Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: nu
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Artist: Louis Lcart
Louis Lcart Breast story 6 oil painting picture wholesale

Breast story 6
Mk286 21.2 x 26.2 cm in 1945
ID de tableau::  63268
5445 ago.
Artist: Louis Lcart
Painting: Breast story 6
Information: Mk286 21.2 x 26.2 cm in 1945

Artist: Louis Lcart
Louis Lcart Breast story5 oil painting picture wholesale

Breast story5
Mk286 21.2 x 26.2 cm in 1945
ID de tableau::  63267
5445 ago.
Artist: Louis Lcart
Painting: Breast story5
Information: Mk286 21.2 x 26.2 cm in 1945

Artist: Louis Lcart
Louis Lcart Breast story 4 oil painting picture wholesale

Breast story 4
Mk286 21.2 x 26.2 cm in 1945
ID de tableau::  63266
5445 ago.
Artist: Louis Lcart
Painting: Breast story 4
Information: Mk286 21.2 x 26.2 cm in 1945

Artist: Louis Lcart
Louis Lcart Breast story 3 oil painting picture wholesale

Breast story 3
Mk286 21.2 x 26.2 cm in 1945
ID de tableau::  63265
5445 ago.
Artist: Louis Lcart
Painting: Breast story 3
Information: Mk286 21.2 x 26.2 cm in 1945

Artist: Louis Lcart
Louis Lcart Breast story 2 oil painting picture wholesale

Breast story 2
Mk286 21.2 x 26.2 cm in 1945
ID de tableau::  63264
5445 ago.
Artist: Louis Lcart
Painting: Breast story 2
Information: Mk286 21.2 x 26.2 cm in 1945

Artist: Louis Lcart
Louis Lcart Breast story 1 oil painting picture wholesale

Breast story 1
Mk286 43.5 cm x 26.1 in 1945
ID de tableau::  63263
5445 ago.
Artist: Louis Lcart
Painting: Breast story 1
Information: Mk286 43.5 cm x 26.1 in 1945

Artist: Louis Lcart
Louis Lcart Spanish Night oil painting picture wholesale

Spanish Night
mk286 33 x 53.3 cm 1926 Nian
ID de tableau::  63173
5447 ago.
Artist: Louis Lcart
Painting: Spanish Night
Information: mk286 33 x 53.3 cm 1926 Nian

Artist: HEINTZ, Joseph the Elder
HEINTZ, Joseph the Elder Adonis Parting from Venus - Copperplate oil painting picture wholesale

Adonis Parting from Venus - Copperplate
40 x 31 cm Kunsthistorisches Museum, Vienna At the end of the 16th century the court of Emperor Rudolph II in Prague was one of the most important art and cultural centre of Europe. The Emperor gathered together important artists: painters, sculptors, goldsmiths, who developed a characteristic style as important as that of the Fontainebleau school flowered at the same period in France. One component of the Rudolphean style was the painting of the Flemish Spranger, another the German Hans von Aachen and the third the Swiss Joseph Heintz. Heintz was in Rome between 1583 and 1587 and was a pupil of Hans von Aachen whom he followed to Prague. He was perhaps the best colorist in Prague and he exerted an influence on the older painter in the Empereor's court. Artist: HEINTZ, Joseph the Elder Painting Title: Adonis Parting from Venus , 1551-1600 Painting Style: Swiss , , mythological
ID de tableau::  63047
5471 ago.
Artist: HEINTZ, Joseph the Elder
Painting: Adonis Parting from Venus - Copperplate
Information: 40 x 31 cm Kunsthistorisches Museum, Vienna At the end of the 16th century the court of Emperor Rudolph II in Prague was one of the most important art and cultural centre of Europe. The Emperor gathered together important artists: painters, sculptors, goldsmiths, who developed a characteristic style as important as that of the Fontainebleau school flowered at the same period in France. One component of the Rudolphean style was the painting of the Flemish Spranger, another the German Hans von Aachen and the third the Swiss Joseph Heintz. Heintz was in Rome between 1583 and 1587 and was a pupil of Hans von Aachen whom he followed to Prague. He was perhaps the best colorist in Prague and he exerted an influence on the older painter in the Empereor's court. Artist: HEINTZ, Joseph the Elder Painting Title: Adonis Parting from Venus , 1551-1600 Painting Style: Swiss , , mythological

Artist: GOSSAERT, Jan (Mabuse)
GOSSAERT, Jan (Mabuse) Adam and Eve oil painting picture wholesale

Adam and Eve
1520 Oil on panel, 168,9 x 111,4 cm Royal Collection, Windsor This theme occurs at least nine times in Mabuse's painted and graphic oeuvre, but none of these renderings is dated. On grounds of style, however, the present painting would seem to have been undertaken after the Neptune and Amphitrite of 1516 (Berlin, Staatliche Museen) or the Hercules and Deinara of 1517 (Birmingham, Barber Institute of Fine Arts), and to have preceded the Adam and Eve dating from around 1525 (Berlin, Staatliche Museen). In general terms, as his career developed, Mabuse evolved compositions of greater complexity characterised by a repertoire of contorted poses with exaggerated anatomy and a vivid treatment of chiaroscuro. At the same time his technique became altogether freer. The Adam and Eve in the Royal Collection may date from around 1520. Mabuse refers to a number of prints for the poses of Adam and Eve: D?rer's Adam and Eve of 1504, Jacopo de' Barbari's Mars and Venus and Marcantonio Raimondi's Adam and Eve after Raphael. The pose of Eve is perhaps more specifically related to D?rer's engraving known as The Dream of the Doctor, particularly the upper part of the body. Mabuse had visited Italy in 1508-9 and became a prime exponent of Northern Mannerism, a style that evolved principally from the cross-fertilisation of German and Italian art. Quite apart from the large scale of the painting, the prominence of the foreground figures is still further enhanced by the sudden drop down to the middle-ground, dominated by a fountain set in the Garden of Eden. Fanciful architecture of this kind is frequently found in Mabuse's work. He was also a remarkably fine painter of the nude. The treatment of the musculature may not be to modern taste, but it was undoubtedly inspired by classical sculpture. The handling of the hair, especially Eve's long tresses, which may have influenced Milton, was a speciality of the artist. Supplementing the narrative of The Fall as recounted in the second and third chapters of Genesis is a certain amount of symbolism, which is illustrated in Mabuse's work: the two trees represent the Tree of Life and the Tree of Good and Evil, while the plants in the immediate foreground (columbine and sea holly) probably symbolise the contrasting emotions of the fear of God and the lust experienced by Adam and Eve in the Garden of Eden. Adam wears an apron of leaves, but Eve is still technically naked. Mabuse was concerned to paint an epitome of the theme and was therefore disposed to take liberties with the biblical text. This painting was presented by the States-General of Holland to Charles I in 1636. It was sold in 1650 after the death of Charles I, but was recovered at the time of the Restoration. It has been suggested that John Milton, who was appointed Latin Secretary to Cromwell's Council of State in 1649, may have seen the work before it was sold, since the description of Adam and Eve in Paradise Lost (Book 4, lines 300-18) is fairly close. Artist: GOSSAERT, Jan (Mabuse) Painting Title: Adam and Eve , 1501-1550 Painting Style: Flemish , , religious
ID de tableau::  63046
5471 ago.
Artist: GOSSAERT, Jan (Mabuse)
Painting: Adam and Eve
Information: 1520 Oil on panel, 168,9 x 111,4 cm Royal Collection, Windsor This theme occurs at least nine times in Mabuse's painted and graphic oeuvre, but none of these renderings is dated. On grounds of style, however, the present painting would seem to have been undertaken after the Neptune and Amphitrite of 1516 (Berlin, Staatliche Museen) or the Hercules and Deinara of 1517 (Birmingham, Barber Institute of Fine Arts), and to have preceded the Adam and Eve dating from around 1525 (Berlin, Staatliche Museen). In general terms, as his career developed, Mabuse evolved compositions of greater complexity characterised by a repertoire of contorted poses with exaggerated anatomy and a vivid treatment of chiaroscuro. At the same time his technique became altogether freer. The Adam and Eve in the Royal Collection may date from around 1520. Mabuse refers to a number of prints for the poses of Adam and Eve: D?rer's Adam and Eve of 1504, Jacopo de' Barbari's Mars and Venus and Marcantonio Raimondi's Adam and Eve after Raphael. The pose of Eve is perhaps more specifically related to D?rer's engraving known as The Dream of the Doctor, particularly the upper part of the body. Mabuse had visited Italy in 1508-9 and became a prime exponent of Northern Mannerism, a style that evolved principally from the cross-fertilisation of German and Italian art. Quite apart from the large scale of the painting, the prominence of the foreground figures is still further enhanced by the sudden drop down to the middle-ground, dominated by a fountain set in the Garden of Eden. Fanciful architecture of this kind is frequently found in Mabuse's work. He was also a remarkably fine painter of the nude. The treatment of the musculature may not be to modern taste, but it was undoubtedly inspired by classical sculpture. The handling of the hair, especially Eve's long tresses, which may have influenced Milton, was a speciality of the artist. Supplementing the narrative of The Fall as recounted in the second and third chapters of Genesis is a certain amount of symbolism, which is illustrated in Mabuse's work: the two trees represent the Tree of Life and the Tree of Good and Evil, while the plants in the immediate foreground (columbine and sea holly) probably symbolise the contrasting emotions of the fear of God and the lust experienced by Adam and Eve in the Garden of Eden. Adam wears an apron of leaves, but Eve is still technically naked. Mabuse was concerned to paint an epitome of the theme and was therefore disposed to take liberties with the biblical text. This painting was presented by the States-General of Holland to Charles I in 1636. It was sold in 1650 after the death of Charles I, but was recovered at the time of the Restoration. It has been suggested that John Milton, who was appointed Latin Secretary to Cromwell's Council of State in 1649, may have seen the work before it was sold, since the description of Adam and Eve in Paradise Lost (Book 4, lines 300-18) is fairly close. Artist: GOSSAERT, Jan (Mabuse) Painting Title: Adam and Eve , 1501-1550 Painting Style: Flemish , , religious

Artist: Eugene Delacroix
Eugene Delacroix Woman with a Parrot oil painting picture wholesale

Woman with a Parrot
1827 Oil on canvas, 24,5 x 32,5 cm Musee des Beaux-Arts, Lyons Delacroix painted the Recumbent Odalisque, also known as Woman with a Parrot, on his return from England. Representing one of Delacroix's favourite models, Laure, it forms one of a series of nudes, which includes the Female Nude Reclining on a Divan in the Louvre and the Odalisque of the Fitzwilliam Museum, Cambridge. In their tonal refinement they emphasise the connections between Delacroix and Bonington. Artist: DELACROIX, Eugene Title: Woman with a Parrot , painting Date: 1801-1850 French : genre
ID de tableau::  62873
5501 ago.
Artist: Eugene Delacroix
Painting: Woman with a Parrot
Information: 1827 Oil on canvas, 24,5 x 32,5 cm Musee des Beaux-Arts, Lyons Delacroix painted the Recumbent Odalisque, also known as Woman with a Parrot, on his return from England. Representing one of Delacroix's favourite models, Laure, it forms one of a series of nudes, which includes the Female Nude Reclining on a Divan in the Louvre and the Odalisque of the Fitzwilliam Museum, Cambridge. In their tonal refinement they emphasise the connections between Delacroix and Bonington. Artist: DELACROIX, Eugene Title: Woman with a Parrot , painting Date: 1801-1850 French : genre

Artist: Jacques-Louis David
Jacques-Louis David Hector oil painting picture wholesale

Hector
Oil on canvas, 123 x 172 cm Musee Fabre, Montpellier David discovered the dramatically lit and forceful canvases of Caravaggio and his followers, and his full-length male nude and semi-nude studies such as Hector of 1778 and Patroclus of 1780 show how he had begun to use light and shadow to give weight and density to his figures. Artist: DAVID, Jacques-Louis Title: Hector , painting Date: 1801-1850 French : other
ID de tableau::  62870
5501 ago.
Artist: Jacques-Louis David
Painting: Hector
Information: Oil on canvas, 123 x 172 cm Musee Fabre, Montpellier David discovered the dramatically lit and forceful canvases of Caravaggio and his followers, and his full-length male nude and semi-nude studies such as Hector of 1778 and Patroclus of 1780 show how he had begun to use light and shadow to give weight and density to his figures. Artist: DAVID, Jacques-Louis Title: Hector , painting Date: 1801-1850 French : other

Artist: Hippolyte Flandrin
Hippolyte Flandrin Young Man by the Sea oil painting picture wholesale

Young Man by the Sea
1837 Oil on canvas, 98 x 124 cm Musee du Louvre, Paris This is Flandrin's most popular and recognizable work. Typical of Flandrin, this work uses the nude male figure as a showcase for the stylistic purity of line, modeling, chiaroscuro, and colour. These features are underscored by a mysterious, meditative calm provoked by a moonlit seascape. The youth's body and the environment work together to evoke an aura of poetic lyricism. Artist: FLANDRIN, Hippolyte Title: Young Man by the Sea , painting Date: 1801-1850 French : landscape
ID de tableau::  62866
5501 ago.
Artist: Hippolyte Flandrin
Painting: Young Man by the Sea
Information: 1837 Oil on canvas, 98 x 124 cm Musee du Louvre, Paris This is Flandrin's most popular and recognizable work. Typical of Flandrin, this work uses the nude male figure as a showcase for the stylistic purity of line, modeling, chiaroscuro, and colour. These features are underscored by a mysterious, meditative calm provoked by a moonlit seascape. The youth's body and the environment work together to evoke an aura of poetic lyricism. Artist: FLANDRIN, Hippolyte Title: Young Man by the Sea , painting Date: 1801-1850 French : landscape

Artist: LEICHER, Felix Ivo
LEICHER, Felix Ivo The Morning oil painting picture wholesale

The Morning
34 x 26 cm Museum of Fine Arts, Budapest The companion-piece of the painting, The Evening, is also in the Budapest museum. Author: LEICHER, Felix Ivo Title: The Morning , 1751-1800 , Austrian Form: painting , genre
ID de tableau::  62443
5551 ago.
Artist: LEICHER, Felix Ivo
Painting: The Morning
Information: 34 x 26 cm Museum of Fine Arts, Budapest The companion-piece of the painting, The Evening, is also in the Budapest museum. Author: LEICHER, Felix Ivo Title: The Morning , 1751-1800 , Austrian Form: painting , genre

Artist: Francois Boucher
Francois Boucher The Odalisk oil painting picture wholesale

The Odalisk
53,5 x 64,5 cm Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: The Odalisk , 1701-1750 , French Form: painting , other
ID de tableau::  62422
5556 ago.
Artist: Francois Boucher
Painting: The Odalisk
Information: 53,5 x 64,5 cm Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: The Odalisk , 1701-1750 , French Form: painting , other

Artist: Francois Boucher
Francois Boucher Diana Resting after her Bath oil painting picture wholesale

Diana Resting after her Bath
1742 Oil on canvas Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: Diana Resting after her Bath (detail) , 1701-1750 , French Form: painting , mythological
ID de tableau::  62419
5556 ago.
Artist: Francois Boucher
Painting: Diana Resting after her Bath
Information: 1742 Oil on canvas Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: Diana Resting after her Bath (detail) , 1701-1750 , French Form: painting , mythological

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

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
ID de tableau::  62379
5564 ago.
Artist: GIuseppe Cesari Called Cavaliere arpino
Painting: Diana and Actaeon
Information: 1603-06 Oil on copper Museum of Fine Arts, Budapest Author: CESARI, Giuseppe Title: Diana and Actaeon (detail) , 1601-1650 , Italian Form: painting , mythological

Artist: El Greco
El Greco Epimetheus and Pandora oil painting picture wholesale

Epimetheus and Pandora
1600s Polychromed wood, height: 43 cm Conde de la Infantas Collection, Granada A few sculptures, including these two strange nudes, have been attributed to El Greco. This attribution is doubtful, however. It is based on the testimony of Pacheco, who saw in El Greco's studio a series of figurines of wax, stucco, and wood, but these may have been merely models, like those used in the Italian workshops where El Greco was trained. The figures illustrated recall certain nudes in paintings by El Greco in their elongated proportions, their supple postures, and their opposition in contrapposto. Nevertheless, they also evoke certain Florentine mannerists, Sansovino or Cellini, and their naturalism and the accentuated musculature of the male figure are surprising for El Greco. The identification of the statuettes is also problematical. Originally thought to represent Adam and Eve or even Vulcan and Venus, they were correctly identified as representing Epimetheus and Pandora in 1961. According to the Greek poet Hesiod, Pandora was the first woman, created from the earth and water. She was brought to life with heavenly fire and married Epimetheus, the brother of Prometheus. Zeus gave her a beautiful box containing all manner of evils and calamities and Pandora or according to some versions of the myth, Epimetheus, opened it, releasing them into the world. These small statuettes are carved in wood and painted in oils, the traditional materials of Spanish polychrome sculpture. They are undocumented works but the attribution to the artist is generally accepted
ID de tableau::  62295
5583 ago.
Artist: El Greco
Painting: Epimetheus and Pandora
Information: 1600s Polychromed wood, height: 43 cm Conde de la Infantas Collection, Granada A few sculptures, including these two strange nudes, have been attributed to El Greco. This attribution is doubtful, however. It is based on the testimony of Pacheco, who saw in El Greco's studio a series of figurines of wax, stucco, and wood, but these may have been merely models, like those used in the Italian workshops where El Greco was trained. The figures illustrated recall certain nudes in paintings by El Greco in their elongated proportions, their supple postures, and their opposition in contrapposto. Nevertheless, they also evoke certain Florentine mannerists, Sansovino or Cellini, and their naturalism and the accentuated musculature of the male figure are surprising for El Greco. The identification of the statuettes is also problematical. Originally thought to represent Adam and Eve or even Vulcan and Venus, they were correctly identified as representing Epimetheus and Pandora in 1961. According to the Greek poet Hesiod, Pandora was the first woman, created from the earth and water. She was brought to life with heavenly fire and married Epimetheus, the brother of Prometheus. Zeus gave her a beautiful box containing all manner of evils and calamities and Pandora or according to some versions of the myth, Epimetheus, opened it, releasing them into the world. These small statuettes are carved in wood and painted in oils, the traditional materials of Spanish polychrome sculpture. They are undocumented works but the attribution to the artist is generally accepted

Artist: Cesare da Sesto
Cesare da Sesto Leda and the Swan oil painting picture wholesale

Leda and the Swan
1505-10 Oil on panel, 69,5 x 73,7 cm Wilton House, Salisbury This is a copy after the lost painting by Leonardo da Vinci
ID de tableau::  62288
5583 ago.
Artist: Cesare da Sesto
Painting: Leda and the Swan
Information: 1505-10 Oil on panel, 69,5 x 73,7 cm Wilton House, Salisbury This is a copy after the lost painting by Leonardo da Vinci

Artist: unknow artist
unknow artist Venus and Cupid oil painting picture wholesale

Venus and Cupid
mk276 Oil on canvas
ID de tableau::  62080
5613 ago.
Artist: unknow artist
Painting: Venus and Cupid
Information: mk276 Oil on canvas

Artist: Agnolo Bronzino
Agnolo Bronzino Venus and Cupid oil painting picture wholesale

Venus and Cupid
mk276 1540 Oil on canvas 147 x 117cm National Gallery, London
ID de tableau::  62079
5613 ago.
Artist: Agnolo Bronzino
Painting: Venus and Cupid
Information: mk276 1540 Oil on canvas 147 x 117cm National Gallery, London

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