Le Pétrole en gros de Chine Peignant le Miroir de Cadre Moulant
Huiler des Tableaux:: all portrait --> Style:: man
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Artist: unknow artist
unknow artist A Turk china oil painting reproduction

A Turk
1820 Black chalk and watercolour, 301 x 226 mm Mus?e du Louvre, Paris The quiet and melancholy Mustapha was a shipwrecked Turkish sailor G?ricault had found in a Paris street and brought home as a model and companion. It is probably his features, dark eyes sad beneath his turban, that are depicted in several late studies of a Turk that strike the viewer as warmly individualized portraits. Author: G?RICAULT, Th?odore Title: A Turk (Mustapha) Form: graphics , 1801-1850 , French , other
ID de tableau::  62505
5586 ago.
Artist: unknow artist
Painting: A Turk
Information: 1820 Black chalk and watercolour, 301 x 226 mm Mus?e du Louvre, Paris The quiet and melancholy Mustapha was a shipwrecked Turkish sailor G?ricault had found in a Paris street and brought home as a model and companion. It is probably his features, dark eyes sad beneath his turban, that are depicted in several late studies of a Turk that strike the viewer as warmly individualized portraits. Author: G?RICAULT, Th?odore Title: A Turk (Mustapha) Form: graphics , 1801-1850 , French , other

Artist: unknow artist
unknow artist Portrait of Frederik china oil painting reproduction

Portrait of Frederik
1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait
ID de tableau::  62499
5586 ago.
Artist: unknow artist
Painting: Portrait of Frederik
Information: 1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait

Artist: Samuel Palmer
Samuel Palmer Self-Portrait china oil painting reproduction

Self-Portrait
1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait
ID de tableau::  62448
5593 ago.
Artist: Samuel Palmer
Painting: Self-Portrait
Information: 1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait

Artist: MOR VAN DASHORST, Anthonis
MOR VAN DASHORST, Anthonis Sir Thomas Gresham china oil painting reproduction

Sir Thomas Gresham
1565-70 Oil on panel, 90 x 75,5 cm Rijksmuseum, Amsterdam From 1552 to 1567, the English merchant Thomas Gresham (1519-1579) lived and worked in Antwerp as financial agent of the English crown (`King's merchant'). This prominent social position explains why he had his portrait painted by Mor, who was court artist to Philip II. This Utrecht-born painter was noted for the accurate recording of detail in his portraits. He depicted Gresham as a strong, somewhat reserved personality. Mor also painted a portrait of Gresham's wife, which is likewise in the Rijksmuseum. Author: MOR VAN DASHORST, Anthonis Title: Sir Thomas Gresham , 1551-1600 , Flemish Form: painting , portrait
ID de tableau::  62416
5599 ago.
Artist: MOR VAN DASHORST, Anthonis
Painting: Sir Thomas Gresham
Information: 1565-70 Oil on panel, 90 x 75,5 cm Rijksmuseum, Amsterdam From 1552 to 1567, the English merchant Thomas Gresham (1519-1579) lived and worked in Antwerp as financial agent of the English crown (`King's merchant'). This prominent social position explains why he had his portrait painted by Mor, who was court artist to Philip II. This Utrecht-born painter was noted for the accurate recording of detail in his portraits. He depicted Gresham as a strong, somewhat reserved personality. Mor also painted a portrait of Gresham's wife, which is likewise in the Rijksmuseum. Author: MOR VAN DASHORST, Anthonis Title: Sir Thomas Gresham , 1551-1600 , Flemish Form: painting , portrait

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Double Portrait china oil painting reproduction

Double Portrait
77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved
ID de tableau::  62373
5609 ago.
Artist: RAFFAELLO Sanzio
Painting: Double Portrait
Information: 77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved

Artist: Francisco de goya y Lucientes
Francisco de goya y Lucientes Portrait of the Poet china oil painting reproduction

Portrait of the Poet
60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait
ID de tableau::  62356
5612 ago.
Artist: Francisco de goya y Lucientes
Painting: Portrait of the Poet
Information: 60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait

Artist: GRECO, El
GRECO, El Christ china oil painting reproduction

Christ
61 x 46 cm National Gallery, Prague Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious
ID de tableau::  62355
5612 ago.
Artist: GRECO, El
Painting: Christ
Information: 61 x 46 cm National Gallery, Prague Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious

Artist: GRECO, El
GRECO, El Christ on the Cross Adored by Two Donors china oil painting reproduction

Christ on the Cross Adored by Two Donors
1580 Oil on canvas Mus?e du Louvre, Paris On the painting a priest and a nobleman, probably the patrons who commissioned the painting, are shown praying before Christ on the cross. This detail shows the priest whose white surplice is similar to that worn by the priest in El Greco's Burial of the Count of Orgaz. He contemplates Christ's sacrifice with compassion and sobriety, his gaze leading our eyes upwards to Christ. Author: GRECO, El Title: Christ on the Cross Adored by Two Donors (detail) , 1551-1600 , Spanish Form: painting , religious
ID de tableau::  62354
5613 ago.
Artist: GRECO, El
Painting: Christ on the Cross Adored by Two Donors
Information: 1580 Oil on canvas Mus?e du Louvre, Paris On the painting a priest and a nobleman, probably the patrons who commissioned the painting, are shown praying before Christ on the cross. This detail shows the priest whose white surplice is similar to that worn by the priest in El Greco's Burial of the Count of Orgaz. He contemplates Christ's sacrifice with compassion and sobriety, his gaze leading our eyes upwards to Christ. Author: GRECO, El Title: Christ on the Cross Adored by Two Donors (detail) , 1551-1600 , Spanish Form: painting , religious

Artist: GRECO, El
GRECO, El A Prelate 1600s Oil on canvas china oil painting reproduction

A Prelate 1600s Oil on canvas
107 x 90 cm Kimbell Art Museum, Forth Worth The identity of the sitter was only established in 1988, despite the fact that the portrait must record a prominent figure. He was identified with Francisco de Pisa (c. 1537-1616), Professor of Holy Scripture at Toledo University, the author of a major history of Toledo and a prominent figure in ecclesiastical affairs in the city. The identification rests on the striking resemblance between his features and those of a documented miniature of Francisco de Pisa in a private collection, that was, at one time, ascribed to El Greco himself. The open book displayed on the table is identified by lettering on its pages as BOSIUS CANONICI, presumably an edition or commentary on the corpus of canon law. The author of the text is probably Francesco Bossi or Bosio (1500/10-1584), who specialized in law. In Rome Bossi was closely associated with Carlo Borromeo, one of the key figures of the Catholic reform. Author: GRECO, El Title: A Prelate , 1551-1600 , Spanish Form: painting , portrait
ID de tableau::  62344
5615 ago.
Artist: GRECO, El
Painting: A Prelate 1600s Oil on canvas
Information: 107 x 90 cm Kimbell Art Museum, Forth Worth The identity of the sitter was only established in 1988, despite the fact that the portrait must record a prominent figure. He was identified with Francisco de Pisa (c. 1537-1616), Professor of Holy Scripture at Toledo University, the author of a major history of Toledo and a prominent figure in ecclesiastical affairs in the city. The identification rests on the striking resemblance between his features and those of a documented miniature of Francisco de Pisa in a private collection, that was, at one time, ascribed to El Greco himself. The open book displayed on the table is identified by lettering on its pages as BOSIUS CANONICI, presumably an edition or commentary on the corpus of canon law. The author of the text is probably Francesco Bossi or Bosio (1500/10-1584), who specialized in law. In Rome Bossi was closely associated with Carlo Borromeo, one of the key figures of the Catholic reform. Author: GRECO, El Title: A Prelate , 1551-1600 , Spanish Form: painting , portrait

Artist: GRECO, El
GRECO, El Portrait of a Man china oil painting reproduction

Portrait of a Man
53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait
ID de tableau::  62338
5616 ago.
Artist: GRECO, El
Painting: Portrait of a Man
Information: 53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait

Artist: GRECO, El
GRECO, El The Adoration of the Shepherds china oil painting reproduction

The Adoration of the Shepherds
1614 Oil on canvas Museo del Prado, Madrid The picture shows the head of one of the shepherds.
ID de tableau::  62328
5618 ago.
Artist: GRECO, El
Painting: The Adoration of the Shepherds
Information: 1614 Oil on canvas Museo del Prado, Madrid The picture shows the head of one of the shepherds.

Artist: Luis Tristan
Luis Tristan Adoration of the Magi china oil painting reproduction

Adoration of the Magi
1620 Oil on canvas Museum of Fine Arts, Budapest It is assumed that the figure at the bottom was painted after a model
ID de tableau::  62319
5620 ago.
Artist: Luis Tristan
Painting: Adoration of the Magi
Information: 1620 Oil on canvas Museum of Fine Arts, Budapest It is assumed that the figure at the bottom was painted after a model

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