El Petróleo al por mayor de China que Pinta el Espejo de Marco que Moldea
Pintura:: all people --> Estilo:: religious
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Artist: Pollaiuolo, Piero
Pollaiuolo, Piero Coronation of the Virgin china oil painting reproduction

Coronation of the Virgin
1483 Tempera on panel Sant'Agostino, San Gimignano The picture shows the main altar in the church of Sant'Agostino in San Gimignano with the painting of Piero del Pollaiuolo. Artist: POLLAIUOLO, Piero del Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious
Pintura identificación::  63097
5474 ago.
Artist: Pollaiuolo, Piero
Painting: Coronation of the Virgin
Information: 1483 Tempera on panel Sant'Agostino, San Gimignano The picture shows the main altar in the church of Sant'Agostino in San Gimignano with the painting of Piero del Pollaiuolo. Artist: POLLAIUOLO, Piero del Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious

Artist: unknow artist
unknow artist Apollo and Daphne - Tempera on wood china oil painting reproduction

Apollo and Daphne - Tempera on wood
30 x 20 cm National Gallery, London Artist: POLLAIUOLO, Antonio del Painting Title: Apollo and Daphne , 1451-1500 Painting Style: Italian , , mythological
Pintura identificación::  63091
5475 ago.
Artist: unknow artist
Painting: Apollo and Daphne - Tempera on wood
Information: 30 x 20 cm National Gallery, London Artist: POLLAIUOLO, Antonio del Painting Title: Apollo and Daphne , 1451-1500 Painting Style: Italian , , mythological

Artist: Antonio Pollaiuolo
Antonio Pollaiuolo Angel china oil painting reproduction

Angel
1467 Fresco Chapel of the Cardinal of Portugal, San Miniato al Monte, Florence *** Keywords: ************* Artist: POLLAIUOLO, Antonio del Painting Title: Angel (detail) , 1451-1500 Painting Style: Italian , , religious
Pintura identificación::  63090
5475 ago.
Artist: Antonio Pollaiuolo
Painting: Angel
Information: 1467 Fresco Chapel of the Cardinal of Portugal, San Miniato al Monte, Florence *** Keywords: ************* Artist: POLLAIUOLO, Antonio del Painting Title: Angel (detail) , 1451-1500 Painting Style: Italian , , religious

Artist: MAULBERTSCH, Franz Anton
MAULBERTSCH, Franz Anton The Trinity - Oil on canvas china oil painting reproduction

The Trinity - Oil on canvas
62,5 x 33 cm Museum of Fine Arts, Budapest It was as a master of fresco-painting and as a most prolific decorator of churches and palaces in Austria, Czechoslovakia and Hungary that Franz Anton Maulbertsch was most appreciated by his contemporaries. Perhaps nowadays greater value is placed on his surviving bozzetti - sketches painted in gloriously fresh colours with brilliant technique. His late works, such as The Holy Trinity, a sketch for an altar-piece, are fluid in their handling, and the light colours give a silvery effect. In these sketches Maulbertsch captured his subjects with a few unbelievably light strokes of the brush and some spots of colour permeated with light. When he elaborated these sketches in their final form, however, particularly in the case of the later altarpieces, the spontaneity was often lost, the forms becoming heavier and the hues muted. This sketch from the late period of the artist was identified as a study for the altarpiece in the Parish Church in Wien-Reindorf. Artist: MAULBERTSCH, Franz Anton Painting Title: The Trinity , 1751-1800 Painting Style: Austrian , , religious
Pintura identificación::  63083
5476 ago.
Artist: MAULBERTSCH, Franz Anton
Painting: The Trinity - Oil on canvas
Information: 62,5 x 33 cm Museum of Fine Arts, Budapest It was as a master of fresco-painting and as a most prolific decorator of churches and palaces in Austria, Czechoslovakia and Hungary that Franz Anton Maulbertsch was most appreciated by his contemporaries. Perhaps nowadays greater value is placed on his surviving bozzetti - sketches painted in gloriously fresh colours with brilliant technique. His late works, such as The Holy Trinity, a sketch for an altar-piece, are fluid in their handling, and the light colours give a silvery effect. In these sketches Maulbertsch captured his subjects with a few unbelievably light strokes of the brush and some spots of colour permeated with light. When he elaborated these sketches in their final form, however, particularly in the case of the later altarpieces, the spontaneity was often lost, the forms becoming heavier and the hues muted. This sketch from the late period of the artist was identified as a study for the altarpiece in the Parish Church in Wien-Reindorf. Artist: MAULBERTSCH, Franz Anton Painting Title: The Trinity , 1751-1800 Painting Style: Austrian , , religious

Artist: unknow artist
unknow artist L Histoire de Saint Graal china oil painting reproduction

L Histoire de Saint Graal
1316 Illumination on parchment, 5,9 x 8,3 cm British Library, London The interaction between image and viewer can be seen in illustrations to courtly tales of chivalric love, or romances, like in a lavishly illuminated volume of Arthurian romances made for a wealthy patron in St Omer or Th?rouanne in French Flanders. Here, at the beginning of the story of the quest for the Holy Grail, the artist depicts the strange things that were seen during the night by a pagan king called Evelac, not in a dream but in a waking vision. At the climax he sees a beautiful child enter a room without opening the door, an effect subtly evoked with transparent layers of paint. Artist: MINIATURIST, French Painting Title: L'Histoire de Saint Graal , 1301-1350 Painting Style: French , illumination Type: historical
Pintura identificación::  63080
5476 ago.
Artist: unknow artist
Painting: L Histoire de Saint Graal
Information: 1316 Illumination on parchment, 5,9 x 8,3 cm British Library, London The interaction between image and viewer can be seen in illustrations to courtly tales of chivalric love, or romances, like in a lavishly illuminated volume of Arthurian romances made for a wealthy patron in St Omer or Th?rouanne in French Flanders. Here, at the beginning of the story of the quest for the Holy Grail, the artist depicts the strange things that were seen during the night by a pagan king called Evelac, not in a dream but in a waking vision. At the climax he sees a beautiful child enter a room without opening the door, an effect subtly evoked with transparent layers of paint. Artist: MINIATURIST, French Painting Title: L'Histoire de Saint Graal , 1301-1350 Painting Style: French , illumination Type: historical

Artist: CLEVE, Joos van
CLEVE, Joos van Adoration of the Magi china oil painting reproduction

Adoration of the Magi
1526-28 Oak, 251 x 185 cm Gem?ldegalerie, Dresden The painting, coming probably from a church in Genoa, was attributed to D?rer in the 16th century. Artist: CLEVE, Joos van Painting Title: Adoration of the Magi , 1501-1550 Painting Style: Flemish , , religious
Pintura identificación::  63065
5479 ago.
Artist: CLEVE, Joos van
Painting: Adoration of the Magi
Information: 1526-28 Oak, 251 x 185 cm Gem?ldegalerie, Dresden The painting, coming probably from a church in Genoa, was attributed to D?rer in the 16th century. Artist: CLEVE, Joos van Painting Title: Adoration of the Magi , 1501-1550 Painting Style: Flemish , , religious

Artist: UNTERBERGER, Michelangelo
UNTERBERGER, Michelangelo Visitation - Oil on canvas china oil painting reproduction

Visitation - Oil on canvas
65,5 x 49,5 cm Museum of Fine Arts, Budapest Artist: UNTERBERGER, Michelangelo Painting Title: Visitation , 1701-1750 Painting Style: Austrian , , religious
Pintura identificación::  63064
5479 ago.
Artist: UNTERBERGER, Michelangelo
Painting: Visitation - Oil on canvas
Information: 65,5 x 49,5 cm Museum of Fine Arts, Budapest Artist: UNTERBERGER, Michelangelo Painting Title: Visitation , 1701-1750 Painting Style: Austrian , , religious

Artist: PRETI, Mattia
PRETI, Mattia The Baptism of Christ china oil painting reproduction

The Baptism of Christ
1661 Ceiling fresco Conventual Church of St. John, Valletta, Malta Artist: PRETI, Mattia Painting Title: The Baptism of Christ , 1651-1700 Painting Style: Italian , , religious
Pintura identificación::  63050
5481 ago.
Artist: PRETI, Mattia
Painting: The Baptism of Christ
Information: 1661 Ceiling fresco Conventual Church of St. John, Valletta, Malta Artist: PRETI, Mattia Painting Title: The Baptism of Christ , 1651-1700 Painting Style: Italian , , religious

Artist: RICCI, Sebastiano
RICCI, Sebastiano The Adoration of the Magi china oil painting reproduction

The Adoration of the Magi
1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection, Windsor The artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical. The Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry. The origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s. The painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures. Artist: RICCI, Sebastiano Painting Title: The Adoration of the Magi , 1701-1750 Painting Style: Italian , , religious
Pintura identificación::  63048
5482 ago.
Artist: RICCI, Sebastiano
Painting: The Adoration of the Magi
Information: 1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection, Windsor The artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical. The Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry. The origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s. The painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures. Artist: RICCI, Sebastiano Painting Title: The Adoration of the Magi , 1701-1750 Painting Style: Italian , , religious

Artist: unknow artist
unknow artist S. Ignazio Cures Victims of the Plague china oil painting reproduction

S. Ignazio Cures Victims of the Plague
1688-90 Fresco Sant'Ignazio, Rome The picture shows part of the decorative program by Andrea Pozzo which focused on the miracles of the founder of the Jesuit order. The frescoes were considered, both in Rome and beyond, an excellent example of the Baroque technique of creating the illusion of architectural depth in painting. Artist: POZZO, Andrea Painting Title: S. Ignazio Cures Victims of the Plague , 1651-1700 Painting Style: Italian , , religious
Pintura identificación::  63042
5482 ago.
Artist: unknow artist
Painting: S. Ignazio Cures Victims of the Plague
Information: 1688-90 Fresco Sant'Ignazio, Rome The picture shows part of the decorative program by Andrea Pozzo which focused on the miracles of the founder of the Jesuit order. The frescoes were considered, both in Rome and beyond, an excellent example of the Baroque technique of creating the illusion of architectural depth in painting. Artist: POZZO, Andrea Painting Title: S. Ignazio Cures Victims of the Plague , 1651-1700 Painting Style: Italian , , religious

Artist: Andrea Pozzo
Andrea Pozzo The Apotheose of S. Ignazio china oil painting reproduction

The Apotheose of S. Ignazio
The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
Pintura identificación::  63033
5483 ago.
Artist: Andrea Pozzo
Painting: The Apotheose of S. Ignazio
Information: The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious

Artist: Andrea Pozzo
Andrea Pozzo The Apotheose of S china oil painting reproduction

The Apotheose of S
Ignazio, detail: The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious
Pintura identificación::  63032
5483 ago.
Artist: Andrea Pozzo
Painting: The Apotheose of S
Information: Ignazio, detail: The Continents 1688-90 Fresco Sant'Ignazio, Rome Artist: POZZO, Andrea Painting Title: The Apotheose of S. Ignazio, detail: The Continents , 1651-1700 Painting Style: Italian , , religious

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Pintura:: people --> Estilo:: religious

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