composition the sharp linear drapery style and the extreme tenseness of the figures that characterize Pietro's art, never entirely freed from the Mannerist limitations of his training. The work, however, is one of the earliest examples of the pictorial relief altarpieces that were to be popular during the 17th century
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Artist: Juan Martin Cabezalero

Juan Martin Cabezalero Assumption of the Virgin oil painting picture wholesale

Painting ID:: 62360
Juan Martin Cabezalero
Assumption of the Virgin
237 x 169 cm Museo del Prado, Madrid Despite his training with Juan Carre?o de Miranda, Cabezalero had a distinct style from his master. His figures are drawn with crisp outlines and carefully modelled with firm, controlled brushstrokes, qualities that are different from the broken, impasto technique applied by Carre?o. These qualities are evident in one of his few surviving works, the Assumption of the Virgin, probably executed in the late 1660s and more indebted to Italian than Flemish sources
(new21/Juan Martin Cabezalero-896244.jpg)

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Artist: CEREZO, Mateo

CEREZO, Mateo The Mystic Marriage oil painting picture wholesale

Painting ID:: 62361
CEREZO, Mateo
The Mystic Marriage
207 x 163 cm Museo del Prado, Madrid Mateo Cerezo, a pupil of Carre?o, was a gifted painter and a good colorist in the Madrid school of painters.
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Artist: Pedro Sanchez

Pedro Sanchez Descent from the Cross oil painting picture wholesale

Painting ID:: 62362
Pedro Sanchez
Descent from the Cross
320 x 191 cm (entire painting) Cathedral, Seville In Seville, the second third of the sixteenth century also witnessed the introduction of a style of painting that reflected the ascendancy of Raphael. In this center, the most important artist of the period were undoubtedly of Northern origin: the Dutchman Fernando Esturmio (Storm), and the Fleming Pedro de Campa?a (Kempeneer). The latter, the more gifted of the two, was born in Brussels in 1503. He was trained in Italy, but in 1537 he is known to have been employed in the Cathedral of Seville. Shortly before 1563 he returned to his native country. The style of this master includes elements derived from Michelangelo, but these are offset by original plastic qualities and a sense of drama. One of Campa?a's key works is the Descent from the Cross (1547) in Seville cathedral, a painting that anticipates the Baroque of Rubens and was much admired by other Spanish artists, particularly Murillo. Campa?a had a more amiable and genuinely Raphaelesque side, evident in the altarpiece of the Marshal's Chapel in Seville cathedral, which he was commissioned to paint in 1555. His progress toward the Baroque and his interest in the rendering of light are revealed in his admirable Adoration of the Magi, which was painted in 1557
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Artist: Machuca, Pedro

Machuca, Pedro Descent from the Cross oil painting picture wholesale

Painting ID:: 62363
Machuca, Pedro
Descent from the Cross
141 x 128 cm (incl. frame) Museo del Prado, Madrid Machuca was an extraordinary artist, an architect, sculptor and painter. He built the palace of Charles V in Granada, a work of exceptional quality, one of the very few existing Renaissance buildings with a circular court. His training as an architect is evident in the design of the original ornamented frame of this painting with plenty of decorative elements typical of the architecture of first Spanish Renaissance or Plateresque style. It is indicated on this frame that the altarpiece was ordered by Do?a In?s de Castillo, and it was finished in 1547
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Artist: CEREZO, Mateo

CEREZO, Mateo Ecce Homo oil painting picture wholesale

Painting ID:: 62365
CEREZO, Mateo
Ecce Homo
98 x 75 cm Museum of Fine Arts, Budapest This painting shows the influence of Van Dyck, both the colours and the composition is close to the Flemish Baroque painting. However, its pathos and sentimentality relate it to contemporary Spanish religious painting
(new21/CEREZO, Mateo-286758.jpg)

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Artist: Gonzales Coques

Gonzales Coques Family Portrait oil painting picture wholesale

Painting ID:: 62366
Gonzales Coques
Family Portrait
65,5 x 89,5 cm Museum of Fine Arts, Budapest The painting presumably shows Jacques van Eyck, the chief justice of Antwerp in the bosom of his family. They gather on the terrace of their palace. The painting is relatively small but is provided with some essential attributes of the representative Baroque portrait
(new21/Gonzales Coques-849926.jpg)

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Artist: TRAVERSI, Gaspare

TRAVERSI, Gaspare Finding of Moses oil painting picture wholesale

Painting ID:: 62367
TRAVERSI, Gaspare
Finding of Moses
122 x 152 cm Private collection Diziani, who painted narrative (biblical and mythological) scenes, treated this subject several times. Author: DIZIANI, Gaspare Title: Finding of Moses , 1701-1750 , Italian Form: painting , religious
(new21/TRAVERSI, Gaspare-655898.jpg)

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Artist: CEREZO, Mateo

CEREZO, Mateo The Mystic Marriage of St Catherine oil painting picture wholesale

Painting ID:: 62368
CEREZO, Mateo
The Mystic Marriage of St Catherine
207 x 163 cm Museo del Prado, Madrid After his return to Madrid around 1660, Cerezo's development was rapid as a religious painter and as one of the most appealing still-life artist of the period. These abilities are already evident in his Mystic Marriage of St Catherine, where the bright colours, sparkling textures, and harmonious composition show his precocious
(new21/CEREZO, Mateo-824883.jpg)

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Painting:: people