El Petróleo al por mayor de China que no Pinta Mínimo

Artista:A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Pintura:A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Sueco

Español

Inglés

Francés

Alemán

Sandro Botticelli Madonna and Child with an Angel oil painting reproduction

Sandro Botticelli
una Señora y un Niño con un Ángel
Madonna and Child with an Angel
Pintura identificación:: 134

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	Picture Frames

Isabella Stewart Gardner Museo, Boston
Isabella Stewart Gardner Museum, Boston

Sandro Botticelli
Madona y el NIÑO con un Angel
Madonna and CHild with an Angel
Pintura identificación:: 26807

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	Picture Frames

C 1465 Ajaccio, Museo de Fesch (mk57)
c 1465 Ajaccio,Fesch Museum (mk57)

FOPPA, Vincenzo Madonna and Child with an Angel oil painting reproduction

FOPPA, Vincenzo
Madona y el Niño con un Angel
Madonna and Child with an Angel
Pintura identificación:: 29795

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la Témpera mk67 en el entrepaño 16 Uffizi 1/8/x12 13/16in, la Galería
mk67 Tempera on panel 16 1/8/x12 13/16in Uffizi,Gallery

Francesco di Giorgio Martini Madonna and Child with an Angel oil painting reproduction

Francesco di Giorgio Martini
Madonna and Child with an Angel
Pintura identificación:: 52258

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c. 1471 Panel, 74 x 49 cm

Sandro Botticelli
Madonna and Child with an Angel
Pintura identificación:: 62396

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	Picture Frames

1465-67 Tempera on panel, 87 x 60 cm Spedale degli Innocenti, Florence It is possible that this somewhat awkward painting of the Madonna was produced while Botticelli was still working in the workshop of his teacher, Filippo Lippi. The initial inspiration for the painting came from the latter's famous Madonna in the Uffizi. Botticelli replaced the landscape with an arched architecture which frames the heads of the mother and child and emphasizes the two main figures as the centre of the devotional scene

Sandro Botticelli
Italian Early Renaissance Painter, 1445-1510
Madonna and Child with an Angel
1465-67 Tempera on panel, 87 x 60 cm Spedale degli Innocenti, Florence It is possible that this somewhat awkward painting of the Madonna was produced while Botticelli was still working in the workshop of his teacher, Filippo Lippi. The initial inspiration for the painting came from the latter's famous Madonna in the Uffizi. Botticelli replaced the landscape with an arched architecture which frames the heads of the mother and child and emphasizes the two main figures as the centre of the devotional scene

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China de Xiamen el Petróleo al por mayor que Pinta la Barra de Soga Marco al por mayor que Moldea el Espejo Pinturas Estiradas Encuadradas