France d'Europe Pétrole en gros Peignant, le Cadre d'Image, Mouler, le Miroir, les Barres de Civière

 
 

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MORALES, Luis de

Spanish Mannerist Painter, ca.1520-1586

ID de tableau::  29171
Mater Dolorosa
Dolorosa de Mère
mk65 Oil on panel 32 1/2x23"
mk65Pétrole sur le panneau 32 1/2x23
Spanish Mannerist Painter, ca.1520-1586

   
 

 

 
   
      

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BALDUNG GRIEN, Hans

German Northern Renaissance Painter and Printmaker, ca.1484-1545

ID de tableau::  52226
Mater Dolorosa
c. 1516 Wood, 153 x 46 cm
German Northern Renaissance Painter and Printmaker, ca.1484-1545

   
 

 

 
   
      


ID de tableau::  75313
Mater Dolorosa
c. 1555 Oil on wood 68 x 61 cm cjr

   
 

 

 
   
      


ID de tableau::  77196
Mater Dolorosa
Date c. 1555 Medium Oil on wood Dimensions 68 x 61 cm cyf

   
 

 

 
   
      

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Simon Marmion

(born c. 1425 at Amiens, France, died 24 or 25 December 1489, Valenciennes) was a French or Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands. Like many painters of his era, Marmion came from a family of artists, and both his father, Jean, and his brother Mille were painters. Marmion is recorded as working at Amiens between 1449 to 1454, and then at Valenciennes from 1458 until his death. He was patronized by Philip the Good, the Duke of Burgundy from 1454 when he was one of several artists called to Lille to work on the decorations for the Feast of the Pheasant. He was employed by several members of the ducal family, including Charles the Bold and Margaret of York. He was called "the prince of illuminators" by a near contemporary. Three years after his death his widow, Jeanne de Quaroube, married his pupil, the painter Jan Provoost, who on her death inherited the considerable Marmion estate. Although best known for his illuminated manuscripts, Marmion also produced portraits and other paintings, altarpieces, and decorative work. A famous double-sided altarpiece with several Scenes from the life of St Bertin is in the Gemäldegalerie, Berlin (with two sections in the National Gallery (London). There is a Mass of Saint Gregory in Toronto, and a Lamentation of Christ in the Metropolitan Museum of Art,three works in Philadelphia, and several others elsewhere. Stylistically he lies between his French and Flemish contemporaries, with a Flemish innovation in composition and landscape. His perspective is usually technically sound, but the proportions of his figures are often awkward, and their poses rather stiff.

ID de tableau::  90227
Mater Dolorosa
c. 1480 Medium Oil on Wood cjr
(born c. 1425 at Amiens, France, died 24 or 25 December 1489, Valenciennes) was a French or Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands. Like many painters of his era, Marmion came from a family of artists, and both his father, Jean, and his brother Mille were painters. Marmion is recorded as working at Amiens between 1449 to 1454, and then at Valenciennes from 1458 until his death. He was patronized by Philip the Good, the Duke of Burgundy from 1454 when he was one of several artists called to Lille to work on the decorations for the Feast of the Pheasant. He was employed by several members of the ducal family, including Charles the Bold and Margaret of York. He was called "the prince of illuminators" by a near contemporary. Three years after his death his widow, Jeanne de Quaroube, married his pupil, the painter Jan Provoost, who on her death inherited the considerable Marmion estate. Although best known for his illuminated manuscripts, Marmion also produced portraits and other paintings, altarpieces, and decorative work. A famous double-sided altarpiece with several Scenes from the life of St Bertin is in the Gemäldegalerie, Berlin (with two sections in the National Gallery (London). There is a Mass of Saint Gregory in Toronto, and a Lamentation of Christ in the Metropolitan Museum of Art,three works in Philadelphia, and several others elsewhere. Stylistically he lies between his French and Flemish contemporaries, with a Flemish innovation in composition and landscape. His perspective is usually technically sound, but the proportions of his figures are often awkward, and their poses rather stiff.

   
 

 

 
   
      

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Aelbrecht Bouts

( 1450s, Leuven - March 1549, Leuven) was a Netherlandish painter. His first name is sometimes spelled eAlberte, eAelberte or eAlbrechte. He was born into a family of painters. Aelbrechtes father was Dieric Bouts the Elder (ca.1415-1475), and his brother was Dieric Bouts the Younger (ca.1448-1490). Jan Bouts (ca.1478-ca. 1530), son of Dieric Bouts the Younger, also became a painter. Dieric Bouts the Younger inherited his fatheres shop in 1475, while Aelbrecht established his own workshop, also in Leuven. Whereas Dieric the Younger continued in his father's style, Aelbrecht developed his own unmistakable style with strong colors, rich texture and fine details. Bob Jones University Museum and Gallery (Greenville, South Carolina), the Cleveland Museum of Art, the Fitzwilliam Museum (Cambridge), Harvard University Art Museums, The Honolulu Academy of Arts, the Hood Museum of Art (Hanover, New Hampshire), the Norton Simon Museum (Pasadena, California), the Royal Museums of Fine Arts of Belgium, the Czartoryski Museum and the Staatsgalerie Stuttgart are among the public collections having paintings by Aelbrecht Bouts.

ID de tableau::  90869
Mater Dolorosa
c. 1500(1500) Medium oil on panel Dimensions 40.7 x 26.6 cm (16 x 10.5 in) cjr
( 1450s, Leuven - March 1549, Leuven) was a Netherlandish painter. His first name is sometimes spelled eAlberte, eAelberte or eAlbrechte. He was born into a family of painters. Aelbrechtes father was Dieric Bouts the Elder (ca.1415-1475), and his brother was Dieric Bouts the Younger (ca.1448-1490). Jan Bouts (ca.1478-ca. 1530), son of Dieric Bouts the Younger, also became a painter. Dieric Bouts the Younger inherited his fatheres shop in 1475, while Aelbrecht established his own workshop, also in Leuven. Whereas Dieric the Younger continued in his father's style, Aelbrecht developed his own unmistakable style with strong colors, rich texture and fine details. Bob Jones University Museum and Gallery (Greenville, South Carolina), the Cleveland Museum of Art, the Fitzwilliam Museum (Cambridge), Harvard University Art Museums, The Honolulu Academy of Arts, the Hood Museum of Art (Hanover, New Hampshire), the Norton Simon Museum (Pasadena, California), the Royal Museums of Fine Arts of Belgium, the Czartoryski Museum and the Staatsgalerie Stuttgart are among the public collections having paintings by Aelbrecht Bouts.

   
 

 

 
   
      

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Carlo Dolci

Italian Baroque Era Painter, 1616-ca.1686

ID de tableau::  96914
Mater dolorosa
17th century Medium oil on canvas Dimensions 51 X 39.5 cm cyf
Italian Baroque Era Painter, 1616-ca.1686

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

ID de tableau::  97958
Mater Dolorosa
1480s Medium oil on panel cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

Hans Memling
Netherlandish Northern Renaissance Painter, ca.1435-1494
Mater Dolorosa

        
 
   
 

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