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Artist: unknow artist

unknow artist Garland of Flowers china oil painting reproduction

Garland of Flowers
129,5 x 97,5 cm Museum voor Schone Kunsten, Ghent Garlands of flowers became a specialism in their own right within the overall genre of Flemish floral painting. The theme was developed by Jan Brueghel and perfected by his best-known pupil, Daniel Seghers. The garland customarily surrounds a medallion or cartouche containing a religious image that was usually added by another specialist artist. , Artist: SEGHERS, Daniel , Garland of Flowers , 1601-1650 , Flemish , painting , still-life
Painting ID:: 64187
5434 ago.

Stretched or Framed Painting!

Artist: unknow artist
Painting: Garland of Flowers
Information: 129,5 x 97,5 cm Museum voor Schone Kunsten, Ghent Garlands of flowers became a specialism in their own right within the overall genre of Flemish floral painting. The theme was developed by Jan Brueghel and perfected by his best-known pupil, Daniel Seghers. The garland customarily surrounds a medallion or cartouche containing a religious image that was usually added by another specialist artist. , Artist: SEGHERS, Daniel , Garland of Flowers , 1601-1650 , Flemish , painting , still-life

Artist: unknow artist

unknow artist Cartouche with Flowers china oil painting reproduction

Cartouche with Flowers
66 x 85 cm Groeninge Museum, Bruges , Artist: VERBRUGGEN, Gaspar-Pieter the Younger , Cartouche with Flowers , 1701-1750 , Flemish , painting , still-life
Painting ID:: 64184
5435 ago.

Stretched or Framed Painting!

Artist: unknow artist
Painting: Cartouche with Flowers
Information: 66 x 85 cm Groeninge Museum, Bruges , Artist: VERBRUGGEN, Gaspar-Pieter the Younger , Cartouche with Flowers , 1701-1750 , Flemish , painting , still-life

Artist: unknow artist

unknow artist A Table Laden with Flowers and Fruit china oil painting reproduction

A Table Laden with Flowers and Fruit
1600-10 Oil on canvas, 74 x 100 cm Wadsworth Atheneum, Hartford In a partially lit environment, a table is seen from slightly above. Placed on the table are two vases of flowers and a basket of fruit arranged in a triangle and surrounded by single pieces of fruit scattered at random. Two flies can be seen on the brightly lit wall at the upper left, and, in the foreground, some fruit and two bunches of grapes hang over the edge of the table creating a trompe-l'oeil effect. The painting aims for the same heightened sense of reality seen in Caravaggio's Boy with a Basket of Fruit. This Table (a more appropriate title than the conventional Still-life with Flowers and Fruit) shares a number of affinities with the depictions of tables laid for eating painted in Holland throughout the seventeenth century. It may be no coincidence that the first dated painting of this type from 1610 was the work of Floris van Dijck. In 1600-01 Van Dijck lived near the studio of Cavaliere d'Arpino, where pictures like the Hartford still-life were probably executed. It was Van Dijck who supplied the information about Cavaliere d'Arpino for Karel van Mander's biography. The Hartford Table has elicited attributions of enormous diversity. The names of Giovanni Battista Crescenzi, Caravaggio, Francesco Zucchi, Prospero Orsi and finally, for no very convincing reason, the Flemish painter Frans Snyders have all been suggested. Although the attribution to Caravaggio does not seem tenable, the Hartford Table is the work of a painter who, like Caravaggio, may have been active in the studio of Cavaliere d'Arpino. It is possible that the picture can be identified with an unattributed still-life listed in the 1607 inventory of Cavaliere d'Arpino's sequestered possessions. In the first decade of the seventeenth century, this anonymous painter was evidently completely familiar with the work of Caravaggio, but chose to present his own, different interpretation of it. It has also been suggested that this Italian artist, who was influenced by Caravaggism, also possessed some familiarity with the work of the first generation of Flemish still-life painters.Artist:MASTER of the Hartford Still-life Title: A Table Laden with Flowers and Fruit Painted in 1601-1650 , Italian - - painting : still-life
Painting ID:: 63768
5461 ago.

Stretched or Framed Painting!

Artist: unknow artist
Painting: A Table Laden with Flowers and Fruit
Information: 1600-10 Oil on canvas, 74 x 100 cm Wadsworth Atheneum, Hartford In a partially lit environment, a table is seen from slightly above. Placed on the table are two vases of flowers and a basket of fruit arranged in a triangle and surrounded by single pieces of fruit scattered at random. Two flies can be seen on the brightly lit wall at the upper left, and, in the foreground, some fruit and two bunches of grapes hang over the edge of the table creating a trompe-l'oeil effect. The painting aims for the same heightened sense of reality seen in Caravaggio's Boy with a Basket of Fruit. This Table (a more appropriate title than the conventional Still-life with Flowers and Fruit) shares a number of affinities with the depictions of tables laid for eating painted in Holland throughout the seventeenth century. It may be no coincidence that the first dated painting of this type from 1610 was the work of Floris van Dijck. In 1600-01 Van Dijck lived near the studio of Cavaliere d'Arpino, where pictures like the Hartford still-life were probably executed. It was Van Dijck who supplied the information about Cavaliere d'Arpino for Karel van Mander's biography. The Hartford Table has elicited attributions of enormous diversity. The names of Giovanni Battista Crescenzi, Caravaggio, Francesco Zucchi, Prospero Orsi and finally, for no very convincing reason, the Flemish painter Frans Snyders have all been suggested. Although the attribution to Caravaggio does not seem tenable, the Hartford Table is the work of a painter who, like Caravaggio, may have been active in the studio of Cavaliere d'Arpino. It is possible that the picture can be identified with an unattributed still-life listed in the 1607 inventory of Cavaliere d'Arpino's sequestered possessions. In the first decade of the seventeenth century, this anonymous painter was evidently completely familiar with the work of Caravaggio, but chose to present his own, different interpretation of it. It has also been suggested that this Italian artist, who was influenced by Caravaggism, also possessed some familiarity with the work of the first generation of Flemish still-life painters.Artist:MASTER of the Hartford Still-life Title: A Table Laden with Flowers and Fruit Painted in 1601-1650 , Italian - - painting : still-life

Artist: Grunewald, Matthias

Grunewald, Matthias Stuppach Madonna china oil painting reproduction

Stuppach Madonna
1517-19 Oil on canvas mounted on wood Parish Church, Stuppach The detail shows the flowers in a bottle at the lower right corner of the painting.Artist:GR?NEWALD, Matthias Title: Stuppach Madonna (detail) Painted in 1501-1550 , German - - painting : religious
Painting ID:: 63724
5466 ago.

Stretched or Framed Painting!

Artist: Grunewald, Matthias
Painting: Stuppach Madonna
Information: 1517-19 Oil on canvas mounted on wood Parish Church, Stuppach The detail shows the flowers in a bottle at the lower right corner of the painting.Artist:GR?NEWALD, Matthias Title: Stuppach Madonna (detail) Painted in 1501-1550 , German - - painting : religious

Artist: Albrecht Durer

Albrecht Durer Iris china oil painting reproduction

Iris
1503 Brush, pen, ink, watercolour and body-colour, height: 77cm Kunsthalle, Bremen The flower (Iris trojana, formerly Iris germanica) was konown in the 15th century only in Venice. D?rer was probably inspired by the sketchbook of Jacopo Bellini during his fist stay in Venice.Artist:D?RER, Albrecht Title: Iris Painted in 1501-1550 , German - - graphics : other
Painting ID:: 63585
5474 ago.

Stretched or Framed Painting!

Artist: Albrecht Durer
Painting: Iris
Information: 1503 Brush, pen, ink, watercolour and body-colour, height: 77cm Kunsthalle, Bremen The flower (Iris trojana, formerly Iris germanica) was konown in the 15th century only in Venice. D?rer was probably inspired by the sketchbook of Jacopo Bellini during his fist stay in Venice.Artist:D?RER, Albrecht Title: Iris Painted in 1501-1550 , German - - graphics : other

Artist: Eugene Delacroix

Eugene Delacroix Bouquet of Flowers china oil painting reproduction

Bouquet of Flowers
1849-50 Watercolour, gouache and pastel on paper, 650 x 654 mm Mus?e du Louvre, Paris Delacroix painted flower paintings and landscapes in his later years. The symbolic import typical of Delacroix's subjects seems here to be lacking. They might be described as an early case of 'art for art's sake'. Delacroix took time off from his exhausting monumental labours to paint the flowers in the garden of his friend George Sand. Author: DELACROIX, Eug?ne Title: Bouquet of Flowers Form: graphics , 1801-1850 , French , still-life
Painting ID:: 62516
5586 ago.

Stretched or Framed Painting!

Artist: Eugene Delacroix
Painting: Bouquet of Flowers
Information: 1849-50 Watercolour, gouache and pastel on paper, 650 x 654 mm Mus?e du Louvre, Paris Delacroix painted flower paintings and landscapes in his later years. The symbolic import typical of Delacroix's subjects seems here to be lacking. They might be described as an early case of 'art for art's sake'. Delacroix took time off from his exhausting monumental labours to paint the flowers in the garden of his friend George Sand. Author: DELACROIX, Eug?ne Title: Bouquet of Flowers Form: graphics , 1801-1850 , French , still-life

Artist: PASSEROTTI, Bartolomeo

PASSEROTTI, Bartolomeo Basket of Flowers china oil painting reproduction

Basket of Flowers
54 x 83 cm Museo del Prado, Madrid This painting of a basket of flowers and its pair (Madrid, Museo del Prado) follow closely a type of flower piece made popular by Juan de Arellano in which the flowers occupy an open weave wicker basket placed on a rough stone ledge. Such images of flowers casually arranged and filling an open weave basket differ from the formal presentations of bouquets in vases and were perhaps intended to be seen as recently-gathered fresh flowers on short stems. Although the paintings have been considered early works by P?rez for reasons of their closeness to the typology of Arellano s works, they show that the painter was evidently in full possession of the technical resources that distinguish his mature style. In the 17th century, flower paintings commonly made up the decoration of chapels and monastic institutions. While it does not appear that symbolism played a significant role in Spanish flower paintings, viewers of a more sombre cast of mind could have read a Vanitas message in such pictures, in which the brief life of the flowers was a metaphor for human existence
Painting ID:: 62321
5621 ago.

Stretched or Framed Painting!

Artist: PASSEROTTI, Bartolomeo
Painting: Basket of Flowers
Information: 54 x 83 cm Museo del Prado, Madrid This painting of a basket of flowers and its pair (Madrid, Museo del Prado) follow closely a type of flower piece made popular by Juan de Arellano in which the flowers occupy an open weave wicker basket placed on a rough stone ledge. Such images of flowers casually arranged and filling an open weave basket differ from the formal presentations of bouquets in vases and were perhaps intended to be seen as recently-gathered fresh flowers on short stems. Although the paintings have been considered early works by P?rez for reasons of their closeness to the typology of Arellano s works, they show that the painter was evidently in full possession of the technical resources that distinguish his mature style. In the 17th century, flower paintings commonly made up the decoration of chapels and monastic institutions. While it does not appear that symbolism played a significant role in Spanish flower paintings, viewers of a more sombre cast of mind could have read a Vanitas message in such pictures, in which the brief life of the flowers was a metaphor for human existence