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Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel Summer oil painting picture wholesale

Summer
142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape
Måleriet Identifieringen  63045
5479 ago.
Artist: RUBENS, Pieter Pauwel
Painting: Summer
Information: 142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape

Artist: BOTTICELLI, Sandro
BOTTICELLI, Sandro The Abyss of Hell oil painting picture wholesale

The Abyss of Hell
1480s Coloured drawing on parchment, 320 x 470 mm Biblioteca Apostolica Vaticana, Rome Dante imagined Hell as being an abyss with nine circles, which in turn divided into various rings. Botticelli's cross-section view of the underworld is drawn so finely and precisely that it is possible to trace the individual stops made by Dante and Virgil on their descent to the centre of the earth. Artist: BOTTICELLI, Sandro Painting Title: The Abyss of Hell , 1451-1500 Painting Style: Italian , graphics Type: other
Måleriet Identifieringen  62946
5495 ago.
Artist: BOTTICELLI, Sandro
Painting: The Abyss of Hell
Information: 1480s Coloured drawing on parchment, 320 x 470 mm Biblioteca Apostolica Vaticana, Rome Dante imagined Hell as being an abyss with nine circles, which in turn divided into various rings. Botticelli's cross-section view of the underworld is drawn so finely and precisely that it is possible to trace the individual stops made by Dante and Virgil on their descent to the centre of the earth. Artist: BOTTICELLI, Sandro Painting Title: The Abyss of Hell , 1451-1500 Painting Style: Italian , graphics Type: other

Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Exterior of the Sistine Chapel oil painting picture wholesale

Exterior of the Sistine Chapel
1475-83 - Cappella Sistina, Vatican This is a reconstruction of the original design of the Sistine Chapel seen from the northwest corner, with the crenellations and chemin-de-ronde, before the addition of the buttresses on the long walls, and before the altar wall windows were closed and other buildings raised alongside. Artist: MICHELANGELO Buonarroti Painting Title: Exterior of the Sistine Chapel , 1501-1550 Painting Style: Italian , , religious
Måleriet Identifieringen  62931
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Exterior of the Sistine Chapel
Information: 1475-83 - Cappella Sistina, Vatican This is a reconstruction of the original design of the Sistine Chapel seen from the northwest corner, with the crenellations and chemin-de-ronde, before the addition of the buttresses on the long walls, and before the altar wall windows were closed and other buildings raised alongside. Artist: MICHELANGELO Buonarroti Painting Title: Exterior of the Sistine Chapel , 1501-1550 Painting Style: Italian , , religious

Artist: Michelangelo Buonarroti
Michelangelo Buonarroti View of the Chapel oil painting picture wholesale

View of the Chapel
Palazzi Pontifici, Vatican Between 1537 and 1540, Antonio da Sangallo the Younger built the Pauline Chapel in the Vatican, as Pope's (Paul III) private chapel. In 1541 Michelangelo was asked to decorate the central parts of the two longer walls with two frescoes. The first, The Conversion of Saint Paul, was begun in 1542; the second, the Martyrdom of St Peter, was painted between 1546 and 1550. Before this, no one had ever attempted to place these two themes next to each other. Michelangelo portrays what is by this time his plan of life: death for the faith must follow conversion and be its confirmation. To Paul, who has fallen and has been forced to shut his eyes because of the brilliance of divine light, he gives his own face and makes Peter, nailed to the cross, in the supreme tension of the last moment of life, forcefully look at the spectator. Artist: MICHELANGELO Buonarroti Title: View of the Chapel Date: 1501-1550 Italian , painting : other
Måleriet Identifieringen  62909
5502 ago.
Artist: Michelangelo Buonarroti
Painting: View of the Chapel
Information: Palazzi Pontifici, Vatican Between 1537 and 1540, Antonio da Sangallo the Younger built the Pauline Chapel in the Vatican, as Pope's (Paul III) private chapel. In 1541 Michelangelo was asked to decorate the central parts of the two longer walls with two frescoes. The first, The Conversion of Saint Paul, was begun in 1542; the second, the Martyrdom of St Peter, was painted between 1546 and 1550. Before this, no one had ever attempted to place these two themes next to each other. Michelangelo portrays what is by this time his plan of life: death for the faith must follow conversion and be its confirmation. To Paul, who has fallen and has been forced to shut his eyes because of the brilliance of divine light, he gives his own face and makes Peter, nailed to the cross, in the supreme tension of the last moment of life, forcefully look at the spectator. Artist: MICHELANGELO Buonarroti Title: View of the Chapel Date: 1501-1550 Italian , painting : other

Artist: Waldemar Rosler
Waldemar Rosler Landscape in lights fields in the winter oil painting picture wholesale

Landscape in lights fields in the winter
Landscape in lights fields in the winter mk184 1912 oils on Lwd 66x95cm
Måleriet Identifieringen  62894
5505 ago.
Artist: Waldemar Rosler
Painting: Landscape in lights fields in the winter
Information: Landscape in lights fields in the winter mk184 1912 oils on Lwd 66x95cm

Artist: unknow artist
unknow artist The Castle of Batavia oil painting picture wholesale

The Castle of Batavia
Seen from Kali Besar West 1656 Oil on canvas, 108 x 151,5 cm Rijksmuseum, Amsterdam Dutch expansion overseas was in both directions, eastward and westwards. In particular, it was the establishment of the Dutch East India Company (VOC) in 1602 and the Dutch West India Company (WIC) in 1621, each with clearly demarcated areas of activity, that caused the number of Dutch overseas territories to increase rapidly. Some of the settlements in the western hemisphere were only briefly under Dutch administration: Northern Brazil (1624-1661) and New Holland, with the city of New Amsterdam ethe future New York eat the mouth of the Hudson river (1628-1664). On the other hand, the islands of Curacao, Aruba, Bonaire, St. Eustatius, Saba and St. Martin are still Dutch, while Surinam became independent in 1975. The Far Eastern territories were the most important, including settlements in India, Ceylon (now Sri Lanka), Malacca (now part of Malaysia), Formosa (now Taiwan), the Japanese island of Deshima and the Indonesian archipelago. It was here, in Batavia on the island of Java, that the VOC established its administrative headquarters, with a governor-general in charge from 1610 onwards. Trading contracts were signed and alliances concluded with local princes. In 1652, a staging post for VOC ships was established at the southern tip of Africa, known as the Cape of Good Hope. The arrival of settlers was to transform this into a fully-fledged Dutch colony. In the background of the paianting is the castle of Batavia, the bastion of Dutch rule in Asia. This was where the VOC's administrators lived. The governor-general is just arriving in town with his retinue. In the foreground is a market by the Kali Besar, or Great River. The Dutch built Batavia in 1619 on the site of Jakarta, which they had destroyed. Beeckman was commissioned by the voc to paint this peaceful scene on the spot. Artist: BEECKMAN, Andries Title: The Castle of Batavia, Seen from Kali Besar West , painting Date: 1651-1700 Dutch : landscape
Måleriet Identifieringen  62884
5506 ago.
Artist: unknow artist
Painting: The Castle of Batavia
Information: Seen from Kali Besar West 1656 Oil on canvas, 108 x 151,5 cm Rijksmuseum, Amsterdam Dutch expansion overseas was in both directions, eastward and westwards. In particular, it was the establishment of the Dutch East India Company (VOC) in 1602 and the Dutch West India Company (WIC) in 1621, each with clearly demarcated areas of activity, that caused the number of Dutch overseas territories to increase rapidly. Some of the settlements in the western hemisphere were only briefly under Dutch administration: Northern Brazil (1624-1661) and New Holland, with the city of New Amsterdam ethe future New York eat the mouth of the Hudson river (1628-1664). On the other hand, the islands of Curacao, Aruba, Bonaire, St. Eustatius, Saba and St. Martin are still Dutch, while Surinam became independent in 1975. The Far Eastern territories were the most important, including settlements in India, Ceylon (now Sri Lanka), Malacca (now part of Malaysia), Formosa (now Taiwan), the Japanese island of Deshima and the Indonesian archipelago. It was here, in Batavia on the island of Java, that the VOC established its administrative headquarters, with a governor-general in charge from 1610 onwards. Trading contracts were signed and alliances concluded with local princes. In 1652, a staging post for VOC ships was established at the southern tip of Africa, known as the Cape of Good Hope. The arrival of settlers was to transform this into a fully-fledged Dutch colony. In the background of the paianting is the castle of Batavia, the bastion of Dutch rule in Asia. This was where the VOC's administrators lived. The governor-general is just arriving in town with his retinue. In the foreground is a market by the Kali Besar, or Great River. The Dutch built Batavia in 1619 on the site of Jakarta, which they had destroyed. Beeckman was commissioned by the voc to paint this peaceful scene on the spot. Artist: BEECKMAN, Andries Title: The Castle of Batavia, Seen from Kali Besar West , painting Date: 1651-1700 Dutch : landscape

Artist: Thomas Cole
Thomas Cole The Architect's Dream oil painting picture wholesale

The Architect's Dream
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other
Måleriet Identifieringen  62883
5506 ago.
Artist: Thomas Cole
Painting: The Architect's Dream
Information: 1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other

Artist: Karl Blechen
Karl Blechen Building the Devil's Bridge oil painting picture wholesale

Building the Devil's Bridge
1833 Oil on canvas, cm Neue Pinakothek, Munich At first sight the picture seems full of mystery, indeed it creates a sense of unease. The very title seems designed to evoke a shudder, and this impression is strengthened by the darkening evening with its long shadows, and above all, the building crane, which looks like a gallows. The viewer may well be attracted to the Romantic mood of the painting, but the true message is clear, and it is rather sombre. Man is bringing even the most distant and seemingly inaccessible regions under control through civilization and technical advance, and he is mastering the aspects of nature that have till now seemed unapproachable and fearful. But there is also allegory here - it is in the reference to transience. The new bridge that is being built will one day be as crumbling as the old one is now. Artist: BLECHEN, Karl Title: Building the Devil's Bridge , painting Date: 1801-1850 German : landscape
Måleriet Identifieringen  62877
5507 ago.
Artist: Karl Blechen
Painting: Building the Devil's Bridge
Information: 1833 Oil on canvas, cm Neue Pinakothek, Munich At first sight the picture seems full of mystery, indeed it creates a sense of unease. The very title seems designed to evoke a shudder, and this impression is strengthened by the darkening evening with its long shadows, and above all, the building crane, which looks like a gallows. The viewer may well be attracted to the Romantic mood of the painting, but the true message is clear, and it is rather sombre. Man is bringing even the most distant and seemingly inaccessible regions under control through civilization and technical advance, and he is mastering the aspects of nature that have till now seemed unapproachable and fearful. But there is also allegory here - it is in the reference to transience. The new bridge that is being built will one day be as crumbling as the old one is now. Artist: BLECHEN, Karl Title: Building the Devil's Bridge , painting Date: 1801-1850 German : landscape

Artist: Caspar David Friedrich
Caspar David Friedrich The Watzmann oil painting picture wholesale

The Watzmann
1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape
Måleriet Identifieringen  62856
5511 ago.
Artist: Caspar David Friedrich
Painting: The Watzmann
Information: 1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape

Artist: Friedrich Johann Overbeck
Friedrich Johann Overbeck The Cross in the Mountains oil painting picture wholesale

The Cross in the Mountains
1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape
Måleriet Identifieringen  62852
5513 ago.
Artist: Friedrich Johann Overbeck
Painting: The Cross in the Mountains
Information: 1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape

Artist: Friedrich Johann Overbeck
Friedrich Johann Overbeck Morning in the Riesengebirge oil painting picture wholesale

Morning in the Riesengebirge
1810-11 Oil on canvas, 108 x 170 cm Nationalgalerie, Berlin With his friend Kersting he had made a tour of the mountainous area near Dresden known as 'Saxon Switzerland', in the summer of 1810. Morning in the Riesengebirge, painted shortly afterwards, is another exposition of his theme of the cross on a peak. It may be seen as a sort of continuation of the Tetschen Altar. The planes of earth and sky, representing the bodily and the infinite, are bridged by the crucifix, lit by the morning sun. Artist: FRIEDRICH, Caspar David Title: Morning in the Riesengebirge , painting Date: 1801-1850 German : landscape
Måleriet Identifieringen  62851
5513 ago.
Artist: Friedrich Johann Overbeck
Painting: Morning in the Riesengebirge
Information: 1810-11 Oil on canvas, 108 x 170 cm Nationalgalerie, Berlin With his friend Kersting he had made a tour of the mountainous area near Dresden known as 'Saxon Switzerland', in the summer of 1810. Morning in the Riesengebirge, painted shortly afterwards, is another exposition of his theme of the cross on a peak. It may be seen as a sort of continuation of the Tetschen Altar. The planes of earth and sky, representing the bodily and the infinite, are bridged by the crucifix, lit by the morning sun. Artist: FRIEDRICH, Caspar David Title: Morning in the Riesengebirge , painting Date: 1801-1850 German : landscape

Artist: Jakob Philipp Hackert
Jakob Philipp Hackert Autumn oil painting picture wholesale

Autumn
1784 Oil on canvas, 96,5 x 64 cm Wallraf-Richartz Museum, Cologne The painting depicts a grape harvest and the view of Sorrento, the Gulf of Naples and the islands. Artist: HACKERT, Jacob Philipp Title: Autumn Date: 1751-1800 German , painting : landscape
Måleriet Identifieringen  62839
5515 ago.
Artist: Jakob Philipp Hackert
Painting: Autumn
Information: 1784 Oil on canvas, 96,5 x 64 cm Wallraf-Richartz Museum, Cologne The painting depicts a grape harvest and the view of Sorrento, the Gulf of Naples and the islands. Artist: HACKERT, Jacob Philipp Title: Autumn Date: 1751-1800 German , painting : landscape

Artist: Joseph Anton Koch
Joseph Anton Koch Mountain Scene oil painting picture wholesale

Mountain Scene
110 x 161 cm Wallraf-Richartz Museum, Cologne A group of German painters based in Rome in the early nineteenth century had a most decisive effect on the development of German art. The foremost of these artists was Joseph Anton Koch. He was born in Obergiblen in the Tyrol in 1768 but lived in Rome from spring 1795 to his death in 1839. Here he painted the 'heroic landscapes' which form the major part of his work. His Mountain scene of 1796, one of his earliest paintings, shows his attempt to continue the tradition of seventeenth-century landscape painting and to relate the heroic grandeur of nature to the human life that is dependent on it
Måleriet Identifieringen  62822
5517 ago.
Artist: Joseph Anton Koch
Painting: Mountain Scene
Information: 110 x 161 cm Wallraf-Richartz Museum, Cologne A group of German painters based in Rome in the early nineteenth century had a most decisive effect on the development of German art. The foremost of these artists was Joseph Anton Koch. He was born in Obergiblen in the Tyrol in 1768 but lived in Rome from spring 1795 to his death in 1839. Here he painted the 'heroic landscapes' which form the major part of his work. His Mountain scene of 1796, one of his earliest paintings, shows his attempt to continue the tradition of seventeenth-century landscape painting and to relate the heroic grandeur of nature to the human life that is dependent on it

Artist: John Martin
John Martin The Eve of the Deluge oil painting picture wholesale

The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm Royal Collection, Windsor John Martin had humble beginnings in Newcastle-upon-Tyne as a herald painter to a coach-builder, and then in London as a painter on china and glass, but he later achieved a great success with his highly imaginative paintings of scenes from a variety of literary sources, particularly the Old Testament. Many of these pictures were executed on a vast scale and were frequently visionary in conception. The impact of Martin's paintings was also enhanced by his use of vivid contrasts in colour, which served to emphasise the grandeur and other-worldliness of his compositions, and the varying thickness of the paint surface. Apart from his paintings Martin was also a prolific illustrator and engraver, as well as a practising urban engineer. It was while Prince Albert was visiting Martin's studio that he saw one of the artist's major works, The Deluge (the second version of 1834, present whereabouts unknown), and suggested that the artist paint the related themes - The Eve of the Deluge and The Assuaging of the Waters - in order to make a series. It would seem, however, that the artist himself had already developed the idea for such a sequence. The subject of The Eve of the Deluge is ultimately based on Genesis 6:5-8, in which God despairs of man's wickedness on earth and decides to destroy him with the single exception of Noah. The figures on the promontory in the foreground are the patriarchs. The seated figure with a white beard is Methuselah, who is surrounded by the family of Noah. Methuselah instructs Noah to open the scroll written by his father, Enoch, so that he can compare the signs in the sky (sun, moon and comet) with those on the scroll. The fact that they match ordains the end of the world and this results in Methuselah's death. The figures hurrying up the slope include those described in the Bible as 'giants in the earth in those days'. In the middle distance, under the trees on the right, is a group of revellers representing the antediluvian age. Their behaviour has no doubt undermined God's confidence in man. Ravens, a symbol of ill omen, circle overhead. The ark, which Noah was instructed to build in order to save himself, his family and the animals, is visible on a distant promontory in the background on the right. Both The Eve of the Deluge and The Assuaging of the Waters were exhibited at the Royal Academy in 1840, and The Eve of the Deluge was acquired by Prince Albert the following year. The Assuaging of the Waters is now in San Francisco Museum of Fine Arts. Martin published his own account of these three paintings in a pamphlet entitled The Deluge of 1840. This shows that his sources were fairly recondite, extending beyond the historical and the religious to the cosmological and the eschatological, including Byron's Heaven and Earth. 'Altogether the three paintings amount to a history of the world, summarized in the terms of documentary mythology and dioramic episodes, compressed into three scenes - evening,
Måleriet Identifieringen  62815
5518 ago.
Artist: John Martin
Painting: The Eve of the Deluge
Information: 1840 Oil on canvas, 143 x 218 cm Royal Collection, Windsor John Martin had humble beginnings in Newcastle-upon-Tyne as a herald painter to a coach-builder, and then in London as a painter on china and glass, but he later achieved a great success with his highly imaginative paintings of scenes from a variety of literary sources, particularly the Old Testament. Many of these pictures were executed on a vast scale and were frequently visionary in conception. The impact of Martin's paintings was also enhanced by his use of vivid contrasts in colour, which served to emphasise the grandeur and other-worldliness of his compositions, and the varying thickness of the paint surface. Apart from his paintings Martin was also a prolific illustrator and engraver, as well as a practising urban engineer. It was while Prince Albert was visiting Martin's studio that he saw one of the artist's major works, The Deluge (the second version of 1834, present whereabouts unknown), and suggested that the artist paint the related themes - The Eve of the Deluge and The Assuaging of the Waters - in order to make a series. It would seem, however, that the artist himself had already developed the idea for such a sequence. The subject of The Eve of the Deluge is ultimately based on Genesis 6:5-8, in which God despairs of man's wickedness on earth and decides to destroy him with the single exception of Noah. The figures on the promontory in the foreground are the patriarchs. The seated figure with a white beard is Methuselah, who is surrounded by the family of Noah. Methuselah instructs Noah to open the scroll written by his father, Enoch, so that he can compare the signs in the sky (sun, moon and comet) with those on the scroll. The fact that they match ordains the end of the world and this results in Methuselah's death. The figures hurrying up the slope include those described in the Bible as 'giants in the earth in those days'. In the middle distance, under the trees on the right, is a group of revellers representing the antediluvian age. Their behaviour has no doubt undermined God's confidence in man. Ravens, a symbol of ill omen, circle overhead. The ark, which Noah was instructed to build in order to save himself, his family and the animals, is visible on a distant promontory in the background on the right. Both The Eve of the Deluge and The Assuaging of the Waters were exhibited at the Royal Academy in 1840, and The Eve of the Deluge was acquired by Prince Albert the following year. The Assuaging of the Waters is now in San Francisco Museum of Fine Arts. Martin published his own account of these three paintings in a pamphlet entitled The Deluge of 1840. This shows that his sources were fairly recondite, extending beyond the historical and the religious to the cosmological and the eschatological, including Byron's Heaven and Earth. 'Altogether the three paintings amount to a history of the world, summarized in the terms of documentary mythology and dioramic episodes, compressed into three scenes - evening,

Artist: Winslow Homer
Winslow Homer Gardens and Housing oil painting picture wholesale

Gardens and Housing
mk285 1899 Watercolor 35.5 x 53.3 cm Nian
Måleriet Identifieringen  62811
5521 ago.
Artist: Winslow Homer
Painting: Gardens and Housing
Information: mk285 1899 Watercolor 35.5 x 53.3 cm Nian

Artist: Winslow Homer
Winslow Homer Maine cliffs oil painting picture wholesale

Maine cliffs
mk285 Watercolor 1883
Måleriet Identifieringen  62809
5521 ago.
Artist: Winslow Homer
Painting: Maine cliffs
Information: mk285 Watercolor 1883

Artist: Winslow Homer
Winslow Homer Watch all normal oil painting picture wholesale

Watch all normal
mk285 1896 Oil on 101.6 x 76.8 cm Collection of Fine Arts, Boston
Måleriet Identifieringen  62808
5521 ago.
Artist: Winslow Homer
Painting: Watch all normal
Information: mk285 1896 Oil on 101.6 x 76.8 cm Collection of Fine Arts, Boston

Artist: Winslow Homer
Winslow Homer Black Lodge oil painting picture wholesale

Black Lodge
mk285 Watercolor 1898 36.5 x 53.3cm Brooklyn Art Collection
Måleriet Identifieringen  62805
5521 ago.
Artist: Winslow Homer
Painting: Black Lodge
Information: mk285 Watercolor 1898 36.5 x 53.3cm Brooklyn Art Collection

Artist: Winslow Homer
Winslow Homer Houses and trees oil painting picture wholesale

Houses and trees
mk285 1899 Watercolor 33.9 x 53.3 cm Nian Brooklyn Museum of Art
Måleriet Identifieringen  62803
5521 ago.
Artist: Winslow Homer
Painting: Houses and trees
Information: mk285 1899 Watercolor 33.9 x 53.3 cm Nian Brooklyn Museum of Art

Artist: Winslow Homer
Winslow Homer Shage Nai River 3 Shanjia oil painting picture wholesale

Shage Nai River 3 Shanjia
mk285 1904 - 1909 Oil on 73 x 123.8 cm
Måleriet Identifieringen  62800
5521 ago.
Artist: Winslow Homer
Painting: Shage Nai River 3 Shanjia
Information: mk285 1904 - 1909 Oil on 73 x 123.8 cm

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