Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all people --> Style:: religious
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Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Shepherds to the manger pilgrimage china oil painting reproduction

Shepherds to the manger pilgrimage
mk284 Oil on canvas 1668 282 x 188 cm Fine Arts Museum Seville
ID de tableau::  62569
5536 ago.
Artist: Bartolome Esteban Murillo
Painting: Shepherds to the manger pilgrimage
Information: mk284 Oil on canvas 1668 282 x 188 cm Fine Arts Museum Seville

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

Phosphenes
mk284 Oil on canvas 1629 179 x 223 cm
ID de tableau::  62566
5536 ago.
Artist: Bartolome Esteban Murillo
Painting: Phosphenes
Information: mk284 Oil on canvas 1629 179 x 223 cm

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Virgin Mary and the Santo Domingo china oil painting reproduction

Virgin Mary and the Santo Domingo
mk284 Oil on canvas 1640 207 x 162 cm Tibet Fort Sevilla Anoos
ID de tableau::  62565
5536 ago.
Artist: Bartolome Esteban Murillo
Painting: Virgin Mary and the Santo Domingo
Information: mk284 Oil on canvas 1640 207 x 162 cm Tibet Fort Sevilla Anoos

Artist: Bartolome Esteban Murillo
Bartolome Esteban Murillo Pure Conception of Our Lady china oil painting reproduction

Pure Conception of Our Lady
mk284 Oil on canvas 1650 436 x 292 cm Seville Art Collection
ID de tableau::  62563
5536 ago.
Artist: Bartolome Esteban Murillo
Painting: Pure Conception of Our Lady
Information: mk284 Oil on canvas 1650 436 x 292 cm Seville Art Collection

Artist: Blake, William
Blake, William Christ as the Redeemer of Man china oil painting reproduction

Christ as the Redeemer of Man
1808 Pen and watercolour, 496 x 393 mm Museum of Fine Arts, Boston Blake's visionary drawing style is demonstrated in this illustration to Milton's Paradise Lost, III. Christ floats in the air before God the Father, the position of his body referring to his death on the cross. The expressive, outsized hands of his father touch him lightly. Four angels accompany Christ on his way to EEarth. The unremitting movement contains tension. Even in terms of colour the divine realm is divided from the void, in which Satan, armed with a spear, attempts to prevent God's plan of redemption for the world. The scene is characterized by symmetry and repetition, and is not only illuminated by the artist's technique, but is also enlightened spiritually. Author: BLAKE, William Title: Christ as the Redeemer of Man Form: graphics , 1751-1800 , English , religious
ID de tableau::  62542
5548 ago.
Artist: Blake, William
Painting: Christ as the Redeemer of Man
Information: 1808 Pen and watercolour, 496 x 393 mm Museum of Fine Arts, Boston Blake's visionary drawing style is demonstrated in this illustration to Milton's Paradise Lost, III. Christ floats in the air before God the Father, the position of his body referring to his death on the cross. The expressive, outsized hands of his father touch him lightly. Four angels accompany Christ on his way to EEarth. The unremitting movement contains tension. Even in terms of colour the divine realm is divided from the void, in which Satan, armed with a spear, attempts to prevent God's plan of redemption for the world. The scene is characterized by symmetry and repetition, and is not only illuminated by the artist's technique, but is also enlightened spiritually. Author: BLAKE, William Title: Christ as the Redeemer of Man Form: graphics , 1751-1800 , English , religious

Artist: Blake, William
Blake, William Los 1804-20 Etching with pen china oil painting reproduction

Los 1804-20 Etching with pen
watercolour and gold, 146 x 222 mm Yale Center for British Art, New Haven This is Plate 100 of the illustrated poem Jerusalem. Trained as an engraver, Blake evolved into a shamanic figure - mystic, philosopher, priest - compelled to set his visions before the world. They took the form of epic, quasi-biblical dramas of spiritual redemption. He increasingly eschewed conventional media and published them in 'Prophetic Books' written and illuminated himself by processes of colour printing. In his Prophetic Books, the character of Los exemplifies the artist's roles as seer, mystic and interpreter. The author of all art and literature, architect of a City of Art, Los is responsible for everything mankind sees and senses. In Jerusalem he takes various forms, from a London nightwatchman to a blacksmith at his forge, but he is also Blake himself. When the narrative reaches its last page, Los rests from his smithy, but a temple of false religion is already extending to cover the land behind him as night follows day. Author: BLAKE, William Title: Los Form: graphics , 1751-1800 , English , mythological
ID de tableau::  62541
5548 ago.
Artist: Blake, William
Painting: Los 1804-20 Etching with pen
Information: watercolour and gold, 146 x 222 mm Yale Center for British Art, New Haven This is Plate 100 of the illustrated poem Jerusalem. Trained as an engraver, Blake evolved into a shamanic figure - mystic, philosopher, priest - compelled to set his visions before the world. They took the form of epic, quasi-biblical dramas of spiritual redemption. He increasingly eschewed conventional media and published them in 'Prophetic Books' written and illuminated himself by processes of colour printing. In his Prophetic Books, the character of Los exemplifies the artist's roles as seer, mystic and interpreter. The author of all art and literature, architect of a City of Art, Los is responsible for everything mankind sees and senses. In Jerusalem he takes various forms, from a London nightwatchman to a blacksmith at his forge, but he is also Blake himself. When the narrative reaches its last page, Los rests from his smithy, but a temple of false religion is already extending to cover the land behind him as night follows day. Author: BLAKE, William Title: Los Form: graphics , 1751-1800 , English , mythological

Artist: Blake, William
Blake, William The Descent of Christ china oil painting reproduction

The Descent of Christ
1804-20 Etching with pen, watercolour and gold, 219 x 159 mm Yale Center for British Art, New Haven This is Plate 35 of the illustrated poem Jerusalem. In this early page of Jerusalem, the sleeping Albion is visited by Christ, who awakens his dormant desire for salvation. Though Albion is not yet conscious of Christ's sacrifice, its promise is foreshadowed by the new body that begins to emerge from his breast. Author: BLAKE, William Title: The Descent of Christ Form: graphics , 1751-1800 , English , religious
ID de tableau::  62540
5548 ago.
Artist: Blake, William
Painting: The Descent of Christ
Information: 1804-20 Etching with pen, watercolour and gold, 219 x 159 mm Yale Center for British Art, New Haven This is Plate 35 of the illustrated poem Jerusalem. In this early page of Jerusalem, the sleeping Albion is visited by Christ, who awakens his dormant desire for salvation. Though Albion is not yet conscious of Christ's sacrifice, its promise is foreshadowed by the new body that begins to emerge from his breast. Author: BLAKE, William Title: The Descent of Christ Form: graphics , 1751-1800 , English , religious

Artist: William Blake
William Blake Los Entering the Grave china oil painting reproduction

Los Entering the Grave
1804-20 Etching with pen, watercolour and gold, 220 x 160 mm Yale Center for British Art, New Haven This is the frontispiece of the illustrated poem Jerusalem. In the coloured version of the frontispiece to his Jerusalem, Blake placed the thorns of the Passion beneath his own personification, Los, as he steps bravely through a door into a dark, grave-like void. This is not an end but the beginning: Los has embarked on an adventure, one hand raised in greeting and the other holding a blazing sun to illuminate the truths to be revealed in the following pages. Author: BLAKE, William Title: Los Entering the Grave Form: graphics , 1751-1800 , English , mythological
ID de tableau::  62539
5548 ago.
Artist: William Blake
Painting: Los Entering the Grave
Information: 1804-20 Etching with pen, watercolour and gold, 220 x 160 mm Yale Center for British Art, New Haven This is the frontispiece of the illustrated poem Jerusalem. In the coloured version of the frontispiece to his Jerusalem, Blake placed the thorns of the Passion beneath his own personification, Los, as he steps bravely through a door into a dark, grave-like void. This is not an end but the beginning: Los has embarked on an adventure, one hand raised in greeting and the other holding a blazing sun to illuminate the truths to be revealed in the following pages. Author: BLAKE, William Title: Los Entering the Grave Form: graphics , 1751-1800 , English , mythological

Artist: Albani Francesco
Albani Francesco The Annunciation china oil painting reproduction

The Annunciation
62 x 47 cm The Hermitage, St. Petersburg Albani painted many versions of this subject. One of the best is the large altarpiece in the church of San Bartolomeo in Bologna, to which this painting is closely related. Author: ALBANI, Francesco Title: The Annunciation , 1601-1650 , Italian Form: painting , religious
ID de tableau::  62439
5563 ago.
Artist: Albani Francesco
Painting: The Annunciation
Information: 62 x 47 cm The Hermitage, St. Petersburg Albani painted many versions of this subject. One of the best is the large altarpiece in the church of San Bartolomeo in Bologna, to which this painting is closely related. Author: ALBANI, Francesco Title: The Annunciation , 1601-1650 , Italian Form: painting , religious

Artist: Albani Francesco
Albani Francesco ALBANI china oil painting reproduction

ALBANI
Adonis Led by Cupids to Venus, detail 1600 Oil on canvas Mus?e du Louvre, Paris Painter belonging to the Bologna school. He was influenced by Domenichino and Raphael. He worked in the workshop of Annibale Carracci in Rome. *** Keywords: ************* Author: ALBANI, Francesco Title: Adonis Led by Cupids to Venus, detail , 1601-1650 , Italian Form: painting , mythological
ID de tableau::  62437
5564 ago.
Artist: Albani Francesco
Painting: ALBANI
Information: Adonis Led by Cupids to Venus, detail 1600 Oil on canvas Mus?e du Louvre, Paris Painter belonging to the Bologna school. He was influenced by Domenichino and Raphael. He worked in the workshop of Annibale Carracci in Rome. *** Keywords: ************* Author: ALBANI, Francesco Title: Adonis Led by Cupids to Venus, detail , 1601-1650 , Italian Form: painting , mythological

Artist: Albani, Francesco
Albani, Francesco Winter china oil painting reproduction

Winter
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Winter , 1601-1650 , Italian Form: painting , mythological
ID de tableau::  62434
5564 ago.
Artist: Albani, Francesco
Painting: Winter
Information: 1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Winter , 1601-1650 , Italian Form: painting , mythological

Artist: Albani, Francesco
Albani, Francesco Autumn china oil painting reproduction

Autumn
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter.
ID de tableau::  62433
5564 ago.
Artist: Albani, Francesco
Painting: Autumn
Information: 1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter.

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

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