El Petróleo al por mayor de China que no Pinta Mínimo
 
 


ZURBARAN Francisco de St Margaret oil painting reproduction


ZURBARAN Francisco de
St Margaret
St Margaret
Pintura identificación::  7090
 c. 1631 Óleo en lona, 194 x 112 cm Galería Nacional, Londres
c. 1631 Oil on canvas, 194 x 112 cm National Gallery, London

 
 
   
      


Francisco de Zurbaran St Margaret oil painting reproduction


Francisco de Zurbaran
San Margaret
St Margaret
Pintura identificación::  29523
 C. 1631 Petróleo en la lona, 194 X 112 cm
c. 1631 Oil on canvas, 194 x 112 cm

 
 
   
      


Francisco de Zurbaran St Margaret oil painting reproduction


Francisco de Zurbaran
San Margaret
St Margaret
Pintura identificación::  33632
 1635mk86 c.1630- el Petróleo en la lona 192x112cm Londres, la Galería Nacional
mk86 c.1630-1635 Oil on canvas 192x112cm London,National Gallery

 
 
   
      


Francisco de Zurbaran St Margaret oil painting reproduction


Francisco de Zurbaran
St Margaret
Pintura identificación::  55770
 mk244 Oil on canvas 192x112cm London

 
 
   
      


Simone Martini St Margaret oil painting reproduction


Simone Martini
St Margaret
Pintura identificación::  64642
 1318 Fresco, 67 x 55 cm (size of detail) Lower Church, San Francesco, Assisi According to the legend St Margaret was thrown into prison because she rejected Olybrius, the Roman governor. In the prison she was attacked by the Devil and, while at prayer, swallowed by a dragon. Since she was carrying a small crucifix she was able to cut a hole in the monsters belly and escaped. Her attributes are the cross and the dragon. Artist:SIMONE MARTINI Title: St Margaret (detail), 1301-1350, Italian , painting , religious

 
 
   
      


unknow artist St Margaret oil painting reproduction


unknow artist
St Margaret
Pintura identificación::  65252
 1400 Brush, Chinese ink, red chalk, 21.4 X 14 cm Museum of Fine Arts, Budapest This lovely sheet is one of the drawings made about 1400, which are on the borderline of drawing as an autonomous genre. It may have been the preparatory sketch for a picture or a sculpture, or its subsequent copy; or else it may have served for a model drawing. Up to now no direct connection with existing works of art has been established. The drawing produced by the brush in greyish-black Chinese ink and coloured by red chalk is so delicate and exquisite, asserting three-dimensional values and effects of light with such a number of nuances, that for us it represents self contained artistic values of a very high level indeed. The main reason why it is so difficult to fix the place where the work was created is that it represents in a very highly developed form and exceptional quality the style of the time about 1400, an art interwoven from several European trends. It was originally considered to have been the work of a Cologne master, then an Austrian one, while Oettinger, due to the relationship between the drawing and the P?hl Altarpiece, had in mind a master of the Augsburg region, but working under the effect of Bohemian art. Czech scholars revealed some connections, both of form and of shape, with the so-called "beautiful Madonnas" and a group of paintings produced under their influence. Indeed, the equilibrium of the figure brought about by movements of opposite directions, and, above all by the dense and deep folds of the wide garment which completely conceals the body, draperies that fall downwards on either side like a cascade, the edges showing rhythmically undulating lines, as well as the three-dimensional modelling of the soft, heavy folds are reminiscent of the Beautiful Madonna of Krumlov and the sculptures and paintings inspired by it. The composition of the drawing is carefully poised. The dragon at the saint's feet provides a pedestal broad enough for the slender figure in her ample garments. The mass of the dragon's head is counterbalanced by the sling made by the end of its tail, whereas the line of the saint's body leaning towards the right is counterpoised by an imaginary diagonal line drawn from the dragon's head to the cross. The abundant drapery falling onto the right hip is a characteristic example of how in the International Gothic style draperies achieved the status of elements from which a picture can be constructed, motifs that have an independent life of their own. Artist: UNKNOWN MASTER, Bohemian , St Margaret , 1351-1400 , Bohemian , graphics , religious

 
 
   
      
unknow artist

St Margaret
1400 Brush, Chinese ink, red chalk, 21.4 X 14 cm Museum of Fine Arts, Budapest This lovely sheet is one of the drawings made about 1400, which are on the borderline of drawing as an autonomous genre. It may have been the preparatory sketch for a picture or a sculpture, or its subsequent copy; or else it may have served for a model drawing. Up to now no direct connection with existing works of art has been established. The drawing produced by the brush in greyish-black Chinese ink and coloured by red chalk is so delicate and exquisite, asserting three-dimensional values and effects of light with such a number of nuances, that for us it represents self contained artistic values of a very high level indeed. The main reason why it is so difficult to fix the place where the work was created is that it represents in a very highly developed form and exceptional quality the style of the time about 1400, an art interwoven from several European trends. It was originally considered to have been the work of a Cologne master, then an Austrian one, while Oettinger, due to the relationship between the drawing and the P?hl Altarpiece, had in mind a master of the Augsburg region, but working under the effect of Bohemian art. Czech scholars revealed some connections, both of form and of shape, with the so-called "beautiful Madonnas" and a group of paintings produced under their influence. Indeed, the equilibrium of the figure brought about by movements of opposite directions, and, above all by the dense and deep folds of the wide garment which completely conceals the body, draperies that fall downwards on either side like a cascade, the edges showing rhythmically undulating lines, as well as the three-dimensional modelling of the soft, heavy folds are reminiscent of the Beautiful Madonna of Krumlov and the sculptures and paintings inspired by it. The composition of the drawing is carefully poised. The dragon at the saint's feet provides a pedestal broad enough for the slender figure in her ample garments. The mass of the dragon's head is counterbalanced by the sling made by the end of its tail, whereas the line of the saint's body leaning towards the right is counterpoised by an imaginary diagonal line drawn from the dragon's head to the cross. The abundant drapery falling onto the right hip is a characteristic example of how in the International Gothic style draperies achieved the status of elements from which a picture can be constructed, motifs that have an independent life of their own. Artist: UNKNOWN MASTER, Bohemian , St Margaret , 1351-1400 , Bohemian , graphics , religious

Related Paintings to unknow artist :.
| Why the Mail was late | Piazza San Marco: Looking South-East | Madonna and Child with Infant, St. John the Baptist and Attending Angel swg | The highway | IN fOSSET.a Path |

        
 
   
 

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