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VORHERIGER  1  2  3  4  5  6  7  8  9  10  11  12  13  14  15  16  17  18  19  20  NÄCHSTER  (Displayed as nearest added time.)
Artist: GIuseppe Cesari Called Cavaliere arpino
GIuseppe Cesari Called Cavaliere arpino Diana and Actaeon china oil painting reproduction

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
Gemälde IDENTIFIZIERUNG::  62380
5563 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: Caravaggio
Caravaggio St Jerome 1607 Oil on canvas china oil painting reproduction

St Jerome 1607 Oil on canvas
117 x 157 cm St John Museum, La Valletta This picture of the holy scholar was made for Ippolito Malaspina, a Maltese knight whose coat of arms is on the wooden panel to the right. He was connected by marriage to Caravaggio's patron Ottavio Costa and was a confidant of the Grand Master, who may have been used as the model for the saint (similarly Van Dyck was to use the sister of the Queen of England as model for the Madonna). The saint does indeed look like the knight in a recently discovered portrait by Caravaggio, who has been identified by some as Wignacourt himself. The composition is planned in terms of triangles. One rises from the table to the saint's head, another has its apex at the cardinal's hat on the wall to the left, a third recedes to the bedstead at the back on the right. This simple design helps convey an idea of simplicity. St Jerome has no halo, his workbench is rudimentary, he does not own any folios, he has one candle to see by, a crucifix to meditate on, a stone to beat against his chest, and a skull to remind him of his mortality. He is partly naked because he lives an eremitical life in the desert of Judaea. A steady light shines on his torso and picks out the red cloak round his legs. The source of the light is outside the picture, and can be interpreted as Christ, Light of the World
Gemälde IDENTIFIZIERUNG::  62377
5565 ago.
Artist: Caravaggio
Painting: St Jerome 1607 Oil on canvas
Information: 117 x 157 cm St John Museum, La Valletta This picture of the holy scholar was made for Ippolito Malaspina, a Maltese knight whose coat of arms is on the wooden panel to the right. He was connected by marriage to Caravaggio's patron Ottavio Costa and was a confidant of the Grand Master, who may have been used as the model for the saint (similarly Van Dyck was to use the sister of the Queen of England as model for the Madonna). The saint does indeed look like the knight in a recently discovered portrait by Caravaggio, who has been identified by some as Wignacourt himself. The composition is planned in terms of triangles. One rises from the table to the saint's head, another has its apex at the cardinal's hat on the wall to the left, a third recedes to the bedstead at the back on the right. This simple design helps convey an idea of simplicity. St Jerome has no halo, his workbench is rudimentary, he does not own any folios, he has one candle to see by, a crucifix to meditate on, a stone to beat against his chest, and a skull to remind him of his mortality. He is partly naked because he lives an eremitical life in the desert of Judaea. A steady light shines on his torso and picks out the red cloak round his legs. The source of the light is outside the picture, and can be interpreted as Christ, Light of the World

Artist: Caravaggio
Caravaggio St Francis c. 1606 Oil on canvas china oil painting reproduction

St Francis c. 1606 Oil on canvas
125 x 93 cm Galleria Nazionale d'Arte Antica, Rome The founder of the Franciscan Order was the first person to experience the miracle of stigmatization of his own body. In other words, he was marked out by Christ's wounds. Here he is reduced to the ideal state of penance in the wilderness - a state equally valid for saints and pious people. Caravaggio shows no sign of reinterpreting the story unconventionally. His rather traditional approach may derive from the fact that the composition is probably a commission from the papal family. They owned the township known as Carpineto, from where an almost identical second version, stored at present in the Palazzo Venezia, Rome, originated. Stylistically, the painting is very closely related to the Brera Supper in Emmaus, which was probably painted in Latium
Gemälde IDENTIFIZIERUNG::  62376
5565 ago.
Artist: Caravaggio
Painting: St Francis c. 1606 Oil on canvas
Information: 125 x 93 cm Galleria Nazionale d'Arte Antica, Rome The founder of the Franciscan Order was the first person to experience the miracle of stigmatization of his own body. In other words, he was marked out by Christ's wounds. Here he is reduced to the ideal state of penance in the wilderness - a state equally valid for saints and pious people. Caravaggio shows no sign of reinterpreting the story unconventionally. His rather traditional approach may derive from the fact that the composition is probably a commission from the papal family. They owned the township known as Carpineto, from where an almost identical second version, stored at present in the Palazzo Venezia, Rome, originated. Stylistically, the painting is very closely related to the Brera Supper in Emmaus, which was probably painted in Latium

Artist: Caravaggio
Caravaggio St John the Baptist china oil painting reproduction

St John the Baptist
94 x 131 cm Galleria Nazionale d'Arte Antica, Rome In around 1605 Caravaggio dealt with St. John the Baptist in two splendid compositions, one in the Kansas City Gallery, the other in the Galleria Nazionale di Arte Antica in Rome. The former is laid out vertically, the latter horizontally. Both lend themselves to a modernistic reading aimed at pointing out a certain air between contempt and arrogance. In effect what we are dealing with here are splendid exercises in modeling the body through the play of light and shadow. In the version now in Kansas City, the figure is set before a dense curtain of plants; in that in Rome, there is only the trunk of a cypress tree, on the left. Both are admirable feats of painting, and it is understandable that collectors competed with each other for the artist's works. Caravaggio in turn knew how to make apparently uninteresting religious themes into paintings desirable even for his aristocratic patrons.
Gemälde IDENTIFIZIERUNG::  62375
5565 ago.
Artist: Caravaggio
Painting: St John the Baptist
Information: 94 x 131 cm Galleria Nazionale d'Arte Antica, Rome In around 1605 Caravaggio dealt with St. John the Baptist in two splendid compositions, one in the Kansas City Gallery, the other in the Galleria Nazionale di Arte Antica in Rome. The former is laid out vertically, the latter horizontally. Both lend themselves to a modernistic reading aimed at pointing out a certain air between contempt and arrogance. In effect what we are dealing with here are splendid exercises in modeling the body through the play of light and shadow. In the version now in Kansas City, the figure is set before a dense curtain of plants; in that in Rome, there is only the trunk of a cypress tree, on the left. Both are admirable feats of painting, and it is understandable that collectors competed with each other for the artist's works. Caravaggio in turn knew how to make apparently uninteresting religious themes into paintings desirable even for his aristocratic patrons.

Artist: CEREZO, Mateo
CEREZO, Mateo Ecce Homo china oil painting reproduction

Ecce Homo
98 x 75 cm Museum of Fine Arts, Budapest This painting shows the influence of Van Dyck, both the colours and the composition is close to the Flemish Baroque painting. However, its pathos and sentimentality relate it to contemporary Spanish religious painting
Gemälde IDENTIFIZIERUNG::  62365
5568 ago.
Artist: CEREZO, Mateo
Painting: Ecce Homo
Information: 98 x 75 cm Museum of Fine Arts, Budapest This painting shows the influence of Van Dyck, both the colours and the composition is close to the Flemish Baroque painting. However, its pathos and sentimentality relate it to contemporary Spanish religious painting

Artist: GRECO, El
GRECO, El An Allegory with china oil painting reproduction

An Allegory with
1577-79 Oil on canvas, 65 x 90 cm Private collection The central figure is closely based on El Greco's earlier painting of a Boy Blowing on an Ember in Naples but the scene has been enlarged to include another male figure, wearing a yellow jacket and red cap, and a chained monkey, who emerges from the darkness on the left to look over the boy's shoulder. The composition, known in two other autograph versions (one of similar size in Edinburgh from around 1590, and another smaller and later in the Prado from around 1600), has usually been interpreted as an allegory with some sort of moralising intent; it is unlikely that it was conceived simply as a genre scene. It bears the traditional title 'F?bula', meaning fable or story. Author: GRECO, El Title: An Allegory with a Boy Lighting a Candle in the Company of an Ape and a Fool (F?bula) , 1551-1600 , Spanish Form: painting , genre
Gemälde IDENTIFIZIERUNG::  62353
5570 ago.
Artist: GRECO, El
Painting: An Allegory with
Information: 1577-79 Oil on canvas, 65 x 90 cm Private collection The central figure is closely based on El Greco's earlier painting of a Boy Blowing on an Ember in Naples but the scene has been enlarged to include another male figure, wearing a yellow jacket and red cap, and a chained monkey, who emerges from the darkness on the left to look over the boy's shoulder. The composition, known in two other autograph versions (one of similar size in Edinburgh from around 1590, and another smaller and later in the Prado from around 1600), has usually been interpreted as an allegory with some sort of moralising intent; it is unlikely that it was conceived simply as a genre scene. It bears the traditional title 'F?bula', meaning fable or story. Author: GRECO, El Title: An Allegory with a Boy Lighting a Candle in the Company of an Ape and a Fool (F?bula) , 1551-1600 , Spanish Form: painting , genre

Artist: GRECO, El
GRECO, El Christ c china oil painting reproduction

Christ c
98 x 78 cm Cathedral, Toledo This painting belongs to the series of Apostles (Apostolodos) in the Toledo Cathedral. Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious
Gemälde IDENTIFIZIERUNG::  62341
5572 ago.
Artist: GRECO, El
Painting: Christ c
Information: 98 x 78 cm Cathedral, Toledo This painting belongs to the series of Apostles (Apostolodos) in the Toledo Cathedral. Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious

Artist: GRECO, El
GRECO, El St Ildefonso china oil painting reproduction

St Ildefonso
112 x 65 cm National Gallery of Art, Washington This is a smaller replica of the picture in the Hospital de la Caridad in Illescas. It belonged once to the painter Jean Francois Millet, and later to Edgar Degas. The original painting is in the side altar on the left of the main chapel of the church, balancing the Virgin of Charity. Its original place in the church is not known. The painting is not mentioned in the incomplete documentation for the decoration of the chapel, and if, as is probable, it was not painted at the same time, it cannot date much before June 1603, the date of the contract, and was more likely painted soon after the conclusion of litigation in August 1607. In its present position, it makes a grand pair to the Virgin of Charity, and is one of the most splendid of his 'portraits' of Saints. It is difficult, and perhaps not proper, to separate his portraits of Saints from his actual portraits. In both he employs all his means of spiritual or psychological expression. The legend is that Saint Ildefonso, the first Bishop of Toledo, presented an image of the Virgin of the Mantle to a foundation of his in Illescas. The Saint is portrayed before the same image, as he wrote his dissertation on the Purity of the Virgin. The state of inspiration is brilliantly expressed. There is an infinite distinction in expression between the hand poised with the pen in this 'portrait' and the similar motif in the portrait of his son. Author: GRECO, El Title: St Ildefonso , 1551-1600 , Spanish Form: painting , religious
Gemälde IDENTIFIZIERUNG::  62340
5572 ago.
Artist: GRECO, El
Painting: St Ildefonso
Information: 112 x 65 cm National Gallery of Art, Washington This is a smaller replica of the picture in the Hospital de la Caridad in Illescas. It belonged once to the painter Jean Francois Millet, and later to Edgar Degas. The original painting is in the side altar on the left of the main chapel of the church, balancing the Virgin of Charity. Its original place in the church is not known. The painting is not mentioned in the incomplete documentation for the decoration of the chapel, and if, as is probable, it was not painted at the same time, it cannot date much before June 1603, the date of the contract, and was more likely painted soon after the conclusion of litigation in August 1607. In its present position, it makes a grand pair to the Virgin of Charity, and is one of the most splendid of his 'portraits' of Saints. It is difficult, and perhaps not proper, to separate his portraits of Saints from his actual portraits. In both he employs all his means of spiritual or psychological expression. The legend is that Saint Ildefonso, the first Bishop of Toledo, presented an image of the Virgin of the Mantle to a foundation of his in Illescas. The Saint is portrayed before the same image, as he wrote his dissertation on the Purity of the Virgin. The state of inspiration is brilliantly expressed. There is an infinite distinction in expression between the hand poised with the pen in this 'portrait' and the similar motif in the portrait of his son. Author: GRECO, El Title: St Ildefonso , 1551-1600 , Spanish Form: painting , religious

Artist: GRECO, El
GRECO, El St John the Evangelist china oil painting reproduction

St John the Evangelist
90 x 77 cm Museo del Prado, Madrid There is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. Author: GRECO, El Title: St John the Evangelist , 1551-1600 , Spanish Form: painting , religious
Gemälde IDENTIFIZIERUNG::  62330
5575 ago.
Artist: GRECO, El
Painting: St John the Evangelist
Information: 90 x 77 cm Museo del Prado, Madrid There is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. Author: GRECO, El Title: St John the Evangelist , 1551-1600 , Spanish Form: painting , religious

Artist: Diego Velazquez
Diego Velazquez Prince Baltasar Carlos with the Count china oil painting reproduction

Prince Baltasar Carlos with the Count
Duke of Olivares at the Royal Mews (detail) c. 1636 Oil on canvas Collection of the Duke of Westminster, London The Count-Duke of Olivares stands in the middle ground to the right of the picture, with his master-at-arms; figures on the balcony above him include Philip IV, Queen Isabel and several courtiers who cannot be identified for certain
Gemälde IDENTIFIZIERUNG::  62310
5579 ago.
Artist: Diego Velazquez
Painting: Prince Baltasar Carlos with the Count
Information: Duke of Olivares at the Royal Mews (detail) c. 1636 Oil on canvas Collection of the Duke of Westminster, London The Count-Duke of Olivares stands in the middle ground to the right of the picture, with his master-at-arms; figures on the balcony above him include Philip IV, Queen Isabel and several courtiers who cannot be identified for certain

Artist: Harold Gilman
Harold Gilman The Entombment china oil painting reproduction

The Entombment
1670-73 Painted and gilt wood Hospital de la Caridad, Seville The Brotherhood of Charity, the Caridad, as it is known, was one of Seville's major lay confraternities. It was founded in 1565 with the mission of providing a decent burial for paupers. From 1663 the charitable activities were expanded to provide care for the needy sick, and a hospital was built, simultaneously enlarging and renovating the already existing chapel. The scheme for the decoration of the chapel is a tripartite exposition of Christian charity as the way of salvation. The first part comprises two memorable paintings by Vald?s Leal, demonstrating the futility of earthly pursuits and honours. A life devoted to accumulating wealth, power, and even learning is shown to lead only to the grave. Charity, which constitutes the second part of the program, provides the way to salvation, as seen in the seven acts of mercy, six of which are depicted by Murillo; the seventh, burying the dead, the Caridad's foundation charity, is embodied in a sculptural group, the Entombment of Christ by Pedro Rold?n, placed in the altarpiece. The third component consists of two paintings by Murillo for lateral altars, depicting St Elizabeth of Hungary and St John of God, both illustrating the efficacy of good works and the necessity of personal participation in charitable deeds. The picture shows a detail of Rold?n's Entombment group. In seventeenth-century Spain the economic crisis had the effect of intensifying religion and bringing it closer to the people. Spanish sculpture of this period, nearly always in brightly coloured wood, treated the various figures of the Passion singly, in isolation, with the devoutness of a miracle play, thus bringing about an unexpected return to the cultural atmosphere of the Middle Ages. Rold?n's sculptural group is an example of this style
Gemälde IDENTIFIZIERUNG::  62299
5582 ago.
Artist: Harold Gilman
Painting: The Entombment
Information: 1670-73 Painted and gilt wood Hospital de la Caridad, Seville The Brotherhood of Charity, the Caridad, as it is known, was one of Seville's major lay confraternities. It was founded in 1565 with the mission of providing a decent burial for paupers. From 1663 the charitable activities were expanded to provide care for the needy sick, and a hospital was built, simultaneously enlarging and renovating the already existing chapel. The scheme for the decoration of the chapel is a tripartite exposition of Christian charity as the way of salvation. The first part comprises two memorable paintings by Vald?s Leal, demonstrating the futility of earthly pursuits and honours. A life devoted to accumulating wealth, power, and even learning is shown to lead only to the grave. Charity, which constitutes the second part of the program, provides the way to salvation, as seen in the seven acts of mercy, six of which are depicted by Murillo; the seventh, burying the dead, the Caridad's foundation charity, is embodied in a sculptural group, the Entombment of Christ by Pedro Rold?n, placed in the altarpiece. The third component consists of two paintings by Murillo for lateral altars, depicting St Elizabeth of Hungary and St John of God, both illustrating the efficacy of good works and the necessity of personal participation in charitable deeds. The picture shows a detail of Rold?n's Entombment group. In seventeenth-century Spain the economic crisis had the effect of intensifying religion and bringing it closer to the people. Spanish sculpture of this period, nearly always in brightly coloured wood, treated the various figures of the Passion singly, in isolation, with the devoutness of a miracle play, thus bringing about an unexpected return to the cultural atmosphere of the Middle Ages. Rold?n's sculptural group is an example of this style

Artist: Sandro Botticelli
Sandro Botticelli St. Augustine china oil painting reproduction

St. Augustine
mk281 1480
Gemälde IDENTIFIZIERUNG::  62217
5591 ago.
Artist: Sandro Botticelli
Painting: St. Augustine
Information: mk281 1480

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