Austrian Painter, 1724-1796
Austrian painter. His work as a painter of both oil paintings and frescoes on religious, mythological and occasionally worldly themes spanned the second half of the 18th century, adapting a Late Baroque training to the onset of Neo-classicism but remaining strikingly individual throughout. His fresco work, mostly still in situ in widespread central European locations, came at the end of an artistic tradition and was for long neglected, being far from major cultural centres; but it is now seen to establish him as one of the leading painters of his century
1758 Ceiling fresco Parish Church, S?meg Artist:MAULBERTSCH, Franz Anton Title: Christ and Godfather, 1751-1800, Austrian , painting , religious
1758 Ceiling fresco Parish Church, S?meg Artist:MAULBERTSCH, Franz Anton Title: Christ and Godfather, 1751-1800, Austrian , painting , religious
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Adoration of the Shepherds
Adoration of the Shepherds
Painting ID:: 64575
1758 Fresco Parish Church, S?meg The detail shows the self-portrait of the artist. Artist:MAULBERTSCH, Franz Anton Title: Adoration of the Shepherds (detail), 1751-1800, Austrian , painting , religious
1758 Fresco Parish Church, S?meg The detail shows the self-portrait of the artist. Artist:MAULBERTSCH, Franz Anton Title: Adoration of the Shepherds (detail), 1751-1800, Austrian , painting , religious
1759 Oil on canvas, 200 x 113 cm Hungarian National Gallery, Budapest The painting was comissioned for the Parish Church at Balassagyarmat, Hungary. Artist:MAULBERTSCH, Franz Anton Title: St Paul, 1751-1800, Austrian , painting , religious
1759 Oil on canvas, 200 x 113 cm Hungarian National Gallery, Budapest The painting was comissioned for the Parish Church at Balassagyarmat, Hungary. Artist:MAULBERTSCH, Franz Anton Title: St Paul, 1751-1800, Austrian , painting , religious
Austrian Painter, 1724-1796
Austrian painter. His work as a painter of both oil paintings and frescoes on religious, mythological and occasionally worldly themes spanned the second half of the 18th century, adapting a Late Baroque training to the onset of Neo-classicism but remaining strikingly individual throughout. His fresco work, mostly still in situ in widespread central European locations, came at the end of an artistic tradition and was for long neglected, being far from major cultural centres; but it is now seen to establish him as one of the leading painters of his century