Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all people --> Style:: religious
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Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Study for a Deposition china oil painting reproduction

Study for a Deposition
1555 Red chalk on paper Ashmolean Museum, Oxford Artist: MICHELANGELO Buonarroti Title: Study for a Deposition Date: 1501-1550 Italian , graphics : study
ID de tableau::  62893
5542 ago.
Artist: Michelangelo Buonarroti
Painting: Study for a Deposition
Information: 1555 Red chalk on paper Ashmolean Museum, Oxford Artist: MICHELANGELO Buonarroti Title: Study for a Deposition Date: 1501-1550 Italian , graphics : study

Artist: Eugene Delacroix
Eugene Delacroix Apollo Vanquishing the Python china oil painting reproduction

Apollo Vanquishing the Python
1850-51 Mural painting, about 800 x 750 cm Musee du Louvre, Paris This is the central panel of the vaulted ceiling of the Galerie d'Apollon in the Louvre. One of Delacroix's lesser-known masterpieces, the subject-matter was dictated by its destination. Apollo Vanquishing the Python shows the painter working in a direct line from the great decorators of the seventeenth and eighteenth centuries, without losing any of his own ardor or lyricism. Artist: DELACROIX, Eugene Title: Apollo Vanquishing the Python , painting Date: 1801-1850 French : mythological
ID de tableau::  62859
5546 ago.
Artist: Eugene Delacroix
Painting: Apollo Vanquishing the Python
Information: 1850-51 Mural painting, about 800 x 750 cm Musee du Louvre, Paris This is the central panel of the vaulted ceiling of the Galerie d'Apollon in the Louvre. One of Delacroix's lesser-known masterpieces, the subject-matter was dictated by its destination. Apollo Vanquishing the Python shows the painter working in a direct line from the great decorators of the seventeenth and eighteenth centuries, without losing any of his own ardor or lyricism. Artist: DELACROIX, Eugene Title: Apollo Vanquishing the Python , painting Date: 1801-1850 French : mythological

Artist: Paul Delaroche
Paul Delaroche Cardinal Mazarin's Last Sickness china oil painting reproduction

Cardinal Mazarin's Last Sickness
57 x 97 cm Wallace Collection, London Two once famous pictures by Delaroche in the Wallace Collection illustrate the contrasting last days of the two great French Cardinals, Mazarin eager for wealth, Richelieu thirsting for revenge. Artist: DELAROCHE, Paul Title: Cardinal Mazarin's Last Sickness , painting Date: 1801-1850 French : historical
ID de tableau::  62854
5546 ago.
Artist: Paul Delaroche
Painting: Cardinal Mazarin's Last Sickness
Information: 57 x 97 cm Wallace Collection, London Two once famous pictures by Delaroche in the Wallace Collection illustrate the contrasting last days of the two great French Cardinals, Mazarin eager for wealth, Richelieu thirsting for revenge. Artist: DELAROCHE, Paul Title: Cardinal Mazarin's Last Sickness , painting Date: 1801-1850 French : historical

Artist: Benjamin Robert Haydon
Benjamin Robert Haydon Christ's Entry into Jerusalem china oil painting reproduction

Christ's Entry into Jerusalem
1814-20 Oil on canvas, 396 x 457 cm Mount St Mary's Seminary, Cincinnati Haydon was impelled by strong personal faith to undertake his uncommissioned religious canvases. The years of labour he expended on them helped to ruin him. It was his aim to cast out doubt as well as win fame, and in Christ's Entry into Jerusalem, he addressed the issue of doubt directly, assembling past rationalists and sceptics like Voltaire and his own more devout friends like Wordsworth among the watching crowd. Their varied reactions to Christ's appearance amount to a debate on faith. Artist: HAYDON, Benjamin Robert Title: Christ's Entry into Jerusalem , painting Date: 1801-1850 English : religious
ID de tableau::  62841
5550 ago.
Artist: Benjamin Robert Haydon
Painting: Christ's Entry into Jerusalem
Information: 1814-20 Oil on canvas, 396 x 457 cm Mount St Mary's Seminary, Cincinnati Haydon was impelled by strong personal faith to undertake his uncommissioned religious canvases. The years of labour he expended on them helped to ruin him. It was his aim to cast out doubt as well as win fame, and in Christ's Entry into Jerusalem, he addressed the issue of doubt directly, assembling past rationalists and sceptics like Voltaire and his own more devout friends like Wordsworth among the watching crowd. Their varied reactions to Christ's appearance amount to a debate on faith. Artist: HAYDON, Benjamin Robert Title: Christ's Entry into Jerusalem , painting Date: 1801-1850 English : religious

Artist: Maclise, Daniel
Maclise, Daniel A Scene from china oil painting reproduction

A Scene from
45 x 61 cm Royal Collection, Windsor The subject is based on a moment in a romantic German novel entitled Undine, written by Friedrich de la Motte Fouque which was first translated into English in 1818 and became almost as popular with artists in England as Goethe's Faust. The incident painted by Maclise occurs in chapter IX, where the young knight, Huldbrand, accompanies his bride, Undine, back home through the forest. The priest, Father Heilmann, who has just performed the marriage ceremony, follows behind and is visible beneath the branch of the tree. Ahead is the dark and sinister apparition, Kuhleborn, the spirit of the waters and the uncle of Undine. Huldbrand draws his sword on Kuhleborn and then strikes him, whereupon the spirit of the waters is transformed into a waterfall. Clearly the painting illustrates the forces of good, represented by the newly married couple, overcoming the power of evil, symbolised by the looming figure of the water god. The narrative element of the picture is aligned on a diagonal, which is contained within a bower populated by elves, goblins and water-nymphs associated with the surrounding forest. The composition is a triumph of design with the main elements of the story formed by an ornamental border of considerable intricacy. Maclise used other such borders for several of his book illustrations including those for The Chimes by Charles Dickens of 1844 and Irish Melodies by Thomas Moore of 1845. Maclise has here relied on German sources for the decorative features, and was clearly influenced by German illustrators. Maclise was of Irish origin and in 1827 he came to London, where he almost immediately gained recognition as a portrait draughtsman, drawing numerous likenesses for Eraser's Magazine. He painted historical and literary subjects, several as frescoes for the Palace of Westminster. Maclise formed close friendships with the novelists Charles Dickens and William Makepeace Thackeray as well as his compatriot, the poet Thomas Moore, and the politician Benjamin Disraeli. With all of these he shared an ebullience of character and a sense of humour, but this later gave way to melancholy and pessimism
ID de tableau::  62827
5551 ago.
Artist: Maclise, Daniel
Painting: A Scene from
Information: 45 x 61 cm Royal Collection, Windsor The subject is based on a moment in a romantic German novel entitled Undine, written by Friedrich de la Motte Fouque which was first translated into English in 1818 and became almost as popular with artists in England as Goethe's Faust. The incident painted by Maclise occurs in chapter IX, where the young knight, Huldbrand, accompanies his bride, Undine, back home through the forest. The priest, Father Heilmann, who has just performed the marriage ceremony, follows behind and is visible beneath the branch of the tree. Ahead is the dark and sinister apparition, Kuhleborn, the spirit of the waters and the uncle of Undine. Huldbrand draws his sword on Kuhleborn and then strikes him, whereupon the spirit of the waters is transformed into a waterfall. Clearly the painting illustrates the forces of good, represented by the newly married couple, overcoming the power of evil, symbolised by the looming figure of the water god. The narrative element of the picture is aligned on a diagonal, which is contained within a bower populated by elves, goblins and water-nymphs associated with the surrounding forest. The composition is a triumph of design with the main elements of the story formed by an ornamental border of considerable intricacy. Maclise used other such borders for several of his book illustrations including those for The Chimes by Charles Dickens of 1844 and Irish Melodies by Thomas Moore of 1845. Maclise has here relied on German sources for the decorative features, and was clearly influenced by German illustrators. Maclise was of Irish origin and in 1827 he came to London, where he almost immediately gained recognition as a portrait draughtsman, drawing numerous likenesses for Eraser's Magazine. He painted historical and literary subjects, several as frescoes for the Palace of Westminster. Maclise formed close friendships with the novelists Charles Dickens and William Makepeace Thackeray as well as his compatriot, the poet Thomas Moore, and the politician Benjamin Disraeli. With all of these he shared an ebullience of character and a sense of humour, but this later gave way to melancholy and pessimism

Artist: unknow artist
unknow artist The Death of Socrates china oil painting reproduction

The Death of Socrates
1787 Oil on canvas, 98 x 133 cm Statens Museum fur Kunst, Copenhagen Peyron's The Death of Socrates, commissioned by d'Angiviller for the Crown, was in competition with Jacques-Louis David's work of the same subject. David's confidence in surpassing his rival, coupled with his aggressive and ambitious nature, make it very possible that he chose to paint his own Socrates when he learned of Peyron's plans. The force and clarity of David's version was thrown into even sharper relief by the lack of drama and focus in Peyron's work, and both the public and critics declared David's work to be far superior. David eclipsed his long-time rival once and for all, and from then on Peyron had to be content with a subordinate role in the art world
ID de tableau::  62826
5552 ago.
Artist: unknow artist
Painting: The Death of Socrates
Information: 1787 Oil on canvas, 98 x 133 cm Statens Museum fur Kunst, Copenhagen Peyron's The Death of Socrates, commissioned by d'Angiviller for the Crown, was in competition with Jacques-Louis David's work of the same subject. David's confidence in surpassing his rival, coupled with his aggressive and ambitious nature, make it very possible that he chose to paint his own Socrates when he learned of Peyron's plans. The force and clarity of David's version was thrown into even sharper relief by the lack of drama and focus in Peyron's work, and both the public and critics declared David's work to be far superior. David eclipsed his long-time rival once and for all, and from then on Peyron had to be content with a subordinate role in the art world

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Resurrection china oil painting reproduction

Resurrection
mk284 Oil on canvas 243 x 164 cm Madrid, San Fernando Museum of Art
ID de tableau::  62658
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: Resurrection
Information: mk284 Oil on canvas 243 x 164 cm Madrid, San Fernando Museum of Art

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Jesus bearing a cross china oil painting reproduction

Jesus bearing a cross
mk284 Oil on canvas 1660 - 1670 125 x 146 cm
ID de tableau::  62657
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: Jesus bearing a cross
Information: mk284 Oil on canvas 1660 - 1670 125 x 146 cm

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo St. John's and the child Jesus china oil painting reproduction

St. John's and the child Jesus
mk284 Oil on canvas 1670 - 1675 St. Petersburg Hermitage Museum
ID de tableau::  62652
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: St. John's and the child Jesus
Information: mk284 Oil on canvas 1670 - 1675 St. Petersburg Hermitage Museum

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Baptism of Jesus china oil painting reproduction

Baptism of Jesus
mk284 Oil on canvas 250 x 180 cm Cathedral of Seville
ID de tableau::  62651
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: Baptism of Jesus
Information: mk284 Oil on canvas 250 x 180 cm Cathedral of Seville

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Childhood of Christ and John the Baptist china oil painting reproduction

Childhood of Christ and John the Baptist
mk284 Oil on canvas 1650 124 x 115 cm Art Museum of St. Petersburg Aimi Ji
ID de tableau::  62650
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: Childhood of Christ and John the Baptist
Information: mk284 Oil on canvas 1650 124 x 115 cm Art Museum of St. Petersburg Aimi Ji

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo John the Baptist to identify the Messiah china oil painting reproduction

John the Baptist to identify the Messiah
mk284 Oil on canvas Art Institute of Chicago in 1655
ID de tableau::  62649
5566 ago.
Artist: Bartolome Esteban Murillo
Painting: John the Baptist to identify the Messiah
Information: mk284 Oil on canvas Art Institute of Chicago in 1655

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

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