ID de tableau:: 10074
Adam and Eve Adam et la Veille 1432Oil on wood
St. Bavon,
Ghent, Belgium. 1432Pétroles sur la Rue de bois. Bavon, Gand, Belgique. 1395-1441
Flemish
Jan Van Eyck Locations
ID de tableau:: 29100
Adam and Eve Adam et la Veille mk65
1897
Oil on canvas
43x31"
mk65 1897 Huilent sur le canevas 43x31 German Symbolist Painter, 1839-1924
ID de tableau:: 29937
Adam and Eve Adam et la Veille mk67
Oil on panel
69 5/16x59 1/16in
Pitti,Palatine Gallery
mk67 Pétrole sur le panneau 69 5/16x59 1/16in Pitti, la Galerie de Palatine c.1517-70, Flemish painter
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 40299
Adam and Eve Adam et la Veille mk156
1507
Oil on panel
mk156 1507 Huilent sur le panneau b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 40874
Adam and Eve Adam et la Veille mk156
1909
Oil on canvas
162x131cm
mk156 1909Huilent sur le canevas 162x131cm French Post-Impressionist Painter, 1865-1938
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42333
Adam and Eve Adam et laVeille mk168
252x195mm
mk168 252x195mm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 56507
adam and eve mk247
1917 to 18,oil on canvas,17.5x23.625 in,173x60 cm,osterreichische galerie belvedere,vienna,austria Austrian Art Nouveau Painter, 1862-1918
ID de tableau:: 56692
adam and eve mk247
c.1550,oil on canvas,59x86.5 in,150x220 cm,gallerie dell-accademia,venice,ltaly Italian Mannerist Painter, ca.1518-1594
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 58705
Adam and Eve Adam and Eve, by Albrecht D??rer (1507). b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Italian painter, Florentine school (b. ca. 1320, Firenze, d. 1391,
ID de tableau:: 62378
Adam and Eve 1376-78 Fresco Baptistry, Cathedral, Padua Author: GIUSTO de' Menabuoi Title: Adam and Eve (detail) , 1351-1400 , Italian Form: painting , religious Italian painter, Florentine school (b. ca. 1320, Firenze, d. 1391,
ID de tableau:: 63046
Adam and Eve 1520 Oil on panel, 168,9 x 111,4 cm Royal Collection, Windsor This theme occurs at least nine times in Mabuse's painted and graphic oeuvre, but none of these renderings is dated. On grounds of style, however, the present painting would seem to have been undertaken after the Neptune and Amphitrite of 1516 (Berlin, Staatliche Museen) or the Hercules and Deinara of 1517 (Birmingham, Barber Institute of Fine Arts), and to have preceded the Adam and Eve dating from around 1525 (Berlin, Staatliche Museen). In general terms, as his career developed, Mabuse evolved compositions of greater complexity characterised by a repertoire of contorted poses with exaggerated anatomy and a vivid treatment of chiaroscuro. At the same time his technique became altogether freer. The Adam and Eve in the Royal Collection may date from around 1520. Mabuse refers to a number of prints for the poses of Adam and Eve: D?rer's Adam and Eve of 1504, Jacopo de' Barbari's Mars and Venus and Marcantonio Raimondi's Adam and Eve after Raphael. The pose of Eve is perhaps more specifically related to D?rer's engraving known as The Dream of the Doctor, particularly the upper part of the body. Mabuse had visited Italy in 1508-9 and became a prime exponent of Northern Mannerism, a style that evolved principally from the cross-fertilisation of German and Italian art. Quite apart from the large scale of the painting, the prominence of the foreground figures is still further enhanced by the sudden drop down to the middle-ground, dominated by a fountain set in the Garden of Eden. Fanciful architecture of this kind is frequently found in Mabuse's work. He was also a remarkably fine painter of the nude. The treatment of the musculature may not be to modern taste, but it was undoubtedly inspired by classical sculpture. The handling of the hair, especially Eve's long tresses, which may have influenced Milton, was a speciality of the artist. Supplementing the narrative of The Fall as recounted in the second and third chapters of Genesis is a certain amount of symbolism, which is illustrated in Mabuse's work: the two trees represent the Tree of Life and the Tree of Good and Evil, while the plants in the immediate foreground (columbine and sea holly) probably symbolise the contrasting emotions of the fear of God and the lust experienced by Adam and Eve in the Garden of Eden. Adam wears an apron of leaves, but Eve is still technically naked. Mabuse was concerned to paint an epitome of the theme and was therefore disposed to take liberties with the biblical text. This painting was presented by the States-General of Holland to Charles I in 1636. It was sold in 1650 after the death of Charles I, but was recovered at the time of the Restoration. It has been suggested that John Milton, who was appointed Latin Secretary to Cromwell's Council of State in 1649, may have seen the work before it was sold, since the description of Adam and Eve in Paradise Lost (Book 4, lines 300-18) is fairly close. Artist: GOSSAERT, Jan (Mabuse) Painting Title: Adam and Eve , 1501-1550 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1478-1532
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 63661
Adam and Eve 1504 Pen drawing with watercolours, 242 x 201 mm The Pierpont Morgan Library, New York D?rer prepared his masterly engraving of Adam and Eve in numerous individual studies. This pen drawing was created immediately before the copper engraving and concentrates entirely on the depiction and three-dimensional structure of the male and female nudes. The body posture of the two figures shown here is already identical down to the last detail with that of the copper engraving.Artist:D?RER, Albrecht Title: Adam and Eve 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:: 63804
Adam and Eve 1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This portrayal of the Fall is generally attributed to Raphael. Standing in a distinct contrapposto pose, Eve recalls the figure of Leda in a study by Leonardo da Vinci - Raphael made a drawing of this while he was in Florence.Artist:RAFFAELLO Sanzio Title: Adam and Eve (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious Italian High Renaissance Painter, 1483-1520
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 75451
Adam and Eve 1507(1507)
209 X 81 & 209 X 83 cm
cjr 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:: 77333
Adam and Eve Français : tableau
Dimensions 209 x 81 & 209 x 83 cm
cyf b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 86254
Adam and Eve Date c. 1525(1525)
Medium Oil on oak panel
Dimensions Height: 170 cm (66.9 in). Width: 114 cm (44.9 in).
cjr 1478-1534
Flemish
Jan Gossaert Mabuse Galleries
(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:: 86418
Adam and Eve Date after 1537(1537)
Medium Oil on linden
Dimensions Height: 171 cm (67.3 in). Width: 63 cm (24.8 in). (each)
cjr (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.
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