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     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 Stigmatization of Saint Francis, 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::  65130
5386 ago.
Artist: unknow artist
Painting: Italian Antiphonary
Information: 1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing the Stigmatization of Saint Francis, 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 water-drinkers 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::  65129
5386 ago.
Artist: unknow artist
Painting: Gradual
Information: 1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature representing water-drinkers 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 Munich Psalter china oil painting reproduction

Munich Psalter
1200 Illumination on parchment, 27,5 x 18,8 cm Bayerische Staatsbibliothek, Munich This is a page of the Munich Psalter, representing Christ in Glory. The Psalter is the most lavish produced in England at the beginning of the 13th century. It possesses the extraordinary number of eighty full-page illustrations. It appears to have originated in the Gloucester area. Naturally, in an undertaking of this size several artists took part. , MINIATURIST, English , Munich Psalter , 1201-1250 , English , illumination , religious
Painting ID::  65126
5386 ago.
Artist: unknow artist
Painting: Munich Psalter
Information: 1200 Illumination on parchment, 27,5 x 18,8 cm Bayerische Staatsbibliothek, Munich This is a page of the Munich Psalter, representing Christ in Glory. The Psalter is the most lavish produced in England at the beginning of the 13th century. It possesses the extraordinary number of eighty full-page illustrations. It appears to have originated in the Gloucester area. Naturally, in an undertaking of this size several artists took part. , MINIATURIST, English , Munich Psalter , 1201-1250 , 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 representing Meeting of Mary and Elisabeth comes from a Book of Hours (Book of Prayers) with provenance of Tours. , MINIATURIST, Spanish , Book of Hours , 1451-1500 , Spanish , illumination , religious
Painting ID::  65125
5386 ago.
Artist: unknow artist
Painting: Book of Hours
Information: 1490s Illumination on parchment Cathedral Library, Esztergom The miniature representing Meeting of Mary and Elisabeth comes from a Book of Hours (Book of Prayers) with provenance of Tours. , MINIATURIST, Spanish , Book of Hours , 1451-1500 , Spanish , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Bible china oil painting reproduction

Bible
1252-70 Illumination on parchment Cathedral Museum, Toledo This miniature is from the Bible in three volumes that St Louis, King of France, gave to Ferdinand III. , MINIATURIST, French , Bible , 1251-1300 , French , illumination , religious
Painting ID::  65121
5386 ago.
Artist: unknow artist
Painting: Bible
Information: 1252-70 Illumination on parchment Cathedral Museum, Toledo This miniature is from the Bible in three volumes that St Louis, King of France, gave to Ferdinand III. , MINIATURIST, French , Bible , 1251-1300 , French , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Ingeborg Psalter before china oil painting reproduction

Ingeborg Psalter before
1210 Illumination on parchment, 30,5 x 20,5 cm Mus?e Cond? Chantilly The picture shows a page from the Ingeborg Psalter representing the Pentecost. Beside the Bibles, the psalter was a popular type of manuscript in the twelfth century. The psalter was a private devotional book, often owned by people in some religious vocation. The psalters are expensive picture books with long series of illustrations prefaced to the main text. The Ingeborg Psalter was owned by the French queen Ingeborg, wife of Philip Augustus. It is an example of this type of devotional manual. , MINIATURIST, French , Ingeborg Psalter , 1201-1250 , French , illumination , religious
Painting ID::  65106
5387 ago.
Artist: unknow artist
Painting: Ingeborg Psalter before
Information: 1210 Illumination on parchment, 30,5 x 20,5 cm Mus?e Cond? Chantilly The picture shows a page from the Ingeborg Psalter representing the Pentecost. Beside the Bibles, the psalter was a popular type of manuscript in the twelfth century. The psalter was a private devotional book, often owned by people in some religious vocation. The psalters are expensive picture books with long series of illustrations prefaced to the main text. The Ingeborg Psalter was owned by the French queen Ingeborg, wife of Philip Augustus. It is an example of this type of devotional manual. , MINIATURIST, French , Ingeborg Psalter , 1201-1250 , French , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist St Benedict china oil painting reproduction

St Benedict
15,5 x 16,1 cm Museum of Fine Arts, Budapest The picture was cut out from a so-called antiphonary (which is a manuscript containing liturgical texts and music) along the line of its frame. When and why this happened is not known. The picture originated from the workshop of an artist known as The Master of the Martyrologium of Gerona, who, in the first two decades of the fifteenth century, was one of the most important figures in Bohemian miniature painting. He knew the leading movements in Western European art at first hand, and adopted the layout of his compositions and the method of representing landscape masses mainly from the painter of the Mar?chal of Boucicault and the Limbourg brothers. The prolific output of his workshop, where numerous assistants were engaged, exerted a marked effect on miniature and panel painting not only in Bohemia but in the neighbouring countries too (for example on the Hungarian Thomas de Coloswar). The picture reproduced here is, in all likelihood, the work of one of his assistants. Its frame is a three-dimensional, quatrefoil green shape embedded in a golden square. The background is provided by a geometrical design of stylized white flowers in a golden network on a red ground. The ground- plan of the setting is undefinable, the only furniture being a stepped, pale yellow platform, on whose right side stands a lectern of the same colour. Facing the spectator, St Benedict is seated in the middle, holding an abbot's crozier in his left hand and, with his right hand, presenting to the monks the book containing the rules of the Benedictine order. The rich design of the background sets off the simplicity of the monks and the same effect is achieved by the contrast of the plain d?cor without any details and the figures in their plain black habits. The emphasis on the massive group of the monks is brought into equilibrium by the mass of the lectern placed fairly high and by the figure of St Benedict which is set slightly to the right of the central axis. His right foot, placed somewhat higher, is in the axis of the composition. His black mantle falls asymmetrically to two sides from his raised right knee. The undulating hem of this garment runs parallel with the lines of his arm and virtually merges with the lobes on both sides of the frame. , MINIATURIST, Bohemian , St Benedict , 1401-1450 , Bohemian , illumination , religious
Painting ID::  65103
5388 ago.
Artist: unknow artist
Painting: St Benedict
Information: 15,5 x 16,1 cm Museum of Fine Arts, Budapest The picture was cut out from a so-called antiphonary (which is a manuscript containing liturgical texts and music) along the line of its frame. When and why this happened is not known. The picture originated from the workshop of an artist known as The Master of the Martyrologium of Gerona, who, in the first two decades of the fifteenth century, was one of the most important figures in Bohemian miniature painting. He knew the leading movements in Western European art at first hand, and adopted the layout of his compositions and the method of representing landscape masses mainly from the painter of the Mar?chal of Boucicault and the Limbourg brothers. The prolific output of his workshop, where numerous assistants were engaged, exerted a marked effect on miniature and panel painting not only in Bohemia but in the neighbouring countries too (for example on the Hungarian Thomas de Coloswar). The picture reproduced here is, in all likelihood, the work of one of his assistants. Its frame is a three-dimensional, quatrefoil green shape embedded in a golden square. The background is provided by a geometrical design of stylized white flowers in a golden network on a red ground. The ground- plan of the setting is undefinable, the only furniture being a stepped, pale yellow platform, on whose right side stands a lectern of the same colour. Facing the spectator, St Benedict is seated in the middle, holding an abbot's crozier in his left hand and, with his right hand, presenting to the monks the book containing the rules of the Benedictine order. The rich design of the background sets off the simplicity of the monks and the same effect is achieved by the contrast of the plain d?cor without any details and the figures in their plain black habits. The emphasis on the massive group of the monks is brought into equilibrium by the mass of the lectern placed fairly high and by the figure of St Benedict which is set slightly to the right of the central axis. His right foot, placed somewhat higher, is in the axis of the composition. His black mantle falls asymmetrically to two sides from his raised right knee. The undulating hem of this garment runs parallel with the lines of his arm and virtually merges with the lobes on both sides of the frame. , MINIATURIST, Bohemian , St Benedict , 1401-1450 , Bohemian , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Christ on the Cross between the Virgin and St John the Evangelist china oil painting reproduction

Christ on the Cross between the Virgin and St John the Evangelist
1413 Vellum, 41,5 x 29,5 cm Town Archive, Brno The folio is from the Missal of St Vitus Cathedral in Prague, otherwise known as the Olomouc Missal. In a frame of a standing oblong shape, which gives a three-dimensional effect, the crucified Christ is represented between the figures of the Virgin and of St John the Evangelist. The marginal decoration of scrolls of acanthus leaves springs from the corners of the frame, and encircles a small, round field at the bottom, where the Vir Dolorum is depicted. The acanthus decoration which had been made some 10-20 years earlier in the workshop which executed commissions for the Emperor Wenceslas, is here arranged in a more regular and decorative manner, the scrolls and leaves being even more stylized. They have virtually assumed a metallic hardness. In the picture itself the features which formerly characterized the International Gothic style have been further modified to the point of being exaggerated. All elements in the picture have been made secondary to a desire for decorativeness: Christ's ribs form a regular pattern of parallel lines, as do the veins of the wood of the cross. The crown of thorns looks like an ornamental head-dress rather than an instrument of torture; and the drops of blood falling from the wound of Christ on the kerchief of the Virgin harmonize beautifully with her cherry-red lips. Though the figures beside the cross are slender, in accordance with the taste of the period, they are wrapped in enormously ample draperies. But to show the Virgin so full of joie de vivre that she almost seems to be dancing does not suit the mood of this picture. Furthermore, St John is so enveloped in a mass of draperies disproportionate to his small head that he appears to be hiding someone under his garments. His right arm extended to touch the cross looks rather distorted; it is too long and is twisted at the wrist in a strange, unnatural manner. These extremely stylized idioms of form fit the abstract and symbolic figure of the Vir Dolorum better; even so, the way that the end of His loincloth is placed in front of the sarcophagus and arranged in a decorative manner, seems to indicate certain playfulness whose purpose is not fully clarified. International Gothic art, no doubt, had always been in danger of becoming exaggeratedly stylized, and by the time the style was coming to an end this contrived and purposeless formalism had begun to dominate it, particularly in the work of minor artists. In the miniature in Brno a feature appears which is in sharp contrast to the accepted qualities of the International Gothic style, a feature which is more characteristic of the art of subsequent decades: instead of soft, wavy lines the folds show harder lines and sharper angles (particularly in the mantle of St John. , MINIATURIST, Bohemian , Christ on the Cross between the Virgin and St John the Evangelist , 1401-1450 , Bohemian , illumination , religious
Painting ID::  65102
5388 ago.
Artist: unknow artist
Painting: Christ on the Cross between the Virgin and St John the Evangelist
Information: 1413 Vellum, 41,5 x 29,5 cm Town Archive, Brno The folio is from the Missal of St Vitus Cathedral in Prague, otherwise known as the Olomouc Missal. In a frame of a standing oblong shape, which gives a three-dimensional effect, the crucified Christ is represented between the figures of the Virgin and of St John the Evangelist. The marginal decoration of scrolls of acanthus leaves springs from the corners of the frame, and encircles a small, round field at the bottom, where the Vir Dolorum is depicted. The acanthus decoration which had been made some 10-20 years earlier in the workshop which executed commissions for the Emperor Wenceslas, is here arranged in a more regular and decorative manner, the scrolls and leaves being even more stylized. They have virtually assumed a metallic hardness. In the picture itself the features which formerly characterized the International Gothic style have been further modified to the point of being exaggerated. All elements in the picture have been made secondary to a desire for decorativeness: Christ's ribs form a regular pattern of parallel lines, as do the veins of the wood of the cross. The crown of thorns looks like an ornamental head-dress rather than an instrument of torture; and the drops of blood falling from the wound of Christ on the kerchief of the Virgin harmonize beautifully with her cherry-red lips. Though the figures beside the cross are slender, in accordance with the taste of the period, they are wrapped in enormously ample draperies. But to show the Virgin so full of joie de vivre that she almost seems to be dancing does not suit the mood of this picture. Furthermore, St John is so enveloped in a mass of draperies disproportionate to his small head that he appears to be hiding someone under his garments. His right arm extended to touch the cross looks rather distorted; it is too long and is twisted at the wrist in a strange, unnatural manner. These extremely stylized idioms of form fit the abstract and symbolic figure of the Vir Dolorum better; even so, the way that the end of His loincloth is placed in front of the sarcophagus and arranged in a decorative manner, seems to indicate certain playfulness whose purpose is not fully clarified. International Gothic art, no doubt, had always been in danger of becoming exaggeratedly stylized, and by the time the style was coming to an end this contrived and purposeless formalism had begun to dominate it, particularly in the work of minor artists. In the miniature in Brno a feature appears which is in sharp contrast to the accepted qualities of the International Gothic style, a feature which is more characteristic of the art of subsequent decades: instead of soft, wavy lines the folds show harder lines and sharper angles (particularly in the mantle of St John. , MINIATURIST, Bohemian , Christ on the Cross between the Virgin and St John the Evangelist , 1401-1450 , Bohemian , illumination , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist The Passion of Christ china oil painting reproduction

The Passion of Christ
1420-30 Tempera on oak, 131 x 180 cm Wallraf-Richartz Museum, Cologne The suffering of Christ is portrayed in simultaneous scenes. The artist was obviously concerned to emphasize spatial qualities in the painting. The panel was donated by the wealthy patrician von dem Wasservass family to the Cologne parish church of St Columba, and the artist of the panel is referred to as the Master of the Wasservass Calvary. , UNKNOWN MASTER, German , The Passion of Christ , 1401-1450 , German , painting , religious
Painting ID::  65098
5388 ago.
Artist: unknow artist
Painting: The Passion of Christ
Information: 1420-30 Tempera on oak, 131 x 180 cm Wallraf-Richartz Museum, Cologne The suffering of Christ is portrayed in simultaneous scenes. The artist was obviously concerned to emphasize spatial qualities in the painting. The panel was donated by the wealthy patrician von dem Wasservass family to the Cologne parish church of St Columba, and the artist of the panel is referred to as the Master of the Wasservass Calvary. , UNKNOWN MASTER, German , The Passion of Christ , 1401-1450 , German , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist Retable china oil painting reproduction

Retable
1396 Panel Art Institute of Chicago, Chicago In Navarre, the linear style of panel painting persisted throughout the fourteenth century, as may be seen in the retable that Pedro L?pez de Ayala gave the monastery of Quejana in 1396. , UNKNOWN MASTER, Spanish , Retable (detail) , 1351-1400 , Spanish , painting , religious
Painting ID::  65062
5389 ago.
Artist: unknow artist
Painting: Retable
Information: 1396 Panel Art Institute of Chicago, Chicago In Navarre, the linear style of panel painting persisted throughout the fourteenth century, as may be seen in the retable that Pedro L?pez de Ayala gave the monastery of Quejana in 1396. , UNKNOWN MASTER, Spanish , Retable (detail) , 1351-1400 , Spanish , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist The Holy Kinship china oil painting reproduction

The Holy Kinship
1410-40 Tempera on oak, 85,3 x 95 cm Wallraf-Richartz Museum, Cologne The depiction of the extended Holy Family ('Holy Kinship') on the central panel of the triptych introduces one of the most popular new themes for paintings at the beginning of the 15th century. All Christ's relatives are gathered together, following a description in the Golden Legend of 1263-73 by Jacopo da Voragine. , UNKNOWN MASTER, German , The Holy Kinship , 1401-1450 , German , painting , religious
Painting ID::  65061
5389 ago.
Artist: unknow artist
Painting: The Holy Kinship
Information: 1410-40 Tempera on oak, 85,3 x 95 cm Wallraf-Richartz Museum, Cologne The depiction of the extended Holy Family ('Holy Kinship') on the central panel of the triptych introduces one of the most popular new themes for paintings at the beginning of the 15th century. All Christ's relatives are gathered together, following a description in the Golden Legend of 1263-73 by Jacopo da Voragine. , UNKNOWN MASTER, German , The Holy Kinship , 1401-1450 , German , painting , religious

 

 

 
 

 

 

 
     Artist: unknow artist
unknow artist The Holy Kinship Altarpiece china oil painting reproduction

The Holy Kinship Altarpiece
1505-10 Oak, 144 x 187 cm Wallraf-Richartz Museum, Cologne The central panel of the Holy Kinship Altarpiece depicts the Holy Kinship. The subject of Christ's relatives had been very popular from the beginning of the 15th century. On the left-hand wing are Sts Nicasius and Roch with the Cologne donor Nicasius Hackeney, who ran the fiscal administration of the imperial court; on the right are Sts Gudule and Elizabeth with the donor's wife, Christina (n?e Hardenrath). On the exterior of the wings are Sts Hermolaus, Achatius and his followers on the left, and on the right Sts Cecilia, Genevieve, Helen and Catherine, each with members of the donor's family. The altar was probably a donation to the Dominican convent of St Achatius where one of the donor's daughters was a nun. The artist of the altarpiece is referred to as the Master of the Holy Kinship. , UNKNOWN MASTER, German , The Holy Kinship Altarpiece (central panel) , 1501-1550 , German , painting , religious
Painting ID::  65060
5389 ago.
Artist: unknow artist
Painting: The Holy Kinship Altarpiece
Information: 1505-10 Oak, 144 x 187 cm Wallraf-Richartz Museum, Cologne The central panel of the Holy Kinship Altarpiece depicts the Holy Kinship. The subject of Christ's relatives had been very popular from the beginning of the 15th century. On the left-hand wing are Sts Nicasius and Roch with the Cologne donor Nicasius Hackeney, who ran the fiscal administration of the imperial court; on the right are Sts Gudule and Elizabeth with the donor's wife, Christina (n?e Hardenrath). On the exterior of the wings are Sts Hermolaus, Achatius and his followers on the left, and on the right Sts Cecilia, Genevieve, Helen and Catherine, each with members of the donor's family. The altar was probably a donation to the Dominican convent of St Achatius where one of the donor's daughters was a nun. The artist of the altarpiece is referred to as the Master of the Holy Kinship. , UNKNOWN MASTER, German , The Holy Kinship Altarpiece (central panel) , 1501-1550 , German , painting , religious

 

 

 
 

 

 

 
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