Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all people --> Style:: religious
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Artist: unknow artist
unknow artist St Lazarus between Martha and Mary china oil painting reproduction

St Lazarus between Martha and Mary
Panel Museo L?zaro Galdiano, Madrid The artist of the panel is referred to as the Master of Perea. , UNKNOWN MASTER, Spanish , St Lazarus between Martha and Mary , 1451-1500 , Spanish , painting , religious
ID de tableau::  65058
5361 ago.
Artist: unknow artist
Painting: St Lazarus between Martha and Mary
Information: Panel Museo L?zaro Galdiano, Madrid The artist of the panel is referred to as the Master of Perea. , UNKNOWN MASTER, Spanish , St Lazarus between Martha and Mary , 1451-1500 , Spanish , painting , religious

Artist: unknow artist
unknow artist Triptych china oil painting reproduction

Triptych
85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious
ID de tableau::  65033
5362 ago.
Artist: unknow artist
Painting: Triptych
Information: 85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious

Artist: unknow artist
unknow artist The Adoration of the Magi china oil painting reproduction

The Adoration of the Magi
1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious
ID de tableau::  65022
5362 ago.
Artist: unknow artist
Painting: The Adoration of the Magi
Information: 1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious

Artist: unknow artist
unknow artist St Francis Altarpiece china oil painting reproduction

St Francis Altarpiece
1500-05 Oak, 132,5 x 163 cm Wallraf-Richartz Museum, Cologne The central panel shows St Francis receiving the stigmata, and also other scenes from his legend. On the left wing are Sts John Capistran and Bonaventura; on the right wing Sts Louis of Toulouse and Bernard of Siena (not illustrated). On the exteriors are St Francis and five Moroccan martyrs of the Order (not illustrated). This altarpiece is an important example of the iconography of St Francis and of Franciscan propaganda. The altarpiece was executed by two masters referred to as the Master of St Severin and the Master of the Ursula Legend. , UNKNOWN MASTER, German , St Francis Altarpiece (central panel) , 1501-1550 , German , painting , religious
ID de tableau::  65019
5363 ago.
Artist: unknow artist
Painting: St Francis Altarpiece
Information: 1500-05 Oak, 132,5 x 163 cm Wallraf-Richartz Museum, Cologne The central panel shows St Francis receiving the stigmata, and also other scenes from his legend. On the left wing are Sts John Capistran and Bonaventura; on the right wing Sts Louis of Toulouse and Bernard of Siena (not illustrated). On the exteriors are St Francis and five Moroccan martyrs of the Order (not illustrated). This altarpiece is an important example of the iconography of St Francis and of Franciscan propaganda. The altarpiece was executed by two masters referred to as the Master of St Severin and the Master of the Ursula Legend. , UNKNOWN MASTER, German , St Francis Altarpiece (central panel) , 1501-1550 , German , painting , religious

Artist: unknow artist
unknow artist Ursula with her Parents at the Altar china oil painting reproduction

Ursula with her Parents at the Altar
1492-96 Canvas, 124 x 115 cm Wallraf-Richartz Museum, Cologne This painting is the fourth in a cycle of 19 pictures of the legend of Ursula which today are scattered throughout the museums of Europe. Originally it was in the Stiftkirche of St Severin in Cologne. The artist of the painting is referred to as the Master of the Ursula Legend. , UNKNOWN MASTER, German , Ursula with her Parents at the Altar , 1451-1500 , German , painting , religious
ID de tableau::  65014
5364 ago.
Artist: unknow artist
Painting: Ursula with her Parents at the Altar
Information: 1492-96 Canvas, 124 x 115 cm Wallraf-Richartz Museum, Cologne This painting is the fourth in a cycle of 19 pictures of the legend of Ursula which today are scattered throughout the museums of Europe. Originally it was in the Stiftkirche of St Severin in Cologne. The artist of the painting is referred to as the Master of the Ursula Legend. , UNKNOWN MASTER, German , Ursula with her Parents at the Altar , 1451-1500 , German , painting , religious

Artist: unknow artist
unknow artist Tomb of Don Sancho Saiz de Carillo china oil painting reproduction

Tomb of Don Sancho Saiz de Carillo
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The so-called Linear Style of the Gothic painting developed principally in the north of Spain, its straight lines and rigid figurative scheme recalling contemporary Romanesque Apocalypse manuscripts. The row of lamenting women on the ceiling of the tomb, now in Barcelona, of Sancho Saiz Carillo, a nobleman from Burgos, is Gothic only in that the figures are positioned in rows and overlap. The posture and gestures, even the physiognomies, are borrowed from a largely traditional style that still clearly bears signs of the Romanesque. The work's firm lines make it a particularly bold exmple of the Linear Style, which dominated Spanish painting in the years between 1290 and 1350. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
ID de tableau::  65009
5365 ago.
Artist: unknow artist
Painting: Tomb of Don Sancho Saiz de Carillo
Information: 1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The so-called Linear Style of the Gothic painting developed principally in the north of Spain, its straight lines and rigid figurative scheme recalling contemporary Romanesque Apocalypse manuscripts. The row of lamenting women on the ceiling of the tomb, now in Barcelona, of Sancho Saiz Carillo, a nobleman from Burgos, is Gothic only in that the figures are positioned in rows and overlap. The posture and gestures, even the physiognomies, are borrowed from a largely traditional style that still clearly bears signs of the Romanesque. The work's firm lines make it a particularly bold exmple of the Linear Style, which dominated Spanish painting in the years between 1290 and 1350. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious

Artist: unknow artist
unknow artist Tomb of Don Sancho Saiz de Carillo china oil painting reproduction

Tomb of Don Sancho Saiz de Carillo
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The linear style is remarkable for its subtlety. It is characterized, particularly in northern Spain, by undulating rhythms and a refined color scale. The backgrounds, in which architecture, furniture, and occasionally utensils are schematically represented, are in monochrome, but the figures that occupy the foreground have an expressive humanity, very different from the hieratic formalism of the past. A typical and very ancient example of the calligraphic style is the decoration of the tomb of Don Sancho Saiz de Carrillo (Barcelona Museum). This comes from Mahamud (Burgos) and marks the beginning of the Gothic style in Castile. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious
ID de tableau::  65008
5366 ago.
Artist: unknow artist
Painting: Tomb of Don Sancho Saiz de Carillo
Information: 1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The linear style is remarkable for its subtlety. It is characterized, particularly in northern Spain, by undulating rhythms and a refined color scale. The backgrounds, in which architecture, furniture, and occasionally utensils are schematically represented, are in monochrome, but the figures that occupy the foreground have an expressive humanity, very different from the hieratic formalism of the past. A typical and very ancient example of the calligraphic style is the decoration of the tomb of Don Sancho Saiz de Carrillo (Barcelona Museum). This comes from Mahamud (Burgos) and marks the beginning of the Gothic style in Castile. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious

Artist: unknow artist
unknow artist St Elizabeth Clothes the Poor and Tends the Sicks china oil painting reproduction

St Elizabeth Clothes the Poor and Tends the Sicks
1390s Tempera on pine, 123,4 x 49,2 cm Wallraf-Richartz Museum, Cologne This panel was once the inside of the right wing of an altarpiece. The outside of the wing (also in the Museum) shows the Descent from thee Cross. With another panel in the Wilhelm-Hack Museum, Ludvigshafen, this is part of a 'Misericordia' altarpiece depicting the Acts of' Mercy, and probably once stood in a hospital in Cologne. , UNKNOWN MASTER, German , St Elizabeth Clothes the Poor and Tends the Sicks , 1351-1400 , German , painting , religious
ID de tableau::  65005
5366 ago.
Artist: unknow artist
Painting: St Elizabeth Clothes the Poor and Tends the Sicks
Information: 1390s Tempera on pine, 123,4 x 49,2 cm Wallraf-Richartz Museum, Cologne This panel was once the inside of the right wing of an altarpiece. The outside of the wing (also in the Museum) shows the Descent from thee Cross. With another panel in the Wilhelm-Hack Museum, Ludvigshafen, this is part of a 'Misericordia' altarpiece depicting the Acts of' Mercy, and probably once stood in a hospital in Cologne. , UNKNOWN MASTER, German , St Elizabeth Clothes the Poor and Tends the Sicks , 1351-1400 , German , painting , religious

Artist: unknow artist
unknow artist Gradual of Vladislaus II china oil painting reproduction

Gradual of Vladislaus II
1500-20 Illumination on parchment Cathedral Library, Esztergom The miniature depicting Pope St Gregory Enthroned is from the Gradual of Vladislaus II, King of Hungary (1490-1516). The Gradual is a representative work of art of the late-Gothic Czech illuminations. It was created by Janicek Zmilely z Pisku, a Prague miniaturist, at the begining of the 16th century, relying on contemporary engravings. , MINIATURIST, Bohemian , Gradual of Vladislaus II , 1451-1500 , Bohemian , illumination , religious
ID de tableau::  65004
5366 ago.
Artist: unknow artist
Painting: Gradual of Vladislaus II
Information: 1500-20 Illumination on parchment Cathedral Library, Esztergom The miniature depicting Pope St Gregory Enthroned is from the Gradual of Vladislaus II, King of Hungary (1490-1516). The Gradual is a representative work of art of the late-Gothic Czech illuminations. It was created by Janicek Zmilely z Pisku, a Prague miniaturist, at the begining of the 16th century, relying on contemporary engravings. , MINIATURIST, Bohemian , Gradual of Vladislaus II , 1451-1500 , Bohemian , illumination , religious

Artist: unknow artist
unknow artist The Annunciation china oil painting reproduction

The Annunciation
1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious
ID de tableau::  65001
5366 ago.
Artist: unknow artist
Painting: The Annunciation
Information: 1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious

Artist: unknow artist
unknow artist Gereon and Peter china oil painting reproduction

Gereon and Peter
1480 Oak, 133,3 x 146,7 cm Wallraf-Richartz Museum, Cologne The panel is clearly divided into two zones: in the foreground are St Christopher as patron saint of shippers and merchants, St Gereon as patron saint of Cologne, St Peter as patron saint of Cologne cathedral and St Anne. In the upper section of the painting is a panorama of the city of Cologne, from the Bayenturm in the south to St Kunibert in the north. The view of the city is extraordinarily accurate. The panel may well have been commissioned after Cologne had become a free town of the Empire (1475) and may document the city's self-consciousness. The artist appears to have been a follower of the school of Stefan Lochner and his style shows a Netherlandish training in its realistic detail. The artist of the panel is referred to as the Master of the Assumption. , UNKNOWN MASTER, German , Sts Anne, Christopher, Gereon and Peter , 1451-1500 , German , painting , religious
ID de tableau::  65000
5366 ago.
Artist: unknow artist
Painting: Gereon and Peter
Information: 1480 Oak, 133,3 x 146,7 cm Wallraf-Richartz Museum, Cologne The panel is clearly divided into two zones: in the foreground are St Christopher as patron saint of shippers and merchants, St Gereon as patron saint of Cologne, St Peter as patron saint of Cologne cathedral and St Anne. In the upper section of the painting is a panorama of the city of Cologne, from the Bayenturm in the south to St Kunibert in the north. The view of the city is extraordinarily accurate. The panel may well have been commissioned after Cologne had become a free town of the Empire (1475) and may document the city's self-consciousness. The artist appears to have been a follower of the school of Stefan Lochner and his style shows a Netherlandish training in its realistic detail. The artist of the panel is referred to as the Master of the Assumption. , UNKNOWN MASTER, German , Sts Anne, Christopher, Gereon and Peter , 1451-1500 , German , painting , religious

Artist: unknow artist
unknow artist Biadaiolo Fiorentino china oil painting reproduction

Biadaiolo Fiorentino
1325-50 Illumination on parchment Biblioteca Medicea-Laurenziana, Florence The illumination of the manuscript (Florentine Grain Commerce) was commissioned by a rich Florentine grain merchant. The illuminator was influenced by Bernardo Daddi and the Lorenzetti. , MINIATURIST, Italian , Biadaiolo Fiorentino , 1301-1350 , Italian , illumination , religious
ID de tableau::  64997
5366 ago.
Artist: unknow artist
Painting: Biadaiolo Fiorentino
Information: 1325-50 Illumination on parchment Biblioteca Medicea-Laurenziana, Florence The illumination of the manuscript (Florentine Grain Commerce) was commissioned by a rich Florentine grain merchant. The illuminator was influenced by Bernardo Daddi and the Lorenzetti. , MINIATURIST, Italian , Biadaiolo Fiorentino , 1301-1350 , Italian , illumination , religious

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Huiler des Tableaux:: people --> Style:: religious

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