ID de tableau:: 202
Portrait of a Man Le portrait d-un Homme 1462
The National Gallery, London 1462 La Galerie Nationale, London 1420-1475
Flemish
Dieric Bouts Locations
ID de tableau:: 1674
Portrait of a Man Le Portrait d-un Homme 1512-13
Pinakothek, Munich 1512-13 Pinakothek, Munich Italian High Renaissance Painter, ca.1485-1576
ID de tableau:: 19000
Portrait of a Man le Portrait d-un Homme 1642-46
Oil on panel
Aurora Art Fund 1642-46 Pétrole sur lambrise les Fonds d-Art d-Aurore Dutch Baroque Era Painter, 1613-1675
ID de tableau:: 19681
Portrait of a Man le Portrait d-un Homme Oil on panel
Galleria degli Uffizi, Florence. un Pétrole sur lambrise Galleria degli Uffizi, Florence. Flemish Northern Renaissance Painter, ca.1488-1541
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 28090
Portrait of a Man le Portrait d~un Homme mk61
1524
Oil on canvas
50x36cm
mk61 1524 Huilent sur le canevas 50x36cm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Italian painter, Florentine school (b. 1502, Firenze, d.
1567, Firenze)
ID de tableau:: 28979
Portrait of a Man lePortrait d~un Homme mk65
Oil on panel
25 5/8x19 11/16in
Uffizi,Gallery
mk65 Pétrole sur le panneau 25 5/8x19 11/16in Uffizi, la Galerie Italian painter, Florentine school (b. 1502, Firenze, d.
1567, Firenze)
ID de tableau:: 29287
Portrait of a Man lePortrait d~un Homme mk65
Oil on canvas
37x28"
mk65 Pétrole sur le canevas 37x28 1480-1528
Italian
Palma Vecchio Gallery
Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
ID de tableau:: 29293
Portrait of a Man le Portrait d~un Homme mk65
Oil on panel
34x31"
mk65 Pétrole sur lambrise 34x31 Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
ID de tableau:: 29300
Portrait of a Man le Portrait d~un Homme mk65
Oil on canvas
23x19 1/2"
mk65 Pétrole sur le canevas 23x19 1/2 Italian Mannerist Painter, ca.1520-1578
ID de tableau:: 29301
Portrait of a Man le Portrait d~un Homme mk65
Oil on canvas
25x20"
mk65 Pétrole sur le canevas 25x20 Italian Mannerist Painter, ca.1528-1588
ID de tableau:: 29328
Portrait of a Man le Portrait d~unHomme mk65
Oil o canvas
33x26"
33x26 de canevas d~o de Pétrole de mk65 1580-1666
Frans Hals Galleries
ID de tableau:: 29524
Portrait of a Man le Portrait d~un Homme 1650
Oil on canvas, 91 x 72 cm 1650 Pétrole sur le canevas, 91 x 72 cm 1602-1674
Philippe de Champaigne Locations
Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 29621
Portrait of a man le Portrait d~unhomme 1660-66
Oil on canvas, 85,8 x 66,9 cm 1660-66 Pétrole sur le canevas, 85.8 x 66.9 cm Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 29803
Portrait of a Man le Portrait d~un Homme mk67
Oil on panel
12 3/16x10 1/4in
Uffizi,Gallery
mk67 Pétrole sur le panneau 123/16x10 1/4in Uffizi, la Galerie Italian High Renaissance Painter, ca.1430-1516
ID de tableau:: 29882
Portrait of a Man lePortrait d~un Homme mk67
Oil on panel
34 5/8x23 15/26in
Uffizi,Gallery
mk67 Pétrole sur le panneau 34 5/8x23 15/26in Uffizi, la Galerie Italian Mannerist Painter, 1503-1540
ID de tableau:: 29917
Portrait of a Man le Portraitd~un Homme mk67
OIl on panel
22 7/16x16 9/16in
Uffizi,Gallery
mk67 PETROLE sur le panneau 22 7/16x16 9/16in Uffizi, la Galerie Flemish Northern Renaissance Painter, ca.1485-1540
ID de tableau:: 29920
Portrait of a Man le Portrait d~un Homme mk67
Oil on panel
14 9/16x10 5/8in
Uffizi,Gallery
mk67 Pétrole sur le panneau 14 9/16x10 5/8in Uffizi, la Galerie Flemish Northern Renaissance Painter , c.1488-1551
ID de tableau:: 29930
Portrait of a Man le Portrait d~un Homme mk67
Parchment over panel
10 11/16X8 7/8in
Uffizi,Gallery
mk67 Parchemin par-dessus le panneau 10 11/16X8 7/8in Uffizi, la Galerie German Northern Renaissance Painter, 1473-1531
ID de tableau:: 31301
Portrait of a Man le Portrait d~un Homme c. 1475
Tempera on wood, 31,8 x 26,7 cm
Metropolitan Museum of Art, New York c. 1475 Détrempe sur le bois, 31.8 x 26.7 cm Musée Métropolitain d~Art, New York Netherlandish Northern Renaissance Painter, ca.1440-1482
ID de tableau:: 31306
Portrait of a Man le Portrait d~un Homme nn07
c.1475
36x25cm
nn07 c. 1475 36x25cm 1430-1479
Italian
Antonello da Messina Galleries
ID de tableau:: 31735
Portrait of a man le Portrait d~un homme mk76
Painted c.1470
Oil on panel
13 1/8x9 1/8in
mk76 A Peint le c. 1470 Pétrole sur le panneau 13 1/8x9 1/8in Netherlandish Northern Renaissance Painter, ca.1435-1494
Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 31759
Portrait of a man le Portrait d~un homme mk76
Painted c.1660
Oil on canvas
44 1/2x32 1/4in
mk76 A Peint le c. 1660 Pétrole sur le canevas 44 1/2x32 1/4in Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 34274
Portrait of a Man le Portrait d~un Homme mk91
Oil on canvas
84.5x67
mk91 Pétrole sur le canevas 84.5x67 1580-1666
Frans Hals Galleries
ID de tableau:: 34961
Portrait of a Man le Portrait d~un Homme mk98
c.1885
Oil on panel
25x185
mk98 c. 1885Pétrole sur lambrise 25x185 1858-1921
Belgian
Fernand Khnopff Gallery
ID de tableau:: 39082
Portrait of a Man le Portrait d~un Homme mk140
circa 1876
Oil on canvas
75.5x60.7cm
mk140 environ 1876 Pétrole sur le canevas 75.5x60.7cm 1848-1919
Frank Duveneck Gallery
ID de tableau:: 39688
Portrait of a man le Portrait d~un homme mk150
c.1654/5
Canvas
108x79.5cm
mk150 c.1654/ 5 le Canevas 108x79.5cm 1580-1666
Frans Hals Galleries
ID de tableau:: 40237
Portrait of a Man le Portrait d~un Homme mk156
1475
Oil on panel
36x30cm
mk156 1475 Huilent sur le panneau 36x30cm 1430-1479
Italian
Antonello da Messina Galleries
Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)
ID de tableau:: 40981
Portrait of a man le Portrait d~un homme mk159
1512
Oil on canvas
117x85CM
mk159 1512 Huilent sur le canevas 117x85CM Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)
ID de tableau:: 41014
Portrait of a man le Portrait d~un homme mk159
1640s
Oil on canvas
78x64.5cm
mk159 1640 Huilent sur le canevas78x64.5cm 1615-1673
Italian
Salvator Rosa Galleries
ID de tableau:: 41325
Portrait of a man le Portrait d~un homme mk161
Tempera and oil on wood
12x10
mk161 Détrempe et huile sur le bois 12x10 1440-1482
Flemish
Hugo van der Goes Galleries
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42300
Portrait of a man le Portrait d~un homme mk168
Oil on oak
50x36cm
mk168 Pétrole sur le chêne 50x36cm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42405
Portrait of a Man lePortrait d~un Homme mk168
50x32cm
Oil on oak
mk168 50x32cm Pétrole sur le chêne b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 62291
Portrait of a Man 1586-90 Oil on cardboard, 7,9 x 5,7 cm The Hispanic Society of America, New York Work by El Greco in small format, which includes miniatures, small-scale religious paintings and reduced versions of larger compositions, is well documented from the time of his residence in Italy onwards. Yet this interesting portrait miniature remains one of the few known in his oeuvre. It bears an original signature on the back Greek-born Spanish Mannerist Painter, 1541-1614
ID de tableau:: 62338
Portrait of a Man 53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait Greek-born Spanish Mannerist Painter, 1541-1614
ID de tableau:: 63537
Portrait of a Man 1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait 1430-1479
Italian
Antonello da Messina Galleries
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 63545
Portrait of a Man 1504 Oil on panel, 43 x 29 cm Museum of Fine Arts, Budapest D?rer's paintings include altarpieces, religious pictures and some outstanding portraits. Although he began by working in the German late Gothic tradition, D?rer was to introduce the Renaissance to Germany with his pure compositions in which the sure touch of the draughtsman is always evident. With his workshop and followers he marked out the lines of development of the new style for later years. This small picture - a portrait of a youth, painted in brilliant, warm colours - is sometimes ascribed to D?rer's pupils (Hans S?ss von Kulmbach or Hans Baldung Grien). Some scholars believe to recognize in the sitter D?rer's brother Andreas; however the smooth features and simple attire hardly provide enough clues for identifying the sitter. However, a silverpoint drawing by D?rer in the Albertina Collection in Vienna shows the same model in a similar pose, clearly indicated in the inscription as Endres D?rer, the painter's younger brother b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 63547
Portrait of a Man 1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634 1580-1666
Frans Hals Galleries
ID de tableau:: 63856
Portrait of a Man 1455-60 Oil on oak panel, 32 x 22,8 cm Thyssen-Bornemisza Collection, Madrid The man, who is of middle age, has not been identified. The fashion in which his hair is cut corresponds roughly to the style worn by Francesco d'Este (Metropolitan Museum of Art, New York), which would suggest that the two pictures are close in date.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait Netherlandish Northern Renaissance Painter, ca.1400-1464
ID de tableau:: 63878
Portrait of a Man 1450 Oil on panel, 75 x 50 cm Koninklijk Museum voor Schone Kunsten, Antwerp This portrait is probably a copy from c. 1500 of an original by Rogier van der Weyden which, judging by the fashion of the clothes, was executed around or shortly after the middle of the century. An unusual feature is the elegant low neck, which makes the face seem small. Possibly this, like the clock, and the inscriptions reminding the viewer of the transience of life, was a deviation from the original.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait Netherlandish Northern Renaissance Painter, ca.1400-1464
French Realist/Impressionist Painter and Sculptor, 1834-1917
ID de tableau:: 71458
Portrait of a Man ca. 1866(1866)
Oil on canvas
86.4 x 64.8 cm (34.02 x 25.51 in)
French Realist/Impressionist Painter and Sculptor, 1834-1917
ID de tableau:: 71655
Portrait of a Man between 1400(1400) and 1499(1499)
tempera and Oil on poplar
47.9 x 33 cm (18.86 x 12.99 in)
Bologna 1460-Mantua 1535
ID de tableau:: 72204
Portrait of a Man between 1612(1612) and 1616(1616)
Oil on canvas
73.7 X 55.2 cm (29.02 X 21.73 in)
cjr 1580-1666
Frans Hals Galleries
ID de tableau:: 72856
Portrait of a Man Date ca. 1876(1876)
Medium Oil on canvas
Dimensions 75.5 X 60.7 cm (29.72 X 23.9 in)
cyf 1848-1919
Frank Duveneck Gallery
ID de tableau:: 72871
Portrait of a Man Date between 1400(1400) and 1499(1499)
Medium tempera and Oil on poplar
Dimensions 47.9 X 33 cm (18.86 X 12.99 in)
cyf 1460-1535
Italian
Lorenzo Costa Locations
ID de tableau:: 73319
Portrait of a Man Date between 1612(1612) and 1616(1616)
Medium Oil on canvas
Dimensions 73.7 X 55.2 cm (29.02 X 21.73 in)
cyf 1580-1666
Frans Hals Galleries
b.Dec. 6, 1841, Montpellier, France
d.Nov. 28, 1870, Beaune-la-Rolande
French
Frederic Bazille Galleries
ID de tableau:: 73578
Portrait of a Man Oil painting reproduction of FrXdXric Bazille.
cjr b.Dec. 6, 1841, Montpellier, France
d.Nov. 28, 1870, Beaune-la-Rolande
French
Frederic Bazille Galleries
ID de tableau:: 73952
Portrait of a Man Date between 1635(1635) and 1639(1639)
Medium Oil on canvas
Dimensions 75.6 X 65.1 cm (29.76 X 25.63 in)
cyf Dutch Baroque Era Painter, 1608-1651
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures.
Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
ID de tableau:: 78403
Portrait of a man 1540-1560
Oil on panel
cjr (c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures.
Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
ID de tableau:: 79661
Portrait of a Man between 1506(1506) and 1510(1510)
Oil on wood
Height: 42.3 cm (16.7 in). Width: 35.8 cm (14.1 in).
cjr Italian
1480-1556
Lorenzo Lotto Galleries
Richard Ettinghausen believes this work to have been painted in Agra in about 1625
ID de tableau:: 80369
Portrait of a Man 18th century
Medium Oil on canvas
Dimensions 61 x 47 cm (24 x 18.5 in)
cyf Richard Ettinghausen believes this work to have been painted in Agra in about 1625
ID de tableau:: 80394
Portrait of a Man Portrait of a Man, possibly Hans of Antwerp. Oil and tempera on oak, 61 x 46.8 cm, Royal Collection, Windsor Castle
cjr b. 1497, Augsburg, d. 1543, London
1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
ID de tableau:: 81208
Portrait of a Man Date 18th century
Medium Oil on canvas
cjr 1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures.
Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
ID de tableau:: 81694
Portrait of a man 1540-1560
Medium Oil on panel
cyf (c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures.
Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
ID de tableau:: 82043
Portrait of a Man Date 1860(1860)
Medium Oil on canvas
Dimensions 62 x 50 cm (24.4 x 19.7 in)
cjr French Realist/Impressionist Painter, 1832-1883
ID de tableau:: 82591
Portrait of a Man Date ca. 1502(1502)
Medium Oil on wood
Dimensions Height: 45 cm (17.7 in). Width: 31 cm (12.2 in).
cjr Italian High Renaissance Painter, 1483-1520
ID de tableau:: 82734
Portrait of a Man 1514(1514)
Medium Oil on linden
Dimensions 59.3 x 48.9 cm (23.3 x 19.3 in)
cyf German
1485-1545
Hans Baldung Grien Galleries
(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists.
Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting.
Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum.
He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.
ID de tableau:: 82865
Portrait of a Man Date 1911(1911)
Medium Oil on canvas
Dimensions 66 x 52 cm (26 x 20.5 in)
cjr (1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists.
Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting.
Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum.
He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.
ID de tableau:: 82980
Portrait of a Man Date ca. 1619(1619)
Medium Oil on canvas
Dimensions 199 x 126 cm (78.3 x 49.6 in)
cjr Dutch
1599-1641
Anthony Van Dyck Locations
ID de tableau:: 83530
Portrait of a Man Date between 1650(1650) and 1653(1653)
Medium Oil on canvas
Dimensions Height: 84.7 cm (33.3 in). Width: 67 cm (26.4 in).
cjr 1580-1666
Frans Hals Galleries
ID de tableau:: 84276
Portrait of a Man 1462(1462)
Medium Oil and egg tempera on wood
Dimensions 20.5 x 31.6 cm (8.1 x 12.4 in)
cyf 1420-1475
Flemish
Dieric Bouts Locations
ID de tableau:: 84474
Portrait of a Man Date ca. 1635(1635)
Medium Oil on oak
Dimensions Height: 24.7 cm (9.7 in). Width: 19.6 cm (7.7 in).
cjr 1580-1666
Frans Hals Galleries
ID de tableau:: 84585
Portrait of a Man Date between 1520(1520) and 1525(1525)
Medium Oil on wood
Dimensions Height: 83 cm (32.7 in). Width: 72 cm (28.3 in).
cjr Italian High Renaissance Painter, 1484-1562
(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter.
He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht.
He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.
Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft.
The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.
ID de tableau:: 84692
Portrait of a Man Date first half of 17th century
Medium Oil on wood
Dimensions Height: 71.5 cm (28.1 in). Width: 54.5 cm (21.5 in).
cjr (Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter.
He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht.
He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.
Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft.
The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.
ID de tableau:: 84830
Portrait of a Man 1470(1470)
Medium Oil on wood
Dimensions 27 x 20.6 cm (10.6 x 8.1 in)
cyf 1430-1479
Italian
Antonello da Messina Galleries
(c.1469-1525) was a painter from Reval (now Tallinn, Estonia) who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era.
ID de tableau:: 85010
Portrait of a Man Date 1510s
Medium Oil on oak panel
Dimensions Height: 36 cm (14.2 in). Width: 26 cm (10.2 in).
cjr (c.1469-1525) was a painter from Reval (now Tallinn, Estonia) who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era.
1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
ID de tableau:: 85240
Portrait of a Man 18th century
Medium Oil on canvas
cyf 1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
ID de tableau:: 85335
Portrait of a Man Date between 1630(1630) and 1633(1633)
Medium Oil on canvas
Dimensions Height: 75 cm (29.5 in). Width: 58 cm (22.8 in).
cjr 1580-1666
Frans Hals Galleries
ID de tableau:: 85678
Portrait of a Man 1860(1860)
Medium Oil on canvas
Dimensions 62 x 50 cm (24.4 x 19.7 in)
cyf French Realist/Impressionist Painter, 1832-1883
(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter.
Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland.
Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools.
Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.
ID de tableau:: 85730
Portrait of a Man Oil on panel
Dimensions 31.8 x 40 cm (12.5 x 15.7 in)
cyf (22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter.
Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland.
Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools.
Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.
ID de tableau:: 85859
Portrait of a Man Date between 1512(1512) and 1514(1514)
Medium Oil on poplar
Dimensions Height: 115 cm (45.3 in). Width: 94 cm (37 in).
cjr 1485-1547 Italian Sebastiano del Piombo Galleries
ID de tableau:: 86100
Portrait of a man Date 16th century
Medium Oil on panel
Dimensions 26 x 21 cm (10.2 x 8.3 in)
cjr 1510-1572
French
Francois Clouet Locations
(ca. 1513-1537), also known as Johann Lucas Cranach, was a German painter, the oldest son of Lucas Cranach the Elder. German art historian Christian Schuchardt, who discovered his existence, credits him with an altar-piece at Weimar, signed with the monogram "H. C.", and dated 1537. He died at Bologna in 1537. Luther mentions his death in his "Table Talk", and Johann Stigel, a contemporary poet, celebrates him as a painter.
ID de tableau:: 86153
Portrait of a Man Oil on wood, 51,4 x 35,1 cm
Date 1534(1534)
cjr (ca. 1513-1537), also known as Johann Lucas Cranach, was a German painter, the oldest son of Lucas Cranach the Elder. German art historian Christian Schuchardt, who discovered his existence, credits him with an altar-piece at Weimar, signed with the monogram "H. C.", and dated 1537. He died at Bologna in 1537. Luther mentions his death in his "Table Talk", and Johann Stigel, a contemporary poet, celebrates him as a painter.
(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter.
He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht.
He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.
Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft.
The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.
ID de tableau:: 88594
Portrait of a Man first half of 17th century
Medium Oil on wood
cyf (Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter.
He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht.
He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.
Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft.
The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.
ID de tableau:: 90164
Portrait of a Man oil on canvas, 68.6 x 55.2 cm, Metropolitan Museum of Art
Date c. 1630(1630)
cyf Spanish Baroque Era Painter, 1599-1660
Peter, Peeter or Pieter Franchoys or Francois (1606-1654) was a Flemish Baroque painter from Mechelen, who painted an altarpiece of Calvary influenced by Anthony van Dyck for the St. Gummarus church in Lier, Belgium.
[edit] Biography
He first learned to paint from his father, Lucas Franchoys the Elder, and later from Gerard Seghers in Antwerp . In 1631 he traveled in France and is recorded being in Fontainebleau. In 1646 he became a member of the Mechelen schutterij and in 1649 he became a master in the Guild of St. Luke there.
According to Houbraken he was known for his landscapes with small figures, that attracted the admiration of Archduke Leopold Wilhelm of Austria, for whom he painted many years.
His work is memorialized in the Gulden Cabinet of the poet from Lier, Cornelis de Bie.
ID de tableau:: 91522
Portrait of a Man first half of 17th century
Medium Oil on canvas on panel
Dimensions Height: 66 cm (26 in). Width: 50 cm (19.7 in).
cyf Peter, Peeter or Pieter Franchoys or Francois (1606-1654) was a Flemish Baroque painter from Mechelen, who painted an altarpiece of Calvary influenced by Anthony van Dyck for the St. Gummarus church in Lier, Belgium.
[edit] Biography
He first learned to paint from his father, Lucas Franchoys the Elder, and later from Gerard Seghers in Antwerp . In 1631 he traveled in France and is recorded being in Fontainebleau. In 1646 he became a member of the Mechelen schutterij and in 1649 he became a master in the Guild of St. Luke there.
According to Houbraken he was known for his landscapes with small figures, that attracted the admiration of Archduke Leopold Wilhelm of Austria, for whom he painted many years.
His work is memorialized in the Gulden Cabinet of the poet from Lier, Cornelis de Bie.
ID de tableau:: 92022
Portrait of a Man between 1478(1478) and 1480(1480)
Medium oil on oak panel
Dimensions Height: 31.8 cm (12.5 in). Width: 27.1 cm (10.7 in).
cyf Netherlandish Northern Renaissance Painter, ca.1435-1494
ID de tableau:: 92318
Portrait of a Man between 1528(1528) and 1530(1530)
Medium oil on panel
Dimensions Height: 52 cm (20.5 in). Width: 42 cm (16.5 in).
cjr Italian Mannerist Painter, 1503-1540
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
ID de tableau:: 92544
Portrait of a Man Oil on panel trasferred to canvas, 42 x 34 cm
TTD Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
(Amsterdam, baptized on 27 February 1650 - Delft, 8 May 1693) was a Dutch Golden Age painter and engraver, often called Jan I to distinguish him from his son Jan II. He is known for his portraits and genre pieces.
ID de tableau:: 93043
Portrait of a Man 1685
Medium oil on copper
Dimensions 58 X 50 cm (22.8 X 19.7 in)
cjr (Amsterdam, baptized on 27 February 1650 - Delft, 8 May 1693) was a Dutch Golden Age painter and engraver, often called Jan I to distinguish him from his son Jan II. He is known for his portraits and genre pieces.
(1500 - 5 March 1572) was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters.
The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art.
In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino e distantly related to him e he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training.
Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano.
He died in Cremona in 1572.
ID de tableau:: 93855
Portrait of a Man Oil on canvas, 105,5 x 83 cm
16th century
cjr (1500 - 5 March 1572) was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters.
The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art.
In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino e distantly related to him e he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training.
Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano.
He died in Cremona in 1572.
(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists.
Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting.
Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum.
He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.
ID de tableau:: 96341
Portrait of a Man 1911(1911)
Medium oil on canvas
Dimensions 66 X 52 cm
cyf (1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists.
Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting.
Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum.
He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.
1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
ID de tableau:: 96358
Portrait of a Man 18th century
Medium oil on canvas
cyf 1708e-1775e) was a Russian painter and teacher.
Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.
He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.
Kolokolnikov's brothers Ivan and Fedot were also painters.
(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter.
Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland.
Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools.
Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.
ID de tableau:: 96531
Portrait of a Man oil on panel
Dimensions 31.8 X 40 cm
cyf (22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter.
Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland.
Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools.
Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.
(1473 - 1531) was a German painter and printmaker in woodcut.
Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair
and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498.
Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank.
He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.
ID de tableau:: 97180
Portrait of a man Oil on wood, 27.2 x 22.5
Date 1506(1506)
cyf (1473 - 1531) was a German painter and printmaker in woodcut.
Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair
and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498.
Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank.
He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.
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:: 97617
Portrait of a Man circa 1500(1500)
Medium oil on panel
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.
Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq.
Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin.
Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.
ID de tableau:: 98274
Portrait of a Man 1440(1440)
Medium oil on panel
Dimensions 37 x 30 cm
cyf Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq.
Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin.
Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.
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