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     Artist: unknow artist
unknow artist Alfonso Psalter china oil painting reproduction

Alfonso Psalter
1284 Illumination on parchment, 24,1 x 16,5 cm British Museum, London This page depicting four female saints is from the Alfonso Psalter. The influence of the new style found in the books of Louis IX shortly reached England. Henry III, while he commissioned a great many paintings for his palaces and chapels was not a bibliophile. Almost all the painting on a larger scale has vanished and we do not, by way of compensation, possess a nucleus of royal manuscript such as is found in France. Two works survive, however, which, although not commissioned for Henry III, may nevertheless come within this category. One is known as the Douce Apocalypse, the other is the Alfonso Psalter. The Alfonso Psalter was intended for Edward's son, Alfonso. He died in 1294 and some of the decoration of his psalter belongs to a later date. Those parts of the manuscript which belong to the earliest and best phase (before 1284), like the page presented here, show strong French influence. Artist: MINIATURIST, English , Alfonso Psalter , 1251-1300 , English , illumination , religious
Painting ID::  65202
5350 ago.
Artist: unknow artist
Painting: Alfonso Psalter
Information: 1284 Illumination on parchment, 24,1 x 16,5 cm British Museum, London This page depicting four female saints is from the Alfonso Psalter. The influence of the new style found in the books of Louis IX shortly reached England. Henry III, while he commissioned a great many paintings for his palaces and chapels was not a bibliophile. Almost all the painting on a larger scale has vanished and we do not, by way of compensation, possess a nucleus of royal manuscript such as is found in France. Two works survive, however, which, although not commissioned for Henry III, may nevertheless come within this category. One is known as the Douce Apocalypse, the other is the Alfonso Psalter. The Alfonso Psalter was intended for Edward's son, Alfonso. He died in 1294 and some of the decoration of his psalter belongs to a later date. Those parts of the manuscript which belong to the earliest and best phase (before 1284), like the page presented here, show strong French influence. Artist: MINIATURIST, English , Alfonso Psalter , 1251-1300 , English , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Douce Apocalypse china oil painting reproduction

Douce Apocalypse
1270 Illumination on parchment, 14,6 x 11,4 cm Bodleian Library, Oxford This page depicting St John and the Angel is from the Douce Apocalypse. The influence of the new style found in the books of Louis IX shortly reached England. Henry III, while he commissioned a great many paintings for his palaces and chapels was not a bibliophile. Almost all the painting on a larger scale has vanished and we do not, by way of compensation, possess a nucleus of royal manuscript such as is found in France. Two works survive, however, which, although not commissioned for Henry III, may nevertheless come within this category. One is known as the Douce Apocalypse, the other is the Alfonso Psalter. The Douce Apocalypse, one of an extraordinary number of Apocalypse manuscripts produced during the thirteenth century, was made for Henry III's son, Edward, at sosme date before his accession to the throne in 1272. Thus it probably follows the St Louis manuscripts. Artist: MINIATURIST, English , Douce Apocalypse , 1251-1300 , English , illumination , religious
Painting ID::  65163
5351 ago.
Artist: unknow artist
Painting: Douce Apocalypse
Information: 1270 Illumination on parchment, 14,6 x 11,4 cm Bodleian Library, Oxford This page depicting St John and the Angel is from the Douce Apocalypse. The influence of the new style found in the books of Louis IX shortly reached England. Henry III, while he commissioned a great many paintings for his palaces and chapels was not a bibliophile. Almost all the painting on a larger scale has vanished and we do not, by way of compensation, possess a nucleus of royal manuscript such as is found in France. Two works survive, however, which, although not commissioned for Henry III, may nevertheless come within this category. One is known as the Douce Apocalypse, the other is the Alfonso Psalter. The Douce Apocalypse, one of an extraordinary number of Apocalypse manuscripts produced during the thirteenth century, was made for Henry III's son, Edward, at sosme date before his accession to the throne in 1272. Thus it probably follows the St Louis manuscripts. Artist: MINIATURIST, English , Douce Apocalypse , 1251-1300 , English , illumination , religious

 

 

 
 

 

 

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

Book of Hours
1490s Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Annunciation comes from a Book of Hours (Flemish Book of Prayers). Artist: MINIATURIST, Flemish , Book of Hours , 1451-1500 , Flemish , illumination , religious
Painting ID::  65155
5351 ago.
Artist: unknow artist
Painting: Book of Hours
Information: 1490s Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Annunciation comes from a Book of Hours (Flemish Book of Prayers). Artist: MINIATURIST, Flemish , Book of Hours , 1451-1500 , Flemish , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Epitome Rerum Hungaricarum before china oil painting reproduction

Epitome Rerum Hungaricarum before
1490 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature is from a manuscript by Ransanus, entitled Epitome Rerum Hungaricarum. he picture depicts Ransanus Speaking in the Presence of King Matthias. Artist: MINIATURIST, Italian , Epitome Rerum Hungaricarum , 1451-1500 , Italian , illumination , historical
Painting ID::  65152
5351 ago.
Artist: unknow artist
Painting: Epitome Rerum Hungaricarum before
Information: 1490 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature is from a manuscript by Ransanus, entitled Epitome Rerum Hungaricarum. he picture depicts Ransanus Speaking in the Presence of King Matthias. Artist: MINIATURIST, Italian , Epitome Rerum Hungaricarum , 1451-1500 , Italian , illumination , historical

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist The Visconti Book of Hours after china oil painting reproduction

The Visconti Book of Hours after
1430 Vellum, 25 x 17,9 cm Biblioteca Nazionale, Florence Giovannino de'Grassi began illuminating this two-volume prayer-book for Gian Galeazzo Visconti; but it was a long time after they both were dead that the work was completed by Luchino Belbello da Pavia and his assistants. The initial of the text, the capital C, is the nucleus of the folio with rather crowded embellishments. Encircled by the letter we can see the creation of Eve, in front of a golden background. The three figures - God the Father, Eve and Adam - are arranged in a way that follows the line of the C. Stylized golden vine-leaves, springing from a straight vine-stock on the right-hand side of the margin, surround the initial, and the seemingly irregular, curving network of vine-tendrils is also adjusted to the shape of the letter. In the arid, rocky landscape at the bottom of the folio there are some luxuriant, thriving bushes and shrubs, with different animals among them, which point back to the previous days of the Creation, when the Earth was populated by plants and animals. The bottom strip with its flat representations - connected with the principal one, as was usual at that time - expands in Belbello's miniature, as it did in the works of his contemporaries, into a spacious stage. In the two upper corners of the initial, groups of radially arranged angels support the Viscontis' unpleasant coat of arms which depicts the serpent devouring a child. We are presented with a fantastic mixture of fairytale and reality, of decoration and representation. The griffin is depicted in a three-dimensional manner as is the hunting leopard, the favourite "domestic animal" of the Viscontis, an animal the painter may have seen every day in his master's park. However, at that time it did not depend only on the presence of the model whether the artist succeeded in representing it successfully. This is shown by the fact that, although there were elephants, bears, lions, monkeys and rabbits too in the Viscontis' menagerie, in Belbello's miniature they appear schematically, in a childishly simplified form. This may be due to the fact that the painter had not had much practice in depicting them and had not mastered the skill of representing them. From among the innumerable instances of the intertwining of natural and fantastic forms it is worth while pointing to the oval, colourful flower cups swaying among the golden vine-leaves. These flowers have nothing to do with reality, and, in particular, not among vine-leaves. On the other hand, they have striking similarities to ornaments on the jewellery of the period, not only because they appear in three-dimensional forms, but because of the enamel-like layers of paint which cover them. Artist: MINIATURIST, Italian , The Visconti Book of Hours , 1401-1450 , Italian , illumination , religious
Painting ID::  65149
5351 ago.
Artist: unknow artist
Painting: The Visconti Book of Hours after
Information: 1430 Vellum, 25 x 17,9 cm Biblioteca Nazionale, Florence Giovannino de'Grassi began illuminating this two-volume prayer-book for Gian Galeazzo Visconti; but it was a long time after they both were dead that the work was completed by Luchino Belbello da Pavia and his assistants. The initial of the text, the capital C, is the nucleus of the folio with rather crowded embellishments. Encircled by the letter we can see the creation of Eve, in front of a golden background. The three figures - God the Father, Eve and Adam - are arranged in a way that follows the line of the C. Stylized golden vine-leaves, springing from a straight vine-stock on the right-hand side of the margin, surround the initial, and the seemingly irregular, curving network of vine-tendrils is also adjusted to the shape of the letter. In the arid, rocky landscape at the bottom of the folio there are some luxuriant, thriving bushes and shrubs, with different animals among them, which point back to the previous days of the Creation, when the Earth was populated by plants and animals. The bottom strip with its flat representations - connected with the principal one, as was usual at that time - expands in Belbello's miniature, as it did in the works of his contemporaries, into a spacious stage. In the two upper corners of the initial, groups of radially arranged angels support the Viscontis' unpleasant coat of arms which depicts the serpent devouring a child. We are presented with a fantastic mixture of fairytale and reality, of decoration and representation. The griffin is depicted in a three-dimensional manner as is the hunting leopard, the favourite "domestic animal" of the Viscontis, an animal the painter may have seen every day in his master's park. However, at that time it did not depend only on the presence of the model whether the artist succeeded in representing it successfully. This is shown by the fact that, although there were elephants, bears, lions, monkeys and rabbits too in the Viscontis' menagerie, in Belbello's miniature they appear schematically, in a childishly simplified form. This may be due to the fact that the painter had not had much practice in depicting them and had not mastered the skill of representing them. From among the innumerable instances of the intertwining of natural and fantastic forms it is worth while pointing to the oval, colourful flower cups swaying among the golden vine-leaves. These flowers have nothing to do with reality, and, in particular, not among vine-leaves. On the other hand, they have striking similarities to ornaments on the jewellery of the period, not only because they appear in three-dimensional forms, but because of the enamel-like layers of paint which cover them. Artist: MINIATURIST, Italian , The Visconti Book of Hours , 1401-1450 , Italian , illumination , religious

 

 

 
 

 

 

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

Book of Hours
1490s Illumination on parchment Cathedral Library, Esztergom The miniature representing The Legend of the Golden Gate comes from a Book of Hours, a French (Tours) Book of Prayers. Artist: MINIATURIST, French , Book of Hours , 1451-1500 , French , illumination , religious
Painting ID::  65147
5351 ago.
Artist: unknow artist
Painting: Book of Hours
Information: 1490s Illumination on parchment Cathedral Library, Esztergom The miniature representing The Legend of the Golden Gate comes from a Book of Hours, a French (Tours) Book of Prayers. Artist: MINIATURIST, French , Book of Hours , 1451-1500 , French , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Amesbury Psalter china oil painting reproduction

Amesbury Psalter
1240-50 Illumination on parchment, 30,3 x 21,6 cm All Souls College, Oxford This is a page from the Amesbury Psalter depicting the Virgin and Child with Donor. The graceful looping folds into which the drapery is caught was very popular in England. This psalter represents well the English illumination around 1250. Artist: MINIATURIST, English , Amesbury Psalter , 1201-1250 , English , illumination , religious
Painting ID::  65145
5351 ago.
Artist: unknow artist
Painting: Amesbury Psalter
Information: 1240-50 Illumination on parchment, 30,3 x 21,6 cm All Souls College, Oxford This is a page from the Amesbury Psalter depicting the Virgin and Child with Donor. The graceful looping folds into which the drapery is caught was very popular in England. This psalter represents well the English illumination around 1250. Artist: MINIATURIST, English , Amesbury Psalter , 1201-1250 , English , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Italian Antiphonary china oil painting reproduction

Italian Antiphonary
1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing Saint Francis before the Sultan, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi. , MINIATURIST, Italian , Italian Antiphonary , 1401-1450 , Italian , illumination , religious
Painting ID::  65135
5354 ago.
Artist: unknow artist
Painting: Italian Antiphonary
Information: 1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing Saint Francis before the Sultan, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi. , MINIATURIST, Italian , Italian Antiphonary , 1401-1450 , Italian , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Gradual china oil painting reproduction

Gradual
1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature representing The Last Judgment comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious
Painting ID::  65134
5354 ago.
Artist: unknow artist
Painting: Gradual
Information: 1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature representing The Last Judgment comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Italian Antiphonary china oil painting reproduction

Italian Antiphonary
1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing the Capture of Christ, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi. , MINIATURIST, Italian , Italian Antiphonary , 1401-1450 , Italian , illumination , religious
Painting ID::  65133
5354 ago.
Artist: unknow artist
Painting: Italian Antiphonary
Information: 1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing the Capture of Christ, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi. , MINIATURIST, Italian , Italian Antiphonary , 1401-1450 , Italian , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Gradual china oil painting reproduction

Gradual
1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature showing a goldsmith's shop comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious
Painting ID::  65132
5355 ago.
Artist: unknow artist
Painting: Gradual
Information: 1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature showing a goldsmith's shop comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Queen Mary Psalter china oil painting reproduction

Queen Mary Psalter
1310 Illumination on parchment, 27,5 x 17,3 cm British Museum, London The illumination from the Queen Mary Psalter represents the Marriage at Cana. In the beginning of the fourteenth century the most important group of English manuscripts is associated with not London but East Anglia. One book of this group, the so-called Queen Mary Psalter with its high quality and prolific but restrained illustration, ought to be a royal book. It contains a large number of introductory pictures, pictures set in the text, and small drawings at the foot of the pages. The illustrations are executed in a drawing technique. The small drawings are lightly tinted; the main pictures are more heavily coloured but still rely on line rather than modelling. The Psalter has some interesting features. The presentation of most of the illuminations is uniform in that the scenes are enacted within a modest architectural framework. They are, moreover, included within the text of the psalter as illustrations independent of the initial decoration. , MINIATURIST, English , Queen Mary Psalter , 1301-1350 , English , illumination , religious
Painting ID::  65131
5355 ago.
Artist: unknow artist
Painting: Queen Mary Psalter
Information: 1310 Illumination on parchment, 27,5 x 17,3 cm British Museum, London The illumination from the Queen Mary Psalter represents the Marriage at Cana. In the beginning of the fourteenth century the most important group of English manuscripts is associated with not London but East Anglia. One book of this group, the so-called Queen Mary Psalter with its high quality and prolific but restrained illustration, ought to be a royal book. It contains a large number of introductory pictures, pictures set in the text, and small drawings at the foot of the pages. The illustrations are executed in a drawing technique. The small drawings are lightly tinted; the main pictures are more heavily coloured but still rely on line rather than modelling. The Psalter has some interesting features. The presentation of most of the illuminations is uniform in that the scenes are enacted within a modest architectural framework. They are, moreover, included within the text of the psalter as illustrations independent of the initial decoration. , MINIATURIST, English , Queen Mary Psalter , 1301-1350 , English , illumination , religious

 

 

 
 

 

 

 
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