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Gemälde:: all people --> Style:: religious
VORHERIGER  15  16  17  18  19  20  21  22  23  24  25  26  27  28  29  30  31  32  33  34  NÄCHSTER  (Displayed as nearest added time.)
Artist: unknow artist
unknow artist The Archangel Michael china oil painting reproduction

The Archangel Michael
127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious
Gemälde IDENTIFIZIERUNG::  64921
5356 ago.
Artist: unknow artist
Painting: The Archangel Michael
Information: 127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious

Artist: Piero della Francesca
Piero della Francesca the flagellation, detail china oil painting reproduction

the flagellation, detail
urbino galleria nazionale delle marche se
Gemälde IDENTIFIZIERUNG::  64918
5356 ago.
Artist: Piero della Francesca
Painting: the flagellation, detail
Information: urbino galleria nazionale delle marche se

Artist: Piero della Francesca
Piero della Francesca the legend of the true cross, detail china oil painting reproduction

the legend of the true cross, detail
the victory of heraclius over chosroes, details arezzo, san francesco se
Gemälde IDENTIFIZIERUNG::  64915
5356 ago.
Artist: Piero della Francesca
Painting: the legend of the true cross, detail
Information: the victory of heraclius over chosroes, details arezzo, san francesco se

Artist: Piero della Francesca
Piero della Francesca the legend of the true cross, detail china oil painting reproduction

the legend of the true cross, detail
the annunciation se
Gemälde IDENTIFIZIERUNG::  64892
5356 ago.
Artist: Piero della Francesca
Painting: the legend of the true cross, detail
Information: the annunciation se

Artist: Piero della Francesca
Piero della Francesca the legend of the true cross, detail china oil painting reproduction

the legend of the true cross, detail
the queen of sheba recceived by solomon se
Gemälde IDENTIFIZIERUNG::  64889
5356 ago.
Artist: Piero della Francesca
Painting: the legend of the true cross, detail
Information: the queen of sheba recceived by solomon se

Artist: Piero della Francesca
Piero della Francesca sts andrew and bernardino of siena from the polyptych of the misericordia china oil painting reproduction

sts andrew and bernardino of siena from the polyptych of the misericordia
sansepolcro, museo civico se
Gemälde IDENTIFIZIERUNG::  64866
5357 ago.
Artist: Piero della Francesca
Painting: sts andrew and bernardino of siena from the polyptych of the misericordia
Information: sansepolcro, museo civico se

Artist: Piero della Francesca
Piero della Francesca sts sebastian and john the baptist from the polyptych of the misericordia china oil painting reproduction

sts sebastian and john the baptist from the polyptych of the misericordia
sansepolcro, museo civico se
Gemälde IDENTIFIZIERUNG::  64865
5357 ago.
Artist: Piero della Francesca
Painting: sts sebastian and john the baptist from the polyptych of the misericordia
Information: sansepolcro, museo civico se

Artist: Piero della Francesca
Piero della Francesca madonna della misericordia, central panel of the polyptych of the misericordia china oil painting reproduction

madonna della misericordia, central panel of the polyptych of the misericordia
sansepolcro, museo civico se
Gemälde IDENTIFIZIERUNG::  64864
5357 ago.
Artist: Piero della Francesca
Painting: madonna della misericordia, central panel of the polyptych of the misericordia
Information: sansepolcro, museo civico se

Artist: unknow artist
unknow artist Weingarten Missal china oil painting reproduction

Weingarten Missal
29,2 x 20,3 cm Pierpont Morgan Library, New York In Germany, the Byzantinizing style of manuscripts survived into the thirteenth century. A striking example is the group of manuscripts associated with Berthold, abbot of the Swabian monastery of Weingarten from 1200 to 1232. The most impressive of the group is the Weingarten Missal, from which the Crucifixion represents a page. The faces are close to Byzantine types; and the drapery definitely clings to the figures. , MINIATURIST, German , Weingarten Missal , 1201-1250 , German , illumination , religious
Gemälde IDENTIFIZIERUNG::  64862
5357 ago.
Artist: unknow artist
Painting: Weingarten Missal
Information: 29,2 x 20,3 cm Pierpont Morgan Library, New York In Germany, the Byzantinizing style of manuscripts survived into the thirteenth century. A striking example is the group of manuscripts associated with Berthold, abbot of the Swabian monastery of Weingarten from 1200 to 1232. The most impressive of the group is the Weingarten Missal, from which the Crucifixion represents a page. The faces are close to Byzantine types; and the drapery definitely clings to the figures. , MINIATURIST, German , Weingarten Missal , 1201-1250 , German , illumination , religious

Artist: unknow artist
unknow artist Lament over the Dead Christ china oil painting reproduction

Lament over the Dead Christ
29 x 80.8 cm Biblioth?que Nationale, Paris The folio is from the so-called "Grandes Heures de Rohan" executed by the Master of the Rohan Prayer-book. The picture fills the whole surface of the folio, and also includes, in a separate little frame, a part of the text. The pale, greyish, angular and thin body of the dead Christ, bleeding from five wounds, lies right on the greenish-brown bare ground. Above Him the deathly pale Virgin opens her arms for a last embrace, but would collapse, fainting, onto her dead Son if St John did not support her with an energetic movement. At the same time St John turns his head with a complaining and reproachful countenance towards the monumental torso of God the Father appearing in the top right-hand corner of the picture. The monumentality of God, descending from heavenly heights to earthly proximity, is further increased by His figure being disproportionately larger than the other three figures. Only His complexion is rosy. In his left hand He is holding the sphere, while the expressions of blessing, of appreciation and of sorrow are blended in the movement of His right arm. The background of the scene is like a tapestry of gold and blue patterns on a black ground. The whirl of angels flying about quickly and the flashing of their golden wings provide the basic mood of the scene as an orchestral accompaniment. The main characteristic of the composition is that, while it is based on a strict geometrical framework, it is pervaded in every respect by sharp contrasts and tensions, which are, however, all resolved by the painter. The moment represented, the transitory state of the fall held back, is fraught with tension; it is somewhat eased by the fact that the tip of the Virgin's fingerjust touches the end of Christ's beard. The four heads emphasized by their haloes are placed on the quarter of an arc, the radius of which is the horizontally placed body of Christ, as if that nadir were attracting the other three figures. It is a nadir, but, at the same time, also a centre of gravity, its solidity being ensured by the fact that both ends of the rigid body not only touch the frame on either side, but that at one point the head and halo even break through it. At both ends of the quarter circle two faces are turned towards each other. The heads of Christ and St John, both with their eyelids closed, are turned to God the Father, while the glance of the Virgin and of God the Father rest on the head of Christ. The bodies of the Virgin and of St John seem to be turning into opposite directions from a common trunk. They are both represented in sharp profile, whereas the heads of God the Father and of Christ are shown from a three-quarter view. , MINIATURIST, French , Lament over the Dead Christ , 1401-1450 , French , illumination , religious
Gemälde IDENTIFIZIERUNG::  64858
5358 ago.
Artist: unknow artist
Painting: Lament over the Dead Christ
Information: 29 x 80.8 cm Biblioth?que Nationale, Paris The folio is from the so-called "Grandes Heures de Rohan" executed by the Master of the Rohan Prayer-book. The picture fills the whole surface of the folio, and also includes, in a separate little frame, a part of the text. The pale, greyish, angular and thin body of the dead Christ, bleeding from five wounds, lies right on the greenish-brown bare ground. Above Him the deathly pale Virgin opens her arms for a last embrace, but would collapse, fainting, onto her dead Son if St John did not support her with an energetic movement. At the same time St John turns his head with a complaining and reproachful countenance towards the monumental torso of God the Father appearing in the top right-hand corner of the picture. The monumentality of God, descending from heavenly heights to earthly proximity, is further increased by His figure being disproportionately larger than the other three figures. Only His complexion is rosy. In his left hand He is holding the sphere, while the expressions of blessing, of appreciation and of sorrow are blended in the movement of His right arm. The background of the scene is like a tapestry of gold and blue patterns on a black ground. The whirl of angels flying about quickly and the flashing of their golden wings provide the basic mood of the scene as an orchestral accompaniment. The main characteristic of the composition is that, while it is based on a strict geometrical framework, it is pervaded in every respect by sharp contrasts and tensions, which are, however, all resolved by the painter. The moment represented, the transitory state of the fall held back, is fraught with tension; it is somewhat eased by the fact that the tip of the Virgin's fingerjust touches the end of Christ's beard. The four heads emphasized by their haloes are placed on the quarter of an arc, the radius of which is the horizontally placed body of Christ, as if that nadir were attracting the other three figures. It is a nadir, but, at the same time, also a centre of gravity, its solidity being ensured by the fact that both ends of the rigid body not only touch the frame on either side, but that at one point the head and halo even break through it. At both ends of the quarter circle two faces are turned towards each other. The heads of Christ and St John, both with their eyelids closed, are turned to God the Father, while the glance of the Virgin and of God the Father rest on the head of Christ. The bodies of the Virgin and of St John seem to be turning into opposite directions from a common trunk. They are both represented in sharp profile, whereas the heads of God the Father and of Christ are shown from a three-quarter view. , MINIATURIST, French , Lament over the Dead Christ , 1401-1450 , French , illumination , religious

Artist: Raphael
Raphael transfiguration china oil painting reproduction

transfiguration
vatican museum oil on wood, 405x278cm se
Gemälde IDENTIFIZIERUNG::  64855
5359 ago.
Artist: Raphael
Painting: transfiguration
Information: vatican museum oil on wood, 405x278cm se

Artist: Raphael
Raphael large holy family china oil painting reproduction

large holy family
muse'e du louvre, paris oil on wood transferred to canvas, 207x140 se
Gemälde IDENTIFIZIERUNG::  64854
5359 ago.
Artist: Raphael
Painting: large holy family
Information: muse'e du louvre, paris oil on wood transferred to canvas, 207x140 se

VORHERIGER  15  16  17  18  19  20  21  22  23  24  25  26  27  28  29  30  31  32  33  34  NÄCHSTER  (Displayed as nearest added time.)
Gemälde:: people --> Style:: religious

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