ID de tableau:: 19197
Annunciation l-Annonciation 1440-45, Mixed technique on wood, Hohe Domkirche St. Petrus und Maria, Cologne 1440-45, technique Mélangée sur le bois, la Rue de Domkirche de Hohe. Petrus und Maria, l-Eau decologne German Northern Renaissance Painter, ca.1400-1451
ID de tableau:: 19209
Annunciation l-Annonciation 1344, Pinacoteca Nazionale, Siena 1344, Pinacoteca Nazionale, Siena Italian Byzantine Style Painter, ca.1290-1348
ID de tableau:: 27029
Annunciation l~Annonciation 1490-1493
New York,Metropolitan Museum of Art (mk57) 1490-1493 New York, le Musée Métropolitain d~Art (mk57) Italian Early Renaissance Painter, 1445-1510
ID de tableau:: 29131
Annunciation l~Annonciation mk65
1495
Tempera and oil on canvas
transferred from panel
54x42"
mk65 1495Détrempe et le pétrole sur le canevas transféré de lambrisent 54x42 Italian Painter, ca.1459-1517
ID de tableau:: 29133
Annunciation l~Annonciation mk65
Tempera on panel
14x20"
mk65 Détrempe sur lambrise 14x20 Italian
1457-1504
Filippino Lippi Galleries
ID de tableau:: 30409
Annunciation l~Annonciation mk68
Fresco
Florence
San Marco Museum
le Musée de Marco de San de Florence de Fresque de mk68 Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
ID de tableau:: 30573
Annunciation l~Annonciation mk68
Oil on wood
Florence,Uffizi,
c.1645-1649
France
mk68 Pétrole sur Florence de bois, Uffizi, c.1645-1649 France French Baroque Era Painter, 1590-1649
ID de tableau:: 31632
Annunciation l~Annonciation mk74
115x157cm
parma
Galleria Nazionale
mk74 115x157cm parma Galleria Nazionale Italian 1489-1534
Correggio Locations
ID de tableau:: 33367
Annunciation l~Annonciation mk86
undated
Tempera on wood
6163cm
Brussels
mk86 Détrempe non datée sur le bois 6163 cm Bruxelles 1406-1444
Robert Campin Location
ID de tableau:: 33636
Annunciation l~Annonciation mk86
c.1660-1665
Oil on canvas
125x103cm
Madrid,Museo del Prado
mk86 c.1660- 1665 le Pétrole sur le canevas 125x103cm Madrid, Museo del Prado Spanish
1618-1682
Bartolome Esteban Murillo Galleries
ID de tableau:: 40205
Annunciation l~Annonciation mk156
c.1447
Tempera on panel
167x137cm
mk156 c. 1447 Détrempe sur lambrise 167x137cm Florence ca 1425-1499
ID de tableau:: 40418
Annunciation l~Annonciation mk156
c.1616
Oil on canvas
296x183cm
mk156 c. 1616 Pétrole sur le canevas 296x183cm Italian painter (b. 1582, Parma, d. 1647, Roma).
Italian painter, Florentine school (b. ca. 1320, Firenze, d. 1391,
ID de tableau:: 55920
Annunciation mk247
1376-78,fresco(detail)baptistery,padua,ltaly Italian painter, Florentine school (b. ca. 1320, Firenze, d. 1391,
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter.
Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore."
He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain.
In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters.
His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467.
In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.
ID de tableau:: 58222
Annunciation Annunciation (1447) Tempera on wood, 167 x 137 cm Galleria degli Uffizi, Florence. (October 14, 1427??August 29, 1499) was an Italian early Renaissance painter.
Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore."
He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain.
In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters.
His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467.
In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.
Italian Mannerist/Baroque Era Painter, ca.1535-1612
ID de tableau:: 58227
Annunciation Annunciation (1592-96)
Oil on canvas, Santa Maria degli Angeli, Perugia. Italian Mannerist/Baroque Era Painter, ca.1535-1612
Italian High Renaissance Painter and Inventor, 1452-1519
ID de tableau:: 58590
Annunciation Annunciation (1475?C1480)??Uffizi, is thought to be Leonardo's earliest complete work Italian High Renaissance Painter and Inventor, 1452-1519
ID de tableau:: 62348
Annunciation 24 x 18 cm Galleria Estense, Modena Probably soon after his arrival in Venice El Greco painted the Modena Triptych. Here he adapts Renaissance principles of representation to a small-scale triptych of a post-Byzantine design common in the Venetian empire. As the wings of the triptych are opened in succession, the sequence of images reveals the state of Man before the Fall to his restoration to a state of Grace through Christ. The scene of The Annunciation is the left panel on the back of the triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Annunciation , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
ID de tableau:: 62403
Annunciation 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio Italian
1449-1494
Domenico Ghirlandaio Galleries
ID de tableau:: 62407
Annunciation 1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious Italian High Renaissance Painter, 1460-1513
ID de tableau:: 62999
Annunciation 1489-90 Mosaic Porta della Mandorla, Duomo, Florence In addition to the fresco in the Tornabuoni Chapel, Ghirlandaio created another Annunciation between 1489 and 1490 using the ancient mosaic technique, which he had learnt from Alessio Baldovinetti and which he had been able to employ when restoring a few old mosaics. There is no lectern in this mosaic version of the Annunciation, though the influence of Leonardo's painting is still felt, particularly in the spatial arrangement - a building on the left behind Mary and a view over a wall to a landscape. Above the Porta della Mandorla on Florence Cathedral there still exists this mosaic. Vasari wrote the following comment on it: "Domenico enriched the modern art of working in mosaic infinitely more than any other Tuscan, as his works, though few, amply demonstrate...". Of this mosaic destined for the Porta della Mandorla Domenico only executed the cartoon, which was probably translated into mosaic by his brother David. Artist: GHIRLANDAIO, Domenico Painting Title: Annunciation , 1451-1500 Painting Style: Italian , , religious Italian
1449-1494
Domenico Ghirlandaio Galleries
ID de tableau:: 63008
Annunciation 1482 Fresco Loggia del Comune, Collegiata, San Gimignano The detail shows the lectern, reminiscent of Flemish still-lifes. Artist: MAINARDI, Bastiano Painting Title: Annunciation (detail) , 1451-1500 Painting Style: Italian , , still-life
ID de tableau:: 63085
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin Annunciate is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1395-1441
ID de tableau:: 63086
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Virgin Annunciate is one of the wings of a small portable diptych. The other wing representing the Angel Annunciating is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1395-1441
ID de tableau:: 63528
Annunciation 1485 Wood S. Maria sopra Minerva, Rome Antoniazzo executed this altarpiece for the Chapel of Annunciation in Santa Maria sopra Minerva, Rome. The painting was commissioned by Cardinal Juan de Torquemada who is seen on the painting as presenting three girls to the Virgin.Artist:ANTONIAZZO ROMANO Title: Annunciation Painted in 1451-1500 , Italian - - painting : religious [Italian Early Renaissance Painter, 1430-ca.1508
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 63590
Annunciation 1526 Pen drawing, 288 x 211 mm Mus?e Cond? ChantillyArtist:D?RER, Albrecht Title: Annunciation Painted in 1501-1550 , German - - graphics : study b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 63946
Annunciation 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges Petrus Christus belonged to the same generation as Van der Weyden, but was perhaps a little younger. He came to Bruges from North Brabant, possibly after completing his initial training in Haarlem. His style is strongly modelled on that of Van Eyck and so there is good reason for suspecting he was Jan's apprentice, even though he did not purchase free citizenship of Bruges until three years after his putative master's death. The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Annunciation , 1451-1500 , Flemish , painting , religious Netherlandish Northern Renaissance Painter, ca.1410-1473
ID de tableau:: 64417
Annunciation 1794 Oil on canvas, 81 x 52 cm Bishop's Residence, Szombathely This study was executed for the fresco on the nave ceiling in the Cathedral of Szombathely. Artist:MAULBERTSCH, Franz Anton Title: Annunciation (study), 1751-1800, Austrian , painting , religious Austrian Painter, 1724-1796
b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
ID de tableau:: 76145
Annunciation Date between 1512(1512) and 1513(1513)
Medium Oil on wood
Dimensions Width: 184 cm (72.4 in). Height: 183 cm (72 in).
cyf b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
ID de tableau:: 76466
Annunciation Date ca. 1528(1528)
Medium Oil on wood
cyf b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
ID de tableau:: 76519
Annunciation ca. 1528(1528)
Medium Oil on wood
cyf b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
ID de tableau:: 86355
Annunciation Date c. 1430(1430)
Medium Oil on panel
Dimensions Height: 76 cm (29.9 in). Width: 70 cm (27.6 in).
cjr 1406-1444
Robert Campin Location
Giambattista Pittoni (June 6, 1687-November 6, 1767) was an Italian painter of the late-Baroque or Rococo period, active mainly in his native Venice.
Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint eThe Torture of St Thomase for San Stae in Venice, which also contains one if his later works in its sacristy. He also completed the transit of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academician of the Accademia Clementina in Bologna. In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions from German, Polish, Russian, Italian and Austrian patrons, including eThe Sacrifice of Jephthah's daughtere for the Royal Palace of Turin, a number of works for the Marshal von Schulenburg, and a eMartyrdom of St Batholomewe for the Basilica of Saint Anthony of Padua. Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects (such as Sophonisba and Polyxena).
By 1740, he established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices. Pittoni died at age 80 on November 6, 1767. His tomb is at the church of San Giacomo dall'Orio in Venice.
Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and he succeeded as President (1758-1761) his contemporary Giovanni Battista Tiepolo. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.
ID de tableau:: 91103
Annunciation after 1740(1740)
Current location St. Mary's Church
cyf Giambattista Pittoni (June 6, 1687-November 6, 1767) was an Italian painter of the late-Baroque or Rococo period, active mainly in his native Venice.
Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint eThe Torture of St Thomase for San Stae in Venice, which also contains one if his later works in its sacristy. He also completed the transit of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academician of the Accademia Clementina in Bologna. In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions from German, Polish, Russian, Italian and Austrian patrons, including eThe Sacrifice of Jephthah's daughtere for the Royal Palace of Turin, a number of works for the Marshal von Schulenburg, and a eMartyrdom of St Batholomewe for the Basilica of Saint Anthony of Padua. Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects (such as Sophonisba and Polyxena).
By 1740, he established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices. Pittoni died at age 80 on November 6, 1767. His tomb is at the church of San Giacomo dall'Orio in Venice.
Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and he succeeded as President (1758-1761) his contemporary Giovanni Battista Tiepolo. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.
Jakob Merten (August 11, 1809 - February 22, 1872) was a German Catholic theologian who was born in Wittlich.
He studied theology in Trier, where in 1833 he received his ordination. Subsequently he became a chaplain in Trier, where he worked closely with Franz Peter Knoodt (1811-1889). From 1843 to 1868 he was a professor of philosophy at the Episcopal Seminary in Trier.
Initially a prominent follower of Anton Genther's philosophy, Merten eventually abandoned Gentherianism as his career progressed. He was author of an essay on Gentherian philosophy titled Hauptfragen der Metaphysik in Verbindung mit der Speculation (Primary Questions of Metaphysics in Association with Speculation) (1840). Other noted works by Merten include:
Grundriss der Metaphysik, (Outline of Metaphysics); 1848
Der selige Frings und sein Freund als Antigentherianer; 1852
Bemerkungen zur Metaphysik von Balmes, (Remarks on the Metaphysics of Balmes); 1859
ID de tableau:: 91846
Annunciation 1600(1600)
Dimensions 175 X 108 cm (68.9 X 42.5 in)
cyf Jakob Merten (August 11, 1809 - February 22, 1872) was a German Catholic theologian who was born in Wittlich.
He studied theology in Trier, where in 1833 he received his ordination. Subsequently he became a chaplain in Trier, where he worked closely with Franz Peter Knoodt (1811-1889). From 1843 to 1868 he was a professor of philosophy at the Episcopal Seminary in Trier.
Initially a prominent follower of Anton Genther's philosophy, Merten eventually abandoned Gentherianism as his career progressed. He was author of an essay on Gentherian philosophy titled Hauptfragen der Metaphysik in Verbindung mit der Speculation (Primary Questions of Metaphysics in Association with Speculation) (1840). Other noted works by Merten include:
Grundriss der Metaphysik, (Outline of Metaphysics); 1848
Der selige Frings und sein Freund als Antigentherianer; 1852
Bemerkungen zur Metaphysik von Balmes, (Remarks on the Metaphysics of Balmes); 1859
ID de tableau:: 93900
Annunciation 1467-1470
Medium Oil on panels
Dimensions 78 x 63 cm (central panel), 83,3 x 26,5 cm (each)
cjr Netherlandish Northern Renaissance Painter, ca.1435-1494
ID de tableau:: 94640
Annunciation The Annunciation is a painting by the Italian late medieval painter Ambrogio Lorenzetti, signed and dated 1344, now housed in the Pinacoteca Nazionale of Siena, Italy Italian Byzantine Style Painter, ca.1290-1348
ID de tableau:: 94654
Annunciation 1474
Type Oil on panel
Dimensions 180 cm x 180 cm (71 in x 71 in)
cyf 1430-1479
Italian
Antonello da Messina Galleries
