Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all people --> Style:: religious
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Artist: Albani, Francesco
Albani, Francesco Summer china oil painting reproduction

Summer
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: Summer , 1601-1650 , Italian Form: painting , mythological
ID de tableau::  62432
5596 ago.
Artist: Albani, Francesco
Painting: Summer
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: Summer , 1601-1650 , Italian Form: painting , mythological

Artist: Francois Boucher
Francois Boucher Adoration of the Shepherds china oil painting reproduction

Adoration of the Shepherds
1750 Oil on canvas Mus?e des Beaux-Arts, Lyon Boucher had never been a committed artistic believer. Although he had worked in Italy, the Italian tradition did not tempt him into vast imaginative schemes. He never aimed at a heroic vision. He expressed no glorious promises about heaven: either as an Olympian refuge for aristocratic families, or in ordinary Christian terms. Like most French eighteenth-century painters, he could not evolve a satisfactory idiom for religious pictures of any kind; and he was particularly unsuited to the task by the nature of his real abilities. The picture shows one of his rare paintings of religious subject
ID de tableau::  62417
5600 ago.
Artist: Francois Boucher
Painting: Adoration of the Shepherds
Information: 1750 Oil on canvas Mus?e des Beaux-Arts, Lyon Boucher had never been a committed artistic believer. Although he had worked in Italy, the Italian tradition did not tempt him into vast imaginative schemes. He never aimed at a heroic vision. He expressed no glorious promises about heaven: either as an Olympian refuge for aristocratic families, or in ordinary Christian terms. Like most French eighteenth-century painters, he could not evolve a satisfactory idiom for religious pictures of any kind; and he was particularly unsuited to the task by the nature of his real abilities. The picture shows one of his rare paintings of religious subject

Artist: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Magi china oil painting reproduction

Adoration of the Magi
1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome
ID de tableau::  62412
5601 ago.
Artist: Domenico Ghirlandaio
Painting: Adoration of the Magi
Information: 1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome

Artist: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Shepherds china oil painting reproduction

Adoration of the Shepherds
167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps
ID de tableau::  62410
5602 ago.
Artist: Domenico Ghirlandaio
Painting: Adoration of the Shepherds
Information: 167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps

Artist: Mainardi, Sebastiano
Mainardi, Sebastiano Annunciation china oil painting reproduction

Annunciation
1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious
ID de tableau::  62407
5602 ago.
Artist: Mainardi, Sebastiano
Painting: Annunciation
Information: 1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious

Artist: Domenico Ghirlandaio
Domenico Ghirlandaio Birth of St John the Baptist china oil painting reproduction

Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious
ID de tableau::  62404
5603 ago.
Artist: Domenico Ghirlandaio
Painting: Birth of St John the Baptist
Information: 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious

Artist: Domenico Ghirlandaio
Domenico Ghirlandaio Annunciation china oil painting reproduction

Annunciation
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio
ID de tableau::  62403
5603 ago.
Artist: Domenico Ghirlandaio
Painting: Annunciation
Information: 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio

Artist: Lorenzo Ghiberti
Lorenzo Ghiberti Sacrifice of Isaac china oil painting reproduction

Sacrifice of Isaac
1401 Bronze relief Museo Nazionale del Bargello, Florence This panel, together with that made by Filippo Brunelleschi, both depicting the sacrifice of Isaac, have great artistic and historical importance. They are the famous trial pieces presented in a competition for the right to construct the door of the Baptistry. The lyrical elegance of Ghiberti's version undoubtedly expresses more coherently the famous Biblical episode. Ghiberti won the competition. *** Keywords: ************* Author: GHIBERTI, Lorenzo Title: Sacrifice of Isaac , 1401-1450 , Italian Form: sculpture , religious
ID de tableau::  62399
5603 ago.
Artist: Lorenzo Ghiberti
Painting: Sacrifice of Isaac
Information: 1401 Bronze relief Museo Nazionale del Bargello, Florence This panel, together with that made by Filippo Brunelleschi, both depicting the sacrifice of Isaac, have great artistic and historical importance. They are the famous trial pieces presented in a competition for the right to construct the door of the Baptistry. The lyrical elegance of Ghiberti's version undoubtedly expresses more coherently the famous Biblical episode. Ghiberti won the competition. *** Keywords: ************* Author: GHIBERTI, Lorenzo Title: Sacrifice of Isaac , 1401-1450 , Italian Form: sculpture , religious

Artist: Sandro Botticelli
Sandro Botticelli Holy Trinity china oil painting reproduction

Holy Trinity
1491-93 Tempera on panel, 215 x192 cm Courtauld Institute Galleries, London The altarpiece shows the Holy Trinity with Mary Magdalene, St John the Baptist and Tobias and the Angel The Holy Trinity appears as a vision between the penitent saints Magdalene and John in a bleak desert landscape. The Baptist is inviting the observer to worship the Trinity, and Mary Magdalene is turning to face it full of emotion. The exhausted figure of the penitent, a late work of Donatello's, had a decisive influence on Botticelli's Magdalene. The penitent sinner was the patron saint of the nuns' monastery of the Magdalenes, and this pala or altarpiece was ordered for their church. The figures of Tobias and the angel are very small compared to the others. They might be a reference to the donors of the altar, the guild of doctors and apothecaries: archangel Raphael was their patron saint
ID de tableau::  62398
5605 ago.
Artist: Sandro Botticelli
Painting: Holy Trinity
Information: 1491-93 Tempera on panel, 215 x192 cm Courtauld Institute Galleries, London The altarpiece shows the Holy Trinity with Mary Magdalene, St John the Baptist and Tobias and the Angel The Holy Trinity appears as a vision between the penitent saints Magdalene and John in a bleak desert landscape. The Baptist is inviting the observer to worship the Trinity, and Mary Magdalene is turning to face it full of emotion. The exhausted figure of the penitent, a late work of Donatello's, had a decisive influence on Botticelli's Magdalene. The penitent sinner was the patron saint of the nuns' monastery of the Magdalenes, and this pala or altarpiece was ordered for their church. The figures of Tobias and the angel are very small compared to the others. They might be a reference to the donors of the altar, the guild of doctors and apothecaries: archangel Raphael was their patron saint

Artist: Benozzo Gozzoli
Benozzo Gozzoli Adoration of the Magi china oil painting reproduction

Adoration of the Magi
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
ID de tableau::  62397
5605 ago.
Artist: Benozzo Gozzoli
Painting: Adoration of the Magi
Information: 1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture

Artist: unknow artist
unknow artist Book of Hours china oil painting reproduction

Book of Hours
1452-60 Illumination on parchment Mus?e Cond? Chantilly The miniature was executed by Jean Fouquet (1420-1480). There are 40 beautiful miniatures in the Chantilly Museum from the horary book of ?tienne Chevalier. One of these represents ?tienne Chevalier and his Patron. Chevalier is similar than in the Berlin portrait by Fouquet, however, he looks much older in the miniature. Other miniatures from this Book of Hours can be seen at Jean
ID de tableau::  62395
5605 ago.
Artist: unknow artist
Painting: Book of Hours
Information: 1452-60 Illumination on parchment Mus?e Cond? Chantilly The miniature was executed by Jean Fouquet (1420-1480). There are 40 beautiful miniatures in the Chantilly Museum from the horary book of ?tienne Chevalier. One of these represents ?tienne Chevalier and his Patron. Chevalier is similar than in the Berlin portrait by Fouquet, however, he looks much older in the miniature. Other miniatures from this Book of Hours can be seen at Jean

Artist: Caravaggio
Caravaggio David china oil painting reproduction

David
110 x 91 cm Museo del Prado, Madrid This painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill. Caravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbar?n. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak,', ', ', ', ', ', ', '); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone
ID de tableau::  62390
5606 ago.
Artist: Caravaggio
Painting: David
Information: 110 x 91 cm Museo del Prado, Madrid This painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill. Caravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbar?n. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak,', ', ', ', ', ', ', '); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone

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