All MOLA, Pier Francesco 's Paintings

The Painting Names Are Sorted From A to Z
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Choice ID Image  Painting (From A to Z)    Details
19463  
Barbary Pirate with a Bow MOLA, Pier Francesco
 
 Barbary Pirate with a Bow   1650 Oil on canvas Mus??e du Louvre, Paris.
20585  
Barbary Pirate with a Bow (mk05) MOLA, Pier Francesco
 
 Barbary Pirate with a Bow (mk05)   Canvas,67 1/2 x 48 1/2''(172 x 123 cm)Acquired in 1948
19462  
Herminia and Vafrino Tending the Wounded Tancred MOLA, Pier Francesco
 
 Herminia and Vafrino Tending the Wounded Tancred   Oil on canvas Mus??e du Louvre, Paris.
20584  
Herminia and Vafrino Tending the Wounded Tancred (mk05) MOLA, Pier Francesco
 
 Herminia and Vafrino Tending the Wounded Tancred (mk05)   Canvas 27 x 36 1/4''(69 x 93 cm)Acquired for Louis XIV in 1685
31011  
Herminie gardant ses troupeaux grave sur un arbre le nom de Tancrede MOLA, Pier Francesco
 
 Herminie gardant ses troupeaux grave sur un arbre le nom de Tancrede   mk70 H.0.69 L.0.92 Paris,Musee du Louvre
19461  
Jacob's Meeting with Rachel MOLA, Pier Francesco
 
 Jacob's Meeting with Rachel   oil on canvas The Hermitage, St. Petersburg.
28993  
Self-portrait MOLA, Pier Francesco
 
 Self-portrait   mk65 Pastel on paper 13 11/16x9 13/16in Uffizi,Cabinet of Drawings and Prints
40489  
Self-Portrait MOLA, Pier Francesco
 
 Self-Portrait   mk156 1650-66 Pastel on paper 34.7x24.9cm
8237  
St Peter Freed from Prison dh MOLA, Pier Francesco
 
 St Peter Freed from Prison dh   c. 1630 Oil on canvas Galleria Borghese, Rome
43097  
THe Rest on the Flight into Egypt MOLA, Pier Francesco
 
 THe Rest on the Flight into Egypt   mk170 1630-1635 Oil on canvas 3.5x45.7cm
62406  
Virgin Annunciate MOLA, Pier Francesco
 
 Virgin Annunciate   1608-09 Marble, over life-size Museo dell'Opera del Duomo, Orvieto Mochi first achieved fame with his Angel of Annunciation of 1603-05 for the Orvieto Cathedral, a work whose vigour and directness reflect the artist's earnestness in reformulating a conventional theme. Three years lie between the Angel of Annunciation and the Virgin Annunciate which completed the composition. Here Mochi evoked reminiscences of Rome, in particular the suavity of Mariani and the more active type of Classical statuary, but added his own flair for dramatic gestures by showing the Virgin starting from her chair. Mochi's work has sometimes been explained as a response to Caravaggio, yet it is better understood as part of a general concern with conveying emotions through external expressions, something manifests in the work of Carracci and Reni, as well as that of Caravaggio. Interestingly enough, the forcefulness of Mochi's Virgin Annunciate was not to the liking of the Bishop of Orvieto, who opposed its placement in the cathedral for three years. See also the Angel of Annunciation. Author: MOCHI, Francesco Title: Virgin Annunciate , 1601-1650 , Italian Form: sculpture , religious

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