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All Stefano Magnasco Oil Paintings

Italian, born circa Genoa 1635-1665
 
 
Stefano Magnasco The judgment of solomon oil painting reproduction


The judgment of solomon
mk56 oi lon canvas
new3/Stefano Magnasco-254258.jpgPainting ID::  27386
 

 
 
   
      

All Giorgione Oil Paintings
 
 
Giorgione THe Judgment of Solomon oil painting reproduction


THe Judgment of Solomon
mk65 panel 35 1/16x28 3/8in Uffizi.
new3/Giorgione-444537.jpgPainting ID::  28926
 

 
 
   
      

All RAFFAELLO Sanzio Oil Paintings
 
 
RAFFAELLO Sanzio The Judgment of Solomon oil painting reproduction


The Judgment of Solomon
1518-19 Fresco Loggia on the second floor
new18/RAFFAELLO Sanzio-379493.jpgPainting ID::  51248
 

 
 
   
      

All TIEPOLO, Giovanni Domenico Oil Paintings
 
 
TIEPOLO, Giovanni Domenico The Judgment of Solomon oil painting reproduction


The Judgment of Solomon
1726-29 Fresco 360 x 655 cm
new19/TIEPOLO, Giovanni Domenico-578546.jpgPainting ID::  51973
 

 
 
   
      

All RAFFAELLO Sanzio Oil Paintings
 
 
RAFFAELLO Sanzio The Judgment of Solomon oil painting reproduction


The Judgment of Solomon
1510-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The story from the Old Testament tells how two women came to Solomon to settle a dispute about which one was the mother of a child. When Solomon ordered the baby to be cut in half, one of the women agreed to give up the child. Solomon recognized her as the true mother. The man holding the sword derives from a classical figure, either Castor or Pollux from the Quirinal, an ancient Roman palace.Artist:RAFFAELLO Sanzio Title: The Judgment of Solomon (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
new21/RAFFAELLO Sanzio-426954.jpgPainting ID::  63803
 

 
 
   
      

All Giorgione Oil Paintings
 
 
Giorgione The Judgment of Solomon oil painting reproduction


The Judgment of Solomon
1505(1505) Medium oil on wood cyf
new25/Giorgione-386339.jpgPainting ID::  89278
 

 
 
   
      
Giorgione
  
Italian 1476-1510 Giorgione Galleries For his home town of Castelfranco, Giorgione painted the Castelfranco Madonna, an altarpiece in sacra conversazione form ?? Madonna enthroned, with saints on either side forming an equilateral triangle. This gave the landscape background an importance which marks an innovation in Venetian art, and was quickly followed by his master Giovanni Bellini and others.Giorgione began to use the very refined chiaroscuro called sfumato ?? the delicate use of shades of color to depict light and perspective ?? around the same time as Leonardo. Whether Vasari is correct in saying he learnt it from Leonardo's works is unclear ?? he is always keen to ascribe all advances to Florentine sources. Leonardo's delicate color modulations result from the tiny disconnected spots of paint that he probably derived from manuscript illumination techniques and first brought into oil painting. These gave Giorgione's works the magical glow of light for which they are celebrated. Most entirely central and typical of all Giorgione's extant works is the Sleeping Venus now in Dresden, first recognized by Morelli, and now universally accepted, as being the same as the picture seen by Michiel and later by Ridolfi (his 17th century biographer) in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the presentment: the sweep of white drapery on which the goddess lies, and of glowing landscape that fills the space behind her, most harmoniously frame her divinity. The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to her conscious expression. It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with a Cupid which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own Venus of Urbino and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive Judith from the Hermitage Museum, a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes. Apart from the altarpiece and the frescoes, all Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two foot (60 cm) in either dimension. This market had been emerging over the last half of the fifteenth century in Italy, and was much better established in the Netherlands, but Giorgione was the first major Italian painter to concentrate his work on it to such an extent ?? indeed soon after his death the size of such paintings began to increase with the prosperity and palaces of the patrons.
The Judgment of Solomon
1505(1505) Medium oil on wood cyf

Related Paintings to Giorgione :.
| Vos, Paul de-Un galgo al acecho-116 cm x 84 cm | Sir Joshua Reynolds - Lady Cecil Rice, 1762 | Salomon van Ruysdael--Market by the Seashore | John William Godward (6) | Gomar y Gomar, Antonio-La Fuente de San Pascual-96 cm x 180 cm | | Crucifixion jju | Corot la Palette d la main (mk11) | Schlob Frederiksborg im Abendlicht | An Excavation | Landscape with a View of Haarlem |

        

 

 

 
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