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All Egon Schiele Oil Paintings
 
 
Egon Schiele Double Portrait oil painting reproduction


Double Portrait
mk189 1913
new17/Egon Schiele-374566.jpgPainting ID::  47968
 

 
 
   
      

All RAFFAELLO Sanzio Oil Paintings
 
 
RAFFAELLO Sanzio Double Portrait oil painting reproduction


Double Portrait
1518 Oil on canvas, 90 x 83 cm
new19/RAFFAELLO Sanzio-995464.jpgPainting ID::  52204
 

 
 
   
      

All RAFFAELLO Sanzio Oil Paintings
 
 
RAFFAELLO Sanzio Double Portrait oil painting reproduction


Double Portrait
77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved
new21/RAFFAELLO Sanzio-727543.jpgPainting ID::  62373
 

 
 
   
      

All Alexandre Roslin Oil Paintings

1718-1793
 
 
Alexandre Roslin Double portrait oil painting reproduction


Double portrait
1759(1759) Medium Oil on canvas Dimensions 163 x 202 cm (64.2 x 79.5 in) cyf
new24/Alexandre Roslin-569536.jpgPainting ID::  80410
 

 
 
   
      

All Karoly Ferenczy Oil Paintings
 
 
Karoly Ferenczy Double Portrait oil painting reproduction


Double Portrait
Date 1908(1908) Medium Oil on canvas Dimensions 140 x 153 cm (55.1 x 60.2 in) cjr
new24/Karoly Ferenczy-367634.jpgPainting ID::  82962
 

 
 
   
      

All Karoly Ferenczy Oil Paintings
 
 
Karoly Ferenczy Double Portrait oil painting reproduction


Double Portrait
1908(1908) Medium oil on canvas cyf
new26/Karoly Ferenczy-693955.jpgPainting ID::  96401
 

 
 
   
      
Karoly Ferenczy
  
1863-1917 Karoly Ferenczy Locations was a Hungarian Impressionist painter. He was one of the leading artists of the Nagybanya school of painting. He studied law and economics. He began to deal with painting at the Academie Julian in Paris. In 1889, he moved back to Hungary, to the town of Szentendre. Between 1893 and 1896 he lived in Munich with his family: There he joined the circle of Simon Hollosy: with whom he moved to Nagybanya in 1896 and became the leading painter of the artist colony. After 1906 he moved to Budapest and became the professor of the College of Fine Arts. His wife Olga Fialka and their children, the painter Valer Ferenczy (1885-1954), the tapestry weaver Noemi Ferenczy (1890-1957) and the sculptor Beni Ferenczy (1890- 1967) were famous representatives of Hungarian art.
Double Portrait
1908(1908) Medium oil on canvas cyf

Related Paintings to Karoly Ferenczy :.
| Moro, Antonio-La dama de las cadenas de oro-112 cm x 97 cm | Nicolas Poussin32 | Peter Paul Rubens672 | Claude Monet 022 (2) | Sir John Willes by Thomas Hudson | | Neptune and Amphitrite df | Greifswald in Moonlight | Vallflicka i sommarlandskap | The new earrings | 1830 |

        

 

 

 
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