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     Artist: BEER, Jan de
BEER, Jan de Triptych china oil painting reproduction

Triptych
76,4 x 24,5 cm (each wing) Wallraf-Richartz Museum, Cologne Jan de Beer was a Flemish painter, one of the Antwerp Mannerist school many of whose paintings were formerly ascribed to him. The central panel depicts the Adoration of the Shepherds. On the left wing is St Felicity with her sons and on the right is St Ursula with her followers. The composition and style are characteristic of Antwerp Mannerism of the early 16th century. Author: BEER, Jan de Title: Triptych , 1501-1550 , Flemish Form: painting , religious
Painting ID::  62384
5607 ago.
Artist: BEER, Jan de
Painting: Triptych
Information: 76,4 x 24,5 cm (each wing) Wallraf-Richartz Museum, Cologne Jan de Beer was a Flemish painter, one of the Antwerp Mannerist school many of whose paintings were formerly ascribed to him. The central panel depicts the Adoration of the Shepherds. On the left wing is St Felicity with her sons and on the right is St Ursula with her followers. The composition and style are characteristic of Antwerp Mannerism of the early 16th century. Author: BEER, Jan de Title: Triptych , 1501-1550 , Flemish Form: painting , religious

 

 

 
 

 

 

 
     Artist: GIuseppe Cesari Called Cavaliere arpino
GIuseppe Cesari Called Cavaliere arpino Judith with the Head of Holofernes china oil painting reproduction

Judith with the Head of Holofernes
61,3 x 48 cm Berkeley Art Museum, University of California Cavaliere d'Arpino's (Giulio Cesari's) Judith with the Head of Holofernes symbolically alludes to the violent decapitation of the Assyrian general without showing the gruesome moment that both Caravaggio and Artemisia Gentileschi chose to depict. Instead a beautiful, almost demure, Judith raises Holofernes' head by his locks as her maidservant Abra looks on in puzzled reverence. Cavaliere d'Arpino's Judith is the embodiment of female virtue and moral perfection, an ideal heroine who has redeemed her people. Yet, at the same time, she seems capable of exercising her seductive powers directly upon the viewer, as if the beholder were Holofernes. She is in possession of two dangerous weapons, her sword and her sexual allure. In 1602-03 Cavaliere d'Arpino had frescoed a series of Old Testament heroines in the Villa Aldobrandini at Frascati. There he depicted Judith as a full-length figure striding across the plain in front of the enemy encampment while Abra follows behind stuffing Holofernes' head into a sack. Topologically the figures are very similar, but in the easel painting Cavaliere d'Arpino condensed the composition so that the picture essentially becomes an idealised 'portrait' of Judith. In this sense it is very close to his Diana (Pinacoteca Capitolina, Rome), in which the huntress is also reduced to a half-length idealised figure. In both these 'portraits' there is an emphasis on the decorative effects of colour and design. The brilliant reds, blues and whites of Judith's costume serve as a foil for the carefully delineated jewels and golden sword hilt. Baglione emphasised that Cavaliere d'Arpino was capable of working in two different styles, one of which was far more superficial than the other. It is likely that the more
Painting ID::  62382
5607 ago.
Artist: GIuseppe Cesari Called Cavaliere arpino
Painting: Judith with the Head of Holofernes
Information: 61,3 x 48 cm Berkeley Art Museum, University of California Cavaliere d'Arpino's (Giulio Cesari's) Judith with the Head of Holofernes symbolically alludes to the violent decapitation of the Assyrian general without showing the gruesome moment that both Caravaggio and Artemisia Gentileschi chose to depict. Instead a beautiful, almost demure, Judith raises Holofernes' head by his locks as her maidservant Abra looks on in puzzled reverence. Cavaliere d'Arpino's Judith is the embodiment of female virtue and moral perfection, an ideal heroine who has redeemed her people. Yet, at the same time, she seems capable of exercising her seductive powers directly upon the viewer, as if the beholder were Holofernes. She is in possession of two dangerous weapons, her sword and her sexual allure. In 1602-03 Cavaliere d'Arpino had frescoed a series of Old Testament heroines in the Villa Aldobrandini at Frascati. There he depicted Judith as a full-length figure striding across the plain in front of the enemy encampment while Abra follows behind stuffing Holofernes' head into a sack. Topologically the figures are very similar, but in the easel painting Cavaliere d'Arpino condensed the composition so that the picture essentially becomes an idealised 'portrait' of Judith. In this sense it is very close to his Diana (Pinacoteca Capitolina, Rome), in which the huntress is also reduced to a half-length idealised figure. In both these 'portraits' there is an emphasis on the decorative effects of colour and design. The brilliant reds, blues and whites of Judith's costume serve as a foil for the carefully delineated jewels and golden sword hilt. Baglione emphasised that Cavaliere d'Arpino was capable of working in two different styles, one of which was far more superficial than the other. It is likely that the more

 

 

 
 

 

 

 
     Artist: GIUSTO de Menabuoi
GIUSTO de Menabuoi Adam and Eve china oil painting reproduction

Adam and Eve
1376-78 Fresco Baptistry, Cathedral, Padua Author: GIUSTO de' Menabuoi Title: Adam and Eve (detail) , 1351-1400 , Italian Form: painting , religious
Painting ID::  62378
5608 ago.
Artist: GIUSTO de Menabuoi
Painting: Adam and Eve
Information: 1376-78 Fresco Baptistry, Cathedral, Padua Author: GIUSTO de' Menabuoi Title: Adam and Eve (detail) , 1351-1400 , Italian Form: painting , religious

 

 

 
 

 

 

 
     Artist: Cano, Alonso
Cano, Alonso Saint John the Evangelist's Vision of Jerusalem china oil painting reproduction

Saint John the Evangelist's Vision of Jerusalem
1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638
Painting ID::  62369
5611 ago.
Artist: Cano, Alonso
Painting: Saint John the Evangelist's Vision of Jerusalem
Information: 1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638

 

 

 
 

 

 

 
     Artist: CEREZO, Mateo
CEREZO, Mateo The Mystic Marriage of St Catherine china oil painting reproduction

The Mystic Marriage of St Catherine
207 x 163 cm Museo del Prado, Madrid After his return to Madrid around 1660, Cerezo's development was rapid as a religious painter and as one of the most appealing still-life artist of the period. These abilities are already evident in his Mystic Marriage of St Catherine, where the bright colours, sparkling textures, and harmonious composition show his precocious
Painting ID::  62368
5611 ago.
Artist: CEREZO, Mateo
Painting: The Mystic Marriage of St Catherine
Information: 207 x 163 cm Museo del Prado, Madrid After his return to Madrid around 1660, Cerezo's development was rapid as a religious painter and as one of the most appealing still-life artist of the period. These abilities are already evident in his Mystic Marriage of St Catherine, where the bright colours, sparkling textures, and harmonious composition show his precocious

 

 

 
 

 

 

 
     Artist: TRAVERSI, Gaspare
TRAVERSI, Gaspare Finding of Moses china oil painting reproduction

Finding of Moses
122 x 152 cm Private collection Diziani, who painted narrative (biblical and mythological) scenes, treated this subject several times. Author: DIZIANI, Gaspare Title: Finding of Moses , 1701-1750 , Italian Form: painting , religious
Painting ID::  62367
5612 ago.
Artist: TRAVERSI, Gaspare
Painting: Finding of Moses
Information: 122 x 152 cm Private collection Diziani, who painted narrative (biblical and mythological) scenes, treated this subject several times. Author: DIZIANI, Gaspare Title: Finding of Moses , 1701-1750 , Italian Form: painting , religious

 

 

 
 

 

 

 
     Artist: Gonzales Coques
Gonzales Coques Family Portrait china oil painting reproduction

Family Portrait
65,5 x 89,5 cm Museum of Fine Arts, Budapest The painting presumably shows Jacques van Eyck, the chief justice of Antwerp in the bosom of his family. They gather on the terrace of their palace. The painting is relatively small but is provided with some essential attributes of the representative Baroque portrait
Painting ID::  62366
5613 ago.
Artist: Gonzales Coques
Painting: Family Portrait
Information: 65,5 x 89,5 cm Museum of Fine Arts, Budapest The painting presumably shows Jacques van Eyck, the chief justice of Antwerp in the bosom of his family. They gather on the terrace of their palace. The painting is relatively small but is provided with some essential attributes of the representative Baroque portrait

 

 

 
 

 

 

 
     Artist: Machuca, Pedro
Machuca, Pedro Descent from the Cross china oil painting reproduction

Descent from the Cross
141 x 128 cm (incl. frame) Museo del Prado, Madrid Machuca was an extraordinary artist, an architect, sculptor and painter. He built the palace of Charles V in Granada, a work of exceptional quality, one of the very few existing Renaissance buildings with a circular court. His training as an architect is evident in the design of the original ornamented frame of this painting with plenty of decorative elements typical of the architecture of first Spanish Renaissance or Plateresque style. It is indicated on this frame that the altarpiece was ordered by Do?a In?s de Castillo, and it was finished in 1547
Painting ID::  62363
5613 ago.
Artist: Machuca, Pedro
Painting: Descent from the Cross
Information: 141 x 128 cm (incl. frame) Museo del Prado, Madrid Machuca was an extraordinary artist, an architect, sculptor and painter. He built the palace of Charles V in Granada, a work of exceptional quality, one of the very few existing Renaissance buildings with a circular court. His training as an architect is evident in the design of the original ornamented frame of this painting with plenty of decorative elements typical of the architecture of first Spanish Renaissance or Plateresque style. It is indicated on this frame that the altarpiece was ordered by Do?a In?s de Castillo, and it was finished in 1547

 

 

 
 

 

 

 
     Artist: Pedro Sanchez
Pedro Sanchez Descent from the Cross china oil painting reproduction

Descent from the Cross
320 x 191 cm (entire painting) Cathedral, Seville In Seville, the second third of the sixteenth century also witnessed the introduction of a style of painting that reflected the ascendancy of Raphael. In this center, the most important artist of the period were undoubtedly of Northern origin: the Dutchman Fernando Esturmio (Storm), and the Fleming Pedro de Campa?a (Kempeneer). The latter, the more gifted of the two, was born in Brussels in 1503. He was trained in Italy, but in 1537 he is known to have been employed in the Cathedral of Seville. Shortly before 1563 he returned to his native country. The style of this master includes elements derived from Michelangelo, but these are offset by original plastic qualities and a sense of drama. One of Campa?a's key works is the Descent from the Cross (1547) in Seville cathedral, a painting that anticipates the Baroque of Rubens and was much admired by other Spanish artists, particularly Murillo. Campa?a had a more amiable and genuinely Raphaelesque side, evident in the altarpiece of the Marshal's Chapel in Seville cathedral, which he was commissioned to paint in 1555. His progress toward the Baroque and his interest in the rendering of light are revealed in his admirable Adoration of the Magi, which was painted in 1557
Painting ID::  62362
5613 ago.
Artist: Pedro Sanchez
Painting: Descent from the Cross
Information: 320 x 191 cm (entire painting) Cathedral, Seville In Seville, the second third of the sixteenth century also witnessed the introduction of a style of painting that reflected the ascendancy of Raphael. In this center, the most important artist of the period were undoubtedly of Northern origin: the Dutchman Fernando Esturmio (Storm), and the Fleming Pedro de Campa?a (Kempeneer). The latter, the more gifted of the two, was born in Brussels in 1503. He was trained in Italy, but in 1537 he is known to have been employed in the Cathedral of Seville. Shortly before 1563 he returned to his native country. The style of this master includes elements derived from Michelangelo, but these are offset by original plastic qualities and a sense of drama. One of Campa?a's key works is the Descent from the Cross (1547) in Seville cathedral, a painting that anticipates the Baroque of Rubens and was much admired by other Spanish artists, particularly Murillo. Campa?a had a more amiable and genuinely Raphaelesque side, evident in the altarpiece of the Marshal's Chapel in Seville cathedral, which he was commissioned to paint in 1555. His progress toward the Baroque and his interest in the rendering of light are revealed in his admirable Adoration of the Magi, which was painted in 1557

 

 

 
 

 

 

 
     Artist: CEREZO, Mateo
CEREZO, Mateo The Mystic Marriage china oil painting reproduction

The Mystic Marriage
207 x 163 cm Museo del Prado, Madrid Mateo Cerezo, a pupil of Carre?o, was a gifted painter and a good colorist in the Madrid school of painters.
Painting ID::  62361
5613 ago.
Artist: CEREZO, Mateo
Painting: The Mystic Marriage
Information: 207 x 163 cm Museo del Prado, Madrid Mateo Cerezo, a pupil of Carre?o, was a gifted painter and a good colorist in the Madrid school of painters.

 

 

 
 

 

 

 
     Artist: Juan Martin Cabezalero
Juan Martin Cabezalero Assumption of the Virgin china oil painting reproduction

Assumption of the Virgin
237 x 169 cm Museo del Prado, Madrid Despite his training with Juan Carre?o de Miranda, Cabezalero had a distinct style from his master. His figures are drawn with crisp outlines and carefully modelled with firm, controlled brushstrokes, qualities that are different from the broken, impasto technique applied by Carre?o. These qualities are evident in one of his few surviving works, the Assumption of the Virgin, probably executed in the late 1660s and more indebted to Italian than Flemish sources
Painting ID::  62360
5613 ago.
Artist: Juan Martin Cabezalero
Painting: Assumption of the Virgin
Information: 237 x 169 cm Museo del Prado, Madrid Despite his training with Juan Carre?o de Miranda, Cabezalero had a distinct style from his master. His figures are drawn with crisp outlines and carefully modelled with firm, controlled brushstrokes, qualities that are different from the broken, impasto technique applied by Carre?o. These qualities are evident in one of his few surviving works, the Assumption of the Virgin, probably executed in the late 1660s and more indebted to Italian than Flemish sources

 

 

 
 

 

 

 
     Artist: Francisco Camilo
Francisco Camilo Adoration of the Magi china oil painting reproduction

Adoration of the Magi
83 x 119 cm Museo de Bellas Artes, Bilbao This painting of intense colours shows Italian, particularly Venetian influences. The composition follows the example of Paolo Veronese's paintings of the same subject, painted one century earlier. This probably can be partly explained by the Italian origin of the artist
Painting ID::  62358
5613 ago.
Artist: Francisco Camilo
Painting: Adoration of the Magi
Information: 83 x 119 cm Museo de Bellas Artes, Bilbao This painting of intense colours shows Italian, particularly Venetian influences. The composition follows the example of Paolo Veronese's paintings of the same subject, painted one century earlier. This probably can be partly explained by the Italian origin of the artist

 

 

 
 

 

 

 
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