Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all people --> Style:: religious
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Artist: unknow artist
unknow artist The Adoration of the Magi china oil painting reproduction

The Adoration of the Magi
1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious
ID de tableau::  63966
5398 ago.
Artist: unknow artist
Painting: The Adoration of the Magi
Information: 1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious

Artist: Master of the Saint Lucy Legend
Master of the Saint Lucy Legend Virgin Surrounded by Female Saints china oil painting reproduction

Virgin Surrounded by Female Saints
1488 Oak, 108 x 171 cm Musees Royaux des Beaux-Arts, Brussels An anonymous painter working in the last two decades of the 15th century at Bruges, the Master of the Legend of St Lucy takes his name from a painting representing three episodes from the legend of this saint (Bruges, Sint-Jakobskerk). He paints willowy women with oval faces, and with slightly slit eyes under long, puffed eyelids, whose somewhat affected manner calls to mind the art of his contemporary Memling. According to archive sources, the Virgin Surrounded by Female Saints was placed in 1489 in the church of the Our Lady in Bruges on the altar belonging to the rhetoric chamber named De drie Sanctinnen (the three female saints), and was therefore likely painted shortly before that date. The three saints in question are Catherine, Mary Magdalen and Barbara, all widely venerated in Bruges. They surround a Virgin and Child, forming the central group of the composition. The Virgin is represented as the Queen of Heaven. She wears a crown and is seated on a throne behind which two angels hold aloft a rich brocade honour cloth. The scene takes place in an enclosed garden, full of plants and flowers, evoking Paradise. A landscape extends far into the background. The eleven young women surrounding the Virgin can be identified by their various attributes accompanying them or decorating their rich garments. The Child is holding a ring to Catherine in order to seal their "mystical marriage". This saint is also accompanied by a sword and her mantle is decorated with wheels. Mary Magdalene can be recognised by her ointment pot and Barbara by the towers that decorate her brocade mantle and her necklace. To the left, Ursula is identified by the arrows of her martyrdom half hidden beneath her gown, Apollina by a tooth in a pair of pincers and Lucy by a tray with two eyes on it. An unidentified saint holds a crown and a bell. To the right, Agnes carries a lamb in her lap and presents a ring, signifying her mystical marriage with Christ. Cunera, a companion of Ursula, carries a little cradle or footstool, along with an arrow, and Agatha a pair of pincers holding a torn-off breast. Margaret holds a cross in her hand. She is also accompanied in the landscape by a representation of St George slaying the dragon, a scene with which she is frequently associated. , Artist: MASTER of the Saint Lucy Legend , Virgin Surrounded by Female Saints , 1451-1500 , Flemish , painting , religious
ID de tableau::  63965
5399 ago.
Artist: Master of the Saint Lucy Legend
Painting: Virgin Surrounded by Female Saints
Information: 1488 Oak, 108 x 171 cm Musees Royaux des Beaux-Arts, Brussels An anonymous painter working in the last two decades of the 15th century at Bruges, the Master of the Legend of St Lucy takes his name from a painting representing three episodes from the legend of this saint (Bruges, Sint-Jakobskerk). He paints willowy women with oval faces, and with slightly slit eyes under long, puffed eyelids, whose somewhat affected manner calls to mind the art of his contemporary Memling. According to archive sources, the Virgin Surrounded by Female Saints was placed in 1489 in the church of the Our Lady in Bruges on the altar belonging to the rhetoric chamber named De drie Sanctinnen (the three female saints), and was therefore likely painted shortly before that date. The three saints in question are Catherine, Mary Magdalen and Barbara, all widely venerated in Bruges. They surround a Virgin and Child, forming the central group of the composition. The Virgin is represented as the Queen of Heaven. She wears a crown and is seated on a throne behind which two angels hold aloft a rich brocade honour cloth. The scene takes place in an enclosed garden, full of plants and flowers, evoking Paradise. A landscape extends far into the background. The eleven young women surrounding the Virgin can be identified by their various attributes accompanying them or decorating their rich garments. The Child is holding a ring to Catherine in order to seal their "mystical marriage". This saint is also accompanied by a sword and her mantle is decorated with wheels. Mary Magdalene can be recognised by her ointment pot and Barbara by the towers that decorate her brocade mantle and her necklace. To the left, Ursula is identified by the arrows of her martyrdom half hidden beneath her gown, Apollina by a tooth in a pair of pincers and Lucy by a tray with two eyes on it. An unidentified saint holds a crown and a bell. To the right, Agnes carries a lamb in her lap and presents a ring, signifying her mystical marriage with Christ. Cunera, a companion of Ursula, carries a little cradle or footstool, along with an arrow, and Agatha a pair of pincers holding a torn-off breast. Margaret holds a cross in her hand. She is also accompanied in the landscape by a representation of St George slaying the dragon, a scene with which she is frequently associated. , Artist: MASTER of the Saint Lucy Legend , Virgin Surrounded by Female Saints , 1451-1500 , Flemish , painting , religious

Artist: unknow artist
unknow artist The Adoration of the Magi china oil painting reproduction

The Adoration of the Magi
44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious
ID de tableau::  63962
5399 ago.
Artist: unknow artist
Painting: The Adoration of the Magi
Information: 44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious

Artist: unknow artist
unknow artist The Small Circular Piet china oil painting reproduction

The Small Circular Piet
1390 Panel, diameter 22,7 cm Musee du Louvre, Paris Despite its small dimensions this work, with its vivid colours, with its golds, blues, reds, greens and purples, produces a monumental effect. The tortured figure of Christ, wearing the crown of thorns, is seated on the Virgin's knees. The figures surrounding them, St Mary Magdalen, St John the Evangelist, St Joseph of Arimathaea and Nicodemus, are imbued with a sense of profound sorrow and a muted awe, for the agony and ecstasy of passionate emotion find no place in French mediaeval art. , Artist: UNKNOWN MASTER, French , The Small Circular Piet? , 1351-1400 , French , painting , religious
ID de tableau::  63961
5401 ago.
Artist: unknow artist
Painting: The Small Circular Piet
Information: 1390 Panel, diameter 22,7 cm Musee du Louvre, Paris Despite its small dimensions this work, with its vivid colours, with its golds, blues, reds, greens and purples, produces a monumental effect. The tortured figure of Christ, wearing the crown of thorns, is seated on the Virgin's knees. The figures surrounding them, St Mary Magdalen, St John the Evangelist, St Joseph of Arimathaea and Nicodemus, are imbued with a sense of profound sorrow and a muted awe, for the agony and ecstasy of passionate emotion find no place in French mediaeval art. , Artist: UNKNOWN MASTER, French , The Small Circular Piet? , 1351-1400 , French , painting , religious

Artist: unknow artist
unknow artist The Adoration of the Magi china oil painting reproduction

The Adoration of the Magi
1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious
ID de tableau::  63959
5401 ago.
Artist: unknow artist
Painting: The Adoration of the Magi
Information: 1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious

Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel The Road to Calvary china oil painting reproduction

The Road to Calvary
1634-37 Oil on canvas, rounded at the top, 569 x 355 cm Musees Royaux des Beaux-Arts, Brussels This painting was commissioned in 1634 for the high altar of the Abbey of Affligem, then one of the most important monasteries in the Low Countries. Tensions inside the monastery may explain why this monumental work was not delivered until 1637. In this production of his mature period, Rubens masterfully combines two artistic traditions. The first of these is that of the large single-frame altarpieces that were to replace the older polyptychs in the Southern Low Countries in the 17th century. With their exceptional scale and their strongly vertical format, they faced artists with the problem of constructing a convincing compositional unity from a series of related themes in a vertical format. As an artist gifted with one of the greatest compositional and narrative talents of his age, Rubens fulfilled his task masterfully. Instead of dividing the painting into an upper and lower register, a solution that he had often applied following Titian, he elects here to represent Christ's ascension to the place of his execution on Calvary in an uninterrupted zigzag movement. The thrust from below to above is achieved both in the colouring, with a balanced rhythm of localised concentrations of colour, and also iconographically, with the successive tableaux of the executioners with the two thieves, the holy women with Mary and Veronica, and ending with the Roman officers on horseback with their flapping pennants. The centre-point of the composition is Christ's face that St Veronica is wiping. Turned towards the viewer, it forms a direct call to the faithful to follow his life and to think on their own sins that had to be redeemed by Christ's suffering. This procedure descends directly from the tradition of devotional art, with small-scale pictures intended for individual meditation. The genius of Rubens' invention lies precisely in the combination of the two pictorial traditions, breathing new life into the ancient devotional tradition within a contemporary, counter-reformation form of altar decoration, whilst at the same time enriching the broad, sweeping movement of such a monumental high altarpiece with the more intimate emotionality of smaller devotional paintings. , Artist: RUBENS, Pieter Pauwel , The Road to Calvary , 1601-1650 , Flemish , painting , religiou
ID de tableau::  63958
5401 ago.
Artist: RUBENS, Pieter Pauwel
Painting: The Road to Calvary
Information: 1634-37 Oil on canvas, rounded at the top, 569 x 355 cm Musees Royaux des Beaux-Arts, Brussels This painting was commissioned in 1634 for the high altar of the Abbey of Affligem, then one of the most important monasteries in the Low Countries. Tensions inside the monastery may explain why this monumental work was not delivered until 1637. In this production of his mature period, Rubens masterfully combines two artistic traditions. The first of these is that of the large single-frame altarpieces that were to replace the older polyptychs in the Southern Low Countries in the 17th century. With their exceptional scale and their strongly vertical format, they faced artists with the problem of constructing a convincing compositional unity from a series of related themes in a vertical format. As an artist gifted with one of the greatest compositional and narrative talents of his age, Rubens fulfilled his task masterfully. Instead of dividing the painting into an upper and lower register, a solution that he had often applied following Titian, he elects here to represent Christ's ascension to the place of his execution on Calvary in an uninterrupted zigzag movement. The thrust from below to above is achieved both in the colouring, with a balanced rhythm of localised concentrations of colour, and also iconographically, with the successive tableaux of the executioners with the two thieves, the holy women with Mary and Veronica, and ending with the Roman officers on horseback with their flapping pennants. The centre-point of the composition is Christ's face that St Veronica is wiping. Turned towards the viewer, it forms a direct call to the faithful to follow his life and to think on their own sins that had to be redeemed by Christ's suffering. This procedure descends directly from the tradition of devotional art, with small-scale pictures intended for individual meditation. The genius of Rubens' invention lies precisely in the combination of the two pictorial traditions, breathing new life into the ancient devotional tradition within a contemporary, counter-reformation form of altar decoration, whilst at the same time enriching the broad, sweeping movement of such a monumental high altarpiece with the more intimate emotionality of smaller devotional paintings. , Artist: RUBENS, Pieter Pauwel , The Road to Calvary , 1601-1650 , Flemish , painting , religiou

Artist: unknow artist
unknow artist Assumption of the Virgin china oil painting reproduction

Assumption of the Virgin
1506 Oil on wood, 131,5 x 130,5 cm Vasco Museum, Viseu This painting is a pivotal work in evaluating how the artist interpreted his decisive Flemish influences: the abundant and angular folds of the robes, the way he depicts the ringleted hair of the angels who minister to the Blessed Virgin or the manner in which he painstakingly paints with precise realism and poetic sentiment, the details and miniature forms of the upper background. , Artist: FERNANDES, Vasco , Assumption of the Virgin , 1501-1550 , Portuguese , painting , religious
ID de tableau::  63948
5401 ago.
Artist: unknow artist
Painting: Assumption of the Virgin
Information: 1506 Oil on wood, 131,5 x 130,5 cm Vasco Museum, Viseu This painting is a pivotal work in evaluating how the artist interpreted his decisive Flemish influences: the abundant and angular folds of the robes, the way he depicts the ringleted hair of the angels who minister to the Blessed Virgin or the manner in which he painstakingly paints with precise realism and poetic sentiment, the details and miniature forms of the upper background. , Artist: FERNANDES, Vasco , Assumption of the Virgin , 1501-1550 , Portuguese , painting , religious

Artist: CHRISTUS, Petrus
CHRISTUS, Petrus Nativity china oil painting reproduction

Nativity
1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Nativity , 1451-1500 , Flemish , painting , religious
ID de tableau::  63947
5401 ago.
Artist: CHRISTUS, Petrus
Painting: Nativity
Information: 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Nativity , 1451-1500 , Flemish , painting , religious

Artist: CHRISTUS, Petrus
CHRISTUS, Petrus Annunciation china oil painting reproduction

Annunciation
1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges Petrus Christus belonged to the same generation as Van der Weyden, but was perhaps a little younger. He came to Bruges from North Brabant, possibly after completing his initial training in Haarlem. His style is strongly modelled on that of Van Eyck and so there is good reason for suspecting he was Jan's apprentice, even though he did not purchase free citizenship of Bruges until three years after his putative master's death. The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Annunciation , 1451-1500 , Flemish , painting , religious
ID de tableau::  63946
5401 ago.
Artist: CHRISTUS, Petrus
Painting: Annunciation
Information: 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges Petrus Christus belonged to the same generation as Van der Weyden, but was perhaps a little younger. He came to Bruges from North Brabant, possibly after completing his initial training in Haarlem. His style is strongly modelled on that of Van Eyck and so there is good reason for suspecting he was Jan's apprentice, even though he did not purchase free citizenship of Bruges until three years after his putative master's death. The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Annunciation , 1451-1500 , Flemish , painting , religious

Artist: FERNANDES, Vasco
FERNANDES, Vasco Adoration of the Magi china oil painting reproduction

Adoration of the Magi
1501-06 Oil on wood, 132 x 79 cm Vasco Museum, Viseu The Adoration of the Magi, is one of the fourteen panels from the altarpiece of the Chancel in Viseu Cathedral, and the earliest dated work of the artist. It is a key work in the evaluation of the impact which the painting and the painters from southern parts of the Low Countries had on the taste of patrons and on the work of painters in Portugal. Despite the controversy surrounding its authorship, everything points to a team, led by the Flemish painter Francisco Henriques, joined locally by the young Vasco Fernandes, elaborating the altarpiece for the bishop of Viseu. The Adoration of the Magi includes iconographic details which confirm that the altarpiece was made locally. The black Wise King, Balthasar, is replaced by an Indian from Brazil. The closeness in time of this artistic representation (the first in Western art) to the discovery of the lands of the True Cross (Brazil) gives it an extraordinary historical value. , Artist: FERNANDES, Vasco , Adoration of the Magi , 1501-1550 , Portuguese , painting , religious
ID de tableau::  63945
5402 ago.
Artist: FERNANDES, Vasco
Painting: Adoration of the Magi
Information: 1501-06 Oil on wood, 132 x 79 cm Vasco Museum, Viseu The Adoration of the Magi, is one of the fourteen panels from the altarpiece of the Chancel in Viseu Cathedral, and the earliest dated work of the artist. It is a key work in the evaluation of the impact which the painting and the painters from southern parts of the Low Countries had on the taste of patrons and on the work of painters in Portugal. Despite the controversy surrounding its authorship, everything points to a team, led by the Flemish painter Francisco Henriques, joined locally by the young Vasco Fernandes, elaborating the altarpiece for the bishop of Viseu. The Adoration of the Magi includes iconographic details which confirm that the altarpiece was made locally. The black Wise King, Balthasar, is replaced by an Indian from Brazil. The closeness in time of this artistic representation (the first in Western art) to the discovery of the lands of the True Cross (Brazil) gives it an extraordinary historical value. , Artist: FERNANDES, Vasco , Adoration of the Magi , 1501-1550 , Portuguese , painting , religious

Artist: unknow artist
unknow artist Last Judgment anf the Wise and Foolish Virgins china oil painting reproduction

Last Judgment anf the Wise and Foolish Virgins
1450s and c. 1480 Oil on oak panel, 65 x 35 cm Staatliche Museen, Berlin The artist obviously took Rogier van der Weyden's Beaune Altarpiece as the model for his smaller-scale composition., but "corrected" it by adding the traditional little demons tormenting the damned. The representation of the Wise and Foolish Virgins, below, is a later addition on an extra piece of wood, by a Brussels painter of the last quarter of the 15th century. , Artist: UNKNOWN MASTER, Flemish , Last Judgment anf the Wise and Foolish Virgins , 1451-1500 , Flemish , painting , religious
ID de tableau::  63944
5402 ago.
Artist: unknow artist
Painting: Last Judgment anf the Wise and Foolish Virgins
Information: 1450s and c. 1480 Oil on oak panel, 65 x 35 cm Staatliche Museen, Berlin The artist obviously took Rogier van der Weyden's Beaune Altarpiece as the model for his smaller-scale composition., but "corrected" it by adding the traditional little demons tormenting the damned. The representation of the Wise and Foolish Virgins, below, is a later addition on an extra piece of wood, by a Brussels painter of the last quarter of the 15th century. , Artist: UNKNOWN MASTER, Flemish , Last Judgment anf the Wise and Foolish Virgins , 1451-1500 , Flemish , painting , religious

Artist: unknow artist
unknow artist Deposition china oil painting reproduction

Deposition
1460 Oil on oak panel, 57 x 52 cm Alte Pinakothek, Munich With the body of Christ still on the Cross high above the scene, this picture, presumably painted in Brussels, shows the Deposition in a more traditional way than Rogier's famous version (Prado, Madrid). On the right are the centurion who recognized the Son of God, and his followers; it is not clear which of the two figures in the foreground is actually the centurion, since they are both making gestures that would be suitable for him. The artist who painted this small Deposition used figures from Rogier van der Weyden's great painting for the body of Christ and for Nicodemus, and drawing on other works by Rogier van der Weyden and by the Master of Flemalle for the remaining figures. The group of the Virgin and St John, for instance, was taken from the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, the painter of this Deposition fails to unite the groups of figures successfully. The small panel of the Deposition, certainly not painted before the middle of the century, seems to have found its way quite early to southern Germany, where parts of it were already being copied in 1465 (Hof Altarpiece by Hans Pleydenwurff in the Alte Pinakothek, Munich). Like the composition of the Descent from the Cross, probably of roughly the same date, it is a relatively early example of the work of independent artists who picked up ideas from Rogier, imitating his style as best they could. , Artist: UNKNOWN MASTER, Flemish , Deposition , 1451-1500 , Flemish , painting , religious
ID de tableau::  63942
5402 ago.
Artist: unknow artist
Painting: Deposition
Information: 1460 Oil on oak panel, 57 x 52 cm Alte Pinakothek, Munich With the body of Christ still on the Cross high above the scene, this picture, presumably painted in Brussels, shows the Deposition in a more traditional way than Rogier's famous version (Prado, Madrid). On the right are the centurion who recognized the Son of God, and his followers; it is not clear which of the two figures in the foreground is actually the centurion, since they are both making gestures that would be suitable for him. The artist who painted this small Deposition used figures from Rogier van der Weyden's great painting for the body of Christ and for Nicodemus, and drawing on other works by Rogier van der Weyden and by the Master of Flemalle for the remaining figures. The group of the Virgin and St John, for instance, was taken from the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, the painter of this Deposition fails to unite the groups of figures successfully. The small panel of the Deposition, certainly not painted before the middle of the century, seems to have found its way quite early to southern Germany, where parts of it were already being copied in 1465 (Hof Altarpiece by Hans Pleydenwurff in the Alte Pinakothek, Munich). Like the composition of the Descent from the Cross, probably of roughly the same date, it is a relatively early example of the work of independent artists who picked up ideas from Rogier, imitating his style as best they could. , Artist: UNKNOWN MASTER, Flemish , Deposition , 1451-1500 , Flemish , painting , religious

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