El Petróleo al por mayor de China que Pinta el Espejo de Marco que Moldea
Pintura:: all people --> Estilo:: woman
PREVIO  29  30  31  32  33  34  35  36  37  38  39  40  41  42  43  44  45  46  47  48  PROXIMO  (Displayed as nearest added time.)
Artist: SALZILLO, Francisco
SALZILLO, Francisco Dolorosa china oil painting reproduction

Dolorosa
1755 Painted wood Iglesia de Jesus, Murcia The mundane rhetoric in the works of Francisco Salzillo (also spelled Zarcillo) might be interpreted as the expression of a decadence of religious feeling; but in fact it springs from a deep-rooted faith. While yet a child, Francisco Salzillo entered a Dominican monastery as a novice. When he was twenty, he left the monastery to assume direction of the atelier of his father, Vincente Nicolas Salzillo, who died in 1727. Vincente Nicolas had come from Naples to settle in Murcia at the end of the 17th century. Undoubtedly, the breath of Italianism which he brought with him was instrumental in dispelling some of the gravity that the Spanish sculptors typically imparted to their religious works. The workshop of Francisco Salzillo, who was helped by his brothers, was amazingly productive; L?on Bermudez has counted 1,792 works definitely by the master's hand. Artist: SALZILLO, Francisco Painting Title: Dolorosa , 1701-1750 Painting Style: Spanish , sculpture Type: religious
Pintura identificación::  63017
5472 ago.
Artist: SALZILLO, Francisco
Painting: Dolorosa
Information: 1755 Painted wood Iglesia de Jesus, Murcia The mundane rhetoric in the works of Francisco Salzillo (also spelled Zarcillo) might be interpreted as the expression of a decadence of religious feeling; but in fact it springs from a deep-rooted faith. While yet a child, Francisco Salzillo entered a Dominican monastery as a novice. When he was twenty, he left the monastery to assume direction of the atelier of his father, Vincente Nicolas Salzillo, who died in 1727. Vincente Nicolas had come from Naples to settle in Murcia at the end of the 17th century. Undoubtedly, the breath of Italianism which he brought with him was instrumental in dispelling some of the gravity that the Spanish sculptors typically imparted to their religious works. The workshop of Francisco Salzillo, who was helped by his brothers, was amazingly productive; L?on Bermudez has counted 1,792 works definitely by the master's hand. Artist: SALZILLO, Francisco Painting Title: Dolorosa , 1701-1750 Painting Style: Spanish , sculpture Type: religious

Artist: GHIRLANDAIO, Domenico
GHIRLANDAIO, Domenico Birth of St John the Baptist china oil painting reproduction

Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence Here a beautiful unknown woman from the donor's immediate circle is looking at us. She is holding a small cloth in her hands, which are elegantly clasped in front of her stomach, and dressed in a gentle pink, a hue picked up in her cheeks. Two women wearing white head-dresses accompany her; the elder is probably the donor's sister, Lucrezia Tornabuoni, who died before the picture was painted. She was the mother of Lorenzo il Magnifico and sister of Giovanni. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of St John the Baptist (detail) , 1451-1500 Painting Style: Italian , , religious
Pintura identificación::  63005
5473 ago.
Artist: GHIRLANDAIO, Domenico
Painting: Birth of St John the Baptist
Information: 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence Here a beautiful unknown woman from the donor's immediate circle is looking at us. She is holding a small cloth in her hands, which are elegantly clasped in front of her stomach, and dressed in a gentle pink, a hue picked up in her cheeks. Two women wearing white head-dresses accompany her; the elder is probably the donor's sister, Lucrezia Tornabuoni, who died before the picture was painted. She was the mother of Lorenzo il Magnifico and sister of Giovanni. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of St John the Baptist (detail) , 1451-1500 Painting Style: Italian , , religious

Artist: GHIRLANDAIO, Domenico
GHIRLANDAIO, Domenico Portrait of the Donor Nera Corsi Sassetti china oil painting reproduction

Portrait of the Donor Nera Corsi Sassetti
1485 Fresco Santa Trinit? Florence "In two pictures on either side he painted Francesco Sassetti kneeling, and Madonna Nera, his wife and her children, the latter being in the scene above where the boy is raised to life, with some beautiful maidens of the same family" (Vasari). The two donors are in prayer on either side of the altar, as if they are taking part in the Adoration of the Shepherds depicted on the altarpiece. Linking the frescoes and the central panel painting in this way, Ghirlandaio creates what is almost a triptych. Astonishingly enough, the wife, Nera Corsi Sassetti, is occupying the traditionally more distinguished position on the right of the religious scene. At the base is the painted inscription: A.D. MCCCCLXXX. XV decembris. This could be the initial date of the work whose conclusion is in the great altarpiece with the Nativity, dated 1485. Artist: GHIRLANDAIO, Domenico Painting Title: Portrait of the Donor Nera Corsi Sassetti , 1451-1500 Painting Style: Italian , , portrait
Pintura identificación::  63003
5473 ago.
Artist: GHIRLANDAIO, Domenico
Painting: Portrait of the Donor Nera Corsi Sassetti
Information: 1485 Fresco Santa Trinit? Florence "In two pictures on either side he painted Francesco Sassetti kneeling, and Madonna Nera, his wife and her children, the latter being in the scene above where the boy is raised to life, with some beautiful maidens of the same family" (Vasari). The two donors are in prayer on either side of the altar, as if they are taking part in the Adoration of the Shepherds depicted on the altarpiece. Linking the frescoes and the central panel painting in this way, Ghirlandaio creates what is almost a triptych. Astonishingly enough, the wife, Nera Corsi Sassetti, is occupying the traditionally more distinguished position on the right of the religious scene. At the base is the painted inscription: A.D. MCCCCLXXX. XV decembris. This could be the initial date of the work whose conclusion is in the great altarpiece with the Nativity, dated 1485. Artist: GHIRLANDAIO, Domenico Painting Title: Portrait of the Donor Nera Corsi Sassetti , 1451-1500 Painting Style: Italian , , portrait

Artist: GHIRLANDAIO, Domenico
GHIRLANDAIO, Domenico Announcement of Death to St Fina china oil painting reproduction

Announcement of Death to St Fina
1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious
Pintura identificación::  63000
5473 ago.
Artist: GHIRLANDAIO, Domenico
Painting: Announcement of Death to St Fina
Information: 1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious

Artist: BOTTICELLI, Sandro
BOTTICELLI, Sandro Portrait of a Young Woman after china oil painting reproduction

Portrait of a Young Woman after
1480 Oil on panel, 47,5 x 35 cm Staatliche Museen, Berlin The authorship of Botticelli is debated. The identity of the sitter is not known, Simonetta Vespucci, Lucrezia Tornabuoni and Clarice Orsini are mentioned (but not proved) in the literature as probable sitter. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait
Pintura identificación::  62945
5486 ago.
Artist: BOTTICELLI, Sandro
Painting: Portrait of a Young Woman after
Information: 1480 Oil on panel, 47,5 x 35 cm Staatliche Museen, Berlin The authorship of Botticelli is debated. The identity of the sitter is not known, Simonetta Vespucci, Lucrezia Tornabuoni and Clarice Orsini are mentioned (but not proved) in the literature as probable sitter. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait

Artist: BOTTICELLI, Sandro
BOTTICELLI, Sandro Holy Trinity china oil painting reproduction

Holy Trinity
1491-93 Tempera on panel Courtauld Institute Galleries, London The archangel Raphael is leading the young Tobias by the hand. He is holding a small box, and Tobias is carrying a fish in a noose. The fish is Tobias' attribute. He was advised by the angel to use its gallbladder to restore his blind father's sight; the miraculous gallbladder was kept in the box. Artist: BOTTICELLI, Sandro Painting Title: Holy Trinity (detail) , 1451-1500 Painting Style: Italian , , religious
Pintura identificación::  62942
5486 ago.
Artist: BOTTICELLI, Sandro
Painting: Holy Trinity
Information: 1491-93 Tempera on panel Courtauld Institute Galleries, London The archangel Raphael is leading the young Tobias by the hand. He is holding a small box, and Tobias is carrying a fish in a noose. The fish is Tobias' attribute. He was advised by the angel to use its gallbladder to restore his blind father's sight; the miraculous gallbladder was kept in the box. Artist: BOTTICELLI, Sandro Painting Title: Holy Trinity (detail) , 1451-1500 Painting Style: Italian , , religious

Artist: Jacques-Louis David
Jacques-Louis David The Oath of the Horatii china oil painting reproduction

The Oath of the Horatii
1784 Oil on canvas Musee du Louvre, Paris The Oath of the Horatii proved to be a triumph for David. The public was overwhelmed by his break with the Baroque stylistic tradition. For the first time, the unity of time and action had been brought into a deliberately severe composition. The story of the passionate readiness of these heroes for self-sacrifice was known, and it was also recognized that the weeping women in the composition are an expression of foreboding, symbols of the tragedy to come. Artist: DAVID, Jacques-Louis Title: The Oath of the Horatii (detail) , painting Date: 1801-1850 French : historical
Pintura identificación::  62874
5498 ago.
Artist: Jacques-Louis David
Painting: The Oath of the Horatii
Information: 1784 Oil on canvas Musee du Louvre, Paris The Oath of the Horatii proved to be a triumph for David. The public was overwhelmed by his break with the Baroque stylistic tradition. For the first time, the unity of time and action had been brought into a deliberately severe composition. The story of the passionate readiness of these heroes for self-sacrifice was known, and it was also recognized that the weeping women in the composition are an expression of foreboding, symbols of the tragedy to come. Artist: DAVID, Jacques-Louis Title: The Oath of the Horatii (detail) , painting Date: 1801-1850 French : historical

Artist: unknow artist
unknow artist Portrait of Colette Versavel china oil painting reproduction

Portrait of Colette Versavel
Wife of Isaac J. de Meyer 1822 Oil on canvas, 145,5 x 109,5 cm Museum voor Schone Kunsten, Ghent Ducq was a Belgian artist in Bruges. His portrait of Colette Versavel conveys a marvellous and poetic combination of Neoclassical portraiture and the rendering of an architectural setting. Artist: DUCQ, Joseph-Franeois Title: Portrait of Colette Versavel, Wife of Isaac J. de Meyer , painting Date: 1801-1850 Belgian : portrait
Pintura identificación::  62868
5499 ago.
Artist: unknow artist
Painting: Portrait of Colette Versavel
Information: Wife of Isaac J. de Meyer 1822 Oil on canvas, 145,5 x 109,5 cm Museum voor Schone Kunsten, Ghent Ducq was a Belgian artist in Bruges. His portrait of Colette Versavel conveys a marvellous and poetic combination of Neoclassical portraiture and the rendering of an architectural setting. Artist: DUCQ, Joseph-Franeois Title: Portrait of Colette Versavel, Wife of Isaac J. de Meyer , painting Date: 1801-1850 Belgian : portrait

Artist: unknow artist
unknow artist Portrait of Sylvie de la Rue china oil painting reproduction

Portrait of Sylvie de la Rue
1810 Oil on canvas, 120,5 x 89,5 cm Groeninge Museum, Bruges Van der Donckt was a local painter in Bruges, who was a skilled pastel painter. The shown oil painting represents the niece of the painter, the future wife of Joseph Odevaere, another Bruges painter. Artist: DONCKT, Franeois van der Title: Portrait of Sylvie de la Rue , painting Date: 1801-1850 Flemish : portrait
Pintura identificación::  62867
5499 ago.
Artist: unknow artist
Painting: Portrait of Sylvie de la Rue
Information: 1810 Oil on canvas, 120,5 x 89,5 cm Groeninge Museum, Bruges Van der Donckt was a local painter in Bruges, who was a skilled pastel painter. The shown oil painting represents the niece of the painter, the future wife of Joseph Odevaere, another Bruges painter. Artist: DONCKT, Franeois van der Title: Portrait of Sylvie de la Rue , painting Date: 1801-1850 Flemish : portrait

Artist: Paul Delaroche
Paul Delaroche Young Christian Martyr china oil painting reproduction

Young Christian Martyr
171 x 148 cm Musee du Louvre, Paris The Nazarenes painted quasi-devotional portraits of each other and their ideal wives or longed-for lovers, often doomed to early death from common diseases of the time. Perhaps the most extreme expression of this sentiment occurs in a series of religious pictures painted by Delaroche after the death of his wife, Louise Vernet, in 1845. In the finest and strangest of these, the Young Christian Martyr, her features float on the dark waters of the Tiber, lit by the halo of sainthood. Artist: DELAROCHE, Paul Title: Young Christian Martyr , painting Date: 1801-1850 French : religious
Pintura identificación::  62863
5500 ago.
Artist: Paul Delaroche
Painting: Young Christian Martyr
Information: 171 x 148 cm Musee du Louvre, Paris The Nazarenes painted quasi-devotional portraits of each other and their ideal wives or longed-for lovers, often doomed to early death from common diseases of the time. Perhaps the most extreme expression of this sentiment occurs in a series of religious pictures painted by Delaroche after the death of his wife, Louise Vernet, in 1845. In the finest and strangest of these, the Young Christian Martyr, her features float on the dark waters of the Tiber, lit by the halo of sainthood. Artist: DELAROCHE, Paul Title: Young Christian Martyr , painting Date: 1801-1850 French : religious

Artist: Caspar David Friedrich
Caspar David Friedrich Woman before the Rising Sun china oil painting reproduction

Woman before the Rising Sun
1818-20 Oil on canvas, 22 x 30 cm Museum Folkwang, Essen In 1818, at the age of 44, Friedrich married Caroline Brommer, a cheerful 25 years old Saxon woman. That Caroline was a positive influence on the artist, which is evidenced by the fact that, from this point on, women appear with greater frequency in his work. A new, friendly element seems to enter his pictures. A case in point is the painting to which some authors give the title Woman before the Rising Sun, and which others call Woman before the Setting Sun. The woman seen in rear view appears as a large silhouette against the intense reddish-yellow of the sky. It is difficult to interpret the fervent gesture of her outstretched arms and the stylised rays radiating from the mountains on the hazy horizon, heralding the presence of the invisible sun. Caroline was probably the model for the female figure in old-German dress. Since she is stepping towards the light like an early Christian in prayer, some have sought to interpret the painting in terms of a communion with nature. On the other hand, the atmosphere evoked in Friedrich's painting might be interpreted as that of dusk, the path which terminates so abruptly as an announcement of death, and the boulders scattered alongside the path as symbols of faith. In the final analysis, few of Friedrich's pictures are as emphatic and almost exaggeratedly symbolic in their effect - factors which render the painting not unproblematic for the viewer. Artist: FRIEDRICH, Caspar David Title: Woman before the Rising Sun (Woman before the Setting Sun) , painting Date: 1801-1850 German : landscape
Pintura identificación::  62853
5503 ago.
Artist: Caspar David Friedrich
Painting: Woman before the Rising Sun
Information: 1818-20 Oil on canvas, 22 x 30 cm Museum Folkwang, Essen In 1818, at the age of 44, Friedrich married Caroline Brommer, a cheerful 25 years old Saxon woman. That Caroline was a positive influence on the artist, which is evidenced by the fact that, from this point on, women appear with greater frequency in his work. A new, friendly element seems to enter his pictures. A case in point is the painting to which some authors give the title Woman before the Rising Sun, and which others call Woman before the Setting Sun. The woman seen in rear view appears as a large silhouette against the intense reddish-yellow of the sky. It is difficult to interpret the fervent gesture of her outstretched arms and the stylised rays radiating from the mountains on the hazy horizon, heralding the presence of the invisible sun. Caroline was probably the model for the female figure in old-German dress. Since she is stepping towards the light like an early Christian in prayer, some have sought to interpret the painting in terms of a communion with nature. On the other hand, the atmosphere evoked in Friedrich's painting might be interpreted as that of dusk, the path which terminates so abruptly as an announcement of death, and the boulders scattered alongside the path as symbols of faith. In the final analysis, few of Friedrich's pictures are as emphatic and almost exaggeratedly symbolic in their effect - factors which render the painting not unproblematic for the viewer. Artist: FRIEDRICH, Caspar David Title: Woman before the Rising Sun (Woman before the Setting Sun) , painting Date: 1801-1850 German : landscape

Artist: Francisco de goya y Lucientes
Francisco de goya y Lucientes The Miracle of St Anthony china oil painting reproduction

The Miracle of St Anthony
1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
Pintura identificación::  62830
5506 ago.
Artist: Francisco de goya y Lucientes
Painting: The Miracle of St Anthony
Information: 1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious

PREVIO  29  30  31  32  33  34  35  36  37  38  39  40  41  42  43  44  45  46  47  48  PROXIMO  (Displayed as nearest added time.)
Pintura:: people --> Estilo:: woman

CONTACTE EEUU
China de Xiamen el Petróleo al por mayor que Pinta la Barra de Soga Marco al por mayor que Moldea el Espejo Pinturas Estiradas Encuadradas

BEST SELLER
 TOP100