Dutch, approx. 1575-1632
Hendrik van Balen
Students included Anthony Van Dyck, Frans Snyders and Gerard Seghers
ID de tableau:: 10708
The Judgement of Paris Le Jugement de Paris 1599, Gemäldegalerie at Berlin 1599, la Gemmeauml ; ldegalerie à Berlin Dutch, approx. 1575-1632
Hendrik van Balen
Students included Anthony Van Dyck, Frans Snyders and Gerard Seghers
ID de tableau:: 19276
The Judgement of Paris Le Jugement de Paris 1517-18
Tempera on canvas
Öffentliche Kunstsammlung, Basle. 1517-18 Détrempe sur le canevas Ouml ; ffentliche Kunstsammlung, Bâle. Swiss Northern Renaissance Painter, ca.1484-1530
ID de tableau:: 30155
The Judgement of Paris Le Jugement de Paris mk64
c.1638-1639
Oil on canvas
199x379cm
Madrid,Museo Nacional del Prado
mk64 c.1638-1639 Pétrole sur le canevas 199x379cm Madrid, Prado de del de Nacional de Museo Flemish Baroque Era Painter, 1577-1640
ID de tableau:: 32231
The Judgement of Paris Le Jugement de Paris 1599
Oil on canvas 1599 Pétrole sur le canevas Dutch Baroque Era Painter, ca.1575-1632
ID de tableau:: 33530
The Judgement of Paris Le Jugement de Paris mk86
c.1517/18
Tempera on canvas
223x160cm
Basle mk86 c.1517/18 Détrempe sur le canevas 223x160cm Bâle Swiss Northern Renaissance Painter, ca.1484-1530
(27 February 1824 - 17 July 1895) was a French painter born in Nantes.His oeuvre began with portraits and classical historical subject matter but he later moved on to allegorical and mythological themes.He was an academic painter and one of the founders of the Neo-Grec school, along with his close friends Gustave Boulanger, Jean-L??on G??rôme, and Jean-Louis Hamon, also academic painters. All of them studied in the workshops of both Paul Delaroche and later Charles Gleyre. Picou's style was noticeably influenced by Gleyre. While the rest of the group generally painted classical and mythological subjects, Picou also received commissions for large religious frescoes from many churches, including the Église Saint-Roch.
His artistic debut was at the Salon in 1847. The next year he was awarded a second-class medal for his painting, Cl??opâtre et Antoine sur le Cydnus. Also known as Cleopatra on the Cydnus, it is commonly regarded as Picou's masterpiece. This showing at the Salon in 1848 was written about by the critic Th??ophile Gautier, who felt that the subject matter was too ambitious, but also said that "As it is, it gives the best hope for the future of the young artist, and ranks among the seven or eight most important paintings of the Salon.In 1875 the painting was exhibited in New York, and afterward found lodgment on the walls of a private art gallery in San Francisco.Picou maintained a large workshop in Paris on the Boulevard de Magenta, which provided him room to work on his expansive frescoes. His popularity continued to rise and he went on to win the Second Prix de Rome in 1853 for his painting, J??sus chassant les vendeurs du Temple (The Moneylenders Chased from the Temple), and another second-class medal for his Salon painting in 1857. From his debut in 1847, he was a regular at the Salon, showing almost every year until his final exhibit in 1893.He has been called the most fashionable painter towards the close of the Second French Empire
ID de tableau:: 72714
The Judgement of Paris Oil on canvas
21.63 X 27.5 in (54.93 X 69.85 cm)
cjr (27 February 1824 - 17 July 1895) was a French painter born in Nantes.His oeuvre began with portraits and classical historical subject matter but he later moved on to allegorical and mythological themes.He was an academic painter and one of the founders of the Neo-Grec school, along with his close friends Gustave Boulanger, Jean-L??on G??rôme, and Jean-Louis Hamon, also academic painters. All of them studied in the workshops of both Paul Delaroche and later Charles Gleyre. Picou's style was noticeably influenced by Gleyre. While the rest of the group generally painted classical and mythological subjects, Picou also received commissions for large religious frescoes from many churches, including the Église Saint-Roch.
His artistic debut was at the Salon in 1847. The next year he was awarded a second-class medal for his painting, Cl??opâtre et Antoine sur le Cydnus. Also known as Cleopatra on the Cydnus, it is commonly regarded as Picou's masterpiece. This showing at the Salon in 1848 was written about by the critic Th??ophile Gautier, who felt that the subject matter was too ambitious, but also said that "As it is, it gives the best hope for the future of the young artist, and ranks among the seven or eight most important paintings of the Salon.In 1875 the painting was exhibited in New York, and afterward found lodgment on the walls of a private art gallery in San Francisco.Picou maintained a large workshop in Paris on the Boulevard de Magenta, which provided him room to work on his expansive frescoes. His popularity continued to rise and he went on to win the Second Prix de Rome in 1853 for his painting, J??sus chassant les vendeurs du Temple (The Moneylenders Chased from the Temple), and another second-class medal for his Salon painting in 1857. From his debut in 1847, he was a regular at the Salon, showing almost every year until his final exhibit in 1893.He has been called the most fashionable painter towards the close of the Second French Empire
ID de tableau:: 81042
The Judgement of Paris Date 1902(1902)
Medium Oil on canvas
Dimensions 26.5 x 45.5 cm (10.4 x 17.9 in)
cjr French
1848-1903
Paul Gauguin Art Locations
(1566, Gorinchem - 27 January 1651, Utrecht), was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends.
Bloemaert was the son of an architect, who moved his family to Utrecht in 1575, where Abraham was first a pupil of Gerrit Splinter (pupil of Frans Floris) and of Joos de Beer. He then spent three years in Paris, studying under several masters, and on his return to his native country received further training from Hieronymus Francken. In 1591 he went to Amsterdam, and four years later settled finally at Utrecht, where he became dean of the Guild of St. Luke.
He excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces. In the first decade of the seventeenth-century, Bloemaert began formulating his landscape paintings to include pictoresque ruined cottagges and other pastoral elements. In these works, the religious or mythological figures play a subordinate role. Country life was to remain Bloemaert's favourite subject, which he depicted with increasing naturalism. He drew motifs such as peasant cottages, dovecotes and trees from life and then on his return to the studio, worked them up into complex imaginary scenes.
Among his pupils are his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputation as painters or engravers), the two Honthorsts, Ferdinand Bol and Jacob Gerritsz Cuyp.
ID de tableau:: 90820
The Judgement of Paris ?
Medium oil on canvas
Dimensions 28¾ x 39 in. (73 x 99 cm.)
cyf (1566, Gorinchem - 27 January 1651, Utrecht), was a Dutch painter and printmaker in etching and engraving. He was one of the "Haarlem Mannerists" from about 1585, but in the new century altered his style to fit new Baroque trends.
Bloemaert was the son of an architect, who moved his family to Utrecht in 1575, where Abraham was first a pupil of Gerrit Splinter (pupil of Frans Floris) and of Joos de Beer. He then spent three years in Paris, studying under several masters, and on his return to his native country received further training from Hieronymus Francken. In 1591 he went to Amsterdam, and four years later settled finally at Utrecht, where he became dean of the Guild of St. Luke.
He excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces. In the first decade of the seventeenth-century, Bloemaert began formulating his landscape paintings to include pictoresque ruined cottagges and other pastoral elements. In these works, the religious or mythological figures play a subordinate role. Country life was to remain Bloemaert's favourite subject, which he depicted with increasing naturalism. He drew motifs such as peasant cottages, dovecotes and trees from life and then on his return to the studio, worked them up into complex imaginary scenes.
Among his pupils are his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputation as painters or engravers), the two Honthorsts, Ferdinand Bol and Jacob Gerritsz Cuyp.
ID de tableau:: 92077
The Judgement of Paris oil on oak
Dimensions Height: 144.8 cm (57 in). Width: 193.7 cm (76.3 in).
cyf Flemish Baroque Era Painter, 1577-1640
Paris 1843 - Buzenval 1871.
French Academic Painter, 1843-1871.
Studied under Alexandre Cabanel.
Specializes in Orientalism.
ID de tableau:: 95505
The judgement of Paris 1820(1820)
Medium oil on canvas
Dimensions ? x cm
cyf Paris 1843 - Buzenval 1871.
French Academic Painter, 1843-1871.
Studied under Alexandre Cabanel.
Specializes in Orientalism.
Henri Regnault Paris 1843 - Buzenval 1871.
French Academic Painter, 1843-1871.
Studied under Alexandre Cabanel.
Specializes in Orientalism. The judgement of Paris
