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All Hans Memling Oil Paintings
 
 
Hans Memling Triptych oil painting reproduction


Triptych
1485 Art History Museum, Vienna
Hans Memling37.jpgPainting ID::  2953
 

 
 
   
      

All Andrea Mantegna Oil Paintings
 
 
Andrea Mantegna Triptych oil painting reproduction


Triptych
mk67 Tempera on panel 33 7/8x63 9/16in
new3/Andrea Mantegna-477646.jpgPainting ID::  29793
 

 
 
   
      

All unknow artist Oil Paintings
 
 
unknow artist Triptych oil painting reproduction


Triptych
Panel Museo Cerralbo, Madrid
new4/unknow artist-435937.jpgPainting ID::  32200
 

 
 
   
      

All MASTER of Saint Veronica Oil Paintings

German Gothic Era Painter, active ca.1395-1420
 
 
MASTER of Saint Veronica Triptych oil painting reproduction


Triptych
1400-15 Tempera on wood, 58,9 x 39,5 cm
new4/MASTER of Saint Veronica-582465.jpgPainting ID::  32425
 

 
 
   
      

All BEER, Jan de Oil Paintings
 
 
BEER, Jan de Triptych oil painting reproduction


Triptych
76,4 x 24,5 cm (each wing) Wallraf-Richartz Museum, Cologne Jan de Beer was a Flemish painter, one of the Antwerp Mannerist school many of whose paintings were formerly ascribed to him. The central panel depicts the Adoration of the Shepherds. On the left wing is St Felicity with her sons and on the right is St Ursula with her followers. The composition and style are characteristic of Antwerp Mannerism of the early 16th century. Author: BEER, Jan de Title: Triptych , 1501-1550 , Flemish Form: painting , religious
new21/BEER, Jan de-798886.jpgPainting ID::  62384
 

 
 
   
      

All MASTER of Saint Veronica Oil Paintings

German Gothic Era Painter, active ca.1395-1420
 
 
MASTER of Saint Veronica Triptych oil painting reproduction


Triptych
1410 Panel, 70 x 16 cm (each wing) Heinz Kisters Collection, Kreuzlingen It is unusual for the decoration on the backs of the wings to play an important thematic role in the visual programme of a triptych like this, but it does so in this case. When the triptych is closed one is presented with a moving depiction of Christ carrying the Cross, painted on a layer of red which was usually the support for gold leaf. Here the central motif has been isolated from the theme of the Carrying the Cross, which was of crucial importance for Late Medieval devotion. Having been isolated from the narrative, the image of the cross-bearing Christ acquires a validity unconnected with time or place.Artist:MASTER of Saint Veronica Title: Triptych (closed) Painted in 1401-1450 , German - - painting : religious
new21/MASTER of Saint Veronica-545596.jpgPainting ID::  63703
 

 
 
   
      

All CARRACCI, Annibale Oil Paintings
 
 
CARRACCI, Annibale Triptych oil painting reproduction


Triptych
1604-05 Oil on copper and panel, 37 x 24 cm (central panel), 37 x 12 cm (each wing) Galleria Nazionale d'Arte Antica, Rome The central panel shows the Piet? while on the wings St Cecilia (left) and St Ermenegildus are represented. This small triptych originally belonged to Cardinal Odoardo Farnese, and the Farnese inventories document it as a work of Annibale Carracci as early as 1619. The attribution to Annibale was unquestioned until 1956 when, for stylistic reasons, the tabernacle was assigned to the Carracci workshop and given specifically to the hand of Innocenzo Tacconi. Despite this, the general conception of the work was attributed to Annibale on the basis of a drawing preserved at the Louvre (Paris). More recently, the documentary research has proven that the painting was commissioned directly from the artist by Cardinal Farnese sometime after 1603, the year in which he was obliged to renounce his claims to the succession to the English throne. Considering the importance of the commission, it seems difficult to argue against attribution to Carracci himself. The high quality of the Piet?and stylistic comparison of this central panel to Annibale's many other treatments of the subject lead to the assignment of this part of the execution to the master. It is, however, possible that Annibale allowed assistants (Innocenzo Tacconi or Antonio Carracci) to work on secondary panels, as these are slightly different in some of the details of execution.Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
new21/CARRACCI, Annibale-723868.jpgPainting ID::  63844
 

 
 
   
      

All CARRACCI, Annibale Oil Paintings
 
 
CARRACCI, Annibale Triptych oil painting reproduction


Triptych
1604-05 Oil on copper and panel, 37 x 24 cm (closed) Galleria Nazionale d'Arte Antica, Rome The closed triptych represents St Michael the Archangel (left) and the Guardian Angel (right).Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
new21/CARRACCI, Annibale-542866.jpgPainting ID::  63845
 

 
 
   
      

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unknow artist Triptych oil painting reproduction


Triptych
45 x 56 cm Gallerie dell'Accademia, Venice Much more of an innovator than either Catarino or Lorenzo Veneziano was Jacobello Alberegno, who in the Triptych with Crucifixion and Saints, his only signed work, reveals himself to be an artist of penetrating refinement. If it is true that the two lateral saints, St Gregory and St Jerome, are examples of stylized Gothic figures, the images of the small central panel display a naturalness worthy of one of the best of Giotto's disciples. An extraordinary human dimension seems to govern the expression of sentiments in the picture: a grief-stricken St John the Evangelist clutches his cloak to his breast while the Virgin extends imploring arms and stares transfixed with anguish at her crucified son. , ALBEREGNO, Jacobello , Triptych , 1351-1400 , Italian , painting , religious
new22/unknow artist-269293.jpgPainting ID::  64922
 

 
 
   
      

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unknow artist Triptych oil painting reproduction


Triptych
85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious
new22/unknow artist-876587.jpgPainting ID::  65033
 

 
 
   
      

All Joachim Patinir Oil Paintings

Flemish Northern Renaissance Painter, ca.1485-1524
 
 
Joachim Patinir Triptych oil painting reproduction


Triptych
Date c. 1520(1520) Medium Oil on wood Dimensions Height: 118 cm (46.5 in). Width: 81 cm (31.9 in). (central) cjr
new25/Joachim Patinir-438853.jpgPainting ID::  85153
 

 
 
   
      

All Nicolas Froment Oil Paintings

French Early Renaissance Painter, ca.1430-1485
 
 
Nicolas Froment Triptych oil painting reproduction


Triptych
Date 1461(1461) Medium Oil on wood Dimensions Height: 175 cm (68.9 in). Width: 134 cm (52.8 in). (central) cjr
new25/Nicolas Froment-676898.jpgPainting ID::  85197
 

 
 
   
      

All Maarten van Heemskerck Oil Paintings
 
 
Maarten van Heemskerck Triptych oil painting reproduction


Triptych
Date first half of 16th century Medium Oil on wood cjr
new25/Maarten van Heemskerck-599385.jpgPainting ID::  85803
 

 
 
   
      

All Adriaen Isenbrant Oil Paintings
 
 
Adriaen Isenbrant Triptych oil painting reproduction


Triptych
Date first half of 16th century Medium Oil on oak panel Dimensions Height: 64 cm (25.2 in). Width: 49 cm (19.3 in). (central panel) cjr
new25/Adriaen Isenbrant-398898.jpgPainting ID::  85896
 

 
 
   
      

All Hans Memling Oil Paintings
 
 
Hans Memling Triptych oil painting reproduction


Triptych
1470(1470) Medium oil on panel Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). (central) cyf
new25/Hans Memling-798368.jpgPainting ID::  92138
 

 
 
   
      
Hans Memling
  
Netherlandish Northern Renaissance Painter, ca.1435-1494 Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden (c. 1455?C1460). He then went to Bruges around 1465. There is an apocryphical story that he was a wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges, and that to show his gratitude he refused payment for a picture he had painted for them. Memling did indeed paint for the Hospitallers, but he painted several pictures for them, in 1479 and 1480, and it is likely that he was known to his patrons of St John, prior to the Battle of Nancy. Memling is connected with military operations only in a distant sense. His name appears on a list of subscribers to the loan which was raised by Maximilian I of Austria, to defend against hostilities towards France in 1480. In 1477, when he was incorrectly claimed to have been killed, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, under the name of the Seven Griefs of Mary, is now in the Gallery of Turin. It is one of the fine creations of his more mature period. It is not inferior in any way to those of 1479 in the hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment which can be found since the 1470s in the St. Mary's Church, Gda??sk. Critical opinion has been unanimous in assigning this altarpiece to Memling. This affirms that Memling was a resident and a skilled artist at Bruges in 1473; for the Last Judgment was undoubtedly painted and sold to a merchant at Bruges, who shipped it there on board of a vessel bound to the Mediterranean, which was captured by Danzig privateer Paul Beneke in that very year. This purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.
Triptych
1470(1470) Medium oil on panel Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). (central) cyf

Related Paintings to Hans Memling :.
| Frits Van den Berghe - Village sweethearts | Raffaello Santi031 (3) | Paul Klee75 | Cuyp, Aelbert -- Landschap met herders en vee, 1650-1660 | Oliver Cromwell by Robert Walker | | Maiolica Basket of Fruit | Graft | Temptation of St Anthony | Portrat des Hans Tucher | Tarascon Diligence (nn04) |

        

 

 

 
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