Wholesale China Oil Painting Frame Mirror Moulding

Oil Paintings & Talent Artists Direct from Oil Painting Studio
Painting:: portrait         TOP100
Prev  81  82  83  84  85  86  87  88  89  90  91  92  93  94  95  96  97  98  99  100  Next


      Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio The Sistine Madonna oil painting picture wholesale

The Sistine Madonna
1513-14 Oil on canvas Gem?ldegalerie, Dresden Generations of visitors to the Gem?ldegalerie in Dresden have been deeply impressed by the way in which Raphael portrayed the Madonna in this painting. It has been reproduced over and over again, and almost everyone is familiar with the putti leaning on the balustrade.Artist:RAFFAELLO Sanzio Title: The Sistine Madonna (detail) Painted in 1501-1550 , Italian - - painting : religious
Painting ID::  63779
5417 ago.
Artist: RAFFAELLO Sanzio
Painting: The Sistine Madonna
Information: 1513-14 Oil on canvas Gem?ldegalerie, Dresden Generations of visitors to the Gem?ldegalerie in Dresden have been deeply impressed by the way in which Raphael portrayed the Madonna in this painting. It has been reproduced over and over again, and almost everyone is familiar with the putti leaning on the balustrade.Artist:RAFFAELLO Sanzio Title: The Sistine Madonna (detail) Painted in 1501-1550 , Italian - - painting : religious

 

 

 
 

 

 

 
      Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Cardinal Tommaso Inghirami oil painting picture wholesale

Cardinal Tommaso Inghirami
1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait
Painting ID::  63777
5417 ago.
Artist: RAFFAELLO Sanzio
Painting: Cardinal Tommaso Inghirami
Information: 1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait

 

 

 
 

 

 

 
      Artist: STROZZI, Bernardo
STROZZI, Bernardo David with the Head of Goliath oil painting picture wholesale

David with the Head of Goliath
1635 Oil on canvas, 132,5 x 100 cm The Hermitage, St. PetersburgArtist:STROZZI, Bernardo Title: David with the Head of Goliath Painted in 1601-1650 , Italian - - painting : religious
Painting ID::  63775
5418 ago.
Artist: STROZZI, Bernardo
Painting: David with the Head of Goliath
Information: 1635 Oil on canvas, 132,5 x 100 cm The Hermitage, St. PetersburgArtist:STROZZI, Bernardo Title: David with the Head of Goliath Painted in 1601-1650 , Italian - - painting : religious

 

 

 
 

 

 

 
      Artist: STROZZI, Bernardo
STROZZI, Bernardo Berenice - Oil on canvas Galleria d'Arte Antica oil painting picture wholesale

Berenice - Oil on canvas Galleria d'Arte Antica
UdineArtist:STROZZI, Bernardo Title: Berenice Painted in 1601-1650 , Italian - - painting : mythological
Painting ID::  63774
5418 ago.
Artist: STROZZI, Bernardo
Painting: Berenice - Oil on canvas Galleria d'Arte Antica
Information: UdineArtist:STROZZI, Bernardo Title: Berenice Painted in 1601-1650 , Italian - - painting : mythological

 

 

 
 

 

 

 
      Artist: HALS, Frans
HALS, Frans Catharina Hooft with her Nurse oil painting picture wholesale

Catharina Hooft with her Nurse
1619-20 Oil on canvas Staatliche Museen, BerlinArtist:HALS, Frans Title: Catharina Hooft with her Nurse (detail) Painted in 1601-1650 , Dutch - - painting : portrait
Painting ID::  63771
5419 ago.
Artist: HALS, Frans
Painting: Catharina Hooft with her Nurse
Information: 1619-20 Oil on canvas Staatliche Museen, BerlinArtist:HALS, Frans Title: Catharina Hooft with her Nurse (detail) Painted in 1601-1650 , Dutch - - painting : portrait

 

 

 
 

 

 

 
      Artist: Giovanni Battista Tiepolo
Giovanni Battista Tiepolo The Banquet of Cleopatra oil painting picture wholesale

The Banquet of Cleopatra
1746-47 Fresco Palazzo Labia, Venice For the face of Anthony Tiepolo fell back on a type of portrait which he often used in other contexts, e. g. for the god of war, Mars. This section lets us see the detailed rendering of the ornamental decoration on the armor and helmet, thus demonstrating the importance Tiepolo assigned to such apparently insignificant details.Artist:TIEPOLO, Giovanni Battista Title: The Banquet of Cleopatra (detail) Painted in 1701-1750 , Italian - - painting : historical
Painting ID::  63770
5419 ago.
Artist: Giovanni Battista Tiepolo
Painting: The Banquet of Cleopatra
Information: 1746-47 Fresco Palazzo Labia, Venice For the face of Anthony Tiepolo fell back on a type of portrait which he often used in other contexts, e. g. for the god of war, Mars. This section lets us see the detailed rendering of the ornamental decoration on the armor and helmet, thus demonstrating the importance Tiepolo assigned to such apparently insignificant details.Artist:TIEPOLO, Giovanni Battista Title: The Banquet of Cleopatra (detail) Painted in 1701-1750 , Italian - - painting : historical

 

 

 
 

 

 

 
      Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait of Philip the Good oil painting picture wholesale

Portrait of Philip the Good
1520 Oil on oak panel, 29 x 21 cm Staatliche Museen, Berlin This panel is one of the many copies of a portrait of the duke painted by Rogier van der Weyden probably around 1450, or soon after. The duke, who was just over 50 at the time, wears the chain of the Order of the Golden Fleece, its links representing the flints and steels used to make fire.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait
Painting ID::  63762
5420 ago.
Artist: WEYDEN, Rogier van der
Painting: Portrait of Philip the Good
Information: 1520 Oil on oak panel, 29 x 21 cm Staatliche Museen, Berlin This panel is one of the many copies of a portrait of the duke painted by Rogier van der Weyden probably around 1450, or soon after. The duke, who was just over 50 at the time, wears the chain of the Order of the Golden Fleece, its links representing the flints and steels used to make fire.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Portrait of a Young Girl oil painting picture wholesale

Portrait of a Young Girl
1507 Oil on panel tranferred from parchment, 30 x 20 cm Staatliche Museen, Berlin This small painting was in the collection of the Imhoff family of Nuremberg, and cited in their inventory from 1573-74 until 1628. In 1633, it was handed over, with the title Portrait of a Young Girl, with other works by D?rer, to Abraham Bloemart, an artist and merchant from Amsterdam. In 1899, the portrait reappears in London, and the firm P. and D. Colnaghi donated it to the Berlin art gallery. The delicate girl is portrayed with soft, curly blond hair, slightly dreamy her eyes, one somewhat lower than the other, a gentle, melancholic gaze; and well-defined, slightly parted lips. The red beret, worn sideways, with a little slit to the side, with a long red ruby and black pearl pendant, gives her a slightly cheeky air. The square green border of the red bodice sets off the upper part of her body. All these details put together have led to various interpretations. In addition to the fact that the "girl," when sold by the Imhoffs, was transformed into a "boy," Panofsky (1955) attributes an androgynous nature to her that could reveal the possible homosexual tendencies of the artist. A teasing letter of 1507 from the canonical Lorenz Behaim of Bamberg and the fact that the portrait does not seem to have been ordered would support this hypothesis. It has also been debated whether the painting was executed in Venice or after D?rer's return to Nuremberg. Considering the clothing to be typically German, there is no doubt as to its provenance.Artist:D?RER, Albrecht Title: Portrait of a Young Girl Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63749
5420 ago.
Artist: Albrecht Durer
Painting: Portrait of a Young Girl
Information: 1507 Oil on panel tranferred from parchment, 30 x 20 cm Staatliche Museen, Berlin This small painting was in the collection of the Imhoff family of Nuremberg, and cited in their inventory from 1573-74 until 1628. In 1633, it was handed over, with the title Portrait of a Young Girl, with other works by D?rer, to Abraham Bloemart, an artist and merchant from Amsterdam. In 1899, the portrait reappears in London, and the firm P. and D. Colnaghi donated it to the Berlin art gallery. The delicate girl is portrayed with soft, curly blond hair, slightly dreamy her eyes, one somewhat lower than the other, a gentle, melancholic gaze; and well-defined, slightly parted lips. The red beret, worn sideways, with a little slit to the side, with a long red ruby and black pearl pendant, gives her a slightly cheeky air. The square green border of the red bodice sets off the upper part of her body. All these details put together have led to various interpretations. In addition to the fact that the "girl," when sold by the Imhoffs, was transformed into a "boy," Panofsky (1955) attributes an androgynous nature to her that could reveal the possible homosexual tendencies of the artist. A teasing letter of 1507 from the canonical Lorenz Behaim of Bamberg and the fact that the portrait does not seem to have been ordered would support this hypothesis. It has also been debated whether the painting was executed in Venice or after D?rer's return to Nuremberg. Considering the clothing to be typically German, there is no doubt as to its provenance.Artist:D?RER, Albrecht Title: Portrait of a Young Girl Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Emperor Maximilian I oil painting picture wholesale

Emperor Maximilian I
1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63748
5420 ago.
Artist: Albrecht Durer
Painting: Emperor Maximilian I
Information: 1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Portrait of Michael Wolgemut oil painting picture wholesale

Portrait of Michael Wolgemut
1516 Oil and tempera on lindenwood, 29 x 27 cm Germanisches Nationalmuseum, Nuremberg After he had achieved great fame, D?rer depicted the master who had taught him to paint. On it he inscribed: `This portrait was done by Albrecht D?rer of his teacher, Michael Wolgemut, in 1516', to which he later added, `and he was 82 years old, and he lived until 1519, when he departed this life on St Andrew's Day morning before sunrise.' It is unclear from the inscription whether Wolgemut was 82 when he died or when the portrait had been painted three years earlier. Michael Wolgemut (1434/7-1519) had one of the largest artist's workshops in Germany. D?rer had served his apprenticeship there from 1486 until 1489 and Wolgemut must have been proud to have witnessed his former pupil's rapid success. In D?rer's portrait, everything is focused on the head, set against a neutral green background. The old man's features are not disguised, from his sunken eyes and gaunt cheeks to the loose skin around his neck. Wolgemut wears a fur-lined coat and a simple hat or scarf, perhaps the headgear he would have worn in his workshop to keep off the dust. His eyes are still alert and he has a thoughtful expression. D?rer does not depict a pitiable man, but marvels at his indomitable spirit.Artist:D?RER, Albrecht Title: Portrait of Michael Wolgemut Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63747
5421 ago.
Artist: Albrecht Durer
Painting: Portrait of Michael Wolgemut
Information: 1516 Oil and tempera on lindenwood, 29 x 27 cm Germanisches Nationalmuseum, Nuremberg After he had achieved great fame, D?rer depicted the master who had taught him to paint. On it he inscribed: `This portrait was done by Albrecht D?rer of his teacher, Michael Wolgemut, in 1516', to which he later added, `and he was 82 years old, and he lived until 1519, when he departed this life on St Andrew's Day morning before sunrise.' It is unclear from the inscription whether Wolgemut was 82 when he died or when the portrait had been painted three years earlier. Michael Wolgemut (1434/7-1519) had one of the largest artist's workshops in Germany. D?rer had served his apprenticeship there from 1486 until 1489 and Wolgemut must have been proud to have witnessed his former pupil's rapid success. In D?rer's portrait, everything is focused on the head, set against a neutral green background. The old man's features are not disguised, from his sunken eyes and gaunt cheeks to the loose skin around his neck. Wolgemut wears a fur-lined coat and a simple hat or scarf, perhaps the headgear he would have worn in his workshop to keep off the dust. His eyes are still alert and he has a thoughtful expression. D?rer does not depict a pitiable man, but marvels at his indomitable spirit.Artist:D?RER, Albrecht Title: Portrait of Michael Wolgemut Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Self-Portrait in a Fur-Collared Robe oil painting picture wholesale

Self-Portrait in a Fur-Collared Robe
1500 Oil on lime panel, 67,1 x 48,7 cm Alte Pinakothek, Munich The last of D?rer's three magnificent self-portraits was painted early in 1500, before his 29th birthday on 21 May. The picture is proudly inscribed: `Thus I, Albrecht D?rer from Nuremburg, painted myself with indelible colours at the age of 28 years.' It is a sombre image, painted primarily in browns, set against a plain dark background. The face is striking for its resemblance to the head of Christ. In late medieval art, Jesus was traditionally presented in this manner, looking straight ahead in a symmetrical pose. Christ's brown hair in these images is parted towards the middle and falls over the shoulders. For the first and last time in Western art history, an artist was to portray himself in a Christ-like scheme. Given his idealized appearance as the underdrawing shows, his nose was originally irregular in shape - D?rer is approaching us in "imitatio Christi", in imitation of Christ. He has a short beard and moustache. D?rer has even painted himself with brown hair, although the other self-portraits show that it was actually reddish-blond. D?rer deliberately set out to create a Christ-like image, with his hand raised to his chest almost in a pose of blessing. But this was no gesture of arrogance or blasphemy. It was a statement of faith: Christ was the son of God and God had created Man. For D?rer, the painting was an acknowledgment that artistic skills were a God-given talent. However, D?rer has subtly departed from the traditional image of Christ in his self-portrait. Despite initial appearances, the picture is not quite symmetrical. The head lies just off the centre of the panel to the right and the parting of the hair is not exactly in the middle, with the strands of hair falling a little differently on the two sides. The eyes stare slightly towards the left of the panel. D?rer also wears contemporary clothing, a fashionable fur-lined mantle. The result is a highly personal image, one whose `indelible colours' still influence the way we imagine D?rer looked in his later years. The deceptive illusionism in which the picture is painted is also, however, a reference to the classical artistic legend about Apelles, with whom he had been compared by contemporary humanists.Artist:D?RER, Albrecht Title: Self-Portrait in a Fur-Collared Robe Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63738
5421 ago.
Artist: Albrecht Durer
Painting: Self-Portrait in a Fur-Collared Robe
Information: 1500 Oil on lime panel, 67,1 x 48,7 cm Alte Pinakothek, Munich The last of D?rer's three magnificent self-portraits was painted early in 1500, before his 29th birthday on 21 May. The picture is proudly inscribed: `Thus I, Albrecht D?rer from Nuremburg, painted myself with indelible colours at the age of 28 years.' It is a sombre image, painted primarily in browns, set against a plain dark background. The face is striking for its resemblance to the head of Christ. In late medieval art, Jesus was traditionally presented in this manner, looking straight ahead in a symmetrical pose. Christ's brown hair in these images is parted towards the middle and falls over the shoulders. For the first and last time in Western art history, an artist was to portray himself in a Christ-like scheme. Given his idealized appearance as the underdrawing shows, his nose was originally irregular in shape - D?rer is approaching us in "imitatio Christi", in imitation of Christ. He has a short beard and moustache. D?rer has even painted himself with brown hair, although the other self-portraits show that it was actually reddish-blond. D?rer deliberately set out to create a Christ-like image, with his hand raised to his chest almost in a pose of blessing. But this was no gesture of arrogance or blasphemy. It was a statement of faith: Christ was the son of God and God had created Man. For D?rer, the painting was an acknowledgment that artistic skills were a God-given talent. However, D?rer has subtly departed from the traditional image of Christ in his self-portrait. Despite initial appearances, the picture is not quite symmetrical. The head lies just off the centre of the panel to the right and the parting of the hair is not exactly in the middle, with the strands of hair falling a little differently on the two sides. The eyes stare slightly towards the left of the panel. D?rer also wears contemporary clothing, a fashionable fur-lined mantle. The result is a highly personal image, one whose `indelible colours' still influence the way we imagine D?rer looked in his later years. The deceptive illusionism in which the picture is painted is also, however, a reference to the classical artistic legend about Apelles, with whom he had been compared by contemporary humanists.Artist:D?RER, Albrecht Title: Self-Portrait in a Fur-Collared Robe Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Self-Portrait at 26 oil painting picture wholesale

Self-Portrait at 26
1498 Oil on panel, 52 x 41 cm Museo del Prado, Madrid This self portrait is dated 1498 and inscribed: `I have thus painted myself. I was 26 years old. Albrecht D?rer.' Since the artist turned 27 on the 21 May, the picture must date from the beginning of the year. The artist's pose is self confident, showing him standing upright and turning slightly to lean his right arm on a ledge. D?rer's figure fills the picture, with his hat almost touching the top. His face and neck glow from the light streaming into the room and his long curly hair is painstakingly depicted. Unlike his earlier self portrait, he now has a proper beard, which was then unusual among young men. Nine years later D?rer wrote an ironic poem in which he described himself as `the painter with the hairy beard'. The artist's clothing is flamboyant. His elegant jacket is edged with black and beneath this he wears a white, pleated shirt, embroidered along the neckline. His jaunty hat is striped, to match the jacket. Over his left shoulder hangs a light-brown cloak, tied around his neck with a twisted cord. He wears fine kid gloves. Inside the room is a tall archway, partly framing D?rer's head, and to the right a window opens out onto an exquisite landscape. Green fields give way to a tree-ringed lake and beyond are snow-capped mountains, probably a reminder of D?rer's journey over the Alps three years earlier. Depicting a distant landscape, viewed through a window, was a device borrowed from Netherlandish portraiture. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?rer, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?rer insists on above all else is his dignity, and this was a quality that he allowed to others too. This picture was acquired by Charles I of England and later bought by Philip IV of Spain.Artist:D?RER, Albrecht Title: Self-Portrait at 26 Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63730
5423 ago.
Artist: Albrecht Durer
Painting: Self-Portrait at 26
Information: 1498 Oil on panel, 52 x 41 cm Museo del Prado, Madrid This self portrait is dated 1498 and inscribed: `I have thus painted myself. I was 26 years old. Albrecht D?rer.' Since the artist turned 27 on the 21 May, the picture must date from the beginning of the year. The artist's pose is self confident, showing him standing upright and turning slightly to lean his right arm on a ledge. D?rer's figure fills the picture, with his hat almost touching the top. His face and neck glow from the light streaming into the room and his long curly hair is painstakingly depicted. Unlike his earlier self portrait, he now has a proper beard, which was then unusual among young men. Nine years later D?rer wrote an ironic poem in which he described himself as `the painter with the hairy beard'. The artist's clothing is flamboyant. His elegant jacket is edged with black and beneath this he wears a white, pleated shirt, embroidered along the neckline. His jaunty hat is striped, to match the jacket. Over his left shoulder hangs a light-brown cloak, tied around his neck with a twisted cord. He wears fine kid gloves. Inside the room is a tall archway, partly framing D?rer's head, and to the right a window opens out onto an exquisite landscape. Green fields give way to a tree-ringed lake and beyond are snow-capped mountains, probably a reminder of D?rer's journey over the Alps three years earlier. Depicting a distant landscape, viewed through a window, was a device borrowed from Netherlandish portraiture. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?rer, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?rer insists on above all else is his dignity, and this was a quality that he allowed to others too. This picture was acquired by Charles I of England and later bought by Philip IV of Spain.Artist:D?RER, Albrecht Title: Self-Portrait at 26 Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Portrait of a Venetian Woman oil painting picture wholesale

Portrait of a Venetian Woman
1506-07 Oil on poplar panel, 28,5 x 21,5 cm Staatliche Museen, Berlin The painting is poorly conserved. Almost all the final layers of colour are missing. The eyes have been restored. Because of the absence of the topmost layer of colour, the painting has acquired a soft chromatic shading. Even if we know that D?rer executed it during his second sojourn in Italy, probably in the autumn of 1506 after the Feast of the Rose Garlands, workmanship seems particularly "Venetian." The refinement of the artist is clearly absent in the sketching of the hair. Some object is discernible in the curl hanging to the left. Only a few traces of the hairnet have been preserved, and the sky blue of the background, which is inexplicably divided into two sections, is probably no longer its original shade. In its original state, however, this half-bust must have been in the Venetian style, because of her full, soft shapes, delicately modeled with a measured use of light. We must count this painting among the most beautiful works D?rer produced during his second sojourn in Venice. The various attempts to identify the model - for example, as Agnes D?rer, because of the letters AD on the trimming of the clothes or the woman with her head turned in the middle right of the Feast of the Rose Garlands - have not held up to criticism. The letters are probably the initials of a motto.Artist:D?RER, Albrecht Title: Portrait of a Venetian Woman Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63729
5423 ago.
Artist: Albrecht Durer
Painting: Portrait of a Venetian Woman
Information: 1506-07 Oil on poplar panel, 28,5 x 21,5 cm Staatliche Museen, Berlin The painting is poorly conserved. Almost all the final layers of colour are missing. The eyes have been restored. Because of the absence of the topmost layer of colour, the painting has acquired a soft chromatic shading. Even if we know that D?rer executed it during his second sojourn in Italy, probably in the autumn of 1506 after the Feast of the Rose Garlands, workmanship seems particularly "Venetian." The refinement of the artist is clearly absent in the sketching of the hair. Some object is discernible in the curl hanging to the left. Only a few traces of the hairnet have been preserved, and the sky blue of the background, which is inexplicably divided into two sections, is probably no longer its original shade. In its original state, however, this half-bust must have been in the Venetian style, because of her full, soft shapes, delicately modeled with a measured use of light. We must count this painting among the most beautiful works D?rer produced during his second sojourn in Venice. The various attempts to identify the model - for example, as Agnes D?rer, because of the letters AD on the trimming of the clothes or the woman with her head turned in the middle right of the Feast of the Rose Garlands - have not held up to criticism. The letters are probably the initials of a motto.Artist:D?RER, Albrecht Title: Portrait of a Venetian Woman Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Albrecht Durer
Albrecht Durer Self-portrait at 22 oil painting picture wholesale

Self-portrait at 22
1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63728
5423 ago.
Artist: Albrecht Durer
Painting: Self-portrait at 22
Information: 1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Portrait of an Unknown Lady oil painting picture wholesale

Portrait of an Unknown Lady
1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63722
5424 ago.
Artist: HOLBEIN, Hans the Younger
Painting: Portrait of an Unknown Lady
Information: 1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Portrait of Dorothea Meyer oil painting picture wholesale

Portrait of Dorothea Meyer
Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait
Painting ID::  63721
5424 ago.
Artist: HOLBEIN, Hans the Younger
Painting: Portrait of Dorothea Meyer
Information: Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait

 

 

 
 

 

 

 
      Artist: Jean Clouet
Jean Clouet Portrait of Jean de Dinteville oil painting picture wholesale

Portrait of Jean de Dinteville
1533 Chalk, 25,1 x 19 cm Mus?e Cond? Chantilly At about the same time, in 1533 Hans Holbein depicted Jean de Dinteville in his famous painting The Ambassadors (National Gallery, London).Artist:CLOUET, Jean Title: Portrait of Jean de Dinteville, Seigneur de Polisy Painted in 1501-1550 , French - - graphics : portrait
Painting ID::  63698
5425 ago.
Artist: Jean Clouet
Painting: Portrait of Jean de Dinteville
Information: 1533 Chalk, 25,1 x 19 cm Mus?e Cond? Chantilly At about the same time, in 1533 Hans Holbein depicted Jean de Dinteville in his famous painting The Ambassadors (National Gallery, London).Artist:CLOUET, Jean Title: Portrait of Jean de Dinteville, Seigneur de Polisy Painted in 1501-1550 , French - - graphics : portrait

 

 

 
 

 

 

 
      Artist: SOLARI, Andrea
SOLARI, Andrea Ecce Homo oil painting picture wholesale

Ecce Homo
Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious
Painting ID::  63556
5433 ago.
Artist: SOLARI, Andrea
Painting: Ecce Homo
Information: Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist Bacchus and Ariadne oil painting picture wholesale

Bacchus and Ariadne
1520-25 Marble, height: 56 cm Kunsthistorisches Museum, Vienna In Venice, during the closing decades of the 15th century, a pure classicising style, derived from Andrea Mantegna, was introduced. Tullio Lombardo turned to classical sculpture proper for his guiding force. His portraits of young couples in high relief (the other is in the Ca' d'Oro in Venice) were inspired by antique funerary busts, but the sculptor completely rejected naturalism. The simplicity of the volumes and the sobriety of expression are set off by decorative refinements which depart from the antique schema. They include embroidered hairnets in the hair and meticulously designed sinuous locks. His Bacchus and Ariadne shows him at his most lyrical, under the influence of the Humanism at the Gonzaga court at Mantua, where he worked for Isabella d'Este in 1523 and 1527
Painting ID::  63552
5433 ago.
Artist: unknow artist
Painting: Bacchus and Ariadne
Information: 1520-25 Marble, height: 56 cm Kunsthistorisches Museum, Vienna In Venice, during the closing decades of the 15th century, a pure classicising style, derived from Andrea Mantegna, was introduced. Tullio Lombardo turned to classical sculpture proper for his guiding force. His portraits of young couples in high relief (the other is in the Ca' d'Oro in Venice) were inspired by antique funerary busts, but the sculptor completely rejected naturalism. The simplicity of the volumes and the sobriety of expression are set off by decorative refinements which depart from the antique schema. They include embroidered hairnets in the hair and meticulously designed sinuous locks. His Bacchus and Ariadne shows him at his most lyrical, under the influence of the Humanism at the Gonzaga court at Mantua, where he worked for Isabella d'Este in 1523 and 1527

 

 

 
 

 

 

 
      Artist: Frans Hals
Frans Hals Portrait of a Man oil painting picture wholesale

Portrait of a Man
1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634
Painting ID::  63547
5433 ago.
Artist: Frans Hals
Painting: Portrait of a Man
Information: 1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634

 

 

 
 

 

 

 
Prev  81  82  83  84  85  86  87  88  89  90  91  92  93  94  95  96  97  98  99  100   Next  (Sorted by added time)
Painting:: portrait         TOP100

Swedish
Spanish
English
French
German

  

  

CONTACT US
 Contact us!