Domenichino

1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.


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Domenichino A Triumphal Arch of Allegories dfa oil


A Triumphal Arch of Allegories dfa
Painting ID::  6427
A Triumphal Arch of Allegories dfa
1607-10 Oil on canvas, 70 x 60 cm Museo del Prado, Madrid
1607-10 Oil_on_canvas,_70_x_60_cm Museo_del_Prado,_Madrid
   
   
     

Domenichino Cecilia with an angel Holding Music (mk05) oil


Cecilia with an angel Holding Music (mk05)
Painting ID::  20451
Cecilia with an angel Holding Music (mk05)
Canvas.63 x 47 1/4''(160 x 120 cm)Acquired for the collection of Louis XIV from Eberhard Jabach in 1662
   
   
     

Domenichino Herminia with the Sheperds (mk05) oil


Herminia with the Sheperds (mk05)
Painting ID::  20452
Herminia with the Sheperds (mk05)
Canvas,48 1/2 x 71 1/4''(123 x 181 cm)Acquired for the collection of Lonis XIV from Eberhard Jabach in 1662
   
   
     

Domenichino Landscape with the Flight into Egypt (mk05) oil


Landscape with the Flight into Egypt (mk05)
Painting ID::  20453
Landscape with the Flight into Egypt (mk05)
1620 Canvas,65 x 83 1/2''(165 x 212 cm).Acquired for the collection of Louis XIV in 1668
   
   
     

Domenichino Landscape with Hercules and Achelous (mk05) oil


Landscape with Hercules and Achelous (mk05)
Painting ID::  20455
Landscape with Hercules and Achelous (mk05)
ca 1620 Canvas,47 1/2 x 581/2''(121 x 149 cm)Collection of Louis XIV before 1683
   
   
     

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     Domenichino
     1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.

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