ID de tableau:: 2261
Last Supper Durer le Souper Museo de Arte de Cataluna, Barcelona Le musée d-Art de Cataluna, Barcelone 1415-1492
French
Jaime Huguet Galleries
ID de tableau:: 10057
Last Supper Durer le Souper 1470
Wood,172x164cm
Museum Nacional
d'Art de Catalunya
Barcelona 1470 Wood,172x164cm Nacional de Musée d-art de Catalunya Barcelone 1440-1482
Flemish
Hugo van der Goes Galleries
ID de tableau:: 30390
Last Supper Durer le Souper mk68
Tempera on wood
Siena
Opera del Duomo Museum
mk68 Détrempe sur le Musée de Duomo de del d~Opéra deSiena de bois 1255-1318
Italian Duccio di Buoninsegna
Locations
ID de tableau:: 30394
Last Supper Durer le Souper mk68
Fresco
8x10
Assisi
Church of San Francesco
l~Eglise d~Assise de 8x10 de Fresque de mk68 de San Francesco Italian Byzantine Style Painter, ca.1280-1348
ID de tableau:: 30416
Last Supper Durer le Souper mk68
Fresco,width of wall
Florence
Convent of Sant'Apollonia
1447
ltaly
mk68 Fresque, la largeur de Couvent de Florence de mur de Sant~Apollonia 1447 ltaly Italian
c1421-1457
Andrea del Castagno Location
Italian High Renaissance Painter and Inventor, 1452-1519
ID de tableau:: 30446
Last Supper Durer le Souper mk68
Tempera
13'9x29'10"
Milan,Convent of Santa
Maria delle Grazie
mk68 Détrempe 13~9x29~10 Milan, le Couvent de Grazie de delle de Maria de Santa Italian High Renaissance Painter and Inventor, 1452-1519
ID de tableau:: 30530
Last Supper Durer le Souper mk68
Oil on canvas
12'x8'7"
Venice
Church of San Giorgio Maggiore
1592-1594
Italy
mk68 Pétrole sur l~Eglise de Vénise de 12~x8~7 de canevas de San Giorgio Maggiore1592-1594 Italie 1518-1594
ID de tableau:: 32868
Last Supper Durer le Souper mk84
ca.1560
Madrid,
Prado
Panel
116x119cm
mk84 Californie. 1560 Madrid, le Panneau de Prado 116x119cm Spanish Painter
1507-1579
ID de tableau:: 32884
Last Supper Durer le Souper mk84
1588-1603
Seville,Museo de Bellas Artes
mk84 1588-1603 Séville, Museo des Arts de Bellas Spanish
?-1608
ID de tableau:: 33394
Last Supper Durer le Souper mk86
1480
Fresco,total width 812cm
Florence,Convent of San Marco.Refectory
mk86 1480 Fresque, la largeur totale 812 cm Florence, le Couvent de Marco.Réfectoire de San Italian Early Renaissance Painter, 1449-1494
ID de tableau:: 33434
Last Supper Durer le Souper mk86
1464-1467
Tempera on wood
180x150cm
Louvain,Sankt Peter
mk86 1464-1467 Détrempe sur le bois 180x150cm Louvain, Sankt Peter 1420-1475
Flemish
Dieric Bouts Locations
ID de tableau:: 33442
Last Supper Durer le Souper mk86
after1450
Tempera on wood
162x170cm
Barcelona,Museu d'Art de Catalunya
mk86 after1450 Détrempe sur le bois 162x170cm Barcelone, Museu d~art de Catalunya Spanish Early Renaissance Painter, C.1415-1492
ID de tableau:: 33467
Last Supper Durer le Souper mk86
1495-1498
Oil tempera on plaster
460x880cm
Milan,Santa Maria delle Grazie,
Refectory
mk86 1495-1498 détrempe de Pétrole sur le plâtre 460x880cm Milan, Grazie de delle de Maria de Santa, le Réfectoire
Italian High Renaissance Painter and Inventor, 1452-1519
ID de tableau:: 38513
Last Supper Durer le Souper mk137
1495-1498 oil and Tempera on stone 460x880cm Santa Maria della grace Milan mk137 1495-1498 pétroleet la Détrempe sur le della de Maria de Santa de 460x880cm de pierre Milan de grâce Italian High Renaissance Painter and Inventor, 1452-1519
1626 - 1686) was a leading Russian graphic artist of the late 17th-century. Together with Fyodor Zubov and Fyodor Rozhnov, he is associated with the comprehensive reform of the Russian Orthodox Church undertaken by Patriarch Nikon.
We know almost nothing about the early years of Simon Ushakov. His birth date is deduced from his inscription on one of the icons: In the year 7166 painted this icon Simon Ushakov son, being 32 years of age.
At 22 he became a paid artist of the Silver Chamber, affiliated with the Armory Prikaz. The bright, fresh colours and exquisite, curving lines of his proto-baroque icons caught the eye of Patriarch Nikon, who introduced Simon to the tsar Alexei Mikhailovich. He became a great favourite with the royal family and was eventually (1664) assigned to the Kremlin Armoury, run by an educated boyar Bogdan Khitrovo.
ID de tableau:: 61241
Last Supper Last Supper 1685
1626 - 1686) was a leading Russian graphic artist of the late 17th-century. Together with Fyodor Zubov and Fyodor Rozhnov, he is associated with the comprehensive reform of the Russian Orthodox Church undertaken by Patriarch Nikon.
We know almost nothing about the early years of Simon Ushakov. His birth date is deduced from his inscription on one of the icons: In the year 7166 painted this icon Simon Ushakov son, being 32 years of age.
At 22 he became a paid artist of the Silver Chamber, affiliated with the Armory Prikaz. The bright, fresh colours and exquisite, curving lines of his proto-baroque icons caught the eye of Patriarch Nikon, who introduced Simon to the tsar Alexei Mikhailovich. He became a great favourite with the royal family and was eventually (1664) assigned to the Kremlin Armoury, run by an educated boyar Bogdan Khitrovo.
Spanish Mannerist Painter and Sculptor, ca.1488-1561
ID de tableau:: 62313
Last Supper 1588-1603 Oil on canvas Museo de Bellas Artes, Seville In addition to Italian influences, the impact of northern painters, such as Marten de Vos and Maerten van Heemskerck, on painters in Seville at the end of the 16th century was important. The resulting hybrid of Italian and Flemish elements became the dominant mode of expression until well into the seventeenth century and is first observable in the work of Alonso V?zquez, who worked in Seville from 1588 until his departure for Mexico in 1603. His Last Supper, painted for the Carthusians of Santa Maria de las Cuevas, is a pastiche of poses and motifs borrowed from prints by or after Heemskerck, de Vos and Cornelis Cort. In fact the stylistic correspondence to the paintings by these northern late Mannerists is close enough to suggest that V?zquez had been able to study their works, perhaps in the collections of the resident Flemish community Spanish Mannerist Painter and Sculptor, ca.1488-1561
(1523 - 30 January 1584) was a Dutch-born Flemish Renaissance painter.
Remi Ommejaghere and his three sons
Onze-Lieve-Vrouwekerk, Bruges, BelgiumPourbus was born in Gouda. He was known primarily for his religious and portrait painting and worked mainly in Bruges, where he had moved from Gouda by 1543. He died in Bruges. His son was the painter Frans Pourbus the Elder and his grandson was Frans Pourbus the younger
ID de tableau:: 85249
Last Supper Date 1548(1548)
Medium Oil on oak panel
Dimensions Height: 46.5 cm (18.3 in). Width: 63 cm (24.8 in).
cjr (1523 - 30 January 1584) was a Dutch-born Flemish Renaissance painter.
Remi Ommejaghere and his three sons
Onze-Lieve-Vrouwekerk, Bruges, BelgiumPourbus was born in Gouda. He was known primarily for his religious and portrait painting and worked mainly in Bruges, where he had moved from Gouda by 1543. He died in Bruges. His son was the painter Frans Pourbus the Elder and his grandson was Frans Pourbus the younger
(October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works.
ID de tableau:: 94780
Last Supper Das Abendmahl 1565
cyf (October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works.
Lucas Cranach the Younger (October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works. Last Supper
