Engros- Olja Måleriet Stomme Mögel Spegel Porslinet
Olja Måleriet:: all portrait --> Style:: man
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Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Cardinal Tommaso Inghirami china oil painting reproduction

Cardinal Tommaso Inghirami
1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait
Måleriet Identifieringen ::  63777
5416 ago.
Konstnär: RAFFAELLO Sanzio
Målning: Cardinal Tommaso Inghirami
Information: 1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait

Artist: STROZZI, Bernardo
STROZZI, Bernardo David with the Head of Goliath china oil painting reproduction

David with the Head of Goliath
1635 Oil on canvas, 132,5 x 100 cm The Hermitage, St. PetersburgArtist:STROZZI, Bernardo Title: David with the Head of Goliath Painted in 1601-1650 , Italian - - painting : religious
Måleriet Identifieringen ::  63775
5416 ago.
Konstnär: STROZZI, Bernardo
Målning: David with the Head of Goliath
Information: 1635 Oil on canvas, 132,5 x 100 cm The Hermitage, St. PetersburgArtist:STROZZI, Bernardo Title: David with the Head of Goliath Painted in 1601-1650 , Italian - - painting : religious

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

Portrait of Philip the Good
1520 Oil on oak panel, 29 x 21 cm Staatliche Museen, Berlin This panel is one of the many copies of a portrait of the duke painted by Rogier van der Weyden probably around 1450, or soon after. The duke, who was just over 50 at the time, wears the chain of the Order of the Golden Fleece, its links representing the flints and steels used to make fire.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait
Måleriet Identifieringen ::  63762
5418 ago.
Konstnär: WEYDEN, Rogier van der
Målning: Portrait of Philip the Good
Information: 1520 Oil on oak panel, 29 x 21 cm Staatliche Museen, Berlin This panel is one of the many copies of a portrait of the duke painted by Rogier van der Weyden probably around 1450, or soon after. The duke, who was just over 50 at the time, wears the chain of the Order of the Golden Fleece, its links representing the flints and steels used to make fire.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait

Artist: Albrecht Durer
Albrecht Durer Emperor Maximilian I china oil painting reproduction

Emperor Maximilian I
1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait
Måleriet Identifieringen ::  63748
5419 ago.
Konstnär: Albrecht Durer
Målning: Emperor Maximilian I
Information: 1519 Tempera on canvas, 83 x 65 cm Germanisches Nationalmuseum, Nuremberg In 1518, D?rer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper). Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: D?rer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.Artist:D?RER, Albrecht Title: Emperor Maximilian I Painted in 1501-1550 , German - - painting : portrait

Artist: Albrecht Durer
Albrecht Durer Portrait of Michael Wolgemut china oil painting reproduction

Portrait of Michael Wolgemut
1516 Oil and tempera on lindenwood, 29 x 27 cm Germanisches Nationalmuseum, Nuremberg After he had achieved great fame, D?rer depicted the master who had taught him to paint. On it he inscribed: `This portrait was done by Albrecht D?rer of his teacher, Michael Wolgemut, in 1516', to which he later added, `and he was 82 years old, and he lived until 1519, when he departed this life on St Andrew's Day morning before sunrise.' It is unclear from the inscription whether Wolgemut was 82 when he died or when the portrait had been painted three years earlier. Michael Wolgemut (1434/7-1519) had one of the largest artist's workshops in Germany. D?rer had served his apprenticeship there from 1486 until 1489 and Wolgemut must have been proud to have witnessed his former pupil's rapid success. In D?rer's portrait, everything is focused on the head, set against a neutral green background. The old man's features are not disguised, from his sunken eyes and gaunt cheeks to the loose skin around his neck. Wolgemut wears a fur-lined coat and a simple hat or scarf, perhaps the headgear he would have worn in his workshop to keep off the dust. His eyes are still alert and he has a thoughtful expression. D?rer does not depict a pitiable man, but marvels at his indomitable spirit.Artist:D?RER, Albrecht Title: Portrait of Michael Wolgemut Painted in 1501-1550 , German - - painting : portrait
Måleriet Identifieringen ::  63747
5419 ago.
Konstnär: Albrecht Durer
Målning: Portrait of Michael Wolgemut
Information: 1516 Oil and tempera on lindenwood, 29 x 27 cm Germanisches Nationalmuseum, Nuremberg After he had achieved great fame, D?rer depicted the master who had taught him to paint. On it he inscribed: `This portrait was done by Albrecht D?rer of his teacher, Michael Wolgemut, in 1516', to which he later added, `and he was 82 years old, and he lived until 1519, when he departed this life on St Andrew's Day morning before sunrise.' It is unclear from the inscription whether Wolgemut was 82 when he died or when the portrait had been painted three years earlier. Michael Wolgemut (1434/7-1519) had one of the largest artist's workshops in Germany. D?rer had served his apprenticeship there from 1486 until 1489 and Wolgemut must have been proud to have witnessed his former pupil's rapid success. In D?rer's portrait, everything is focused on the head, set against a neutral green background. The old man's features are not disguised, from his sunken eyes and gaunt cheeks to the loose skin around his neck. Wolgemut wears a fur-lined coat and a simple hat or scarf, perhaps the headgear he would have worn in his workshop to keep off the dust. His eyes are still alert and he has a thoughtful expression. D?rer does not depict a pitiable man, but marvels at his indomitable spirit.Artist:D?RER, Albrecht Title: Portrait of Michael Wolgemut Painted in 1501-1550 , German - - painting : portrait

Artist: Albrecht Durer
Albrecht Durer Self-Portrait in a Fur-Collared Robe china oil painting reproduction

Self-Portrait in a Fur-Collared Robe
1500 Oil on lime panel, 67,1 x 48,7 cm Alte Pinakothek, Munich The last of D?rer's three magnificent self-portraits was painted early in 1500, before his 29th birthday on 21 May. The picture is proudly inscribed: `Thus I, Albrecht D?rer from Nuremburg, painted myself with indelible colours at the age of 28 years.' It is a sombre image, painted primarily in browns, set against a plain dark background. The face is striking for its resemblance to the head of Christ. In late medieval art, Jesus was traditionally presented in this manner, looking straight ahead in a symmetrical pose. Christ's brown hair in these images is parted towards the middle and falls over the shoulders. For the first and last time in Western art history, an artist was to portray himself in a Christ-like scheme. Given his idealized appearance as the underdrawing shows, his nose was originally irregular in shape - D?rer is approaching us in "imitatio Christi", in imitation of Christ. He has a short beard and moustache. D?rer has even painted himself with brown hair, although the other self-portraits show that it was actually reddish-blond. D?rer deliberately set out to create a Christ-like image, with his hand raised to his chest almost in a pose of blessing. But this was no gesture of arrogance or blasphemy. It was a statement of faith: Christ was the son of God and God had created Man. For D?rer, the painting was an acknowledgment that artistic skills were a God-given talent. However, D?rer has subtly departed from the traditional image of Christ in his self-portrait. Despite initial appearances, the picture is not quite symmetrical. The head lies just off the centre of the panel to the right and the parting of the hair is not exactly in the middle, with the strands of hair falling a little differently on the two sides. The eyes stare slightly towards the left of the panel. D?rer also wears contemporary clothing, a fashionable fur-lined mantle. The result is a highly personal image, one whose `indelible colours' still influence the way we imagine D?rer looked in his later years. The deceptive illusionism in which the picture is painted is also, however, a reference to the classical artistic legend about Apelles, with whom he had been compared by contemporary humanists.Artist:D?RER, Albrecht Title: Self-Portrait in a Fur-Collared Robe Painted in 1501-1550 , German - - painting : portrait
Måleriet Identifieringen ::  63738
5420 ago.
Konstnär: Albrecht Durer
Målning: Self-Portrait in a Fur-Collared Robe
Information: 1500 Oil on lime panel, 67,1 x 48,7 cm Alte Pinakothek, Munich The last of D?rer's three magnificent self-portraits was painted early in 1500, before his 29th birthday on 21 May. The picture is proudly inscribed: `Thus I, Albrecht D?rer from Nuremburg, painted myself with indelible colours at the age of 28 years.' It is a sombre image, painted primarily in browns, set against a plain dark background. The face is striking for its resemblance to the head of Christ. In late medieval art, Jesus was traditionally presented in this manner, looking straight ahead in a symmetrical pose. Christ's brown hair in these images is parted towards the middle and falls over the shoulders. For the first and last time in Western art history, an artist was to portray himself in a Christ-like scheme. Given his idealized appearance as the underdrawing shows, his nose was originally irregular in shape - D?rer is approaching us in "imitatio Christi", in imitation of Christ. He has a short beard and moustache. D?rer has even painted himself with brown hair, although the other self-portraits show that it was actually reddish-blond. D?rer deliberately set out to create a Christ-like image, with his hand raised to his chest almost in a pose of blessing. But this was no gesture of arrogance or blasphemy. It was a statement of faith: Christ was the son of God and God had created Man. For D?rer, the painting was an acknowledgment that artistic skills were a God-given talent. However, D?rer has subtly departed from the traditional image of Christ in his self-portrait. Despite initial appearances, the picture is not quite symmetrical. The head lies just off the centre of the panel to the right and the parting of the hair is not exactly in the middle, with the strands of hair falling a little differently on the two sides. The eyes stare slightly towards the left of the panel. D?rer also wears contemporary clothing, a fashionable fur-lined mantle. The result is a highly personal image, one whose `indelible colours' still influence the way we imagine D?rer looked in his later years. The deceptive illusionism in which the picture is painted is also, however, a reference to the classical artistic legend about Apelles, with whom he had been compared by contemporary humanists.Artist:D?RER, Albrecht Title: Self-Portrait in a Fur-Collared Robe Painted in 1501-1550 , German - - painting : portrait

Artist: Albrecht Durer
Albrecht Durer Self-Portrait at 26 china oil painting reproduction

Self-Portrait at 26
1498 Oil on panel, 52 x 41 cm Museo del Prado, Madrid This self portrait is dated 1498 and inscribed: `I have thus painted myself. I was 26 years old. Albrecht D?rer.' Since the artist turned 27 on the 21 May, the picture must date from the beginning of the year. The artist's pose is self confident, showing him standing upright and turning slightly to lean his right arm on a ledge. D?rer's figure fills the picture, with his hat almost touching the top. His face and neck glow from the light streaming into the room and his long curly hair is painstakingly depicted. Unlike his earlier self portrait, he now has a proper beard, which was then unusual among young men. Nine years later D?rer wrote an ironic poem in which he described himself as `the painter with the hairy beard'. The artist's clothing is flamboyant. His elegant jacket is edged with black and beneath this he wears a white, pleated shirt, embroidered along the neckline. His jaunty hat is striped, to match the jacket. Over his left shoulder hangs a light-brown cloak, tied around his neck with a twisted cord. He wears fine kid gloves. Inside the room is a tall archway, partly framing D?rer's head, and to the right a window opens out onto an exquisite landscape. Green fields give way to a tree-ringed lake and beyond are snow-capped mountains, probably a reminder of D?rer's journey over the Alps three years earlier. Depicting a distant landscape, viewed through a window, was a device borrowed from Netherlandish portraiture. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?rer, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?rer insists on above all else is his dignity, and this was a quality that he allowed to others too. This picture was acquired by Charles I of England and later bought by Philip IV of Spain.Artist:D?RER, Albrecht Title: Self-Portrait at 26 Painted in 1501-1550 , German - - painting : portrait
Måleriet Identifieringen ::  63730
5422 ago.
Konstnär: Albrecht Durer
Målning: Self-Portrait at 26
Information: 1498 Oil on panel, 52 x 41 cm Museo del Prado, Madrid This self portrait is dated 1498 and inscribed: `I have thus painted myself. I was 26 years old. Albrecht D?rer.' Since the artist turned 27 on the 21 May, the picture must date from the beginning of the year. The artist's pose is self confident, showing him standing upright and turning slightly to lean his right arm on a ledge. D?rer's figure fills the picture, with his hat almost touching the top. His face and neck glow from the light streaming into the room and his long curly hair is painstakingly depicted. Unlike his earlier self portrait, he now has a proper beard, which was then unusual among young men. Nine years later D?rer wrote an ironic poem in which he described himself as `the painter with the hairy beard'. The artist's clothing is flamboyant. His elegant jacket is edged with black and beneath this he wears a white, pleated shirt, embroidered along the neckline. His jaunty hat is striped, to match the jacket. Over his left shoulder hangs a light-brown cloak, tied around his neck with a twisted cord. He wears fine kid gloves. Inside the room is a tall archway, partly framing D?rer's head, and to the right a window opens out onto an exquisite landscape. Green fields give way to a tree-ringed lake and beyond are snow-capped mountains, probably a reminder of D?rer's journey over the Alps three years earlier. Depicting a distant landscape, viewed through a window, was a device borrowed from Netherlandish portraiture. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?rer, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?rer insists on above all else is his dignity, and this was a quality that he allowed to others too. This picture was acquired by Charles I of England and later bought by Philip IV of Spain.Artist:D?RER, Albrecht Title: Self-Portrait at 26 Painted in 1501-1550 , German - - painting : portrait

Artist: Albrecht Durer
Albrecht Durer Self-portrait at 22 china oil painting reproduction

Self-portrait at 22
1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait
Måleriet Identifieringen ::  63728
5422 ago.
Konstnär: Albrecht Durer
Målning: Self-portrait at 22
Information: 1493 Oil on linen, transferred from vellum, 57 x 45 cm Mus?e du Louvre, Paris This is D?rer's first painted self portrait, dated 1493. It is the earliest known self portrait in European art produced as an independent painting (although earlier artists had sometimes portrayed themselves among figures in an altarpiece or fresco). A sketched self portrait, dated 1493 on the reverse, could well have been an early study for the oil painting. D?rer completed the oil painting towards the end of his travels as a journeyman, almost certainly in Strasbourg. It was originally on vellum, which would have made it relatively simple to transport, and this suggests that it might well have been sent back to Nuremberg. D?rer inscribed at the top of the self portrait: `Things with me fare as ordained from above', a sign of his faith in God. The artist's youthful features are framed by his lanky, ginger hair, which is topped by a red tasselled cap. Beneath his grey cloak, fringed with red, he wears an elegant pleated shirt with pink ribbons. His strong nose, heart-shaped upper lip and long neck are emphasized in the painting. Using a mirror, D?rer obviously found it difficult to paint his hands and eyes, the two features which are always a challenge in a self portrait. In his rough hands, D?rer holds a sprig of sea holly, a thistle-like plant. Its German name means `man's fidelity' and this, together with the fact that the plant was sometimes regarded as an aphrodisiac, has led to speculation that the self portrait was intended as a gift for his fianc?e. While D?rer was away, his father had arranged for Agnes Frey to become his wife and they eventually married on 7 July 1494, two months after his return to Nuremberg. However, it is just as likely that the self portrait was a gift for his parents, whom he had not seen for nearly four years. One can imagine the surprise and pleasure they must have felt to receive this picture after their son's long absence. It would have been a reminder of his handsome features and further evidence of his blossoming talent.Artist:D?RER, Albrecht Title: Self-portrait at 22 Painted in 1501-1550 , German - - painting : portrait

Artist: SOLARI, Andrea
SOLARI, Andrea Ecce Homo china oil painting reproduction

Ecce Homo
Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious
Måleriet Identifieringen ::  63556
5431 ago.
Konstnär: SOLARI, Andrea
Målning: Ecce Homo
Information: Panel Accademia Carrara, BergamoArtist:SOLARI, Andrea Title: Ecce Homo Painted in 1501-1550 , Italian - - painting : religious

Artist: Frans Hals
Frans Hals Portrait of a Man china oil painting reproduction

Portrait of a Man
1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634
Måleriet Identifieringen ::  63547
5432 ago.
Konstnär: Frans Hals
Målning: Portrait of a Man
Information: 1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634

Artist: Albrecht Durer
Albrecht Durer Portrait of a Man china oil painting reproduction

Portrait of a Man
1504 Oil on panel, 43 x 29 cm Museum of Fine Arts, Budapest D?rer's paintings include altarpieces, religious pictures and some outstanding portraits. Although he began by working in the German late Gothic tradition, D?rer was to introduce the Renaissance to Germany with his pure compositions in which the sure touch of the draughtsman is always evident. With his workshop and followers he marked out the lines of development of the new style for later years. This small picture - a portrait of a youth, painted in brilliant, warm colours - is sometimes ascribed to D?rer's pupils (Hans S?ss von Kulmbach or Hans Baldung Grien). Some scholars believe to recognize in the sitter D?rer's brother Andreas; however the smooth features and simple attire hardly provide enough clues for identifying the sitter. However, a silverpoint drawing by D?rer in the Albertina Collection in Vienna shows the same model in a similar pose, clearly indicated in the inscription as Endres D?rer, the painter's younger brother
Måleriet Identifieringen ::  63545
5432 ago.
Konstnär: Albrecht Durer
Målning: Portrait of a Man
Information: 1504 Oil on panel, 43 x 29 cm Museum of Fine Arts, Budapest D?rer's paintings include altarpieces, religious pictures and some outstanding portraits. Although he began by working in the German late Gothic tradition, D?rer was to introduce the Renaissance to Germany with his pure compositions in which the sure touch of the draughtsman is always evident. With his workshop and followers he marked out the lines of development of the new style for later years. This small picture - a portrait of a youth, painted in brilliant, warm colours - is sometimes ascribed to D?rer's pupils (Hans S?ss von Kulmbach or Hans Baldung Grien). Some scholars believe to recognize in the sitter D?rer's brother Andreas; however the smooth features and simple attire hardly provide enough clues for identifying the sitter. However, a silverpoint drawing by D?rer in the Albertina Collection in Vienna shows the same model in a similar pose, clearly indicated in the inscription as Endres D?rer, the painter's younger brother

Artist: Antonello da Messina
Antonello da Messina Portrait of a Man china oil painting reproduction

Portrait of a Man
1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait
Måleriet Identifieringen ::  63537
5433 ago.
Konstnär: Antonello da Messina
Målning: Portrait of a Man
Information: 1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait

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