mk68 Olja på segelduk 12~x8~7 Venedig Kyrka av San Giorgio Maggiore 1592-1594 Italien mk68
Oil on canvas
12'x8'7"
Venice
Church of San Giorgio Maggiore
1592-1594
Italy
Joan de Joanes
Sist Kvällsmat Last Supper
Måleriet Identifieringen :: 32868
mk86 after1450 Temperamenten på trä 162x170cm Barcelona.Museu d~Art de Catalunya mk86
after1450
Tempera on wood
162x170cm
Barcelona,Museu d'Art de Catalunya
Leonardo Da Vinci
Sist Kvällsmat Last Supper
Måleriet Identifieringen :: 33467
mk86 1495-1498 Olja temperamenten på plaster 460x880cm murbruk Maria delle Skrappa. Refectory mk86
1495-1498
Oil tempera on plaster
460x880cm
Milan,Santa Maria delle Grazie,
Refectory
1588-1603 Oil on canvas Museo de Bellas Artes, Seville In addition to Italian influences, the impact of northern painters, such as Marten de Vos and Maerten van Heemskerck, on painters in Seville at the end of the 16th century was important. The resulting hybrid of Italian and Flemish elements became the dominant mode of expression until well into the seventeenth century and is first observable in the work of Alonso V?zquez, who worked in Seville from 1588 until his departure for Mexico in 1603. His Last Supper, painted for the Carthusians of Santa Maria de las Cuevas, is a pastiche of poses and motifs borrowed from prints by or after Heemskerck, de Vos and Cornelis Cort. In fact the stylistic correspondence to the paintings by these northern late Mannerists is close enough to suggest that V?zquez had been able to study their works, perhaps in the collections of the resident Flemish community
Paolo Veronese
last supper
Måleriet Identifieringen :: 69067
