GUERCINOItalian Baroque Era Painter, 1591-1666 | |||
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raising of lazarus ID de tableau:: 56051 Voir la galerie dans Suède |
raising of lazarus mk247 c.1619,oil on canvas,78.375x91.75 in ,199x233 cm,louvre,paris,france mk247 c.1619,oil_on_canvas,78.375x91.75_in_,199x233_cm,louvre,paris,france |
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St Romuald ID de tableau:: 63827 Voir la galerie dans Suède |
St Romuald 1640-41 Oil on canvas, 292 x 184 cm Pinacoteca Comunale, Ravenna In his last period Guercino proceeded to a marked classicism by eliminating the 'chiaroscuro' effects of the earlier years. Romuald (c. 952-1027) was a Benedictine monk who entered the Order as an act of atonement after his father had murdered a relative. Finding the monastic life of his day in need of reform he founded communities that were vowed to solitude and silence, of which the best known was the monastery of Camaldoli in the Appenines near Arezzo. Romuald is old and white-bearded and is dressed in the habit of the Camaldolese Order, a striking loose-flowing white garment with wide sleeves.Artist:GUERCINO Title: St Romuald Painted in 1601-1650 , Italian - - painting : religious 1640-41_Oil_on_canvas,_292_x_184_cm_Pinacoteca_Comunale,_Ravenna_In_his_last_period_Guercino_proceeded_to_a_marked_classicism_by_eliminating_the_'chiaroscuro'_effects_of_the_earlier_years._Romuald_(c._952-1027)_was_a_Benedictine_monk_who_entered_the_Order_as_an_act_of_atonement_after_his_father_had_murdered_a_relative._Finding_the_monastic_life_of_his_day_in_need_of_reform_he_founded_communities_that_were_vowed_to_solitude_and_silence,_of_which_the_best_known_was_the_monastery_of_Camaldoli_in_the_Appenines_near_Arezzo._Romuald_is_old_and_white-bearded_and_is_dressed_in_the_habit_of_the_Camaldolese_Order,_a_striking_loose-flowing_white_garment_with_wide_sleeves.Artist:GUERCINO_Title:_St_Romuald___Painted_in__1601-1650___,__Italian__-_-_painting__:_religious |
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Saul Attacking David ID de tableau:: 63828 Voir la galerie dans Suède |
Saul Attacking David 1646 Oil on canvas, 147 x 220 cm Galleria Nazionale d'Arte Antica, Rome This painting was executed along with a pendant, now in Los Angeles, that depicts Samson showing his hair - secret of his superhuman strength - to Delilah. Guercino painted the pair of canvases in 1646 for the Cardinal Falconieri, who was at the time serving as Papal Legate to Bologna. The two paintings were separated at the end of the eighteenth century. Guercino's increasing tendency towards classicism began in the 1630's when the painter fell under the influence of the late work of Guido Reni. Like its pendant, the Saul Attacking David is a splendid example of his late style, a period in which Guercino brought his investigations into classicising style to their fullest conclusion. Despite the dramatic quality of the narrative, the composition of the painting is extremely balanced: everything centres on the monumentality of the two figures, contrasting protagonists of the scene. Almost frozen in their action, they are displayed entirely in the foreground, as if in a relief sculpture. The chromatic range, light and highly refined, is rather far from the richly impasted mode of the artist's youth, as is the way in which the shadows ably underline the plastic quality of the two personages.Artist:GUERCINO Title: Saul Attacking David Painted in 1601-1650 , Italian - - painting : religious 1646_Oil_on_canvas,_147_x_220_cm_Galleria_Nazionale_d'Arte_Antica,_Rome_This_painting_was_executed_along_with_a_pendant,_now_in_Los_Angeles,_that_depicts_Samson_showing_his_hair_-_secret_of_his_superhuman_strength_-_to_Delilah._Guercino_painted_the_pair_of_canvases_in_1646_for_the_Cardinal_Falconieri,_who_was_at_the_time_serving_as_Papal_Legate_to_Bologna._The_two_paintings_were_separated_at_the_end_of_the_eighteenth_century._Guercino's_increasing_tendency_towards_classicism_began_in_the_1630's_when_the_painter_fell_under_the_influence_of_the_late_work_of_Guido_Reni._Like_its_pendant,_the_Saul_Attacking_David_is_a_splendid_example_of_his_late_style,_a_period_in_which_Guercino_brought_his_investigations_into_classicising_style_to_their_fullest_conclusion._Despite_the_dramatic_quality_of_the_narrative,_the_composition_of_the_painting_is_extremely_balanced:_everything_centres_on_the_monumentality_of_the_two_figures,_contrasting_protagonists_of_the_scene._Almost_frozen_in_their_action,_they_are_displayed_entirely_in_the_foreground,_as_if_in_a_relief_sculpture._The_chromatic_range,_light_and_highly_refined,_is_rather_far_from_the_richly_impasted_mode_of_the_artist's_youth,_as_is_the_way_in_which_the_shadows_ably_underline_the_plastic_quality_of_the_two_personages.Artist:GUERCINO_Title:_Saul_Attacking_David___Painted_in__1601-1650___,__Italian__-_-_painting__:_religious |
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Apparition of Christ to the Virgin ID de tableau:: 63969 Voir la galerie dans Suède |
Apparition of Christ to the Virgin 1628-30 Oil on canvas Pinacoteca Civica, Cento , Artist: GUERCINO , Apparition of Christ to the Virgin , 1601-1650 , Italian , painting , religious 1628-30_Oil_on_canvas_Pinacoteca_Civica,_Cento_,__Artist:_GUERCINO_,___Apparition_of_Christ_to_the_Virgin_,___1601-1650_,___Italian_,___painting_,___religious |
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Samson Captured by the Philistines ID de tableau:: 70582 Voir la galerie dans Suède |
Samson Captured by the Philistines Medium Oil on canvas Dimensions Expression error: Missing operand for *191.1 ?? 236.9 cm Medium_Oil_on_canvas _ Dimensions_Expression_error:_Missing_operand_for_*191.1_??_236.9_cm |
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| GUERCINO | ||||||||||
| Italian Baroque Era Painter, 1591-1666 | ||||||||||
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