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Artista: Pedro Sanchez
Pedro Sanchez Descent from the Cross oil painting picture wholesale


Pedro Sanchez Descent from the Cross oil painting picture wholesale

Pintura Identificación::  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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Artista: Machuca, Pedro
Machuca, Pedro Descent from the Cross oil painting picture wholesale


Machuca, Pedro Descent from the Cross oil painting picture wholesale

Pintura Identificación::  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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Artista: CEREZO, Mateo
CEREZO, Mateo Ecce Homo oil painting picture wholesale


CEREZO, Mateo Ecce Homo oil painting picture wholesale

Pintura Identificación::  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
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Artista: Gonzales Coques
Gonzales Coques Family Portrait oil painting picture wholesale


Gonzales Coques Family Portrait oil painting picture wholesale

Pintura Identificación::  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
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Artista: TRAVERSI, Gaspare
TRAVERSI, Gaspare Finding of Moses oil painting picture wholesale


TRAVERSI, Gaspare Finding of Moses oil painting picture wholesale

Pintura Identificación::  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
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Artista: CEREZO, Mateo
CEREZO, Mateo The Mystic Marriage of St Catherine oil painting picture wholesale


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

Pintura Identificación::  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
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Artista: Cano, Alonso
Cano, Alonso Saint John the Evangelist's Vision of Jerusalem oil painting picture wholesale


Cano, Alonso Saint John the Evangelist's Vision of Jerusalem oil painting picture wholesale

Pintura Identificación::  62369
Cano, Alonso
Saint John the Evangelist's Vision of Jerusalem
1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638
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Artista: CERQUOZZI, Michelangelo
CERQUOZZI, Michelangelo Street Scene in Rome - Oil on canvas oil painting picture wholesale


CERQUOZZI, Michelangelo Street Scene in Rome - Oil on canvas oil painting picture wholesale

Pintura Identificación::  62370
CERQUOZZI, Michelangelo
Street Scene in Rome - Oil on canvas
58 x 69 cm Private collection Author: CERQUOZZI, Michelangelo Title: Street Scene in Rome , 1601-1650 , Italian Form: painting , genre
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Artista: BIJLERT, Jan van
BIJLERT, Jan van Ulysses and Circe - Oil on panel oil painting picture wholesale


BIJLERT, Jan van Ulysses and Circe - Oil on panel oil painting picture wholesale

Pintura Identificación::  62371
BIJLERT, Jan van
Ulysses and Circe - Oil on panel
51 x 81 cm Private collection The present painting depicts an episode from the Odyssey (Bk 10). On their journey home after the Trojan War, Ulysses and his companions came upon the island of the sorceress, Circe. With a magic potion, she transformed the men into swine; however Ulysses, having been forewarned by Mercury and having taken an antidote, was able to resist her magic. The present painting depicts the moment when Circe lifts her wand to touch Ulysses and activate the spell
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Artista: Caravaggio
Caravaggio Christ in the Garden oil painting picture wholesale


Caravaggio Christ in the Garden oil painting picture wholesale

Pintura Identificación::  62374
Caravaggio
Christ in the Garden
154 x 222 cm Formerly Kaiser-Friedrich-Museum, Berlin The painting was destroyed in the Second World War, it is known to us today through extant black and white photographs. This was a wonderful composition that caught the instant in which Christ awakes the sleeping apostles. The construction of the scene descends toward the lower right corner. St Peter in particular is shown in a classical position (which has been called Carracci-like), with the containment that characterizes this moment in the artist's career. Author: CARAVAGGIO Title: Christ in the Garden , 1551-1600 , Italian Form: painting , religious
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Artista: Caravaggio
Caravaggio St John the Baptist oil painting picture wholesale


Caravaggio St John the Baptist oil painting picture wholesale

Pintura Identificación::  62375
Caravaggio
St John the Baptist
94 x 131 cm Galleria Nazionale d'Arte Antica, Rome In around 1605 Caravaggio dealt with St. John the Baptist in two splendid compositions, one in the Kansas City Gallery, the other in the Galleria Nazionale di Arte Antica in Rome. The former is laid out vertically, the latter horizontally. Both lend themselves to a modernistic reading aimed at pointing out a certain air between contempt and arrogance. In effect what we are dealing with here are splendid exercises in modeling the body through the play of light and shadow. In the version now in Kansas City, the figure is set before a dense curtain of plants; in that in Rome, there is only the trunk of a cypress tree, on the left. Both are admirable feats of painting, and it is understandable that collectors competed with each other for the artist's works. Caravaggio in turn knew how to make apparently uninteresting religious themes into paintings desirable even for his aristocratic patrons.
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Artista: Caravaggio
Caravaggio St Francis c. 1606 Oil on canvas oil painting picture wholesale


Caravaggio St Francis c. 1606 Oil on canvas oil painting picture wholesale

Pintura Identificación::  62376
Caravaggio
St Francis c. 1606 Oil on canvas
125 x 93 cm Galleria Nazionale d'Arte Antica, Rome The founder of the Franciscan Order was the first person to experience the miracle of stigmatization of his own body. In other words, he was marked out by Christ's wounds. Here he is reduced to the ideal state of penance in the wilderness - a state equally valid for saints and pious people. Caravaggio shows no sign of reinterpreting the story unconventionally. His rather traditional approach may derive from the fact that the composition is probably a commission from the papal family. They owned the township known as Carpineto, from where an almost identical second version, stored at present in the Palazzo Venezia, Rome, originated. Stylistically, the painting is very closely related to the Brera Supper in Emmaus, which was probably painted in Latium
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Artista: Caravaggio
Caravaggio St Jerome 1607 Oil on canvas oil painting picture wholesale


Caravaggio St Jerome 1607 Oil on canvas oil painting picture wholesale

Pintura Identificación::  62377
Caravaggio
St Jerome 1607 Oil on canvas
117 x 157 cm St John Museum, La Valletta This picture of the holy scholar was made for Ippolito Malaspina, a Maltese knight whose coat of arms is on the wooden panel to the right. He was connected by marriage to Caravaggio's patron Ottavio Costa and was a confidant of the Grand Master, who may have been used as the model for the saint (similarly Van Dyck was to use the sister of the Queen of England as model for the Madonna). The saint does indeed look like the knight in a recently discovered portrait by Caravaggio, who has been identified by some as Wignacourt himself. The composition is planned in terms of triangles. One rises from the table to the saint's head, another has its apex at the cardinal's hat on the wall to the left, a third recedes to the bedstead at the back on the right. This simple design helps convey an idea of simplicity. St Jerome has no halo, his workbench is rudimentary, he does not own any folios, he has one candle to see by, a crucifix to meditate on, a stone to beat against his chest, and a skull to remind him of his mortality. He is partly naked because he lives an eremitical life in the desert of Judaea. A steady light shines on his torso and picks out the red cloak round his legs. The source of the light is outside the picture, and can be interpreted as Christ, Light of the World
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Artista: GIUSTO de Menabuoi
GIUSTO de Menabuoi Adam and Eve oil painting picture wholesale


GIUSTO de Menabuoi Adam and Eve oil painting picture wholesale

Pintura Identificación::  62378
GIUSTO de Menabuoi
Adam and Eve
1376-78 Fresco Baptistry, Cathedral, Padua Author: GIUSTO de' Menabuoi Title: Adam and Eve (detail) , 1351-1400 , Italian Form: painting , religious
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Artista: GIuseppe Cesari Called Cavaliere arpino
GIuseppe Cesari Called Cavaliere arpino Diana and Actaeon oil painting picture wholesale


GIuseppe Cesari Called Cavaliere arpino Diana and Actaeon oil painting picture wholesale

Pintura Identificación::  62380
GIuseppe Cesari Called Cavaliere arpino
Diana and Actaeon
1603-06 Oil on copper Museum of Fine Arts, Budapest Author: CESARI, Giuseppe Title: Diana and Actaeon (detail) , 1601-1650 , Italian Form: painting , mythological
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Artista: Fra Bartolommeo
Fra Bartolommeo Europa and the Bull oil painting picture wholesale


Fra Bartolommeo Europa and the Bull oil painting picture wholesale

Pintura Identificación::  62381
Fra Bartolommeo
Europa and the Bull
1470-90 Bronze, height: 22 cm Museo Nazionale del Bargello, Florence Bellano, a sculptor from Padua was an assistant to Donatello when the old master worked on the pulpits of San Lorenzo in Florence. The statuette depicting Europa and the Bull was executed in Padua. The small bronze statuette reflects a naturalistic style heavily tempered in spirit by Donatello's classicism. Author: BELLANO, Bartolommeo Title: Europa and the Bull , 1451-1500 , Italian Form: sculpture , mythological
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Artista: GIuseppe Cesari Called Cavaliere arpino
GIuseppe Cesari Called Cavaliere arpino Judith with the Head of Holofernes oil painting picture wholesale


GIuseppe Cesari Called Cavaliere arpino Judith with the Head of Holofernes oil painting picture wholesale

Pintura Identificación::  62382
GIuseppe Cesari Called Cavaliere arpino
Judith with the Head of Holofernes
61,3 x 48 cm Berkeley Art Museum, University of California Cavaliere d'Arpino's (Giulio Cesari's) Judith with the Head of Holofernes symbolically alludes to the violent decapitation of the Assyrian general without showing the gruesome moment that both Caravaggio and Artemisia Gentileschi chose to depict. Instead a beautiful, almost demure, Judith raises Holofernes' head by his locks as her maidservant Abra looks on in puzzled reverence. Cavaliere d'Arpino's Judith is the embodiment of female virtue and moral perfection, an ideal heroine who has redeemed her people. Yet, at the same time, she seems capable of exercising her seductive powers directly upon the viewer, as if the beholder were Holofernes. She is in possession of two dangerous weapons, her sword and her sexual allure. In 1602-03 Cavaliere d'Arpino had frescoed a series of Old Testament heroines in the Villa Aldobrandini at Frascati. There he depicted Judith as a full-length figure striding across the plain in front of the enemy encampment while Abra follows behind stuffing Holofernes' head into a sack. Topologically the figures are very similar, but in the easel painting Cavaliere d'Arpino condensed the composition so that the picture essentially becomes an idealised 'portrait' of Judith. In this sense it is very close to his Diana (Pinacoteca Capitolina, Rome), in which the huntress is also reduced to a half-length idealised figure. In both these 'portraits' there is an emphasis on the decorative effects of colour and design. The brilliant reds, blues and whites of Judith's costume serve as a foil for the carefully delineated jewels and golden sword hilt. Baglione emphasised that Cavaliere d'Arpino was capable of working in two different styles, one of which was far more superficial than the other. It is likely that the more
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Artista: BEER, Jan de
BEER, Jan de Triptych oil painting picture wholesale


BEER, Jan de Triptych oil painting picture wholesale

Pintura Identificación::  62384
BEER, Jan de
Triptych
76,4 x 24,5 cm (each wing) Wallraf-Richartz Museum, Cologne Jan de Beer was a Flemish painter, one of the Antwerp Mannerist school many of whose paintings were formerly ascribed to him. The central panel depicts the Adoration of the Shepherds. On the left wing is St Felicity with her sons and on the right is St Ursula with her followers. The composition and style are characteristic of Antwerp Mannerism of the early 16th century. Author: BEER, Jan de Title: Triptych , 1501-1550 , Flemish Form: painting , religious
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Artista: Jean-Auguste Dominique Ingres
Jean-Auguste Dominique Ingres The Violinist Niccol oil painting picture wholesale


Jean-Auguste Dominique Ingres The Violinist Niccol oil painting picture wholesale

Pintura Identificación::  62385
Jean-Auguste Dominique Ingres
The Violinist Niccol
1819 Pencil, 298 x 218 mm Mus?e du Louvre, Paris Ingres was a life-long proponent of the primacy of line over colour. His service to art lay in his abilities as a portraitist and as one of the most important draughtsmen of the century. His portrait drawings are remarkable for their psychological empathy and the enormous subtlety with which light and surface area are treated. Ingres, himself a talented violinist, drew a portrait of Niccol?Paganini - at that stage at the very beginning of his career - probably as a reminder of concerts the two friends had performed together. Listen to an example of Paganini's music
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Artista: Caravaggio
Caravaggio Magdalene oil painting picture wholesale


Caravaggio Magdalene oil painting picture wholesale

Pintura Identificación::  62386
Caravaggio
Magdalene
122,5 x 98,5 cm Galleria Doria-Pamphili, Rome This picture and The Rest on the Flight into Egypt must have been painted around the same time, for the same girl sat for the Magdalene and the Madonna. On this occasion, however, there are none of the usual signs of a religious scene such as a halo. A young girl, seen from above, is seated on a low stool in one of Caravaggio's favourite cave-like settings, with a triangle of light high up on the wall behind her. Discarded jewellery - a string of pearls, clasps, a jar (perhaps holding precious ointment) - lies on the floor. The girl's hair is loose, as if it has just been washed. Her costume, consisting of a white-sleeved blouse, a yellow tunic and a flowery skirt, is rich. Bellori, who gives a careful description of this picture, which he came across in the collection of Prince Pamphilj, regards its title as an excuse; for him it is just a naturalistic portrayal of a pretty girl. This seems to show a willful failure to understand Caravaggio's intention or the wishes of the man who commissioned it, Monsignor Petrignani. The repentant Mary Magdalene, like the repentant Peter, was a favourite subject of Counter-Reformation art and poetry, which valued the visible expression of the state of contrition 'the gift of tears'. Caravaggio's heroine is sobbing silently to herself and a single tear falls down her cheek. She is, as it were, poised between her past life of luxury and the simple life she will embrace as one of Christ's most faithful followers. It is a sign of the painter's skill that he makes this inner conflict moving at the same time as he makes its representation delectable. Although nothing painted in the sixteenth century is as emotive as the statue in wood of the haggard saint carved by Donatello (c.1456-60), by the time Titian's bare-breasted Magdalene of the 1530s (Palazzo Pitti, Florence) had become the more modest and affecting Magdalene of the 1560s, there had been a move in religious sensibility towards the humble and pathetic, a change which thirty years later Caravaggio could take for granted
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