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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 index d'artistes


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Artiste: GRECO, El

GRECO, El Penitent Magdalen France oil painting reproduction

Penitent Magdalen
ID de tableau:: 62342
(new21/GRECO, El-367476.jpg)
118 x 105 cm Private collection Autograph version, signed 'dom?nikos theot?kopoulos epoiei'. It is a late composition of the artist, recalling the iconography of Titian. Author: GRECO, El Title: Penitent Magdalen , 1551-1600 , Spanish Form: painting , religious

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Artiste: Caravaggio

Caravaggio Magdalene France oil painting reproduction

Magdalene
ID de tableau:: 62386
(new21/Caravaggio-676746.jpg)
122,5 x 98,5 cm Galleria Doria-Pamphili, Rome This picture and The Rest on the Flight into Egypt must have been painted around the same time, for the same girl sat for the Magdalene and the Madonna. On this occasion, however, there are none of the usual signs of a religious scene such as a halo. A young girl, seen from above, is seated on a low stool in one of Caravaggio's favourite cave-like settings, with a triangle of light high up on the wall behind her. Discarded jewellery - a string of pearls, clasps, a jar (perhaps holding precious ointment) - lies on the floor. The girl's hair is loose, as if it has just been washed. Her costume, consisting of a white-sleeved blouse, a yellow tunic and a flowery skirt, is rich. Bellori, who gives a careful description of this picture, which he came across in the collection of Prince Pamphilj, regards its title as an excuse; for him it is just a naturalistic portrayal of a pretty girl. This seems to show a willful failure to understand Caravaggio's intention or the wishes of the man who commissioned it, Monsignor Petrignani. The repentant Mary Magdalene, like the repentant Peter, was a favourite subject of Counter-Reformation art and poetry, which valued the visible expression of the state of contrition 'the gift of tears'. Caravaggio's heroine is sobbing silently to herself and a single tear falls down her cheek. She is, as it were, poised between her past life of luxury and the simple life she will embrace as one of Christ's most faithful followers. It is a sign of the painter's skill that he makes this inner conflict moving at the same time as he makes its representation delectable. Although nothing painted in the sixteenth century is as emotive as the statue in wood of the haggard saint carved by Donatello (c.1456-60), by the time Titian's bare-breasted Magdalene of the 1530s (Palazzo Pitti, Florence) had become the more modest and affecting Magdalene of the 1560s, there had been a move in religious sensibility towards the humble and pathetic, a change which thirty years later Caravaggio could take for granted

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Artiste: Caravaggio

Caravaggio St Catherine of Alexandria France oil painting reproduction

St Catherine of Alexandria
ID de tableau:: 62387
(new21/Caravaggio-285856.jpg)
173 x 133 cm Thyssen-Bornemisza Collection, Madrid The painting formerly belonged to Cardinal Del Monte, one of the artist's patrons. Here we see a single female figure in an interior devoid of architectural allusions. The image appears with a boldness and an immediacy that combine the nobility of the subject (St Catherine was a king's daughter) with the almost plebeian pride of the model (no doubt a Roman woman of the people, who appears on other paintings of the artist, too). The breadth of conception and realization, and the perfect mastery of a very difficult composition (the figure and objects completely fill the painting, in a subtle play of diagonals) are striking. Caravaggio here chose a "grand" noble approach that heralds the great religious compositions he would soon do for San Luigi dei Francesi. The extraordinary virtuosity in the painting of the large, decorated cloth is absorbed as an integral part of the composition. This is something his followers would not often succeed in doing, for they frequently dealt with the single components of the painting individually, with adverse effects on the unity of the whole.

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Artiste: Juan de Flandes

Juan de Flandes Herodias Revenge France oil painting reproduction

Herodias Revenge
ID de tableau:: 62420
(new21/Juan de Flandes-848964.jpg)
75 x 50,4 cm Museum Mayer van den Bergh, Antwerp Herod and Herodias sit at a table in a Renaissance interior. Salome presents the severed head of John the Baptist to them on a platter.Herod recoils from the atrocity, but Herodias holds a knife ready to pierce John's tongue in revenge for the saints's denunciation of her sinful behaviour. The panel belonged to an altarpiece devoted to the story of John the Baptist which was painted in 1496 for the Carthusian monastery of Miraflores near Burgos. The original form of the altarpiece has been partially reconstructed. Its central panel was the Baptism of Christ, now in a Madrid collection. Each wing consisted of at lest two panels placed one on top of the other. Although the work of Juan de Flandes is not really Southern Netherlandish in character, we nevertheless detect the clear influence of painters from Ghent and Bruges, especially Hugo van der Goes. He uses painterly techniques to create a strange atmosphere. The bright lighting and accentuation of the green, red and orange sections generate a nervous tension. Placing the main protagonists in the foreground lends the scene an expressive aura and a pronounced monumentality, which is further heightened by the dramatic movement, the sharply delineated forms and the realistic appearance of the figures. Author: JUAN DE FLANDES Title: Herodias' Revenge , 1501-1550 , Spanish Form: painting , religious

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Artiste: Francois Boucher

Francois Boucher The Milliner France oil painting reproduction

The Milliner
ID de tableau:: 62421
(new21/Francois Boucher-729395.jpg)
1746 Oil on canvas, 64 x 53 cm Nationalmuseum, Stockholm The painting, commissioned by Count Tessin, the ambassador of Switzerland, is part of a series of four representing morning, noon, afternoon and night, respectively. Author: BOUCHER, Fran?ois Title: The Milliner (The Morning) , 1701-1750 , French Form: painting , genre

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Artiste: Maurice Prendergast

Maurice Prendergast From Darkness France oil painting reproduction

From Darkness
ID de tableau:: 62438
(new21/Maurice Prendergast-757963.jpg)
Allegory of the Hungarian Academy of Sciences 1831 Oil on canvas, 350 x 250 cm Hungarian Academy of Sciences, Budapest Author: ENDER, Johann Title: "From Darkness, the Light". Allegory of the Hungarian Academy of Sciences , 1801-1850 , Austrian Form: painting , mythological

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Artiste: Brocky, Karoly

Brocky, Karoly Mother and Child France oil painting reproduction

Mother and Child
ID de tableau:: 62446
(new21/Brocky, Karoly-648794.jpg)
1846-50 Oil on canvas, 62 x 54,8 cm Hungarian National Gallery, Budapest Like many others painted in this period, this painting reflects the influences of the artist's journey to Italy

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Artiste: Sir David Wilkie

Sir David Wilkie Queen Victoria France oil painting reproduction

Queen Victoria
ID de tableau:: 62452
(new21/Sir David Wilkie-853488.jpg)
1840 Oil on canvas Private collection Author: WILKIE, Sir David Title: Queen Victoria (detail) Form: painting , 1801-1850 , Scottish , portrait

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Artiste: Thomas Sully

Thomas Sully Queen Victoria France oil painting reproduction

Queen Victoria
ID de tableau:: 62500
(new21/Thomas Sully-843977.jpg)
1838 Oil on canvas, 143 x 113 cm Wallace Collection, London This painting is a reduced version of a whole-length portrait of the young Queen at the time of her coronation which was painted in London for the Society of the Sons of St George of Philadelphia. Author: SULLY, Thomas Title: Queen Victoria Form: painting , 1801-1850 , American , portrait

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Artiste: Eugene Delacroix

Eugene Delacroix Moroccan Women France oil painting reproduction

Moroccan Women
ID de tableau:: 62514
(new21/Eugene Delacroix-355869.jpg)
1832 Watercolour Mus?e Cond? Chantilly The number of major paintings that derive from Delacroix's Moroccan notes and sketchbooks is clear proof of the impact of the experience. They include the Jewish Wedding in Morocco, The Fanatics of Tangier and The Sultan of Morocco and his Entourage. In the composition of these works, Delacroix scrupulously observed the notes and sketches that he had made in situ. Thus the decor of the Jewish Wedding in Morocco exactly matches that recorded in a watercolour in the notebook, while his notes give an exact description of the painting that was to come. Author: DELACROIX, Eug?ne Title: Moroccan Women Form: graphics , 1801-1850 , French , study

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Artiste: Antonio Canova

Antonio Canova The Three Graces Dancing France oil painting reproduction

The Three Graces Dancing
ID de tableau:: 62546
(new21/Antonio Canova-667228.jpg)
1799 Tempera on paper Canova Museum, Possagna Canova mentioned "various ideas on dances, the play between nymphs and cupids, muses, philosophers, etc., sketched exclusively for the artist's own study and enjoyment." There is little doubt he was referring to the tempera cycle at Possagno and similar sketches now in Bassano. Picking up the themes and techniques discovered in Herculaneum, Canova created brightly coloured mythological figures that stand out against the black background. These sketches are the forerunners of themes and figures he would later sculpt. The picture shows a detail from a frieze. Author: CANOVA, Antonio Title: The Three Graces Dancing Form: graphics , 1751-1800 , Italian , mythological

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Artiste: Bartolome Esteban Murillo

Bartolome Esteban Murillo Rest on his way to flee Egypt France oil painting reproduction

Rest on his way to flee Egypt
ID de tableau:: 62586
(new21/Bartolome Esteban Murillo-849374.jpg)
mk284 Oil on canvas 1670 187 x 223 cm Hermitage Museum in St. Petersburg

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Tableau::. All people >> woman