Großhandels China Öl, das Rahmenspiegel Anstreicht, Formend
Gemälde:: all people --> Style:: religious
VORHERIGER  23  24  25  26  27  28  29  30  31  32  33  34  35  36  37  38  39  40  41  42  NÄCHSTER  (Displayed as nearest added time.)
Artist: French school
French school hunting with falcons at the court of philip the good china oil painting reproduction

hunting with falcons at the court of philip the good
fifteenth century versailles, museum
Gemälde IDENTIFIZIERUNG::  64213
5389 ago.
Artist: French school
Painting: hunting with falcons at the court of philip the good
Information: fifteenth century versailles, museum

Artist: unknow artist
unknow artist offering the heart, tapestry china oil painting reproduction

offering the heart, tapestry
frist half of the fifteenth century paris, muse'e de cluny
Gemälde IDENTIFIZIERUNG::  64212
5389 ago.
Artist: unknow artist
Painting: offering the heart, tapestry
Information: frist half of the fifteenth century paris, muse'e de cluny

Artist: unknow artist
unknow artist the labours of the months china oil painting reproduction

the labours of the months
from tre's riches heures du duc de berry
Gemälde IDENTIFIZIERUNG::  64209
5389 ago.
Artist: unknow artist
Painting: the labours of the months
Information: from tre's riches heures du duc de berry

Artist: unknow artist
unknow artist comedies of terence china oil painting reproduction

comedies of terence
fifteenth century paris, bib. nat ms lat. 7907
Gemälde IDENTIFIZIERUNG::  64208
5389 ago.
Artist: unknow artist
Painting: comedies of terence
Information: fifteenth century paris, bib. nat ms lat. 7907

Artist: tacuinum sanitatis
tacuinum sanitatis italian tailor's shop china oil painting reproduction

italian tailor's shop
1673 late sixteeth century
Gemälde IDENTIFIZIERUNG::  64203
5389 ago.
Artist: tacuinum sanitatis
Painting: italian tailor's shop
Information: 1673 late sixteeth century

Artist: unknow artist
unknow artist The Martyrdom of St china oil painting reproduction

The Martyrdom of St
11,000 Virgins 1492-1496 Oil on panel Victoria and Albert Museum, London In 1903, the famous art historian J.M. Friedlender attributed the Scenes from the Life of St Ursula, today in the Groeninge Museum, Bruges, to a painter he called the Master of the Legend of St Ursula. He saw this artist as a particularly talented disciple of Hans Memling and Rogier van der Weyden. In 1921 it was proposed that this anonymous artist was one Pieter Casembroot, a painter from Bruges who had apprenticed to Arnout de Mol, before becoming a master himself in 1459, none of whose works had hitherto been identified. Today, this hypothesis is widely accepted. Casembroot's most productive years were those between 1480 and 1500. We also know that, in around 1480, he began to receive so many commissions that he had to follow the example of his more illustrious colleagues and set up a studio in his own name. , Artist: MASTER of the Legend of St. Ursula , The Martyrdom of St. Ursula and the 11,000 Virgins , 1451-1500 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64201
5389 ago.
Artist: unknow artist
Painting: The Martyrdom of St
Information: 11,000 Virgins 1492-1496 Oil on panel Victoria and Albert Museum, London In 1903, the famous art historian J.M. Friedlender attributed the Scenes from the Life of St Ursula, today in the Groeninge Museum, Bruges, to a painter he called the Master of the Legend of St Ursula. He saw this artist as a particularly talented disciple of Hans Memling and Rogier van der Weyden. In 1921 it was proposed that this anonymous artist was one Pieter Casembroot, a painter from Bruges who had apprenticed to Arnout de Mol, before becoming a master himself in 1459, none of whose works had hitherto been identified. Today, this hypothesis is widely accepted. Casembroot's most productive years were those between 1480 and 1500. We also know that, in around 1480, he began to receive so many commissions that he had to follow the example of his more illustrious colleagues and set up a studio in his own name. , Artist: MASTER of the Legend of St. Ursula , The Martyrdom of St. Ursula and the 11,000 Virgins , 1451-1500 , Flemish , painting , religious

Artist: unknow artist
unknow artist Scenes from the Life of St Ursula china oil painting reproduction

Scenes from the Life of St Ursula
Oil on wood Groeninge Museum, Bruges The detail depicts the Massacre by the Huns. Throughout the 15th century - a century of perpetual innovation - the great creative figures of Flemish painting were surrounded by many "minor" artists. These lesser-known painters have often been treated with condescension, merely because they happened to be overshadowed by the major creators. But many of them are no less remarkable on that account. Some of the finest work was also produced by anonymous hands, painters such as the Master of the Legend of St Ursula, and the Master of the Adoration of Khanenko. In their day, these painters were widely celebrated for their achievements. , Artist: MASTER of the Legend of St. Ursula , Scenes from the Life of St Ursula (detail) , 1451-1500 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64199
5389 ago.
Artist: unknow artist
Painting: Scenes from the Life of St Ursula
Information: Oil on wood Groeninge Museum, Bruges The detail depicts the Massacre by the Huns. Throughout the 15th century - a century of perpetual innovation - the great creative figures of Flemish painting were surrounded by many "minor" artists. These lesser-known painters have often been treated with condescension, merely because they happened to be overshadowed by the major creators. But many of them are no less remarkable on that account. Some of the finest work was also produced by anonymous hands, painters such as the Master of the Legend of St Ursula, and the Master of the Adoration of Khanenko. In their day, these painters were widely celebrated for their achievements. , Artist: MASTER of the Legend of St. Ursula , Scenes from the Life of St Ursula (detail) , 1451-1500 , Flemish , painting , religious

Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel Raising of the Cross china oil painting reproduction

Raising of the Cross
1610 Oil on panel, 460 x 150 cm O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. According to tradition, Bishop Amand founded that church - Antwerp's first - some time around 650. He features on the outside of the wings in the company of Walpurgis, a 8th-century saint, who supposedly lived for several years as a hermitess in the church's crypt, before becoming abbess of the convent she founded in Bavaria. In the right shutter, Rubens placed St Eligius, the blacksmith and bishop. Eligius was the patron saint of Antwerp's blacksmiths, who had their altar at St Walpurgis. Catherine of Alexandria stands in front of him with her martyr's sword and palm branch. The prominent position she is given in the altarpiece no doubt had something to do with a special devotion in the church, perhaps a confraternity of St Catherine, of which, however, no details are known. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross: Sts Amand and Walpurgis , 1601-1650 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64194
5390 ago.
Artist: RUBENS, Pieter Pauwel
Painting: Raising of the Cross
Information: 1610 Oil on panel, 460 x 150 cm O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. According to tradition, Bishop Amand founded that church - Antwerp's first - some time around 650. He features on the outside of the wings in the company of Walpurgis, a 8th-century saint, who supposedly lived for several years as a hermitess in the church's crypt, before becoming abbess of the convent she founded in Bavaria. In the right shutter, Rubens placed St Eligius, the blacksmith and bishop. Eligius was the patron saint of Antwerp's blacksmiths, who had their altar at St Walpurgis. Catherine of Alexandria stands in front of him with her martyr's sword and palm branch. The prominent position she is given in the altarpiece no doubt had something to do with a special devotion in the church, perhaps a confraternity of St Catherine, of which, however, no details are known. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross: Sts Amand and Walpurgis , 1601-1650 , Flemish , painting , religious

Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel Raising of the Cross china oil painting reproduction

Raising of the Cross
1610 Oil on panel O.-L. Vrouwekathedraal, Antwerp The picture shows a detail of the left panel of the triptych. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross (detail) , 1601-1650 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64193
5390 ago.
Artist: RUBENS, Pieter Pauwel
Painting: Raising of the Cross
Information: 1610 Oil on panel O.-L. Vrouwekathedraal, Antwerp The picture shows a detail of the left panel of the triptych. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross (detail) , 1601-1650 , Flemish , painting , religious

Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel Raising of the Cross china oil painting reproduction

Raising of the Cross
1610 Oil on panel, 460 x 340 cm (centre panel), 460 x 150 cm (wings) O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. The triptych marked Rubens' sensational introduction of the Baroque style into Northern art. The diagonal composition is full of dynamism and animated colour. The artist had just returned from Italy, with the memory of Michelangelo, Caravaggio and Venetian painting still fresh in his mind. The Raising of the Cross is the perfect summation of the unruly bravura that marked his first years in Antwerp. In the centre nine executioners strain with all their might to raise the cross from which Christ's pale body hangs. The dramatic action is witnessed from the left by St John, the Virgin Mary and a group of weeping women and children. On the right, a Roman officer watches on horseback while soldiers in the background are crucifying the two thieves. In other words, the subject is spread across all three panels. The outside of the wings shows Saints Amand, Walpurgis, Eligius and Catherine of Alexandria. The painting was confiscated by the French in 1794 and taken to Paris. It was returned to Antwerp in 1815, following the defeat of Napoleon, and installed in the church of Our Lady. During restoration in the 1980s, successive layers of varnish, which had form an even grey veil over the painting, were removed. The burgeoning talent of the confident young Rubens is more clearly visible now in the intense emotion of the figures, the contrasting lighting, the glow of the labouring bodies and the gleam of the armour and costly robes. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross , 1601-1650 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64192
5390 ago.
Artist: RUBENS, Pieter Pauwel
Painting: Raising of the Cross
Information: 1610 Oil on panel, 460 x 340 cm (centre panel), 460 x 150 cm (wings) O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. The triptych marked Rubens' sensational introduction of the Baroque style into Northern art. The diagonal composition is full of dynamism and animated colour. The artist had just returned from Italy, with the memory of Michelangelo, Caravaggio and Venetian painting still fresh in his mind. The Raising of the Cross is the perfect summation of the unruly bravura that marked his first years in Antwerp. In the centre nine executioners strain with all their might to raise the cross from which Christ's pale body hangs. The dramatic action is witnessed from the left by St John, the Virgin Mary and a group of weeping women and children. On the right, a Roman officer watches on horseback while soldiers in the background are crucifying the two thieves. In other words, the subject is spread across all three panels. The outside of the wings shows Saints Amand, Walpurgis, Eligius and Catherine of Alexandria. The painting was confiscated by the French in 1794 and taken to Paris. It was returned to Antwerp in 1815, following the defeat of Napoleon, and installed in the church of Our Lady. During restoration in the 1980s, successive layers of varnish, which had form an even grey veil over the painting, were removed. The burgeoning talent of the confident young Rubens is more clearly visible now in the intense emotion of the figures, the contrasting lighting, the glow of the labouring bodies and the gleam of the armour and costly robes. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross , 1601-1650 , Flemish , painting , religious

Artist: unknow artist
unknow artist The Annunciation china oil painting reproduction

The Annunciation
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64183
5391 ago.
Artist: unknow artist
Painting: The Annunciation
Information: 1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious

Artist: unknow artist
unknow artist Calvary china oil painting reproduction

Calvary
1400 Oak, 70,5 x 141 cm Groeninge Museum, Bruges The immense growth and renewal of painting as an artistic medium that occurred in the Southern Netherlands from around 1425-30 meant that most existing altarpieces were gradually replaced. Examples of fourteenth- or even early fifteenth-century panel painting are thus extremely scarce. One such work, from around 1400, is the Crucifixion with Saint Catherine and Saint Barbara, also known as the 'Tanners' Crucifixion', because it probably once belonged to the Bruges tanners' guild. It is one of the very few well-preserved examples of local Flemish painting in the Gothic International Style, which conquered Europe with its courtly and artful grace, elegant curves and decorative linearism. Tightly knit groups of figures are arranged on either side of the Cross in matching curved formations. The Virgin and Saint John form the nucleus of the group on the left, while the centurion and high priest do the same on the right. The sky is an unreal, golden plane with decorative motifs in relief. The painting is a 'chest retable', so called because the lid folds up to reveal a blue painted surface showing a geometric, starry sky. It is often held up as an exemplar of Bruges painting before Van Eyck, even though it could equally well have been produced in Brabant. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1401-1450 , Flemish , painting , religious
Gemälde IDENTIFIZIERUNG::  64181
5392 ago.
Artist: unknow artist
Painting: Calvary
Information: 1400 Oak, 70,5 x 141 cm Groeninge Museum, Bruges The immense growth and renewal of painting as an artistic medium that occurred in the Southern Netherlands from around 1425-30 meant that most existing altarpieces were gradually replaced. Examples of fourteenth- or even early fifteenth-century panel painting are thus extremely scarce. One such work, from around 1400, is the Crucifixion with Saint Catherine and Saint Barbara, also known as the 'Tanners' Crucifixion', because it probably once belonged to the Bruges tanners' guild. It is one of the very few well-preserved examples of local Flemish painting in the Gothic International Style, which conquered Europe with its courtly and artful grace, elegant curves and decorative linearism. Tightly knit groups of figures are arranged on either side of the Cross in matching curved formations. The Virgin and Saint John form the nucleus of the group on the left, while the centurion and high priest do the same on the right. The sky is an unreal, golden plane with decorative motifs in relief. The painting is a 'chest retable', so called because the lid folds up to reveal a blue painted surface showing a geometric, starry sky. It is often held up as an exemplar of Bruges painting before Van Eyck, even though it could equally well have been produced in Brabant. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1401-1450 , Flemish , painting , religious

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Gemälde:: people --> Style:: religious

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