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Artist: unknow artist
unknow artist St Andrew china oil painting reproduction

St Andrew
123 x 95 cm Museo del Prado, Madrid Ribera was trained in Valencia, but in about 1616 he moved to Italy, settling in Naples. A clever draftsman and a master of composition, his numerous paintings are more varied than the legends concerning him might lead one to suppose. In his better work the dominant colors, browns and reds, contrast with cruel lighting, which sometimes appears to do violence to the forms. In Ribera highly refined ecxecution and realistic modeling, particularly the marvelous flesh tints of his saints, are combined with a marked preference for dramatic themes, as may be seen in his St Andrew, in the Prado, or better in the painting of the martyrdom of the same saint, now in Budapest. His Crucifixion, in the collegiate church od Osuna, and his Martyrdom of St Bartholomew (1630) in the Prado, are similar in intention and technique. A preference does not imply total exclusion, and there is evidence that Ribera was also a sumptuous colorist. His style evolved from an early preoccupation with 'tenebrist' techniques, through a period of experiment with a silvery light, to a final stage characterized by warm and golden tones. One of his most beautiful paintings is the Holy Family in the Metropolitam Museum of Art in New York. Ribera also practiced engraving and his influence was considerable, both in Italy, where he lived in Naples when it was ruled by Spanish viceroys, and in Spain. Much of his work was intended for Spanish patrons and was an object of admiration as well as a stimulus to Spanish painters. , Artist: RIBERA, Jusepe de , St Andrew , 1601-1650 , Spanish , painting , religious
Måleriet Identifieringen ::  63943
5399 ago.
Konstnär: unknow artist
Målning: St Andrew
Information: 123 x 95 cm Museo del Prado, Madrid Ribera was trained in Valencia, but in about 1616 he moved to Italy, settling in Naples. A clever draftsman and a master of composition, his numerous paintings are more varied than the legends concerning him might lead one to suppose. In his better work the dominant colors, browns and reds, contrast with cruel lighting, which sometimes appears to do violence to the forms. In Ribera highly refined ecxecution and realistic modeling, particularly the marvelous flesh tints of his saints, are combined with a marked preference for dramatic themes, as may be seen in his St Andrew, in the Prado, or better in the painting of the martyrdom of the same saint, now in Budapest. His Crucifixion, in the collegiate church od Osuna, and his Martyrdom of St Bartholomew (1630) in the Prado, are similar in intention and technique. A preference does not imply total exclusion, and there is evidence that Ribera was also a sumptuous colorist. His style evolved from an early preoccupation with 'tenebrist' techniques, through a period of experiment with a silvery light, to a final stage characterized by warm and golden tones. One of his most beautiful paintings is the Holy Family in the Metropolitam Museum of Art in New York. Ribera also practiced engraving and his influence was considerable, both in Italy, where he lived in Naples when it was ruled by Spanish viceroys, and in Spain. Much of his work was intended for Spanish patrons and was an object of admiration as well as a stimulus to Spanish painters. , Artist: RIBERA, Jusepe de , St Andrew , 1601-1650 , Spanish , painting , religious

Artist: HALS, Frans
HALS, Frans Jasper Schade china oil painting reproduction

Jasper Schade
1645 Oil on canvas, 80 x 67,5 cm National Gallery, Prague Hals's most penetrating characterizations date from the last decades of his life. With uncanny subtlety, he grasped the personalities of all types: the strong and the vulnerable, the pompous and the meek, the brutal and the tender. Though he found some sitters more congenial than others, the aged master never seems to have been bored with his job. During these years he was especially sympathetic to sitters of his own generation. The pictorial reserve of his last phase was particularly suitable for the portrayal of his peers, whose age and tastes made them shun the new vogue for the ostentatious. But we sense he could also be critical of them. He was, however, more devastating when appraising members of the younger generation who found themselves dissatisfied with their father's tastes, and began to imitate the manners and clothes of the French nobility. Yet the artist was able to satisfy the desire of young patrons for rich effects without losing his extraordinary sensitivity to tonal gradations as seen in his half-length of Jasper Schade, a patrician of Utrecht who later was representative of his province to the States-General. Hals's characterization of him, and his firm control of pictorial organization, convince us that as a young man his sitter was a vain, proud peacock, an impression confirmed by a contemporary report that he spent extravagant sums on his wardrobe. In a letter written in 1645 (almost certainly the date of Hals's portrait) his uncle admonished his son, then in Paris, not to run up tremendous bills with his tailors the way his cousin Jasper Schade had done. A subtle emphasis on verticality in the portrait contributes to Jasper's haughty air - not that an emphasis on vertical forms must needs express arrogance, but here it certainly does. His hat's upward turned brim and the straight arrangement of his long hair accent the length of the face of a man looking down at people below his station. And while thin, frail bodies may contain most noble spirits, this one hardly inspires confidence in its inner strength. As dazzling as Hals's appraisal of his sitter are the zigzag and angular brushstrokes that suggest the nervous dance of bright light on his grey taffeta jacket while creating an electrifying movement on the picture surface.Artist:HALS, Frans Title: Jasper Schade Painted in 1601-1650 , Dutch - - painting : portrait
Måleriet Identifieringen ::  63938
5400 ago.
Konstnär: HALS, Frans
Målning: Jasper Schade
Information: 1645 Oil on canvas, 80 x 67,5 cm National Gallery, Prague Hals's most penetrating characterizations date from the last decades of his life. With uncanny subtlety, he grasped the personalities of all types: the strong and the vulnerable, the pompous and the meek, the brutal and the tender. Though he found some sitters more congenial than others, the aged master never seems to have been bored with his job. During these years he was especially sympathetic to sitters of his own generation. The pictorial reserve of his last phase was particularly suitable for the portrayal of his peers, whose age and tastes made them shun the new vogue for the ostentatious. But we sense he could also be critical of them. He was, however, more devastating when appraising members of the younger generation who found themselves dissatisfied with their father's tastes, and began to imitate the manners and clothes of the French nobility. Yet the artist was able to satisfy the desire of young patrons for rich effects without losing his extraordinary sensitivity to tonal gradations as seen in his half-length of Jasper Schade, a patrician of Utrecht who later was representative of his province to the States-General. Hals's characterization of him, and his firm control of pictorial organization, convince us that as a young man his sitter was a vain, proud peacock, an impression confirmed by a contemporary report that he spent extravagant sums on his wardrobe. In a letter written in 1645 (almost certainly the date of Hals's portrait) his uncle admonished his son, then in Paris, not to run up tremendous bills with his tailors the way his cousin Jasper Schade had done. A subtle emphasis on verticality in the portrait contributes to Jasper's haughty air - not that an emphasis on vertical forms must needs express arrogance, but here it certainly does. His hat's upward turned brim and the straight arrangement of his long hair accent the length of the face of a man looking down at people below his station. And while thin, frail bodies may contain most noble spirits, this one hardly inspires confidence in its inner strength. As dazzling as Hals's appraisal of his sitter are the zigzag and angular brushstrokes that suggest the nervous dance of bright light on his grey taffeta jacket while creating an electrifying movement on the picture surface.Artist:HALS, Frans Title: Jasper Schade Painted in 1601-1650 , Dutch - - painting : portrait

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Braque Family Triptych china oil painting reproduction

Braque Family Triptych
1450 Wood, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the left wing of the Braque Family Triptych representing St John the Baptist. The lower frame of pictures (original frame) act as a kind of ledge in front of the figures, where John the Baptist can rest his boo. The words being spoken by the figures proceed from their mouths in curved scroll shapes, rather like the speech bubbles of modern strip cartoons. However, the text above the Magdalene, but not spoken by her, is written in a straight line.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (left wing) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63908
5401 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Braque Family Triptych
Information: 1450 Wood, 41 x 34 cm Mus?e du Louvre, Paris The picture shows the left wing of the Braque Family Triptych representing St John the Baptist. The lower frame of pictures (original frame) act as a kind of ledge in front of the figures, where John the Baptist can rest his boo. The words being spoken by the figures proceed from their mouths in curved scroll shapes, rather like the speech bubbles of modern strip cartoons. However, the text above the Magdalene, but not spoken by her, is written in a straight line.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (left wing) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment china oil painting reproduction

The Last Judgment
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63895
5401 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The central panel is dominated by the son of God, seated on a semi-circular rainbow.Artist:WEYDEN, Rogier van der Title: The Last Judgment (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der The Last Judgment Polyptych china oil painting reproduction

The Last Judgment Polyptych
1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The detail shows Chancellor Nicolas Rolin, founder of the H?tel-Dieu in Beaune from one of the outer panels of the Last Judgment Polyptych. The donor of the Hospices de Beaune must have been an extremely powerful and wealthy man to finance such an undertaking. Nicolas Rolin spent nearly sixty of his eighty-one years in the service of the Dukes of Burgundy. For twenty years he was their legal advisor; he spent the remaining years as chancellor. A chancellor in the Middle Ages was a "superminister" combining the functions of Minister of Finance, Home and Foreign Affairs and others. It is not surprising that a capable and intelligent man holding so much power and with more than half a century in the favour of one master, should amass considerable wealth. And that master was no ordinary man. Philippe-le-Bon (Philip the Good), Duc de Bourgogne, Grand Duc d'Occident, could say without exaggeration that "I could be king if I so wished". He was a vassal of the King of France, but infinitely richer and more powerful than the unfortunate Charles VII. Through a series of judicious marriages and annexation of lands after victories, the Dukes of Burgundy, from the days of Jean-Sans-Peur (Fearless John), built up vast spheres of influence, a patchwork of regions and races extending around the Kingdom of France in a crescent from just north of Lyons to just south of Amiens and from there to northern modern Holland. Philippe-le-Bon entrusted the management of this vast domain to Nicolas Rolin. Certain chroniclers contend that his management was not entirely disinterested and that the magnificence of the Hospices directly reflects the degree of his remorse for his actions. Nevertheless, it has been recorded that, assailed by criticism and reproaches and accused of misappropriation of funds, Nicolas Rolin, in order to silence envious tongues, appeared before Philippe-le-Bon dressed in the humble robes of a lawyer with a list in his hand and offered to return all the gifts which the Duke had showered upon him. The Duke refused this offer and was pleased that there was still room on this list for further gifts! There was nothing to indicate that the Rolins, a modest family from Autun, were destined for such greatness. Nicolas needed unrelenting determination and persistence to successfully ascend the social ladder. As Councillor to Jean-Sans-Peur and, after 1422, Chancellor to Phillipe-le-Bon, Nicolas Rolin showed himself to be not only an able administrator but also a canny politician who succeeded in extricating the Duchy of Burgundy from an alliance with the English which became onerous after the glorious progression of Joan of Arc and the change in fortune of Charles VII. He was also one of the authors of the Treaty of Arras, the instrument which reconciled France and Burgundy and ended the Hundred Years' War. Nicolas Rolin's pride and authoritarian nature are clearly reflected in the first words of the charter creating the Hospices, "I wish and hereby order... I wish and hereby devise that... ". In 1443, desirous of helping Beaune, the city of his mother's birth, recover from the devastation of the Hundred Years' War, Nicolas Rolin decided to build a hospital, "ignoring all worldly concerns and in the interests of my salvation ". After the main outlines of his project were established, Rolin, enamoured of the richness of Flemish architecture, imported an artist - thought to have been Jean Wiscrere - from the "flat country" to construct the Hospices in the image of the H?pital Saint-Jacques in Valenciennes. The Chancellor had initially calculated that the work begun in 1443 would take five years. In fact, the building was not dedicated until December 31, 1451. Nicolas and his wife, Guigone de Salins, welcomed six nuns from Flanders the next day and the first patient was admitted several hours later. The last patient left the Hospices in 1971, 520 years later.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (detail) Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63887
5402 ago.
Konstnär: WEYDEN, Rogier van der
Målning: The Last Judgment Polyptych
Information: 1446-52 Oil on wood Mus?e de l'H?tel Dieu, Beaune The detail shows Chancellor Nicolas Rolin, founder of the H?tel-Dieu in Beaune from one of the outer panels of the Last Judgment Polyptych. The donor of the Hospices de Beaune must have been an extremely powerful and wealthy man to finance such an undertaking. Nicolas Rolin spent nearly sixty of his eighty-one years in the service of the Dukes of Burgundy. For twenty years he was their legal advisor; he spent the remaining years as chancellor. A chancellor in the Middle Ages was a "superminister" combining the functions of Minister of Finance, Home and Foreign Affairs and others. It is not surprising that a capable and intelligent man holding so much power and with more than half a century in the favour of one master, should amass considerable wealth. And that master was no ordinary man. Philippe-le-Bon (Philip the Good), Duc de Bourgogne, Grand Duc d'Occident, could say without exaggeration that "I could be king if I so wished". He was a vassal of the King of France, but infinitely richer and more powerful than the unfortunate Charles VII. Through a series of judicious marriages and annexation of lands after victories, the Dukes of Burgundy, from the days of Jean-Sans-Peur (Fearless John), built up vast spheres of influence, a patchwork of regions and races extending around the Kingdom of France in a crescent from just north of Lyons to just south of Amiens and from there to northern modern Holland. Philippe-le-Bon entrusted the management of this vast domain to Nicolas Rolin. Certain chroniclers contend that his management was not entirely disinterested and that the magnificence of the Hospices directly reflects the degree of his remorse for his actions. Nevertheless, it has been recorded that, assailed by criticism and reproaches and accused of misappropriation of funds, Nicolas Rolin, in order to silence envious tongues, appeared before Philippe-le-Bon dressed in the humble robes of a lawyer with a list in his hand and offered to return all the gifts which the Duke had showered upon him. The Duke refused this offer and was pleased that there was still room on this list for further gifts! There was nothing to indicate that the Rolins, a modest family from Autun, were destined for such greatness. Nicolas needed unrelenting determination and persistence to successfully ascend the social ladder. As Councillor to Jean-Sans-Peur and, after 1422, Chancellor to Phillipe-le-Bon, Nicolas Rolin showed himself to be not only an able administrator but also a canny politician who succeeded in extricating the Duchy of Burgundy from an alliance with the English which became onerous after the glorious progression of Joan of Arc and the change in fortune of Charles VII. He was also one of the authors of the Treaty of Arras, the instrument which reconciled France and Burgundy and ended the Hundred Years' War. Nicolas Rolin's pride and authoritarian nature are clearly reflected in the first words of the charter creating the Hospices, "I wish and hereby order... I wish and hereby devise that... ". In 1443, desirous of helping Beaune, the city of his mother's birth, recover from the devastation of the Hundred Years' War, Nicolas Rolin decided to build a hospital, "ignoring all worldly concerns and in the interests of my salvation ". After the main outlines of his project were established, Rolin, enamoured of the richness of Flemish architecture, imported an artist - thought to have been Jean Wiscrere - from the "flat country" to construct the Hospices in the image of the H?pital Saint-Jacques in Valenciennes. The Chancellor had initially calculated that the work begun in 1443 would take five years. In fact, the building was not dedicated until December 31, 1451. Nicolas and his wife, Guigone de Salins, welcomed six nuns from Flanders the next day and the first patient was admitted several hours later. The last patient left the Hospices in 1971, 520 years later.Artist:WEYDEN, Rogier van der Title: The Last Judgment Polyptych (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait of a Man china oil painting reproduction

Portrait of a Man
1450 Oil on panel, 75 x 50 cm Koninklijk Museum voor Schone Kunsten, Antwerp This portrait is probably a copy from c. 1500 of an original by Rogier van der Weyden which, judging by the fashion of the clothes, was executed around or shortly after the middle of the century. An unusual feature is the elegant low neck, which makes the face seem small. Possibly this, like the clock, and the inscriptions reminding the viewer of the transience of life, was a deviation from the original.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait
Måleriet Identifieringen ::  63878
5403 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Portrait of a Man
Information: 1450 Oil on panel, 75 x 50 cm Koninklijk Museum voor Schone Kunsten, Antwerp This portrait is probably a copy from c. 1500 of an original by Rogier van der Weyden which, judging by the fashion of the clothes, was executed around or shortly after the middle of the century. An unusual feature is the elegant low neck, which makes the face seem small. Possibly this, like the clock, and the inscriptions reminding the viewer of the transience of life, was a deviation from the original.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der St Joseph china oil painting reproduction

St Joseph
1445 Oil on oak panel, 21 x 18,3 cm Gulbenkian Foundation, Lisbon This fragment was sawn out of the same large altarpiece as the Mary Magdalene in the National Gallery, London. The aged Joseph stood behind the Magdalene; the lower part of his body can still be seen in the fragment. The exterior of the building in which the scene took place was richly ornamented with Gothic decoration, like a church.Artist:WEYDEN, Rogier van der Title: St Joseph Painted in 1401-1450 , Flemish - - painting : religious
Måleriet Identifieringen ::  63864
5406 ago.
Konstnär: WEYDEN, Rogier van der
Målning: St Joseph
Information: 1445 Oil on oak panel, 21 x 18,3 cm Gulbenkian Foundation, Lisbon This fragment was sawn out of the same large altarpiece as the Mary Magdalene in the National Gallery, London. The aged Joseph stood behind the Magdalene; the lower part of his body can still be seen in the fragment. The exterior of the building in which the scene took place was richly ornamented with Gothic decoration, like a church.Artist:WEYDEN, Rogier van der Title: St Joseph Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait of a Man china oil painting reproduction

Portrait of a Man
1455-60 Oil on oak panel, 32 x 22,8 cm Thyssen-Bornemisza Collection, Madrid The man, who is of middle age, has not been identified. The fashion in which his hair is cut corresponds roughly to the style worn by Francesco d'Este (Metropolitan Museum of Art, New York), which would suggest that the two pictures are close in date.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait
Måleriet Identifieringen ::  63856
5406 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Portrait of a Man
Information: 1455-60 Oil on oak panel, 32 x 22,8 cm Thyssen-Bornemisza Collection, Madrid The man, who is of middle age, has not been identified. The fashion in which his hair is cut corresponds roughly to the style worn by Francesco d'Este (Metropolitan Museum of Art, New York), which would suggest that the two pictures are close in date.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait of Philip the Good after china oil painting reproduction

Portrait of Philip the Good after
1450 Oil on wood, 31 x 23 cm Kunsthistorisches Museum, Vienna The Duchy of Burgundy had its heyday under Philip the Bold, John the Fearless, Philip the Good and Charles the Bold. Between them, they acquired countless new territories, through a cunning combination of astute marriages, timely purchase and the barely legal diversion of other people's inheritances. Rogier van der Weyden received many commissions from the Court of Burgundy. He excelled in portrait. He was not a realist, he did not seek to capture the particular characteristic of his model, but instead tried to create an ideal image. This approach was very popular with his contemporaries, and brought him considerable success in this genre. He was sought after by the grandest aristocrats and prelates, as well as by the wealthy bourgeoisie, who wanted him to record and embellish their features for posterity. Several writers have drawn attention to Van der Weyden's treatment of his sitter's hands, which he almost always painted joined together, discreetly, so as not to distract from their faces, yet quietly present, always serving to underline their serenity.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait
Måleriet Identifieringen ::  63854
5406 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Portrait of Philip the Good after
Information: 1450 Oil on wood, 31 x 23 cm Kunsthistorisches Museum, Vienna The Duchy of Burgundy had its heyday under Philip the Bold, John the Fearless, Philip the Good and Charles the Bold. Between them, they acquired countless new territories, through a cunning combination of astute marriages, timely purchase and the barely legal diversion of other people's inheritances. Rogier van der Weyden received many commissions from the Court of Burgundy. He excelled in portrait. He was not a realist, he did not seek to capture the particular characteristic of his model, but instead tried to create an ideal image. This approach was very popular with his contemporaries, and brought him considerable success in this genre. He was sought after by the grandest aristocrats and prelates, as well as by the wealthy bourgeoisie, who wanted him to record and embellish their features for posterity. Several writers have drawn attention to Van der Weyden's treatment of his sitter's hands, which he almost always painted joined together, discreetly, so as not to distract from their faces, yet quietly present, always serving to underline their serenity.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait

Artist: BARTOLOMEO VENETO
BARTOLOMEO VENETO Portrait of a Gentleman china oil painting reproduction

Portrait of a Gentleman
1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait
Måleriet Identifieringen ::  63841
5407 ago.
Konstnär: BARTOLOMEO VENETO
Målning: Portrait of a Gentleman
Information: 1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait

Artist: CAMPI, Giulio
CAMPI, Giulio Portrait of a Man - Oil on canvas china oil painting reproduction

Portrait of a Man - Oil on canvas
105,5 x 83 cm The Hermitage, St. Petersburg Formerly the painting was attributed to Anthonis Mor, then to Paris Bordone, and later to Lorenzo Lotto.Artist:CAMPI, Giulio Title: Portrait of a Man Painted in 1501-1550 , Italian - - painting : portrait
Måleriet Identifieringen ::  63840
5407 ago.
Konstnär: CAMPI, Giulio
Målning: Portrait of a Man - Oil on canvas
Information: 105,5 x 83 cm The Hermitage, St. Petersburg Formerly the painting was attributed to Anthonis Mor, then to Paris Bordone, and later to Lorenzo Lotto.Artist:CAMPI, Giulio Title: Portrait of a Man Painted in 1501-1550 , Italian - - painting : portrait

Artist: unknow artist
unknow artist Portrait of a Boy china oil painting reproduction

Portrait of a Boy
1638 Oil on canvas Galleria Borghese, Rome The portrait of a youth with impressive features is an unusual interpretation of childhood. It belongs to the works in which the brushwork becomes increasingly spontaneous and seems to model the forms like a chisel sculpting marble.Artist:BERNINI, Gian Lorenzo Title: Portrait of a Boy Painted in 1601-1650 , Italian - - painting : portrait
Måleriet Identifieringen ::  63839
5407 ago.
Konstnär: unknow artist
Målning: Portrait of a Boy
Information: 1638 Oil on canvas Galleria Borghese, Rome The portrait of a youth with impressive features is an unusual interpretation of childhood. It belongs to the works in which the brushwork becomes increasingly spontaneous and seems to model the forms like a chisel sculpting marble.Artist:BERNINI, Gian Lorenzo Title: Portrait of a Boy Painted in 1601-1650 , Italian - - painting : portrait

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