Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: vie calme
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Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Braque Family Triptych oil painting picture wholesale

Braque Family Triptych
1450 Oil on oak panel, 41 x 68 cm Mus?e du Louvre, Paris The dark exterior was a reminder of the inevitability of death. The left frame bears a saying in French uttered by the skull: "See, you who are so proud and avaricious, my body was once beautiful but now is food for worms.." This skull is intended as a "likeness" of the dead Jean Braque, whose coat-of-arms is shown above it, reminding viewers of their mortality. The inscription on the cross on the right is from the apocryphal Book of Ecclesiasticus (Chapter 41, 1-2) and laments the bitterness of death.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (closed) Painted in 1401-1450 , Flemish - - painting : religious
ID de tableau::  63906
5415 ago.
Artist: WEYDEN, Rogier van der
Painting: Braque Family Triptych
Information: 1450 Oil on oak panel, 41 x 68 cm Mus?e du Louvre, Paris The dark exterior was a reminder of the inevitability of death. The left frame bears a saying in French uttered by the skull: "See, you who are so proud and avaricious, my body was once beautiful but now is food for worms.." This skull is intended as a "likeness" of the dead Jean Braque, whose coat-of-arms is shown above it, reminding viewers of their mortality. The inscription on the cross on the right is from the apocryphal Book of Ecclesiasticus (Chapter 41, 1-2) and laments the bitterness of death.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (closed) Painted in 1401-1450 , Flemish - - painting : religious

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait Diptych of Philippe de Croy oil painting picture wholesale

Portrait Diptych of Philippe de Croy
1460 Oil on oak panel, 49 x 30 cm Koninklijk Museum voor Schone Kunsten, Antwerp Philippe de Croy's coat of arms surmounted by a helmet is framed, above, by the name of the subject of the portrait, and below by his title "Seigneur de Sempy." He bore this title from around 1452, but resigned it again in 1461. The painting must therefore have been done within that period. On the left, a vertical board in the panel has been renovated.Artist:WEYDEN, Rogier van der Title: Portrait Diptych of Philippe de Croy (reverse side) Painted in 1401-1450 , Flemish - - painting : other
ID de tableau::  63863
5420 ago.
Artist: WEYDEN, Rogier van der
Painting: Portrait Diptych of Philippe de Croy
Information: 1460 Oil on oak panel, 49 x 30 cm Koninklijk Museum voor Schone Kunsten, Antwerp Philippe de Croy's coat of arms surmounted by a helmet is framed, above, by the name of the subject of the portrait, and below by his title "Seigneur de Sempy." He bore this title from around 1452, but resigned it again in 1461. The painting must therefore have been done within that period. On the left, a vertical board in the panel has been renovated.Artist:WEYDEN, Rogier van der Title: Portrait Diptych of Philippe de Croy (reverse side) Painted in 1401-1450 , Flemish - - painting : other

Artist: Master of the Legend
Master of the Legend Legend of St Ursula oil painting picture wholesale

Legend of St Ursula
1475-82 Oil on oak panel, 47,5 x 30 cm (each scene), 59 x 18,5 cm (Annunciation) Groeninge Museum, Bruges When closed the panels show grisailles with the four evangelists, John (chalice and eagle), Matthew (pen and angel), Luke (paintbrush, portrait of the Virgin, ox), Mark (pen, book and lion) and the four Doctors of the Church: Jerome (as cardinal, with book and lion), Gregory (cope, tiara, book), Augustine (cope, mitre, stag), Ambrose (cope, mitre, book). When closed the panels of Synagogue and Church show the Annunciation in grisaille. An Annunciation similar even in the details was made by the same painter on the exterior of a triptych with Virgin Enthroned (Dresden).Artist:MASTER of the Legend of St. Ursula Title: Legend of St Ursula (closed) Painted in 1451-1500 , Flemish - - painting : religious
ID de tableau::  63862
5420 ago.
Artist: Master of the Legend
Painting: Legend of St Ursula
Information: 1475-82 Oil on oak panel, 47,5 x 30 cm (each scene), 59 x 18,5 cm (Annunciation) Groeninge Museum, Bruges When closed the panels show grisailles with the four evangelists, John (chalice and eagle), Matthew (pen and angel), Luke (paintbrush, portrait of the Virgin, ox), Mark (pen, book and lion) and the four Doctors of the Church: Jerome (as cardinal, with book and lion), Gregory (cope, tiara, book), Augustine (cope, mitre, stag), Ambrose (cope, mitre, book). When closed the panels of Synagogue and Church show the Annunciation in grisaille. An Annunciation similar even in the details was made by the same painter on the exterior of a triptych with Virgin Enthroned (Dresden).Artist:MASTER of the Legend of St. Ursula Title: Legend of St Ursula (closed) Painted in 1451-1500 , Flemish - - painting : religious

Artist: PANNINI, Giovanni Paolo
PANNINI, Giovanni Paolo Interior of the San Giovanni in Laterano in Rome oil painting picture wholesale

Interior of the San Giovanni in Laterano in Rome
Oil on canvas, 74 x 100 cm Pushkin Museum, MoscowArtist:PANNINI, Giovanni Paolo Title: Interior of the San Giovanni in Laterano in Rome Painted in 1701-1750 , Italian - - painting : interior
ID de tableau::  63837
5421 ago.
Artist: PANNINI, Giovanni Paolo
Painting: Interior of the San Giovanni in Laterano in Rome
Information: Oil on canvas, 74 x 100 cm Pushkin Museum, MoscowArtist:PANNINI, Giovanni Paolo Title: Interior of the San Giovanni in Laterano in Rome Painted in 1701-1750 , Italian - - painting : interior

Artist: PUGET, Pierre
PUGET, Pierre The Stoning of St Peter oil painting picture wholesale

The Stoning of St Peter
1654 Terracotta, 38 x 51 cm Mus?e des Beaux-Arts, Marseille The fragment (the upper part of the relief is missing) was probably a study to a panel of an unidentified altarpiece. The iconography of the relief is related to the painted versions of the subject executed by the Genoese painters of the 17th century, notably Giovanni Andrea Ferrari and Gioacchino Assereto.Artist:PUGET, Pierre Title: The Stoning of St Peter Painted in 1651-1700 , French - - painting : religious
ID de tableau::  63832
5421 ago.
Artist: PUGET, Pierre
Painting: The Stoning of St Peter
Information: 1654 Terracotta, 38 x 51 cm Mus?e des Beaux-Arts, Marseille The fragment (the upper part of the relief is missing) was probably a study to a panel of an unidentified altarpiece. The iconography of the relief is related to the painted versions of the subject executed by the Genoese painters of the 17th century, notably Giovanni Andrea Ferrari and Gioacchino Assereto.Artist:PUGET, Pierre Title: The Stoning of St Peter Painted in 1651-1700 , French - - painting : religious

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio The Expulsion of Heliodorus from the Temple oil painting picture wholesale

The Expulsion of Heliodorus from the Temple
1511-12 Fresco, width of detail: 230 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican In the centre, the expanse of the wide nave, illuminated by the reflections of light in the vault, is a more effective space-determining motif than the large patches of blue sky which appeared through the coffered ceiling in the School of Athens.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious
ID de tableau::  63793
5424 ago.
Artist: RAFFAELLO Sanzio
Painting: The Expulsion of Heliodorus from the Temple
Information: 1511-12 Fresco, width of detail: 230 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican In the centre, the expanse of the wide nave, illuminated by the reflections of light in the vault, is a more effective space-determining motif than the large patches of blue sky which appeared through the coffered ceiling in the School of Athens.Artist:RAFFAELLO Sanzio Title: The Expulsion of Heliodorus from the Temple (detail) Painted in 1501-1550 , Italian - - painting : religious

Artist: unknow artist
unknow artist A Table Laden with Flowers and Fruit oil painting picture wholesale

A Table Laden with Flowers and Fruit
1600-10 Oil on canvas, 74 x 100 cm Wadsworth Atheneum, Hartford In a partially lit environment, a table is seen from slightly above. Placed on the table are two vases of flowers and a basket of fruit arranged in a triangle and surrounded by single pieces of fruit scattered at random. Two flies can be seen on the brightly lit wall at the upper left, and, in the foreground, some fruit and two bunches of grapes hang over the edge of the table creating a trompe-l'oeil effect. The painting aims for the same heightened sense of reality seen in Caravaggio's Boy with a Basket of Fruit. This Table (a more appropriate title than the conventional Still-life with Flowers and Fruit) shares a number of affinities with the depictions of tables laid for eating painted in Holland throughout the seventeenth century. It may be no coincidence that the first dated painting of this type from 1610 was the work of Floris van Dijck. In 1600-01 Van Dijck lived near the studio of Cavaliere d'Arpino, where pictures like the Hartford still-life were probably executed. It was Van Dijck who supplied the information about Cavaliere d'Arpino for Karel van Mander's biography. The Hartford Table has elicited attributions of enormous diversity. The names of Giovanni Battista Crescenzi, Caravaggio, Francesco Zucchi, Prospero Orsi and finally, for no very convincing reason, the Flemish painter Frans Snyders have all been suggested. Although the attribution to Caravaggio does not seem tenable, the Hartford Table is the work of a painter who, like Caravaggio, may have been active in the studio of Cavaliere d'Arpino. It is possible that the picture can be identified with an unattributed still-life listed in the 1607 inventory of Cavaliere d'Arpino's sequestered possessions. In the first decade of the seventeenth century, this anonymous painter was evidently completely familiar with the work of Caravaggio, but chose to present his own, different interpretation of it. It has also been suggested that this Italian artist, who was influenced by Caravaggism, also possessed some familiarity with the work of the first generation of Flemish still-life painters.Artist:MASTER of the Hartford Still-life Title: A Table Laden with Flowers and Fruit Painted in 1601-1650 , Italian - - painting : still-life
ID de tableau::  63768
5429 ago.
Artist: unknow artist
Painting: A Table Laden with Flowers and Fruit
Information: 1600-10 Oil on canvas, 74 x 100 cm Wadsworth Atheneum, Hartford In a partially lit environment, a table is seen from slightly above. Placed on the table are two vases of flowers and a basket of fruit arranged in a triangle and surrounded by single pieces of fruit scattered at random. Two flies can be seen on the brightly lit wall at the upper left, and, in the foreground, some fruit and two bunches of grapes hang over the edge of the table creating a trompe-l'oeil effect. The painting aims for the same heightened sense of reality seen in Caravaggio's Boy with a Basket of Fruit. This Table (a more appropriate title than the conventional Still-life with Flowers and Fruit) shares a number of affinities with the depictions of tables laid for eating painted in Holland throughout the seventeenth century. It may be no coincidence that the first dated painting of this type from 1610 was the work of Floris van Dijck. In 1600-01 Van Dijck lived near the studio of Cavaliere d'Arpino, where pictures like the Hartford still-life were probably executed. It was Van Dijck who supplied the information about Cavaliere d'Arpino for Karel van Mander's biography. The Hartford Table has elicited attributions of enormous diversity. The names of Giovanni Battista Crescenzi, Caravaggio, Francesco Zucchi, Prospero Orsi and finally, for no very convincing reason, the Flemish painter Frans Snyders have all been suggested. Although the attribution to Caravaggio does not seem tenable, the Hartford Table is the work of a painter who, like Caravaggio, may have been active in the studio of Cavaliere d'Arpino. It is possible that the picture can be identified with an unattributed still-life listed in the 1607 inventory of Cavaliere d'Arpino's sequestered possessions. In the first decade of the seventeenth century, this anonymous painter was evidently completely familiar with the work of Caravaggio, but chose to present his own, different interpretation of it. It has also been suggested that this Italian artist, who was influenced by Caravaggism, also possessed some familiarity with the work of the first generation of Flemish still-life painters.Artist:MASTER of the Hartford Still-life Title: A Table Laden with Flowers and Fruit Painted in 1601-1650 , Italian - - painting : still-life

Artist: unknow artist
unknow artist Choir screen with the Crucifixion oil painting picture wholesale

Choir screen with the Crucifixion
1245 Stone Cathedral, Naumburg Inside a Gothic cathedral, the nave was usually separated from the choir by a large stone choir screen, called a 'pulpitum' or 'jub?, which excluded the lay public from the liturgy performed behind it. The screens at Chartres and Amiens were later removed, but at Naumburg a superbly carved example from the middle of the thirteenth century has remained intact. Scenes from the Passion of Christ are carved in relief across the upper level; but it is the life-size figures over the projecting gabled porch that serves as the entrance to the choir that are most striking. Traditionally the three figures of the Crucifixion - Christ flanked by the mourning Mary and St John - were placed atop the screen, but here they are brought down to the level of the worshippers. The anguished Virgin turns to the beholder as if to say "Look!'", while on the other side St John provides another point of emotional entry into the scene, drawing viewers closer to Christ. The statue of Christ stands at the threshold between the priest's and the lay person's space, allowing the clergy almost literally to pass throiugh his body as they enter the sanctuary. Inside, the walls are decorated with large figures, after the manner of the Ste Chapelle in Paris. The figures are secular benefactors of the cathedral.Artist:GOTHIC SCULPTOR, German Title: Choir screen with the Crucifixion Painted in 1201-1250 , German - - sculpture : religious
ID de tableau::  63760
5430 ago.
Artist: unknow artist
Painting: Choir screen with the Crucifixion
Information: 1245 Stone Cathedral, Naumburg Inside a Gothic cathedral, the nave was usually separated from the choir by a large stone choir screen, called a 'pulpitum' or 'jub?, which excluded the lay public from the liturgy performed behind it. The screens at Chartres and Amiens were later removed, but at Naumburg a superbly carved example from the middle of the thirteenth century has remained intact. Scenes from the Passion of Christ are carved in relief across the upper level; but it is the life-size figures over the projecting gabled porch that serves as the entrance to the choir that are most striking. Traditionally the three figures of the Crucifixion - Christ flanked by the mourning Mary and St John - were placed atop the screen, but here they are brought down to the level of the worshippers. The anguished Virgin turns to the beholder as if to say "Look!'", while on the other side St John provides another point of emotional entry into the scene, drawing viewers closer to Christ. The statue of Christ stands at the threshold between the priest's and the lay person's space, allowing the clergy almost literally to pass throiugh his body as they enter the sanctuary. Inside, the walls are decorated with large figures, after the manner of the Ste Chapelle in Paris. The figures are secular benefactors of the cathedral.Artist:GOTHIC SCULPTOR, German Title: Choir screen with the Crucifixion Painted in 1201-1250 , German - - sculpture : religious

Artist: unknow artist
unknow artist Procession of Canons oil painting picture wholesale

Procession of Canons
1250 Stone Cathedral, Amiens The statues are on the South Porch of the Amiens Cathedral. At the beginning of the 13th century there is a relaxation in style of the architectural sculptures. The faces fill out and the features become much more natural and human. In addition, the statues appear rather more as works of art in their own right and less as architectural adjuncts.Artist:GOTHIC SCULPTOR, French Title: Procession of Canons Painted in 1201-1250 , French - - sculpture : religious
ID de tableau::  63758
5430 ago.
Artist: unknow artist
Painting: Procession of Canons
Information: 1250 Stone Cathedral, Amiens The statues are on the South Porch of the Amiens Cathedral. At the beginning of the 13th century there is a relaxation in style of the architectural sculptures. The faces fill out and the features become much more natural and human. In addition, the statues appear rather more as works of art in their own right and less as architectural adjuncts.Artist:GOTHIC SCULPTOR, French Title: Procession of Canons Painted in 1201-1250 , French - - sculpture : religious

Artist: Albrecht Durer
Albrecht Durer Alliance Coat of Arms oil painting picture wholesale

Alliance Coat of Arms
1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other
ID de tableau::  63725
5433 ago.
Artist: Albrecht Durer
Painting: Alliance Coat of Arms
Information: 1490 Oil on panel, 47 x 39 cm Galleria degli Uffizi, Florence The picture shows the rear view of the Portrait of Albrecht D?rer the Elder. The painted variant on the alliance coat of arms of the D?rer and Holper families, a so-called speaking coat of arms, is also depicted in a woodcut dating from 1523. It forms the back side of D?rer's first portrait of his father in 1490. The family's coat of arms depicts an open barn door on the left, which was presumably a symbol of the family name. The name means the same as "T?rer," the German translation of "Ajto" (door), their place of origin Ajtos near Gyula, the capital of the B?k?s district.Artist:D?RER, Albrecht Title: Alliance Coat of Arms of the D?rer and Holper Families Painted in 1501-1550 , German - - painting : other

Artist: Grunewald, Matthias
Grunewald, Matthias Stuppach Madonna oil painting picture wholesale

Stuppach Madonna
1517-19 Oil on canvas mounted on wood Parish Church, Stuppach The detail shows the flowers in a bottle at the lower right corner of the painting.Artist:GR?NEWALD, Matthias Title: Stuppach Madonna (detail) Painted in 1501-1550 , German - - painting : religious
ID de tableau::  63724
5434 ago.
Artist: Grunewald, Matthias
Painting: Stuppach Madonna
Information: 1517-19 Oil on canvas mounted on wood Parish Church, Stuppach The detail shows the flowers in a bottle at the lower right corner of the painting.Artist:GR?NEWALD, Matthias Title: Stuppach Madonna (detail) Painted in 1501-1550 , German - - painting : religious

Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Portrait of the Merchant Georg Gisze oil painting picture wholesale

Portrait of the Merchant Georg Gisze
1532 Oil on wood Staatliche Museen, Berlin On the rear wooden wall Holbein paints cartellino, supposedly attached to the wall with sealing wax, with a Latin couplet written on it saying: "Couplet on the portrait of Georg Gisze. What you see here is Georg's portrait showing his features; this is how lively his eye is, this is how his cheeks are shaped. In his 34th year, anno Domini 1532."Artist:HOLBEIN, Hans the Younger Title: Portrait of the Merchant Georg Gisze (detail) Painted in 1501-1550 , German - - painting : portrait
ID de tableau::  63716
5434 ago.
Artist: HOLBEIN, Hans the Younger
Painting: Portrait of the Merchant Georg Gisze
Information: 1532 Oil on wood Staatliche Museen, Berlin On the rear wooden wall Holbein paints cartellino, supposedly attached to the wall with sealing wax, with a Latin couplet written on it saying: "Couplet on the portrait of Georg Gisze. What you see here is Georg's portrait showing his features; this is how lively his eye is, this is how his cheeks are shaped. In his 34th year, anno Domini 1532."Artist:HOLBEIN, Hans the Younger Title: Portrait of the Merchant Georg Gisze (detail) Painted in 1501-1550 , German - - painting : portrait

Artist: Sebastian Stoskopff
Sebastian Stoskopff Still-Life of Glasses in a Basket oil painting picture wholesale

Still-Life of Glasses in a Basket
1644 Oil on canvas, 51 x 62 cm Mus?e de l'Oeuvre de Notre Dame, Strasbourg The most neglected area of French 17th-century painting is that of still-life. It is still sometimes mistakenly assumed that the work of still-life painters was insignificant in their time compared with the grand designs of Claude and Poussin but, with one major exception, all the main still-life painters worked in Paris; they were not provincial artists working in obscurity away from the mainstream of the development of painting. The exception was the obscure S?bastian Stoskopff, whose oeuvre has only recently been reconstructed. He was isolated in Strasbourg, the main town of the province of Alsace, which did not come under French rule until 1648 (although Strasbourg itself was not occupied until 1681). In the Middle Ages the artistic traditions of Alsace had their own flavour, being subjected to influences from central Europe, Italy, and, to a lesser extent, France. Stoskopff, however, was influenced by none of these traditions, being a totally isolated painter working in a style verging on the naive. Influences from such German still-life painters as Georg Flegel are discernible, but they merely be caused by the similarity of subject-matter rather than by any stylistic affinity. Stoskopff art's is unique. One of the best examples of his work is the Still-Life of Glasses in a Basket. The tonality is monochrome, and the glasses in the basket are positioned in disarray. To this day, waitresses in restaurants in the region collect the empty drinking glasses by placing them heaped up in a basket rather than balancing them on a tray. There is therefore no complex iconography behind such a depiction; it is just a careful record of an everyday sight.Artist:STOSKOPFF, S?bastien Title: Still-Life of Glasses in a Basket Painted in 1601-1650 , French - - painting : still-life
ID de tableau::  63702
5435 ago.
Artist: Sebastian Stoskopff
Painting: Still-Life of Glasses in a Basket
Information: 1644 Oil on canvas, 51 x 62 cm Mus?e de l'Oeuvre de Notre Dame, Strasbourg The most neglected area of French 17th-century painting is that of still-life. It is still sometimes mistakenly assumed that the work of still-life painters was insignificant in their time compared with the grand designs of Claude and Poussin but, with one major exception, all the main still-life painters worked in Paris; they were not provincial artists working in obscurity away from the mainstream of the development of painting. The exception was the obscure S?bastian Stoskopff, whose oeuvre has only recently been reconstructed. He was isolated in Strasbourg, the main town of the province of Alsace, which did not come under French rule until 1648 (although Strasbourg itself was not occupied until 1681). In the Middle Ages the artistic traditions of Alsace had their own flavour, being subjected to influences from central Europe, Italy, and, to a lesser extent, France. Stoskopff, however, was influenced by none of these traditions, being a totally isolated painter working in a style verging on the naive. Influences from such German still-life painters as Georg Flegel are discernible, but they merely be caused by the similarity of subject-matter rather than by any stylistic affinity. Stoskopff art's is unique. One of the best examples of his work is the Still-Life of Glasses in a Basket. The tonality is monochrome, and the glasses in the basket are positioned in disarray. To this day, waitresses in restaurants in the region collect the empty drinking glasses by placing them heaped up in a basket rather than balancing them on a tray. There is therefore no complex iconography behind such a depiction; it is just a careful record of an everyday sight.Artist:STOSKOPFF, S?bastien Title: Still-Life of Glasses in a Basket Painted in 1601-1650 , French - - painting : still-life

Artist: Albrecht Durer
Albrecht Durer Six Goblets - Pen oil painting picture wholesale

Six Goblets - Pen
200 x 285 mm Bibliothek, Dresden The legend reads: "morgen will ich ir mer machn" (tomorrow I shall make more of them). Individual Italian motifs are mingled with the German late Gothic style.Artist:D?RER, Albrecht Title: Six Goblets Painted in 1501-1550 , German - - graphics : other
ID de tableau::  63684
5435 ago.
Artist: Albrecht Durer
Painting: Six Goblets - Pen
Information: 200 x 285 mm Bibliothek, Dresden The legend reads: "morgen will ich ir mer machn" (tomorrow I shall make more of them). Individual Italian motifs are mingled with the German late Gothic style.Artist:D?RER, Albrecht Title: Six Goblets Painted in 1501-1550 , German - - graphics : other

Artist: Albrecht Durer
Albrecht Durer Design of a Goblet with a Variant of the Base oil painting picture wholesale

Design of a Goblet with a Variant of the Base
1515 Pen, 256 x 167 mm British Museum, LondonArtist:D?RER, Albrecht Title: Design of a Goblet with a Variant of the Base Painted in 1501-1550 , German - - graphics : other
ID de tableau::  63680
5435 ago.
Artist: Albrecht Durer
Painting: Design of a Goblet with a Variant of the Base
Information: 1515 Pen, 256 x 167 mm British Museum, LondonArtist:D?RER, Albrecht Title: Design of a Goblet with a Variant of the Base Painted in 1501-1550 , German - - graphics : other

Artist: Albrecht Durer
Albrecht Durer Hand Study with Bible - Drawing oil painting picture wholesale

Hand Study with Bible - Drawing
280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study
ID de tableau::  63663
5435 ago.
Artist: Albrecht Durer
Painting: Hand Study with Bible - Drawing
Information: 280 x 120 mm Staatliche Graphische Sammlung, MunichArtist:D?RER, Albrecht Title: Hand Study with Bible Painted in 1501-1550 , German - - graphics : study

Artist: Albrecht Durer
Albrecht Durer Study of an Apostle's Hands oil painting picture wholesale

Study of an Apostle's Hands
1508 Brush drawing on blue primed paper, 290 x 197 mm Graphische Sammlung Albertina, Vienna Several individual studies made for the destroyed altarpiece commissioned by the Frankfurt merchant and councilman Jakob Heller still survive. The so-called Praying Hands were a preliminary study for an apostle. Removed from their original context, they have been viewed as an autonomous work of art and have become enormously popular. In the 19th and 20th centuries in particular, numerous reproductions of the Praying Hands have graced the walls of middle-class homes as an embodiment and symbol of German piety.Artist:D?RER, Albrecht Title: Study of an Apostle's Hands (Praying Hands) Painted in 1501-1550 , German - - graphics : study
ID de tableau::  63660
5436 ago.
Artist: Albrecht Durer
Painting: Study of an Apostle's Hands
Information: 1508 Brush drawing on blue primed paper, 290 x 197 mm Graphische Sammlung Albertina, Vienna Several individual studies made for the destroyed altarpiece commissioned by the Frankfurt merchant and councilman Jakob Heller still survive. The so-called Praying Hands were a preliminary study for an apostle. Removed from their original context, they have been viewed as an autonomous work of art and have become enormously popular. In the 19th and 20th centuries in particular, numerous reproductions of the Praying Hands have graced the walls of middle-class homes as an embodiment and symbol of German piety.Artist:D?RER, Albrecht Title: Study of an Apostle's Hands (Praying Hands) Painted in 1501-1550 , German - - graphics : study

Artist: Albrecht Durer
Albrecht Durer Side, Front, and Back View of a Helmet oil painting picture wholesale

Side, Front, and Back View of a Helmet
1503 Pen, 422 x 268 mm Mus?e du Louvre, Paris The date 1514 is false. D?rer apparently owned the helmet. The side view was used in the 1503 copperplate engraving "The Coat-of-arms of Death," the front view in the engraving (to be dated not much later) "Coat-of-arms with a Rooster."Artist:D?RER, Albrecht Title: Side, Front, and Back View of a Helmet Painted in 1501-1550 , German - - graphics : study
ID de tableau::  63657
5436 ago.
Artist: Albrecht Durer
Painting: Side, Front, and Back View of a Helmet
Information: 1503 Pen, 422 x 268 mm Mus?e du Louvre, Paris The date 1514 is false. D?rer apparently owned the helmet. The side view was used in the 1503 copperplate engraving "The Coat-of-arms of Death," the front view in the engraving (to be dated not much later) "Coat-of-arms with a Rooster."Artist:D?RER, Albrecht Title: Side, Front, and Back View of a Helmet Painted in 1501-1550 , German - - graphics : study

Artist: Albrecht Durer
Albrecht Durer Study of Hands oil painting picture wholesale

Study of Hands
1506 Pen and ink heightened with white on paper, 206 x 185 mm Blasius Collection, Braunschweig D?rer's painting Christ among the Doctors (1506, Thyssen-Bornemisza Collection, Madrid) was based on a number of careful studies, including this one of Christ's gesticulating fingers.Artist:D?RER, Albrecht Title: Study of Hands Painted in 1501-1550 , German - - graphics : study
ID de tableau::  63650
5436 ago.
Artist: Albrecht Durer
Painting: Study of Hands
Information: 1506 Pen and ink heightened with white on paper, 206 x 185 mm Blasius Collection, Braunschweig D?rer's painting Christ among the Doctors (1506, Thyssen-Bornemisza Collection, Madrid) was based on a number of careful studies, including this one of Christ's gesticulating fingers.Artist:D?RER, Albrecht Title: Study of Hands Painted in 1501-1550 , German - - graphics : study

Artist: Albrecht Durer
Albrecht Durer St Jerome in his Study oil painting picture wholesale

St Jerome in his Study
1514 Engraving, 259 x 201 mm Staatliche Kunsthalle, Karlsruhe St Jerome in his Study is stressing the contemplative rather than the active aspect of Christian life. The engraving shows the translator of the Bible deep in thought at his lectern, with the figure of the saint illuminated by sunlight streaming through the window panes into the cosy room. In front of St Jerome are the resting figures of his faithful lion and dog. A skull on the windowsill and an hourglass above the saint are reminders of the transience of life. The astonishing advance in D?rer's printmaking technique is evident when this engraving is compared with his early woodcut of the same subject. D?rer, according to the diary of his trip to the Netherlands during 1521-21, sold or gave away copies of this print more frequently than any of his others. It has been repeatedly asserted that this engraving was to be part of a projected series representing the four human temperaments. Only two others have been so far identified, Melencolia I, and Knight, Death and Devil. Although they correspond in size, D?rer never gave away all three as a set. Occasionally he gave away St Jerome and Melencolia I as a pair. In the last of the three master engravings, D?rer placed particular emphasis on the subtle differentiation of the material qualities of the objects, and the depiction of the interior according to the laws of central perspective, the converging lines of which terminate in the space to the right of the figure of the saint. The design is based on an exact plan of perspective. A certain degree of distortion is due to the fact that the vanishing point is placed close to the margin instead of the centre. This is a peculiarity that can be observed in other works by D?rer.Artist:D?RER, Albrecht Title: St Jerome in his Study Painted in 1501-1550 , German - - graphics : religious
ID de tableau::  63602
5438 ago.
Artist: Albrecht Durer
Painting: St Jerome in his Study
Information: 1514 Engraving, 259 x 201 mm Staatliche Kunsthalle, Karlsruhe St Jerome in his Study is stressing the contemplative rather than the active aspect of Christian life. The engraving shows the translator of the Bible deep in thought at his lectern, with the figure of the saint illuminated by sunlight streaming through the window panes into the cosy room. In front of St Jerome are the resting figures of his faithful lion and dog. A skull on the windowsill and an hourglass above the saint are reminders of the transience of life. The astonishing advance in D?rer's printmaking technique is evident when this engraving is compared with his early woodcut of the same subject. D?rer, according to the diary of his trip to the Netherlands during 1521-21, sold or gave away copies of this print more frequently than any of his others. It has been repeatedly asserted that this engraving was to be part of a projected series representing the four human temperaments. Only two others have been so far identified, Melencolia I, and Knight, Death and Devil. Although they correspond in size, D?rer never gave away all three as a set. Occasionally he gave away St Jerome and Melencolia I as a pair. In the last of the three master engravings, D?rer placed particular emphasis on the subtle differentiation of the material qualities of the objects, and the depiction of the interior according to the laws of central perspective, the converging lines of which terminate in the space to the right of the figure of the saint. The design is based on an exact plan of perspective. A certain degree of distortion is due to the fact that the vanishing point is placed close to the margin instead of the centre. This is a peculiarity that can be observed in other works by D?rer.Artist:D?RER, Albrecht Title: St Jerome in his Study Painted in 1501-1550 , German - - graphics : religious

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