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All GRECO, El's Paintings |
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The Purification of the Temple after
106 x 104 cm Parish Church of San Gin?s, Madrid This version of the subject dates from the last years of El Greco's career. It is assumed that the painting was partly executed by Jorge Manuel. However, it bears El Greco's signature and its quality is very high. The painting is very close to the version in the National Gallery in London. The most remarkable changes relate to the architectural setting. El Greco shifted the action from the Temple porch to the inner sanctuary. At the centre of the structure supporting the altarpiece is a tomb-like object with an obelisk. On the left there is a relief of the Expulsion of Adam and Eve, and above it a statue of a naked male figure who has been variously identified as Adam, his son Seth or an unidentified idol. The changes introduced into this version indicate El Greco's continuing reflection of the subject. He continued to add layers of interpretation to the end of his career
new21/GRECO, El-664927.jpg Painting ID:: 62327
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All CEREZO, Mateo's Paintings |
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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
new21/CEREZO, Mateo-824883.jpg Painting ID:: 62368
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All Caravaggio's Paintings |
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St Catherine of Alexandria
173 x 133 cm Thyssen-Bornemisza Collection, Madrid The painting formerly belonged to Cardinal Del Monte, one of the artist's patrons. Here we see a single female figure in an interior devoid of architectural allusions. The image appears with a boldness and an immediacy that combine the nobility of the subject (St Catherine was a king's daughter) with the almost plebeian pride of the model (no doubt a Roman woman of the people, who appears on other paintings of the artist, too). The breadth of conception and realization, and the perfect mastery of a very difficult composition (the figure and objects completely fill the painting, in a subtle play of diagonals) are striking. Caravaggio here chose a "grand" noble approach that heralds the great religious compositions he would soon do for San Luigi dei Francesi. The extraordinary virtuosity in the painting of the large, decorated cloth is absorbed as an integral part of the composition. This is something his followers would not often succeed in doing, for they frequently dealt with the single components of the painting individually, with adverse effects on the unity of the whole.
new21/Caravaggio-285856.jpg Painting ID:: 62387
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All unknow artist's Paintings |
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Assumption of St Catherine
1667 Marble Santa Catarina da Siena a Magnapoli, Rome Caffa was the best of Bernini's followers. His relief of the Sienese mystic stands in direct relationship to Bernini's Ecstasy of St Theresa and would have been unthinkable without it. A pupil of Ferrata, Caffa directly established himself through his models and drawings, and even Bernini let it be known that the younger man had overtaken him in his art. Caffa's sculpture reinvented the aesthetic qualities of Bernini's late style in new terms, thereby establishing a bridge between High and Late Baroque sculpture. This is seen most clearly in the Ecstasy of St Catherine of Siena in the Dominican convent of Santa Caterina da Siena a Magnapoli in Rome.
new21/unknow artist-387293.jpg Painting ID:: 62408
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All William Blake's Paintings |
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Hecate or the Three Fates
1795 Pen and ink with watercolour, 430 580 mm Tate Gallery, London Recently the painting is called The Night of Enitharmon's Joy. The many titles show the many levels of meaning, or the impenetrable mystery of Blake's work. Author: BLAKE, William Title: Hecate or the Three Fates Form: graphics , 1751-1800 , English , mythological
new21/William Blake-797258.jpg Painting ID:: 62538
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All Bartolome Esteban Murillo's Paintings |
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Paul sanctification
mk284 Oil on canvas 1675 187 x 223 cm Madrid, Museo del Prado
new21/Bartolome Esteban Murillo-999537.jpg Painting ID:: 62643
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All Winslow Homer's Paintings |
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Dedicated to the teacher s sunflower
mk285 Watercolor 19.4 x 15.7 cm Fine Arts, University of Georgia Collection
new21/Winslow Homer-667688.jpg Painting ID:: 62732
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All Louis Lcart's Paintings |
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Proud cat
mk286 19.5 x 39.7 cm 1913 Nian
new21/Louis ikatskiy-546439.jpg Painting ID:: 63106
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All Louis Lcart's Paintings |
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Women and cats
mk286 35 .5 x 43.5 cm 1921 Nian
new21/Louis ikatskiy-882379.jpg Painting ID:: 63120
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All Louis Lcart's Paintings |
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Naughty cat
mk286 47 x 37 cm 1923 Nian
new21/Louis ikatskiy-487444.jpg Painting ID:: 63125
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All Louis Lcart's Paintings |
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Women and cats
mk286 26.5 x 25 cm 1926 Nian
new21/Louis ikatskiy-865493.jpg Painting ID:: 63184
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All Louis Lcart's Paintings |
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Black Cat
mk286 40.6 x 52 cm 1936 Nian
new21/Louis ikatskiy-589448.jpg Painting ID:: 63243
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All Louis Lcart's Paintings |
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Cat
mk286 54.6 x 42 cm 1925 Nian
new21/Louis ikatskiy-773748.jpg Painting ID:: 63282
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All Louis Lcart's Paintings |
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Scattered orange
mk286 29.8 x 39.8 cm 1921 Nian
new21/Louis ikatskiy-233449.jpg Painting ID:: 63318
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All Louis Lcart's Paintings |
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Jenny and the Cat
mk 34.9 x 37.8 cm 1927 Nian
new21/Louis ikatskiy-544497.jpg Painting ID:: 63354
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All Louis Lcart's Paintings |
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Cat
mk286 27.9 x 35.5 cm 1929
new21/Louis Lcart-645732.jpg Painting ID:: 63517
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All Giovanni Battista Tiepolo's Paintings |
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Education of the Virgin
1732 Oil on canvas S. Maria della Consolazione (Fava), Venice The figures in this altarpiece are portrayed more as the heroines of noble dramas than as saints. They combine true pathos with elegant sensuality, as if they were creatures of some higher human species. At the same time, however, they are firmly linked to our sense of everyday life through the descriptive details which are so naturalistic as to border on trompe-l'oeil. In the centre of the representation, in front of a magnificent architectural backdrop, stands Mary as a young girl, reading from an open book, and instructed by her mother, who sits next to her. Her father, standing to her right, is deep in prayer and has his eyes raised towards Heaven. What is striking about the composition, is the diagonal line which runs from the three angels' heads beneath the book to the three large angels above Mary, and which symbolizes the way to the Kingdom of Heaven.Artist:TIEPOLO, Giovanni Battista Title: Education of the Virgin Painted in 1701-1750 , Italian - - painting : religious
new21/Giovanni Battista Tiepolo-922569.jpg Painting ID:: 63764
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All HALS, Frans's Paintings |
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Catharina Hooft with her Nurse
1619-20 Oil on canvas Staatliche Museen, BerlinArtist:HALS, Frans Title: Catharina Hooft with her Nurse (detail) Painted in 1601-1650 , Dutch - - painting : portrait
new21/HALS, Frans-226794.jpg Painting ID:: 63771
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All RAFFAELLO Sanzio's Paintings |
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St Catherine of Alexandria
1508 Oil on wood, 71,1 x 54,6 cm National Gallery, London Half-way between a work of private devotion and a collector's piece, this picture was probably painted just before Raphael's move to Rome. Rather more evident than the influence of Perugino is that of Leonardo, who perfected the `serpentine' pose in which the body twists about its axis, lending movement, grace and three-dimensional presence even to static figures. Characteristically, Raphael justifies this unnatural position through a narrative device: Catherine turns her head upwards and to her right in ecstatic communion with the divine light descending in thin gold rays from the sky. St Catherine of Alexandria is portrayed in a marvellous, twisted pose. Her left arm is leaning on her attribute, the wheel, and her right hand is pressed to her breast while she gazes up at a sky flooded with light. The composition is as rich in harmonious movement as the coloration is full and varied. The landscape is painted with particular care. Its light shading indicates a residual influence of Leonardo, although the jagged mountains which often characterize Leonardo's landscapes are absent. The delicate modelling of the saint, the slight torsion of her body as she leans on the wheel of her martyrdom (whose spikes have been reduced to rounded knobs in order to tone down the element of cruelty) fully express the balanced character of Raphael's art. The panel clearly shows the intense formal research which underlies Raphael's figurative creations. He is always careful not to excite emotions which he considers too intense and to mitigate tones and thematic elements in search of a perfect balance between design, colour, pose and expression, and between the figurative and ornamental elements.Artist:RAFFAELLO Sanzio Title: St Catherine of Alexandria Painted in 1501-1550 , Italian - - painting : religious
new21/RAFFAELLO Sanzio-492992.jpg Painting ID:: 63821
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All WEYDEN, Rogier van der's Paintings |
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St Catherine
1445 Oil on oak panel, 21,7 x 18,6 cm Gulbenkian Foundation, Lisbon This fragment was sawn out of the same large altarpiece as the Mary Magdalene in the National Gallery, London. The face of the saint, probably painted by an assistant, shows weaknesses in the drawing.Artist:WEYDEN, Rogier van der Title: St Catherine Painted in 1401-1450 , Flemish - - painting : religious
new21/WEYDEN, Rogier van der-748694.jpg Painting ID:: 63867
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