Wholesale China Oil Painting Frame Mirror Moulding

Oil Painting & Talent Artists From Oil Painting Studio Directly!
Painting:: all portrait --> Style:: man         TOP100
Prev  44  45  46  47  48  49  50  51  52  53  54  55  56  57  58  59  60  61  62  63  Next


     Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Self-Portrait china oil painting reproduction

Self-Portrait
122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art.
Painting ID::  62315
5579 ago.
Artist: Bartolome Esteban Murillo
Painting: Self-Portrait
Information: 122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art.

 

 

 
 

 

 

 
     Artist: Diego Velazquez
Diego Velazquez Pope Innocent X c china oil painting reproduction

Pope Innocent X c
49,2 x 41,3 cm National Gallery of Art, Washington Perhaps the preeminent Spanish artist of the seventeenth century, Vel?zquez was, from 1623 on, court painter to Philip IV in Madrid. In 1650 Vel?zquez was sent to Italy to buy paintings for one of his monarch's palaces; while in Rome the artist was commissioned to portray the Pope. The final version (now in the Galleria Doria, Rome) was preceded by several small sketches. This canvas was executed probably by someone in his circle. Vel?zquez was given the unenviable task of depicting the most powerful and, according to contemporaries, the ugliest man in Rome. The artist was successful, for when the Pontiff saw the portrait he is said to have remarked, "troppo vero" (all too true!).
Painting ID::  62312
5579 ago.
Artist: Diego Velazquez
Painting: Pope Innocent X c
Information: 49,2 x 41,3 cm National Gallery of Art, Washington Perhaps the preeminent Spanish artist of the seventeenth century, Vel?zquez was, from 1623 on, court painter to Philip IV in Madrid. In 1650 Vel?zquez was sent to Italy to buy paintings for one of his monarch's palaces; while in Rome the artist was commissioned to portray the Pope. The final version (now in the Galleria Doria, Rome) was preceded by several small sketches. This canvas was executed probably by someone in his circle. Vel?zquez was given the unenviable task of depicting the most powerful and, according to contemporaries, the ugliest man in Rome. The artist was successful, for when the Pontiff saw the portrait he is said to have remarked, "troppo vero" (all too true!).

 

 

 
 

 

 

 
     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 dwarf in the painting is probably Don Diego de Acedo, called El Primo
Painting ID::  62311
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 dwarf in the painting is probably Don Diego de Acedo, called El Primo

 

 

 
 

 

 

 
     Artist: Diego Velazquez
Diego Velazquez Philip III on Horseback china oil painting reproduction

Philip III on Horseback
1634-35 Oil on canvas Museo del Prado, Madrid Author: VEL?ZQUEZ
Painting ID::  62309
5580 ago.
Artist: Diego Velazquez
Painting: Philip III on Horseback
Information: 1634-35 Oil on canvas Museo del Prado, Madrid Author: VEL?ZQUEZ

 

 

 
 

 

 

 
     Artist: Diego Velazquez
Diego Velazquez Juan china oil painting reproduction

Juan
109 x 107 cm Museo del Prado, Madrid Monta??s was the greatest Spanish sculptor of the 17th century, known as 'el dios de la madera' (the god of wood) on account of his mastery as a carver. He worked for most of his long and productive career in Seville. Vel?zquez painted this portrait in Madrid when the sculptor made a portrait head of King Philip IV
Painting ID::  62308
5580 ago.
Artist: Diego Velazquez
Painting: Juan
Information: 109 x 107 cm Museo del Prado, Madrid Monta??s was the greatest Spanish sculptor of the 17th century, known as 'el dios de la madera' (the god of wood) on account of his mastery as a carver. He worked for most of his long and productive career in Seville. Vel?zquez painted this portrait in Madrid when the sculptor made a portrait head of King Philip IV

 

 

 
 

 

 

 
     Artist: El Greco
El Greco Portrait of a Man china oil painting reproduction

Portrait of a Man
1586-90 Oil on cardboard, 7,9 x 5,7 cm The Hispanic Society of America, New York Work by El Greco in small format, which includes miniatures, small-scale religious paintings and reduced versions of larger compositions, is well documented from the time of his residence in Italy onwards. Yet this interesting portrait miniature remains one of the few known in his oeuvre. It bears an original signature on the back
Painting ID::  62291
5583 ago.
Artist: El Greco
Painting: Portrait of a Man
Information: 1586-90 Oil on cardboard, 7,9 x 5,7 cm The Hispanic Society of America, New York Work by El Greco in small format, which includes miniatures, small-scale religious paintings and reduced versions of larger compositions, is well documented from the time of his residence in Italy onwards. Yet this interesting portrait miniature remains one of the few known in his oeuvre. It bears an original signature on the back

 

 

 
 

 

 

 
     Artist: Sandro Botticelli
Sandro Botticelli Light blue background as the men china oil painting reproduction

Light blue background as the men
mk281 Year 1475-1480
Painting ID::  62199
5594 ago.
Artist: Sandro Botticelli
Painting: Light blue background as the men
Information: mk281 Year 1475-1480

 

 

 
 

 

 

 
     Artist: Sandro Botticelli
Sandro Botticelli Medici as china oil painting reproduction

Medici as
mk281 1478
Painting ID::  62198
5594 ago.
Artist: Sandro Botticelli
Painting: Medici as
Information: mk281 1478

 

 

 
 

 

 

 
     Artist: Sandro Botticelli
Sandro Botticelli Man as china oil painting reproduction

Man as
mk281 In 58.7 x 39.4cm 1474-1475
Painting ID::  62197
5594 ago.
Artist: Sandro Botticelli
Painting: Man as
Information: mk281 In 58.7 x 39.4cm 1474-1475

 

 

 
 

 

 

 
     Artist: Sandro Botticelli
Sandro Botticelli Medici portrait of the man card china oil painting reproduction

Medici portrait of the man card
mk281 Year 1474-1475
Painting ID::  62196
5594 ago.
Artist: Sandro Botticelli
Painting: Medici portrait of the man card
Information: mk281 Year 1474-1475

 

 

 
 

 

 

 
     Artist: Giovanni Battista Tiepolo
Giovanni Battista Tiepolo Anthony portrait china oil painting reproduction

Anthony portrait
mk280 Oil on canvas 102 x 90cm
Painting ID::  62179
5597 ago.
Artist: Giovanni Battista Tiepolo
Painting: Anthony portrait
Information: mk280 Oil on canvas 102 x 90cm

 

 

 
 

 

 

 
     Artist: Giovanni Battista Tiepolo
Giovanni Battista Tiepolo Giovanni II as china oil painting reproduction

Giovanni II as
mk280 Oil on canvas 271 x 182cm
Painting ID::  62178
5597 ago.
Artist: Giovanni Battista Tiepolo
Painting: Giovanni II as
Information: mk280 Oil on canvas 271 x 182cm

 

 

 
 

 

 

 
Prev  44  45  46  47  48  49  50  51  52  53  54  55  56  57  58  59  60  61  62  63  Next  (Sorted by added time)
Painting:: portrait --> Style:: man         TOP100

Swedish
Spanish
English
French
German

 

 

CONTACT US
 Contact us!