Nativity Triptych 1460s Oil on oak panel, 140 x 193 cm (central panel, 89 x 43 cm (each wing) Metropolitan Museum of Art, New York This free copy of Rogier van der Weyden's Middelburg Altarpiece (Staatliche Museen, Berlin) derives not from the completed work itself but from Rogier's sketched design for it, which included the inscription scrolls that were later left out. The anonymous painter must either have seen these sketches and other models in Rogier's workshop, or copied them from material left on his death; the quality of the triptych, however, is not good enough to make it a product of Rogier's workshop.Artist:UNKNOWN MASTER, Flemish Title: Nativity Triptych Painted in 1451-1500 , Flemish - - painting : religious
Måleriet Identifieringen :: 63848
5525 ago.
Konstnär: unknow artist Målning: Nativity Triptych Information: 1460s Oil on oak panel, 140 x 193 cm (central panel, 89 x 43 cm (each wing) Metropolitan Museum of Art, New York This free copy of Rogier van der Weyden's Middelburg Altarpiece (Staatliche Museen, Berlin) derives not from the completed work itself but from Rogier's sketched design for it, which included the inscription scrolls that were later left out. The anonymous painter must either have seen these sketches and other models in Rogier's workshop, or copied them from material left on his death; the quality of the triptych, however, is not good enough to make it a product of Rogier's workshop.Artist:UNKNOWN MASTER, Flemish Title: Nativity Triptych Painted in 1451-1500 , Flemish - - painting : religious
Story of Alexander the Great 1450-90 Illumination on parchment Biblioth?que Nationale, Paris The picture represents Alexander the Great receiving the mother and wife of the conquered King Darius. The arms and clothes as well as the landscape detailes illustrate contemporary Flanders. The codex was executed by Loyset Ly?det who worked for the Duke of Burgundy. This copy of the manuscript was made for Charles the Bold.Artist:MINIATURIST, Netherlandish Title: Story of Alexander the Great Painted in 1451-1500 , Flemish - - illumination : historical
Måleriet Identifieringen :: 63847
5525 ago.
Konstnär: unknow artist Målning: Story of Alexander the Great Information: 1450-90 Illumination on parchment Biblioth?que Nationale, Paris The picture represents Alexander the Great receiving the mother and wife of the conquered King Darius. The arms and clothes as well as the landscape detailes illustrate contemporary Flanders. The codex was executed by Loyset Ly?det who worked for the Duke of Burgundy. This copy of the manuscript was made for Charles the Bold.Artist:MINIATURIST, Netherlandish Title: Story of Alexander the Great Painted in 1451-1500 , Flemish - - illumination : historical
Surrender of the Burghers of Ghent in . 1454 Illumination on parchment, 20,8 x 14,7 cm ?sterreichische Nationalbibliothek, Vienna The miniature comes from the manuscript Privileges and Statutes of Ghent and Flanders, the artist is referred to as the Master of the Privileges of Ghent and Flanders. Philip the Good had this manuscript written and magnificently illuminated after his decisive victory over the citizens of Ghent. The full-page miniature faithfully depicts the scene described in the text, when the defeated burghers came out to meet Philip wearing only their shirts or a black robe, barefoot and bareheaded, and had to beg for mercy. We can see them surrendering their guild banners, symbols of civic self-determination.Artist:MINIATURIST, Netherlandish Title: Surrender of the Burghers of Ghent in 1453 Painted in 1451-1500 , Flemish - - illumination : historical
Måleriet Identifieringen :: 63846
5525 ago.
Konstnär: unknow artist Målning: Surrender of the Burghers of Ghent in Information: . 1454 Illumination on parchment, 20,8 x 14,7 cm ?sterreichische Nationalbibliothek, Vienna The miniature comes from the manuscript Privileges and Statutes of Ghent and Flanders, the artist is referred to as the Master of the Privileges of Ghent and Flanders. Philip the Good had this manuscript written and magnificently illuminated after his decisive victory over the citizens of Ghent. The full-page miniature faithfully depicts the scene described in the text, when the defeated burghers came out to meet Philip wearing only their shirts or a black robe, barefoot and bareheaded, and had to beg for mercy. We can see them surrendering their guild banners, symbols of civic self-determination.Artist:MINIATURIST, Netherlandish Title: Surrender of the Burghers of Ghent in 1453 Painted in 1451-1500 , Flemish - - illumination : historical
Triptych 1604-05 Oil on copper and panel, 37 x 24 cm (closed) Galleria Nazionale d'Arte Antica, Rome The closed triptych represents St Michael the Archangel (left) and the Guardian Angel (right).Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
Måleriet Identifieringen :: 63845
5526 ago.
Konstnär: CARRACCI, Annibale Målning: Triptych Information: 1604-05 Oil on copper and panel, 37 x 24 cm (closed) Galleria Nazionale d'Arte Antica, Rome The closed triptych represents St Michael the Archangel (left) and the Guardian Angel (right).Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
Triptych 1604-05 Oil on copper and panel, 37 x 24 cm (central panel), 37 x 12 cm (each wing) Galleria Nazionale d'Arte Antica, Rome The central panel shows the Piet? while on the wings St Cecilia (left) and St Ermenegildus are represented. This small triptych originally belonged to Cardinal Odoardo Farnese, and the Farnese inventories document it as a work of Annibale Carracci as early as 1619. The attribution to Annibale was unquestioned until 1956 when, for stylistic reasons, the tabernacle was assigned to the Carracci workshop and given specifically to the hand of Innocenzo Tacconi. Despite this, the general conception of the work was attributed to Annibale on the basis of a drawing preserved at the Louvre (Paris). More recently, the documentary research has proven that the painting was commissioned directly from the artist by Cardinal Farnese sometime after 1603, the year in which he was obliged to renounce his claims to the succession to the English throne. Considering the importance of the commission, it seems difficult to argue against attribution to Carracci himself. The high quality of the Piet?and stylistic comparison of this central panel to Annibale's many other treatments of the subject lead to the assignment of this part of the execution to the master. It is, however, possible that Annibale allowed assistants (Innocenzo Tacconi or Antonio Carracci) to work on secondary panels, as these are slightly different in some of the details of execution.Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
Måleriet Identifieringen :: 63844
5526 ago.
Konstnär: CARRACCI, Annibale Målning: Triptych Information: 1604-05 Oil on copper and panel, 37 x 24 cm (central panel), 37 x 12 cm (each wing) Galleria Nazionale d'Arte Antica, Rome The central panel shows the Piet? while on the wings St Cecilia (left) and St Ermenegildus are represented. This small triptych originally belonged to Cardinal Odoardo Farnese, and the Farnese inventories document it as a work of Annibale Carracci as early as 1619. The attribution to Annibale was unquestioned until 1956 when, for stylistic reasons, the tabernacle was assigned to the Carracci workshop and given specifically to the hand of Innocenzo Tacconi. Despite this, the general conception of the work was attributed to Annibale on the basis of a drawing preserved at the Louvre (Paris). More recently, the documentary research has proven that the painting was commissioned directly from the artist by Cardinal Farnese sometime after 1603, the year in which he was obliged to renounce his claims to the succession to the English throne. Considering the importance of the commission, it seems difficult to argue against attribution to Carracci himself. The high quality of the Piet?and stylistic comparison of this central panel to Annibale's many other treatments of the subject lead to the assignment of this part of the execution to the master. It is, however, possible that Annibale allowed assistants (Innocenzo Tacconi or Antonio Carracci) to work on secondary panels, as these are slightly different in some of the details of execution.Artist:CARRACCI, Annibale Title: Triptych Painted in 1551-1600 , Italian - - painting : religious
Praying Monks - Oil on canvas 53,6 x 43,9 cm Museum voor Schone Kunsten, Ghent Praying Monks by Alessandro Magnasco is a good example of the brilliant sketching technique of this Italian artist, who was a transitional figure between the Baroque and Rococo. The impassioned figures are rendered against a dark and threatening background with rapid, irregular brushstrokes. Isolated and ecstatic monks and hermits often feature in the macabre scenes through which Magnasco conveyed his fantastic and critical vision of humanity. The emotional turbulence of his work was not unique in the Italian Baroque and Rococo, but it was certainly something of an extreme example.Artist:MAGNASCO, Alessandro Title: Praying Monks Painted in 1701-1750 , Italian - - painting : religious
Måleriet Identifieringen :: 63842
5526 ago.
Konstnär: MAGNASCO, Alessandro Målning: Praying Monks - Oil on canvas Information: 53,6 x 43,9 cm Museum voor Schone Kunsten, Ghent Praying Monks by Alessandro Magnasco is a good example of the brilliant sketching technique of this Italian artist, who was a transitional figure between the Baroque and Rococo. The impassioned figures are rendered against a dark and threatening background with rapid, irregular brushstrokes. Isolated and ecstatic monks and hermits often feature in the macabre scenes through which Magnasco conveyed his fantastic and critical vision of humanity. The emotional turbulence of his work was not unique in the Italian Baroque and Rococo, but it was certainly something of an extreme example.Artist:MAGNASCO, Alessandro Title: Praying Monks Painted in 1701-1750 , Italian - - painting : religious
Madonna Enthroned with St Matthew 1588 Oil on canvas, 384 x 255 cm Gem?ldegalerie, Dresden This painting of the type 'Sancta Conversazione' has great significance in the formation of the Baroque style. The participants of this conversition - beside St Matthew with his attribute of the reclining angel - are St Francis of Assisi and St John the Baptist. The painting is dated and signed as HANNIBAL CARRACTIUS BON F. MDLXXXVIII.Artist:CARRACCI, Annibale Title: Madonna Enthroned with St Matthew Painted in 1551-1600 , Italian - - painting : religious
Måleriet Identifieringen :: 63838
5526 ago.
Konstnär: CARRACCI, Annibale Målning: Madonna Enthroned with St Matthew Information: 1588 Oil on canvas, 384 x 255 cm Gem?ldegalerie, Dresden This painting of the type 'Sancta Conversazione' has great significance in the formation of the Baroque style. The participants of this conversition - beside St Matthew with his attribute of the reclining angel - are St Francis of Assisi and St John the Baptist. The painting is dated and signed as HANNIBAL CARRACTIUS BON F. MDLXXXVIII.Artist:CARRACCI, Annibale Title: Madonna Enthroned with St Matthew Painted in 1551-1600 , Italian - - painting : religious
The Pool 1592 Oil on canvas Collezione Molinari Pradelli, Castenaso St John's version (John 5:1-15) of the miracle of the healing of the paralytic lays the scene in Jerusalem at the pool of Bethesda. (According to Matthew, Mark and Luke it took place at Kapernaum.) The place was a resort of the sick since the waters were believed to have miraculous curative powers. It was said that from time to time an angel, traditionally the archangel Gabriel, came and disturbed the water and that the first person to enter it afterwards was healed. But the paralytic had never succeeded in being first. Christ came there and found him. He was ordered to take up his bed and walk and immediately found himself cured. John described it as 'a place with five colonnades', and therefore represented with some such architectural feature. Christ addressing the paralytic who lies at the edge of the pool. Others, sick and infirm crowd the scene. Palma's painting was clearly inspired by the great examples of sixteenth-century Venetian art and in particular by the works of Tintoretto. The composition is typical of Palma the Younger's mature style. Compositional flair, the employment of diagonal perspectives and rich colours almost obliterated by heavy shadow as well as the theatrical eloquence of the gestures and use of foreshortening are all typical characteristics of Palma the Younger's style of painting. When he managed to control all of them, as in this splendid example, he took post-Renaissance Venetian painting, generally considered a dismal period in art, to its highest degree of effectiveness and expression. When, on the other hand, the effects he used degenerated into repetitive formulas, seventeenth-century Venetian art very quickly became monotonous. This painting is a part of the Collezione Molinari Pradelli, the most extensive private collection of seventeenth- and eighteenth-century art in Italy.Artist:PALMA GIOVANE Title: The Pool Painted in 1551-1600 , Italian - - painting : religious
Måleriet Identifieringen :: 63830
5526 ago.
Konstnär: PALMA GIOVANE Målning: The Pool Information: 1592 Oil on canvas Collezione Molinari Pradelli, Castenaso St John's version (John 5:1-15) of the miracle of the healing of the paralytic lays the scene in Jerusalem at the pool of Bethesda. (According to Matthew, Mark and Luke it took place at Kapernaum.) The place was a resort of the sick since the waters were believed to have miraculous curative powers. It was said that from time to time an angel, traditionally the archangel Gabriel, came and disturbed the water and that the first person to enter it afterwards was healed. But the paralytic had never succeeded in being first. Christ came there and found him. He was ordered to take up his bed and walk and immediately found himself cured. John described it as 'a place with five colonnades', and therefore represented with some such architectural feature. Christ addressing the paralytic who lies at the edge of the pool. Others, sick and infirm crowd the scene. Palma's painting was clearly inspired by the great examples of sixteenth-century Venetian art and in particular by the works of Tintoretto. The composition is typical of Palma the Younger's mature style. Compositional flair, the employment of diagonal perspectives and rich colours almost obliterated by heavy shadow as well as the theatrical eloquence of the gestures and use of foreshortening are all typical characteristics of Palma the Younger's style of painting. When he managed to control all of them, as in this splendid example, he took post-Renaissance Venetian painting, generally considered a dismal period in art, to its highest degree of effectiveness and expression. When, on the other hand, the effects he used degenerated into repetitive formulas, seventeenth-century Venetian art very quickly became monotonous. This painting is a part of the Collezione Molinari Pradelli, the most extensive private collection of seventeenth- and eighteenth-century art in Italy.Artist:PALMA GIOVANE Title: The Pool Painted in 1551-1600 , Italian - - painting : religious
The Ball at the Court 1604 Oil on wood, 50 x 66 cm Pushkin Museum, MoscowArtist:PEPIJN, Marten Title: The Ball at the Court Painted in 1601-1650 , Flemish - - painting : genre
Måleriet Identifieringen :: 63829
5526 ago.
Konstnär: unknow artist Målning: The Ball at the Court Information: 1604 Oil on wood, 50 x 66 cm Pushkin Museum, MoscowArtist:PEPIJN, Marten Title: The Ball at the Court Painted in 1601-1650 , Flemish - - painting : genre
An Antique Dealer's Gallery 1615-20 Oil on wood Galleria Borghese, Rome The Antique Dealer's Gallery by Frans Francken the Younger captures the atmosphere of such places at the beginning of the 17th century and shows a large display of paintings hanging in two rows.Artist:FRANCKEN, Frans II Title: An Antique Dealer's Gallery Painted in 1601-1650 , Flemish - - painting : genre
Måleriet Identifieringen :: 63826
5526 ago.
Konstnär: Francken, Frans II Målning: An Antique Dealer's Gallery Information: 1615-20 Oil on wood Galleria Borghese, Rome The Antique Dealer's Gallery by Frans Francken the Younger captures the atmosphere of such places at the beginning of the 17th century and shows a large display of paintings hanging in two rows.Artist:FRANCKEN, Frans II Title: An Antique Dealer's Gallery Painted in 1601-1650 , Flemish - - painting : genre
Allegory of the Five Senses 1668 Oil on canvas Glasgow Museum, Glasgow The senses are represented as women and children engaged in some typical activity and with attributes. Hearing is associated with music. Sight holds a mirror. Taste has a fruit and Smell a bunch of flowers. Touch has a bird perching on her raised hand.Artist:LAIRESSE, G?rard de Title: Allegory of the Five Senses Painted in 1651-1700 , Dutch - - painting : mythological
Måleriet Identifieringen :: 63825
5526 ago.
Konstnär: unknow artist Målning: Allegory of the Five Senses Information: 1668 Oil on canvas Glasgow Museum, Glasgow The senses are represented as women and children engaged in some typical activity and with attributes. Hearing is associated with music. Sight holds a mirror. Taste has a fruit and Smell a bunch of flowers. Touch has a bird perching on her raised hand.Artist:LAIRESSE, G?rard de Title: Allegory of the Five Senses Painted in 1651-1700 , Dutch - - painting : mythological
Madonna and Saints 1626-28 Oil on canvas, 280 x 170 cm Museo dell'Accademia Etrusca, Cortona Pietro da Cortona's oeuvre contains splendid examples of rich altarpieces which are a triumph of his proud and exultant style. Some also provide memorable examples of Baroque taste. This painting was commissioned by the Passerini family for the church of S. Agostino in the painter's home town. In a civilized fashion, it trumpets the fact that some of the Passerini family were members of chivalrous orders. So we see the Knights of St Stephen (notice the cross on the cope of the pope, St Stephen), the Knights of Malta (represented by the figure of John the Baptist and the cloak in the centre) and the Order of Calatrava (St James the Great can be seen behind John the Baptist). Even in this quiet scene, there is an air of great energy and vigour, almost as if the saints were about to burst into song. The colours are also marvelously fresh and vivid.Artist:PIETRO DA CORTONA Title: Madonna and Saints Painted in 1601-1650 , Italian - - painting : religious
Måleriet Identifieringen :: 63824
5526 ago.
Konstnär: Pietro da Cortona Målning: Madonna and Saints Information: 1626-28 Oil on canvas, 280 x 170 cm Museo dell'Accademia Etrusca, Cortona Pietro da Cortona's oeuvre contains splendid examples of rich altarpieces which are a triumph of his proud and exultant style. Some also provide memorable examples of Baroque taste. This painting was commissioned by the Passerini family for the church of S. Agostino in the painter's home town. In a civilized fashion, it trumpets the fact that some of the Passerini family were members of chivalrous orders. So we see the Knights of St Stephen (notice the cross on the cope of the pope, St Stephen), the Knights of Malta (represented by the figure of John the Baptist and the cloak in the centre) and the Order of Calatrava (St James the Great can be seen behind John the Baptist). Even in this quiet scene, there is an air of great energy and vigour, almost as if the saints were about to burst into song. The colours are also marvelously fresh and vivid.Artist:PIETRO DA CORTONA Title: Madonna and Saints Painted in 1601-1650 , Italian - - painting : religious
