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     Artist: Francisco de Zurbaran
Francisco de Zurbaran epiphany china oil painting reproduction

epiphany
around 1629 oil on canvas, 124x104.5cm se
Painting ID::  65615
5111 ago.
Artist: Francisco de Zurbaran
Painting: epiphany
Information: around 1629 oil on canvas, 124x104.5cm se

 

 

 
 

 

 

 
     Artist: Francisco de Zurbaran
Francisco de Zurbaran adoration of st china oil painting reproduction

adoration of st
joseph, around 1629 oil on canvas, 124x104.5cm se
Painting ID::  65614
5111 ago.
Artist: Francisco de Zurbaran
Painting: adoration of st
Information: joseph, around 1629 oil on canvas, 124x104.5cm se

 

 

 
 

 

 

 
     Artist: Francisco de Zurbaran
Francisco de Zurbaran the virgin appears to the monks of soriano china oil painting reproduction

the virgin appears to the monks of soriano
1626-1627 oil on canvas, 190x230cm se
Painting ID::  65607
5112 ago.
Artist: Francisco de Zurbaran
Painting: the virgin appears to the monks of soriano
Information: 1626-1627 oil on canvas, 190x230cm se

 

 

 
 

 

 

 
     Artist: Francisco de Zurbaran
Francisco de Zurbaran miraculous cure of the blessed reginaud of orleaans china oil painting reproduction

miraculous cure of the blessed reginaud of orleaans
1626-1627 oil on canvas, 190x230cm se
Painting ID::  65606
5112 ago.
Artist: Francisco de Zurbaran
Painting: miraculous cure of the blessed reginaud of orleaans
Information: 1626-1627 oil on canvas, 190x230cm se

 

 

 
 

 

 

 
     Artist: Francisco de Zurbaran
Francisco de Zurbaran christ crucified china oil painting reproduction

christ crucified
1627 olja on canvas 290x168cm se
Painting ID::  65605
5112 ago.
Artist: Francisco de Zurbaran
Painting: christ crucified
Information: 1627 olja on canvas 290x168cm se

 

 

 
 

 

 

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

The Visitation
1480-1500 Panel, 126 x 155 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Perea. Artist: UNKNOWN MASTER, Spanish , The Visitation , 1451-1500 , Spanish , painting , religious
Painting ID::  65256
5131 ago.
Artist: unknow artist
Painting: The Visitation
Information: 1480-1500 Panel, 126 x 155 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Perea. Artist: UNKNOWN MASTER, Spanish , The Visitation , 1451-1500 , Spanish , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist The Life of St Eulalia china oil painting reproduction

The Life of St Eulalia
1350 Tempera on wood Cathedral, Palma de Mallorca The altarpiece has a composition characteristic of 13th-14th century Sienese painting. The figures and the scenes show the strong influence of Pietro and Ambrogio Lorenzetti. The master of the altarpiece is referred to as the Master of the Privileges after he had illustrated the famous Majorcan Book of Privilegies of about 1334. Artist: UNKNOWN MASTER, Spanish , The Life of St Eulalia , 1301-1350 , Spanish , painting , religious
Painting ID::  65255
5131 ago.
Artist: unknow artist
Painting: The Life of St Eulalia
Information: 1350 Tempera on wood Cathedral, Palma de Mallorca The altarpiece has a composition characteristic of 13th-14th century Sienese painting. The figures and the scenes show the strong influence of Pietro and Ambrogio Lorenzetti. The master of the altarpiece is referred to as the Master of the Privileges after he had illustrated the famous Majorcan Book of Privilegies of about 1334. Artist: UNKNOWN MASTER, Spanish , The Life of St Eulalia , 1301-1350 , Spanish , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Icon of the Transfiguration china oil painting reproduction

Icon of the Transfiguration
16th century Egg tempera on panel, gesso ground, 55,5 x 43,5 cm The Hermitage, St. Petersburg The icon of the Transfiguration creates a tremendous impression on its simplicity and clarity of composition, splendid drawing and bright coloration. On the mount are Christ in His glorious radiance and the Prophets Elijah and Moses conversing with him; below are apostles astonished by the miracle, Peter kneels in amazement and John and James fall dazzled by the light. The painter, illustrating the evangelical theme of Christ's miraculous transfiguration in the presence of his disciples, was, above all, an excellent colourist. On the light blue background and light ochre mountain he boldly laid thick, bright colours-green and red, yellow and brown, white, and dark to the point of blackness. Typical of none of the icon-painting schools, the icon of the Transfiguration with this light blue background can, owing to its artistic merits, rank among the finest examples of early Russian easel painting. Artist: UNKNOWN MASTER, Russian , Icon of the Transfiguration , 1501-1550 , Russian , painting , religious
Painting ID::  65251
5131 ago.
Artist: unknow artist
Painting: Icon of the Transfiguration
Information: 16th century Egg tempera on panel, gesso ground, 55,5 x 43,5 cm The Hermitage, St. Petersburg The icon of the Transfiguration creates a tremendous impression on its simplicity and clarity of composition, splendid drawing and bright coloration. On the mount are Christ in His glorious radiance and the Prophets Elijah and Moses conversing with him; below are apostles astonished by the miracle, Peter kneels in amazement and John and James fall dazzled by the light. The painter, illustrating the evangelical theme of Christ's miraculous transfiguration in the presence of his disciples, was, above all, an excellent colourist. On the light blue background and light ochre mountain he boldly laid thick, bright colours-green and red, yellow and brown, white, and dark to the point of blackness. Typical of none of the icon-painting schools, the icon of the Transfiguration with this light blue background can, owing to its artistic merits, rank among the finest examples of early Russian easel painting. Artist: UNKNOWN MASTER, Russian , Icon of the Transfiguration , 1501-1550 , Russian , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Icon of St Theodore Stratilates and St Theodore Tyron china oil painting reproduction

Icon of St Theodore Stratilates and St Theodore Tyron
15th century Egg tempera on panel, gesso ground, 53,5 x 38 cm The Hermitage, St. Petersburg The ancient Novgorod school of painting is a remarkable and singular phenomenon in Russian art. This is especially evident from 15th century icon painting. A refined work of art, this icon in the Hermitage collection was produced by a skilful master who preferred graceful delicate forms and elongated proportions. The icon depicts two holy warriors. The features of their faces are small, which is a characteristic of the Novgorod icon-painting school. The saints' light figures are full of inner movement and their feet barely touch the ground. They are draped with flowing cloaks. The faces are dark with sharply contrasting light spots. In the colour scheme based primarily on the combination of ochre, red, brown and green, the cinnabar cloak of Theodore Stratilates is a bright spot on a light background. The haloes still retain traces of their original gilding. Artist: UNKNOWN MASTER, Russian , Icon of St Theodore Stratilates and St Theodore Tyron , 1451-1500 , Russian , painting , religious
Painting ID::  65250
5131 ago.
Artist: unknow artist
Painting: Icon of St Theodore Stratilates and St Theodore Tyron
Information: 15th century Egg tempera on panel, gesso ground, 53,5 x 38 cm The Hermitage, St. Petersburg The ancient Novgorod school of painting is a remarkable and singular phenomenon in Russian art. This is especially evident from 15th century icon painting. A refined work of art, this icon in the Hermitage collection was produced by a skilful master who preferred graceful delicate forms and elongated proportions. The icon depicts two holy warriors. The features of their faces are small, which is a characteristic of the Novgorod icon-painting school. The saints' light figures are full of inner movement and their feet barely touch the ground. They are draped with flowing cloaks. The faces are dark with sharply contrasting light spots. In the colour scheme based primarily on the combination of ochre, red, brown and green, the cinnabar cloak of Theodore Stratilates is a bright spot on a light background. The haloes still retain traces of their original gilding. Artist: UNKNOWN MASTER, Russian , Icon of St Theodore Stratilates and St Theodore Tyron , 1451-1500 , Russian , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Icon of St Nicholas china oil painting reproduction

Icon of St Nicholas
13th-14th century Egg tempera on panel, gesso ground, 107 x 82 cm The Hermitage, St. Petersburg Novgorod Veliky (Novgorod the Great) is one of the oldest Russian towns. In the 12th to 15th centuries it was the centre of a large republic, whose art was greatly influenced by popular ideas of beauty. This was especially striking in the art of painting of the 13th and early 14th centuries, the period to which the Hermitage icon of Saint Nicholas is dated. Its red background is usually noted, for the vivid red (cinnabar) background combined with the lemon-coloured halo and the bluishgreen vestment of the saint make a striking impression. The beauty of the icon is enhanced by the careful graphic treatment of the forms and by the ornamental design. The saint is represented as sublime and severe in accordance with the standard developed in the Christian art of Byzantium. But the vivid colours and embellishments adopted from folk art soften the hieratic posture and stern countenance, turning the austere Byzantine saint into the Russian Nik?la, who was believed to be involved in all of humans' daily doings and cares. Artist: UNKNOWN MASTER, Russian , Icon of St Nicholas , 1301-1350 , Russian , painting , religious
Painting ID::  65249
5131 ago.
Artist: unknow artist
Painting: Icon of St Nicholas
Information: 13th-14th century Egg tempera on panel, gesso ground, 107 x 82 cm The Hermitage, St. Petersburg Novgorod Veliky (Novgorod the Great) is one of the oldest Russian towns. In the 12th to 15th centuries it was the centre of a large republic, whose art was greatly influenced by popular ideas of beauty. This was especially striking in the art of painting of the 13th and early 14th centuries, the period to which the Hermitage icon of Saint Nicholas is dated. Its red background is usually noted, for the vivid red (cinnabar) background combined with the lemon-coloured halo and the bluishgreen vestment of the saint make a striking impression. The beauty of the icon is enhanced by the careful graphic treatment of the forms and by the ornamental design. The saint is represented as sublime and severe in accordance with the standard developed in the Christian art of Byzantium. But the vivid colours and embellishments adopted from folk art soften the hieratic posture and stern countenance, turning the austere Byzantine saint into the Russian Nik?la, who was believed to be involved in all of humans' daily doings and cares. Artist: UNKNOWN MASTER, Russian , Icon of St Nicholas , 1301-1350 , Russian , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist First Folio of the Golden Bull of Charles IV china oil painting reproduction

First Folio of the Golden Bull of Charles IV
1400 Vellum, 42 x 29,5 cm ?sterreichische Nationalbibliothek, Vienna In 1400 Wenceslas, King of Bohemia and Emperor of the Holy Roman Empire, had a copy made of the Golden Bull - a version of the Empire's constitution - first issued in 1356. The copy is richly decorated and displays a number of the emblems of Wenceslas himself. We do not know what part political considerations played in the commission, nor how great a part was played by his enthusiasm for beautiful books. At all events, in the same year Wenceslas was deprived by the electors from his rank as emperor. The volume is among the few that survived from his magnificent library. The text arranged in two columns is encircled by stylized acanthus leaves and scrolls. The light colours of the fleshy leaves appear like tongues of flames in the space they have created for themselves. A variety of tiny figures and animals painted from a close observation of nature, or derived from fairytales, are to be seen among the serpentine vines: birds, monkeys, a bear, a dog, a crouching monk, a "savage" in animals' skins who is holding a heraldic shield, girls dressed in light and loose garments, etc. In their shapes and colours these figures resemble the foliate ornaments, curving along with the vines. Indeed, the maidens' draperies are tied at the waist, and look like vines. On the other hand, the blue acanthus leaves in the round field in the bottom right turn into spilt water, where the tub has been turned upside down. Below the entangled foliate ornaments the motifs are compressed around a three-dimensional letter W, in which the monarch himself is depicted. The humorous detail with the bathing-women, a nearly nude female figure and towels tied into knots are, on the one hand, symbols of the Luxembourg dynasty and, on the other, of eroticism, referring to the love of the King and Queen, inspired by the plays of chivalric poetry. But, in addition to this, a romantic and Utopian desire for general physical and spiritual cleansing is also expressed in these representations (motifs of bathing) as well as for a return to the primordial state of mankind (the savage). The text of the Golden Bull begins with a prayer to the Creator, which is illustrated by the Maiestas Domini on the right-side column. The figures of the Lord and two praying angels appear in a three-dimensional frame which seems to lift their figures from the sphere of the world of nature; nevertheless it does not break the homogeneity of the folio, because it gives the impression of being stretched between two green stems of the foliate decoration, while new shoots spring from its corners. Artist: UNKNOWN MASTER, Bohemian , First Folio of the Golden Bull of Charles IV , 1351-1400 , Bohemian , graphics , historical
Painting ID::  65248
5131 ago.
Artist: unknow artist
Painting: First Folio of the Golden Bull of Charles IV
Information: 1400 Vellum, 42 x 29,5 cm ?sterreichische Nationalbibliothek, Vienna In 1400 Wenceslas, King of Bohemia and Emperor of the Holy Roman Empire, had a copy made of the Golden Bull - a version of the Empire's constitution - first issued in 1356. The copy is richly decorated and displays a number of the emblems of Wenceslas himself. We do not know what part political considerations played in the commission, nor how great a part was played by his enthusiasm for beautiful books. At all events, in the same year Wenceslas was deprived by the electors from his rank as emperor. The volume is among the few that survived from his magnificent library. The text arranged in two columns is encircled by stylized acanthus leaves and scrolls. The light colours of the fleshy leaves appear like tongues of flames in the space they have created for themselves. A variety of tiny figures and animals painted from a close observation of nature, or derived from fairytales, are to be seen among the serpentine vines: birds, monkeys, a bear, a dog, a crouching monk, a "savage" in animals' skins who is holding a heraldic shield, girls dressed in light and loose garments, etc. In their shapes and colours these figures resemble the foliate ornaments, curving along with the vines. Indeed, the maidens' draperies are tied at the waist, and look like vines. On the other hand, the blue acanthus leaves in the round field in the bottom right turn into spilt water, where the tub has been turned upside down. Below the entangled foliate ornaments the motifs are compressed around a three-dimensional letter W, in which the monarch himself is depicted. The humorous detail with the bathing-women, a nearly nude female figure and towels tied into knots are, on the one hand, symbols of the Luxembourg dynasty and, on the other, of eroticism, referring to the love of the King and Queen, inspired by the plays of chivalric poetry. But, in addition to this, a romantic and Utopian desire for general physical and spiritual cleansing is also expressed in these representations (motifs of bathing) as well as for a return to the primordial state of mankind (the savage). The text of the Golden Bull begins with a prayer to the Creator, which is illustrated by the Maiestas Domini on the right-side column. The figures of the Lord and two praying angels appear in a three-dimensional frame which seems to lift their figures from the sphere of the world of nature; nevertheless it does not break the homogeneity of the folio, because it gives the impression of being stretched between two green stems of the foliate decoration, while new shoots spring from its corners. Artist: UNKNOWN MASTER, Bohemian , First Folio of the Golden Bull of Charles IV , 1351-1400 , Bohemian , graphics , historical

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist St Bartholomew and St Thomas china oil painting reproduction

St Bartholomew and St Thomas
1395 Tempera on wood, 65,5 x 49,5 cm National Gallery, Prague The work is a fragment of the epitaph of Jan of Jeren, canon of Prague, who died in 1395 and was buried in Prague Cathedral. The inscribed panel must have been set on his tomb a short time afterwards. The Madonna and Child may have been in the centre of the surviving right-hand part, while on the left further saints and the praying figure of the donor may have completed the composition. The Apostles Bartholomew and Thomas are standing on a narrow strip of ground in front of a shining golden background. Their figures are surrounded by abundant intricate draperies, whose edges of soft lines, corners and folds which tumble down like waterfalls seem to live a separate life independent of the bodies. The bright colours of the two saints' cloaks complement one another-as do the hues of the linings. The pink lining of the green cloak and the blue lining of the red one serve a purely decorative function. The artist composed the two figures so as to create harmonious forms. The right-hand edge of St Bartholomew's draperies, forming a gently wavy line and the straight left-hand contour of St Thomas's mantle, which appears to continue the line of the spear, run very near each other. This narrow stripe turns the two figures into a form springing from the same basis and bending in two opposite directions. At the bottom the formation is completed by the green cloak flowing into the red one, while at the top it is enclosed by the tips of the flaying knife and of the spear which touch each other. Artist: UNKNOWN MASTER, Bohemian , St Bartholomew and St Thomas , 1351-1400 , Bohemian , painting , religious
Painting ID::  65247
5131 ago.
Artist: unknow artist
Painting: St Bartholomew and St Thomas
Information: 1395 Tempera on wood, 65,5 x 49,5 cm National Gallery, Prague The work is a fragment of the epitaph of Jan of Jeren, canon of Prague, who died in 1395 and was buried in Prague Cathedral. The inscribed panel must have been set on his tomb a short time afterwards. The Madonna and Child may have been in the centre of the surviving right-hand part, while on the left further saints and the praying figure of the donor may have completed the composition. The Apostles Bartholomew and Thomas are standing on a narrow strip of ground in front of a shining golden background. Their figures are surrounded by abundant intricate draperies, whose edges of soft lines, corners and folds which tumble down like waterfalls seem to live a separate life independent of the bodies. The bright colours of the two saints' cloaks complement one another-as do the hues of the linings. The pink lining of the green cloak and the blue lining of the red one serve a purely decorative function. The artist composed the two figures so as to create harmonious forms. The right-hand edge of St Bartholomew's draperies, forming a gently wavy line and the straight left-hand contour of St Thomas's mantle, which appears to continue the line of the spear, run very near each other. This narrow stripe turns the two figures into a form springing from the same basis and bending in two opposite directions. At the bottom the formation is completed by the green cloak flowing into the red one, while at the top it is enclosed by the tips of the flaying knife and of the spear which touch each other. Artist: UNKNOWN MASTER, Bohemian , St Bartholomew and St Thomas , 1351-1400 , Bohemian , painting , religious

 

 

 
 

 

 

 
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