Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all landscape --> Style:: wood
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Artist: Vasily Kandinsky
Vasily Kandinsky study for the sluice china oil painting reproduction

study for the sluice
1901 oil on cardboard, 12x9,32x24cm städtische galerie im lenbachhaus, munich
ID de tableau::  64147
5434 ago.
Artist: Vasily Kandinsky
Painting: study for the sluice
Information: 1901 oil on cardboard, 12x9,32x24cm städtische galerie im lenbachhaus, munich

Artist: Pieter Bruegel
Pieter Bruegel skatan pa galgen china oil painting reproduction

skatan pa galgen
1568 pannå, 45.9x50.8cm darmstadt museum
ID de tableau::  64029
5436 ago.
Artist: Pieter Bruegel
Painting: skatan pa galgen
Information: 1568 pannå, 45.9x50.8cm darmstadt museum

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Braque Family Triptych china oil painting reproduction

Braque Family Triptych
1450 Oil on oak panel Mus?e du Louvre, Paris This detail of the left panel shows the baptism of Jesus in the Jordan. John the Baptist's most significant act is shown in the broad Netherlandish landscape behind him. As he baptizes the Son of God, an angel holds Christ's garment. Several onlookers in contemporary urban clothing may be the people mentioned in the Gospels as wising to be baptized, though they have not yet undressed.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (detail) Painted in 1401-1450 , Flemish - - painting : religious
ID de tableau::  63909
5443 ago.
Artist: WEYDEN, Rogier van der
Painting: Braque Family Triptych
Information: 1450 Oil on oak panel Mus?e du Louvre, Paris This detail of the left panel shows the baptism of Jesus in the Jordan. John the Baptist's most significant act is shown in the broad Netherlandish landscape behind him. As he baptizes the Son of God, an angel holds Christ's garment. Several onlookers in contemporary urban clothing may be the people mentioned in the Gospels as wising to be baptized, though they have not yet undressed.Artist:WEYDEN, Rogier van der Title: Braque Family Triptych (detail) Painted in 1401-1450 , Flemish - - painting : religious

Artist: Claude Lorrain
Claude Lorrain Landscape with the Rest on the Flight into Egypt china oil painting reproduction

Landscape with the Rest on the Flight into Egypt
1666 Oil on canvas The Hermitage, St. PetersburgArtist:CLAUDE LORRAIN Title: Landscape with the Rest on the Flight into Egypt (detail) Painted in 1651-1700 , French - - painting : religious
ID de tableau::  63833
5449 ago.
Artist: Claude Lorrain
Painting: Landscape with the Rest on the Flight into Egypt
Information: 1666 Oil on canvas The Hermitage, St. PetersburgArtist:CLAUDE LORRAIN Title: Landscape with the Rest on the Flight into Egypt (detail) Painted in 1651-1700 , French - - painting : religious

Artist: Meulener, Pieter
Meulener, Pieter Cavalry Skirmish - Oil on canvas china oil painting reproduction

Cavalry Skirmish - Oil on canvas
73,2 x 116,5 cm Groeninge Museum, Bruges Meulener was a Flemish artist known by his battle scenes. The painting is signed with monogram on the roof of the mill on the right. Artist: MEULENER, Pieter Painting Title: Cavalry Skirmish , 1601-1650 Painting Style: Flemish , , other
ID de tableau::  63061
5508 ago.
Artist: Meulener, Pieter
Painting: Cavalry Skirmish - Oil on canvas
Information: 73,2 x 116,5 cm Groeninge Museum, Bruges Meulener was a Flemish artist known by his battle scenes. The painting is signed with monogram on the roof of the mill on the right. Artist: MEULENER, Pieter Painting Title: Cavalry Skirmish , 1601-1650 Painting Style: Flemish , , other

Artist: GUARDI, Francesco
GUARDI, Francesco Landscape china oil painting reproduction

Landscape
120 x 152 cm The Hermitage, St. Petersburg One of the rare compositions of the artist not containing archtectural elements. Artist: GUARDI, Francesco Painting Title: Landscape , 1751-1800 Painting Style: Italian , , landscape
ID de tableau::  63059
5508 ago.
Artist: GUARDI, Francesco
Painting: Landscape
Information: 120 x 152 cm The Hermitage, St. Petersburg One of the rare compositions of the artist not containing archtectural elements. Artist: GUARDI, Francesco Painting Title: Landscape , 1751-1800 Painting Style: Italian , , landscape

Artist: KEIRINCKX, Alexander
KEIRINCKX, Alexander Forest Scene - Oil on oak china oil painting reproduction

Forest Scene - Oil on oak
56,5 x 87,5 cm National Gallery, Prague Artist: KEIRINCKX, Alexander Painting Title: Forest Scene , 1601-1650 Painting Style: Flemish , , landscape
ID de tableau::  63053
5510 ago.
Artist: KEIRINCKX, Alexander
Painting: Forest Scene - Oil on oak
Information: 56,5 x 87,5 cm National Gallery, Prague Artist: KEIRINCKX, Alexander Painting Title: Forest Scene , 1601-1650 Painting Style: Flemish , , landscape

Artist: RUBENS, Pieter Pauwel
RUBENS, Pieter Pauwel Summer china oil painting reproduction

Summer
142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape
ID de tableau::  63045
5511 ago.
Artist: RUBENS, Pieter Pauwel
Painting: Summer
Information: 142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape

Artist: Waldemar Rosler
Waldemar Rosler Landscape in lights fields in the winter china oil painting reproduction

Landscape in lights fields in the winter
Landscape in lights fields in the winter mk184 1912 oils on Lwd 66x95cm
ID de tableau::  62894
5537 ago.
Artist: Waldemar Rosler
Painting: Landscape in lights fields in the winter
Information: Landscape in lights fields in the winter mk184 1912 oils on Lwd 66x95cm

Artist: Karl Blechen
Karl Blechen Building the Devil's Bridge china oil painting reproduction

Building the Devil's Bridge
1833 Oil on canvas, cm Neue Pinakothek, Munich At first sight the picture seems full of mystery, indeed it creates a sense of unease. The very title seems designed to evoke a shudder, and this impression is strengthened by the darkening evening with its long shadows, and above all, the building crane, which looks like a gallows. The viewer may well be attracted to the Romantic mood of the painting, but the true message is clear, and it is rather sombre. Man is bringing even the most distant and seemingly inaccessible regions under control through civilization and technical advance, and he is mastering the aspects of nature that have till now seemed unapproachable and fearful. But there is also allegory here - it is in the reference to transience. The new bridge that is being built will one day be as crumbling as the old one is now. Artist: BLECHEN, Karl Title: Building the Devil's Bridge , painting Date: 1801-1850 German : landscape
ID de tableau::  62877
5539 ago.
Artist: Karl Blechen
Painting: Building the Devil's Bridge
Information: 1833 Oil on canvas, cm Neue Pinakothek, Munich At first sight the picture seems full of mystery, indeed it creates a sense of unease. The very title seems designed to evoke a shudder, and this impression is strengthened by the darkening evening with its long shadows, and above all, the building crane, which looks like a gallows. The viewer may well be attracted to the Romantic mood of the painting, but the true message is clear, and it is rather sombre. Man is bringing even the most distant and seemingly inaccessible regions under control through civilization and technical advance, and he is mastering the aspects of nature that have till now seemed unapproachable and fearful. But there is also allegory here - it is in the reference to transience. The new bridge that is being built will one day be as crumbling as the old one is now. Artist: BLECHEN, Karl Title: Building the Devil's Bridge , painting Date: 1801-1850 German : landscape

Artist: Caspar David Friedrich
Caspar David Friedrich The Watzmann china oil painting reproduction

The Watzmann
1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape
ID de tableau::  62856
5543 ago.
Artist: Caspar David Friedrich
Painting: The Watzmann
Information: 1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape

Artist: Friedrich Johann Overbeck
Friedrich Johann Overbeck The Cross in the Mountains china oil painting reproduction

The Cross in the Mountains
1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape
ID de tableau::  62852
5545 ago.
Artist: Friedrich Johann Overbeck
Painting: The Cross in the Mountains
Information: 1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape

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Huiler des Tableaux:: landscape --> Style:: wood

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