Crucifixion Crucifixion (a scene rarely set on the banks of a large river) by Altdorfer, c. 1520 new20/Albrecht Altdorfer-368592.jpgPainting ID:: 58198
Crucifixion 1515 Oil on canvas, 372 x 270 cm Pinacoteca di Brera, Milan This painting may have come from the church of S. Maria di Brera. At one time it was probably an organ shutter. It was formerly attributed to Bramante. A late work, this painting reveals Bramantino's background. His roots were in the art of Ercole de' Roberti, the most energetically emotional fifteenth- century painter in northern Italy. It is from this source that Bramantino drew his highly dramatic style, which led him to freeze the tragedy of the Crucifixion within a framework of lucid abstraction. At the same time he seized the opportunity to seek out new means of formal expression. The crosses of the two thieves are arranged in terms of a centralized perspective, creating a space almost like an interior, and leading directly to the background where typical Bramantino buildings are silhouetted against an evening sky. (One of the buildings resembles the Trivulzio mausoleum, which was designed by the artist.) The marked bisymmetry of the painting, with angel and demon, sun and moon, is less structured in the choral rhythm of the foreground. The Madonna's grief is represented within the circle described by the hands of the saints, while the Magdalene lifts her arms toward the cross as if to raise it up to heaven. A strict intellectual approach dominates the colour scheme, in which subdued olive greens, golden grays and browns predominate.Artist:BRAMANTINO Title: Crucifixion Painted in 1451-1500 , Italian - - painting : religious new21/BRAMANTINO-276864.jpgPainting ID:: 63534
Crucifixion 1511 Chiaroscuro woodcut, 347 x 260 mm Germanisches Nationalmuseum, NurembergArtist:BALDUNG GRIEN, Hans Title: Crucifixion Painted in 1501-1550 , German - - graphics : religious new21/BALDUNG GRIEN, Hans-369464.jpgPainting ID:: 63688
Crucifixion 1617 Oil on wood, 82 x 123 cm Museum of Fine Arts, Budapest It is assumed that the painting is copy of lost painting of Pieter Bruegel the Elder. There are several other copies differring only in the background. Artist:BRUEGHEL, Pieter the Younger Title: Crucifixion, 1551-1600, Flemish , painting , religious new22/BRUEGHEL, Pieter the Younger-892563.jpgPainting ID:: 64484
Crucifixion 1390-96 Tempera on wood, 57,5 x 77 cm Galleria degli Uffizi, Florence , GADDI, Agnolo , Crucifixion , 1351-1400 , Italian , painting , religious new22/GADDI, Agnolo-447454.jpgPainting ID:: 64767
Crucifixion Date ca. 1526(1526)
Medium linden
Dimensions Width: 21 cm (8.3 in). Height: 29 cm (11.4 in).
cyf new24/Albrecht Altdorfer-445888.jpgPainting ID:: 77217
Crucifixion Date between 1502(1502) and 1503(1503)
Medium Oil on wood
Dimensions Height: 281 cm (110.6 in). Width: 165 cm (65 in).
cjr new24/RAFFAELLO Sanzio-577438.jpgPainting ID:: 84043
Crucifixion Date c. 1504-1505
Medium tempera and Oil on panel
Dimensions 72.5 x 101.3 cm (28.5 x 39.9 in)
cjr new25/Luca Signorelli-635966.jpgPainting ID:: 85492
Crucifixion between 1420(1420) and 1425(1425)
Medium Oil on wood transferred to canvas
Dimensions Height: 56.5 cm (22.2 in). Width: 19.5 cm (7.7 in).
cjr new25/Jan Van Eyck-443788.jpgPainting ID:: 88194
Crucifixion 1504-1505
Medium tempera and oil on panel
Dimensions 72.5 x 101.3 cm (28.5 x 39.9 in)
cyf new25/Luca Signorelli-884868.jpgPainting ID:: 89603
Crucifixion 1445(1445) and 1462(1462)
Medium oil and tempera on panel
Dimensions Height: 81 cm (31.9 in). Width: 52 cm (20.5 in).
cyf new25/Piero della Francesca-689948.jpgPainting ID:: 91675
Crucifixion 1440s
Medium oil on oak panel
Dimensions Height: 77 cm (30.3 in). Width: 47 cm (18.5 in).
cjr new26/Rogier van der Weyden-958996.jpgPainting ID:: 93668
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
Crucifixion between 1545(1545) and 1550(1550)
Medium oil on panel
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