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Painting:: portrait         TOP100
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      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Rural girls and flower basket oil painting picture wholesale

Rural girls and flower basket
mk284 Oil on canvas 1655 76 x 61 cm Pushkin Museum in Moscow
Painting ID::  62591
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Rural girls and flower basket
Information: mk284 Oil on canvas 1655 76 x 61 cm Pushkin Museum in Moscow

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Fruit-girl oil painting picture wholesale

Fruit-girl
mk284 Oil on canvas 149 x 113 cm Year 1675-1680 Munich State Museum of Bo
Painting ID::  62590
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Fruit-girl
Information: mk284 Oil on canvas 149 x 113 cm Year 1675-1680 Munich State Museum of Bo

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Are laughing boy oil painting picture wholesale

Are laughing boy
mk284 Oil on canvas 50 x 40 cm private collection in Madrid
Painting ID::  62587
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Are laughing boy
Information: mk284 Oil on canvas 50 x 40 cm private collection in Madrid

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Shell and the children oil painting picture wholesale

Shell and the children
mk284 Oil on canvas 1670 - 1675 104 x 125 cm Madrid, Museo del Prado
Painting ID::  62585
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Shell and the children
Information: mk284 Oil on canvas 1670 - 1675 104 x 125 cm Madrid, Museo del Prado

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Cantaloupe and grapes to eat the children oil painting picture wholesale

Cantaloupe and grapes to eat the children
mk284 Oil on canvas 146 x 104 cm National Gallery of Munich
Painting ID::  62584
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Cantaloupe and grapes to eat the children
Information: mk284 Oil on canvas 146 x 104 cm National Gallery of Munich

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Good shepherd oil painting picture wholesale

Good shepherd
mk284 Oil on canvas 123 x 101cm Prado Museum in Madrid
Painting ID::  62583
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: Good shepherd
Information: mk284 Oil on canvas 123 x 101cm Prado Museum in Madrid

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo John the Baptist oil painting picture wholesale

John the Baptist
mk284 Oil on canvas 121 x 99 cm Madrid, Museo del Prado
Painting ID::  62582
5472 ago.
Artist: Bartolome Esteban Murillo
Painting: John the Baptist
Information: mk284 Oil on canvas 121 x 99 cm Madrid, Museo del Prado

 

 

 
 

 

 

 
      Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Half month's pure conception of Our Lady oil painting picture wholesale

Half month's pure conception of Our Lady
mk284 Oil on canvas 1660 - 1665 Madrid Prado Museum
Painting ID::  62576
5473 ago.
Artist: Bartolome Esteban Murillo
Painting: Half month's pure conception of Our Lady
Information: mk284 Oil on canvas 1660 - 1665 Madrid Prado Museum

 

 

 
 

 

 

 
      Artist: Joseph Stieler
Joseph Stieler Nanette Heine oil painting picture wholesale

Nanette Heine
nee Kaula 1829 Oil on canvas Schloss Nymphenburg, Munich The competition between the painters nourished the growth of thematic specialization in the academies. In Munich, the term "Fechler" (subject specialists) became current, as painters specialised in landscape, portrait, history, or religious painting. Some fought their way through the fierce competition to become widely celebrated. They include the portrait painter Karl Joseph Stieler, who was commissioned by King Ludwig I of Bavaria to paint a portrait gallery of the most graceful ladies in the land. The subjects include Nanette Kaula, the 17-year-old daughter of the head of the Jewish community, who was married to a nephew of Heinrich Heine, and Amalie Schintling, who died young. Stieler was not only technically highly accomplished, but has also left a document of the ideal of beauty of his time. Artist: STIELER, Karl Joseph Title: Nanette Heine, nee Kaula , painting Date: 1801-1850 German : portrait
Painting ID::  62559
5483 ago.
Artist: Joseph Stieler
Painting: Nanette Heine
Information: nee Kaula 1829 Oil on canvas Schloss Nymphenburg, Munich The competition between the painters nourished the growth of thematic specialization in the academies. In Munich, the term "Fechler" (subject specialists) became current, as painters specialised in landscape, portrait, history, or religious painting. Some fought their way through the fierce competition to become widely celebrated. They include the portrait painter Karl Joseph Stieler, who was commissioned by King Ludwig I of Bavaria to paint a portrait gallery of the most graceful ladies in the land. The subjects include Nanette Kaula, the 17-year-old daughter of the head of the Jewish community, who was married to a nephew of Heinrich Heine, and Amalie Schintling, who died young. Stieler was not only technically highly accomplished, but has also left a document of the ideal of beauty of his time. Artist: STIELER, Karl Joseph Title: Nanette Heine, nee Kaula , painting Date: 1801-1850 German : portrait

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist Judith oil painting picture wholesale

Judith
131 x 96 cm Neue Pinakothek, Munich The Judith of this painting is powerful and strong, but even after her murderous deed a touch of gentleness remains in her eyes. In the painting we see the tendency to psychological interpretation that was to become a feature of 19th-century art. The artist seeks to convey the message of the Biblical story in Judith's facial expression, making this the overall statement. Artist: RIEDEL, August Title: Judith , painting Date: 1801-1850 German : mythological
Painting ID::  62557
5483 ago.
Artist: unknow artist
Painting: Judith
Information: 131 x 96 cm Neue Pinakothek, Munich The Judith of this painting is powerful and strong, but even after her murderous deed a touch of gentleness remains in her eyes. In the painting we see the tendency to psychological interpretation that was to become a feature of 19th-century art. The artist seeks to convey the message of the Biblical story in Judith's facial expression, making this the overall statement. Artist: RIEDEL, August Title: Judith , painting Date: 1801-1850 German : mythological

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist Hubert Robert oil painting picture wholesale

Hubert Robert
1788 Oil on wood, 105 x 84 cm Musee du Louvre, Paris Artist: VIGeE-LEBRUN, elisabeth Title: Hubert Robert, Artist Date: 1751-1800 French , painting : portrait
Painting ID::  62556
5483 ago.
Artist: unknow artist
Painting: Hubert Robert
Information: 1788 Oil on wood, 105 x 84 cm Musee du Louvre, Paris Artist: VIGeE-LEBRUN, elisabeth Title: Hubert Robert, Artist Date: 1751-1800 French , painting : portrait

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist The Grandmother's Birthday oil painting picture wholesale

The Grandmother's Birthday
1856 Oil on panel, 71 x 58 cm Royal Collection, Windsor Waldmeller was the most important Austrian painter of the Biedermeier period during the first half of the nineteenth century. Within his lifetime he established a reputation in America, and there was a major exhibition of his work in London in 1862. He was proficient in most aspects of painting - miniatures, landscape, portraits and genre. His career within the art establishment was successful, but not without controversy. Appointed Professor at the Academy in Vienna in 1829, he was an advocate of realist painting and of reform, which led to his temporary dismissal from the post from 1857-64. Nonetheless, Waldmiiller was an effective teacher, an influential theorist, and an immensely popular artist within Viennese society and at court. His success as a painter stemmed from his powers of observation, from his measured style and his wholly sympathetic treatment of subject matter. The accumulation and faithful recording of detail led to an idealism based on the subject matter itself, as opposed to one imposed upon it by an outside order, this being a vital distinction between eighteenth- and nineteenth-century art. Rustic genre was the last theme that Waldmeller essayed. The subjects he chose extolled the moral virtues of rural life, or, as here, the joys of family life. The care taken over the rendering of garments, the still life and the surroundings is offset by the radiance of the figures' expressions, reinforced by their gestures which create a circular composition of great tenderness. Waldmeller was well-versed in the tradition of the Old Masters and the composition has affinities with several paintings by Raphael of the Holy Family - the Madonna Canigiani (Munich, Alte Pinakothek), the Madonna dell'Impannata (Florence, Palazzo Pitti), the Madonna of Francis I (Paris, Louvre) and the Madonna della Perla (Madrid, Prado). Waldmeller's homage to Raphael, however, is seen through the eyes of Correggio. Artist: WALDMeLLER, Fedinand Georg Title: The Grandmother's Birthday , painting Date: 1801-1850 Austrian : genre
Painting ID::  62555
5483 ago.
Artist: unknow artist
Painting: The Grandmother's Birthday
Information: 1856 Oil on panel, 71 x 58 cm Royal Collection, Windsor Waldmeller was the most important Austrian painter of the Biedermeier period during the first half of the nineteenth century. Within his lifetime he established a reputation in America, and there was a major exhibition of his work in London in 1862. He was proficient in most aspects of painting - miniatures, landscape, portraits and genre. His career within the art establishment was successful, but not without controversy. Appointed Professor at the Academy in Vienna in 1829, he was an advocate of realist painting and of reform, which led to his temporary dismissal from the post from 1857-64. Nonetheless, Waldmiiller was an effective teacher, an influential theorist, and an immensely popular artist within Viennese society and at court. His success as a painter stemmed from his powers of observation, from his measured style and his wholly sympathetic treatment of subject matter. The accumulation and faithful recording of detail led to an idealism based on the subject matter itself, as opposed to one imposed upon it by an outside order, this being a vital distinction between eighteenth- and nineteenth-century art. Rustic genre was the last theme that Waldmeller essayed. The subjects he chose extolled the moral virtues of rural life, or, as here, the joys of family life. The care taken over the rendering of garments, the still life and the surroundings is offset by the radiance of the figures' expressions, reinforced by their gestures which create a circular composition of great tenderness. Waldmeller was well-versed in the tradition of the Old Masters and the composition has affinities with several paintings by Raphael of the Holy Family - the Madonna Canigiani (Munich, Alte Pinakothek), the Madonna dell'Impannata (Florence, Palazzo Pitti), the Madonna of Francis I (Paris, Louvre) and the Madonna della Perla (Madrid, Prado). Waldmeller's homage to Raphael, however, is seen through the eyes of Correggio. Artist: WALDMeLLER, Fedinand Georg Title: The Grandmother's Birthday , painting Date: 1801-1850 Austrian : genre

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist A Turk oil painting picture wholesale

A Turk
1820 Black chalk and watercolour, 301 x 226 mm Mus?e du Louvre, Paris The quiet and melancholy Mustapha was a shipwrecked Turkish sailor G?ricault had found in a Paris street and brought home as a model and companion. It is probably his features, dark eyes sad beneath his turban, that are depicted in several late studies of a Turk that strike the viewer as warmly individualized portraits. Author: G?RICAULT, Th?odore Title: A Turk (Mustapha) Form: graphics , 1801-1850 , French , other
Painting ID::  62505
5492 ago.
Artist: unknow artist
Painting: A Turk
Information: 1820 Black chalk and watercolour, 301 x 226 mm Mus?e du Louvre, Paris The quiet and melancholy Mustapha was a shipwrecked Turkish sailor G?ricault had found in a Paris street and brought home as a model and companion. It is probably his features, dark eyes sad beneath his turban, that are depicted in several late studies of a Turk that strike the viewer as warmly individualized portraits. Author: G?RICAULT, Th?odore Title: A Turk (Mustapha) Form: graphics , 1801-1850 , French , other

 

 

 
 

 

 

 
      Artist: unknow artist
unknow artist Portrait of Frederik oil painting picture wholesale

Portrait of Frederik
1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait
Painting ID::  62499
5492 ago.
Artist: unknow artist
Painting: Portrait of Frederik
Information: 1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait

 

 

 
 

 

 

 
      Artist: Samuel Palmer
Samuel Palmer Self-Portrait oil painting picture wholesale

Self-Portrait
1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait
Painting ID::  62448
5499 ago.
Artist: Samuel Palmer
Painting: Self-Portrait
Information: 1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait

 

 

 
 

 

 

 
      Artist: Leonardo Da Vinci
Leonardo Da Vinci Study for a kneeling Leda oil painting picture wholesale

Study for a kneeling Leda
1503-07 Black chalk, pen and ink on paper, 126 x 109 cm Museum Boijmans Van Beuningen, Rotterdam Leda, the wife of the king of Sparta, was seduced by Zeus in the form of a swan. She gave birth to two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. This and a second compositional plan in Chatsworth show the kneeling Leda gently embracing the swan. With her right hand she is pointing to the children.
Painting ID::  62436
5501 ago.
Artist: Leonardo Da Vinci
Painting: Study for a kneeling Leda
Information: 1503-07 Black chalk, pen and ink on paper, 126 x 109 cm Museum Boijmans Van Beuningen, Rotterdam Leda, the wife of the king of Sparta, was seduced by Zeus in the form of a swan. She gave birth to two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. This and a second compositional plan in Chatsworth show the kneeling Leda gently embracing the swan. With her right hand she is pointing to the children.

 

 

 
 

 

 

 
      Artist: MOR VAN DASHORST, Anthonis
MOR VAN DASHORST, Anthonis Sir Thomas Gresham oil painting picture wholesale

Sir Thomas Gresham
1565-70 Oil on panel, 90 x 75,5 cm Rijksmuseum, Amsterdam From 1552 to 1567, the English merchant Thomas Gresham (1519-1579) lived and worked in Antwerp as financial agent of the English crown (`King's merchant'). This prominent social position explains why he had his portrait painted by Mor, who was court artist to Philip II. This Utrecht-born painter was noted for the accurate recording of detail in his portraits. He depicted Gresham as a strong, somewhat reserved personality. Mor also painted a portrait of Gresham's wife, which is likewise in the Rijksmuseum. Author: MOR VAN DASHORST, Anthonis Title: Sir Thomas Gresham , 1551-1600 , Flemish Form: painting , portrait
Painting ID::  62416
5505 ago.
Artist: MOR VAN DASHORST, Anthonis
Painting: Sir Thomas Gresham
Information: 1565-70 Oil on panel, 90 x 75,5 cm Rijksmuseum, Amsterdam From 1552 to 1567, the English merchant Thomas Gresham (1519-1579) lived and worked in Antwerp as financial agent of the English crown (`King's merchant'). This prominent social position explains why he had his portrait painted by Mor, who was court artist to Philip II. This Utrecht-born painter was noted for the accurate recording of detail in his portraits. He depicted Gresham as a strong, somewhat reserved personality. Mor also painted a portrait of Gresham's wife, which is likewise in the Rijksmuseum. Author: MOR VAN DASHORST, Anthonis Title: Sir Thomas Gresham , 1551-1600 , Flemish Form: painting , portrait

 

 

 
 

 

 

 
      Artist: Caravaggio
Caravaggio The Entombment oil painting picture wholesale

The Entombment
1602-03 Oil on canvas, width of detail: 30 cm Pinacoteca, Vatican The detail shows the head of Mary
Painting ID::  62391
5510 ago.
Artist: Caravaggio
Painting: The Entombment
Information: 1602-03 Oil on canvas, width of detail: 30 cm Pinacoteca, Vatican The detail shows the head of Mary

 

 

 
 

 

 

 
      Artist: Caravaggio
Caravaggio The Martyrdom of St Matthew oil painting picture wholesale

The Martyrdom of St Matthew
1599-1600 Oil on canvas, width of detail: 90 cm Contarelli Chapel, San Luigi dei Francesi, Rome A boy who acts as altar-boy to the old man, whose service has been interrupted, flees screaming to the right. He is one of those expressive studies of emotion which, like the Medusa in Florence, have contributed greatly to Caravaggio's renown. Author: CARAVAGGIO Title: The Martyrdom of St Matthew (detail) , 1551-1600 , Italian Form: painting , religious
Painting ID::  62389
5510 ago.
Artist: Caravaggio
Painting: The Martyrdom of St Matthew
Information: 1599-1600 Oil on canvas, width of detail: 90 cm Contarelli Chapel, San Luigi dei Francesi, Rome A boy who acts as altar-boy to the old man, whose service has been interrupted, flees screaming to the right. He is one of those expressive studies of emotion which, like the Medusa in Florence, have contributed greatly to Caravaggio's renown. Author: CARAVAGGIO Title: The Martyrdom of St Matthew (detail) , 1551-1600 , Italian Form: painting , religious

 

 

 
 

 

 

 
      Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Double Portrait oil painting picture wholesale

Double Portrait
77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved
Painting ID::  62373
5514 ago.
Artist: RAFFAELLO Sanzio
Painting: Double Portrait
Information: 77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved

 

 

 
 

 

 

 
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Painting:: portrait         TOP100

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