ID de tableau:: 261
Crucifixion Crucifixion Museo dell'Opera del Duomo, Siena Le musée du travail de la Cathédrale, Siena 1255-1318
Italian Duccio di Buoninsegna
Locations
ID de tableau:: 10140
Crucifixion la Crucifixion 1622
Oil on canvas,
375 x 225 cm
Chiesa del Gesu
Genoa 1622 Pétrole sur le canevas, 375 x 225 cm Chiesa le del Gesu Gênes French
Simon Vouet Gallery
1590-1649
ID de tableau:: 11684
Crucifixion la Crucifixion ca 1910
10'' x 1' 6 1/2''(25.7 x 47.1 cm)Bequest of Mrs.Ari Redon,1982 Californie 1910 10 › › x 1 › 6 1/2 › › (25,7 x 47,1 cm) le Legs de Madame.Ari Redon, 1982 French Symbolist Painter, 1840-1916
ID de tableau:: 11691
Crucifixion la Crucifixion Salon of 1897
7 5 1/4'' x 4 3 1/4''(227 x 130 cm) le Salon de 1897 7 5 1/4 › › x 4 3 1/4 › › (227 x 130 cm) French Symbolist Painter, 1849-1906
ID de tableau:: 29181
Crucifixion la Crucifixion mk65
1650s
Oil on canvas
104x38'
mk65 1650 Huilent sur le canevas 104x38~ 1598-1664
Spanish Francisco de Zurbaran Galleries
ID de tableau:: 32276
Crucifixion la Crucifixion c. 1648
Oil on canvas, 205 x 131 cm c. 1648 Pétrole sur le canevas, 205 x 131 cm Italian painter, Venetian school (1613-1674)
ID de tableau:: 33298
Crucifixion la Crucifixion mk86
1303-1305
Fresco
Padua
Arena Chapel
mk86 1303-1305 Chapelle d~Arène de Padua de Fresque Italian Early Renaissance Painter, 1267-1337
ID de tableau:: 33517
Crucifixion la Crucifixion mk86
1512-1516
Oil on wood
269x307cm
mk86 1512-1516 Huilent sur le bois 269x307cm German Northern Renaissance Painter, ca.1470-1528
ID de tableau:: 38396
Crucifixion la Crucifixion c. 1476
Tempera on wood, 154 x 98 cm
Hungarian National Gallery, Budapest c. 1476 Détrempe sur le bois, 154 x 98 cm Galerie National hongrois, Budapest
ID de tableau:: 40144
Crucifixion la Crucifixion mk156
c.1335
Tempera on panel
36x23.5cm
The National Gallery of Art.
Washington D.C
mk156 c. 1335 Détrempe sur lambrise 36x23.5cm La Galerie Nationale d~Art. le D.C de Washington active in Florence 1320-1348
ID de tableau:: 40286
Crucifixion la Crucifixion mk156
c.1500
Oil on canvas
247x117.5cm
mk156 c. 1500 Pétrole sur le canevas247x117.5cm Crtona 1441-1523
ID de tableau:: 40306
Crucifixion la Crucifixion mk156
1515
Oil on wood
269x307cm
mk156 1515 Huilent sur le bois 269x307cm German Northern Renaissance Painter, ca.1470-1528
ID de tableau:: 40385
Crucifixion la Crucifixion mk156
1565
Oil on canvas
536x1224cm
mk156 1565 Huilent sur le canevas 536x1224cm Italian Mannerist Painter, ca.1518-1594
ID de tableau:: 41142
Crucifixion la Crucifixion mk157
1565
Oil on canvas
536x1224cm
mk157 1565 Huilent sur le canevas 536x1224cm Birth Year:, 1518. Death Year:, 1594
ID de tableau:: 58198
Crucifixion Crucifixion (a scene rarely set on the banks of a large river) by Altdorfer, c. 1520 German
1480-1538
Albrecht Altdorfer Galleries
ID de tableau:: 63534
Crucifixion 1515 Oil on canvas, 372 x 270 cm Pinacoteca di Brera, Milan This painting may have come from the church of S. Maria di Brera. At one time it was probably an organ shutter. It was formerly attributed to Bramante. A late work, this painting reveals Bramantino's background. His roots were in the art of Ercole de' Roberti, the most energetically emotional fifteenth- century painter in northern Italy. It is from this source that Bramantino drew his highly dramatic style, which led him to freeze the tragedy of the Crucifixion within a framework of lucid abstraction. At the same time he seized the opportunity to seek out new means of formal expression. The crosses of the two thieves are arranged in terms of a centralized perspective, creating a space almost like an interior, and leading directly to the background where typical Bramantino buildings are silhouetted against an evening sky. (One of the buildings resembles the Trivulzio mausoleum, which was designed by the artist.) The marked bisymmetry of the painting, with angel and demon, sun and moon, is less structured in the choral rhythm of the foreground. The Madonna's grief is represented within the circle described by the hands of the saints, while the Magdalene lifts her arms toward the cross as if to raise it up to heaven. A strict intellectual approach dominates the colour scheme, in which subdued olive greens, golden grays and browns predominate.Artist:BRAMANTINO Title: Crucifixion Painted in 1451-1500 , Italian - - painting : religious Italian High Renaissance Painter, ca.1460-1530
German Northern Renaissance Painter and Printmaker, ca.1484-1545
ID de tableau:: 63688
Crucifixion 1511 Chiaroscuro woodcut, 347 x 260 mm Germanisches Nationalmuseum, NurembergArtist:BALDUNG GRIEN, Hans Title: Crucifixion Painted in 1501-1550 , German - - graphics : religious German Northern Renaissance Painter and Printmaker, ca.1484-1545
Flemish painter (b. 1564, Bruxelles, d. 1638, Antwerp).
ID de tableau:: 64484
Crucifixion 1617 Oil on wood, 82 x 123 cm Museum of Fine Arts, Budapest It is assumed that the painting is copy of lost painting of Pieter Bruegel the Elder. There are several other copies differring only in the background. Artist:BRUEGHEL, Pieter the Younger Title: Crucifixion, 1551-1600, Flemish , painting , religious Flemish painter (b. 1564, Bruxelles, d. 1638, Antwerp).
ID de tableau:: 64576
Crucifixion 1758 Fresco Parish Church, S?meg Artist:MAULBERTSCH, Franz Anton Title: Crucifixion, 1751-1800, Austrian , painting , religious Austrian Painter, 1724-1796
ID de tableau:: 64767
Crucifixion 1390-96 Tempera on wood, 57,5 x 77 cm Galleria degli Uffizi, Florence , GADDI, Agnolo , Crucifixion , 1351-1400 , Italian , painting , religious Italian Early Renaissance Painter, ca.1345-1396
ID de tableau:: 77217
Crucifixion Date ca. 1526(1526)
Medium linden
Dimensions Width: 21 cm (8.3 in). Height: 29 cm (11.4 in).
cyf German
1480-1538
Albrecht Altdorfer Galleries
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
ID de tableau:: 83293
Crucifixion Date between 1545(1545) and 1550(1550)
Medium Oil on wood
cjr (1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
ID de tableau:: 84043
Crucifixion Date between 1502(1502) and 1503(1503)
Medium Oil on wood
Dimensions Height: 281 cm (110.6 in). Width: 165 cm (65 in).
cjr Italian High Renaissance Painter, 1483-1520
ID de tableau:: 88194
Crucifixion between 1420(1420) and 1425(1425)
Medium Oil on wood transferred to canvas
Dimensions Height: 56.5 cm (22.2 in). Width: 19.5 cm (7.7 in).
cjr 1395-1441
Flemish
Jan Van Eyck Locations
ID de tableau:: 91675
Crucifixion 1445(1445) and 1462(1462)
Medium oil and tempera on panel
Dimensions Height: 81 cm (31.9 in). Width: 52 cm (20.5 in).
cyf Italian Early Renaissance Painter, ca.1422-1492
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
ID de tableau:: 93668
Crucifixion 1440s
Medium oil on oak panel
Dimensions Height: 77 cm (30.3 in). Width: 47 cm (18.5 in).
cjr Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
(1613 - 29 January 1678) was an Italian painter and etcher of the early Baroque era.
Born probably in Venice, Carpioni studied under Alessandro Varotari (il Padovanino) and was also influenced by the work of Simone Cantarini, Carlo Saraceni and Jean Leclerc. He came into contact with Lombard art after a brief visit to Bergamo in 1631. In 1638 he settled in Vicenza and executed most of his work there.
He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher; his best plates being St. Anthony of Padua, Christ on the Mount of Olives, The Virgin reading, and The Virgin with Rosary. He died at Verona. Carlo Carpioni, his son, was also a painter.
Among his important works are the Apotheosis of the Dolfin family (1647) and the Allegory of the Grimani Family (1651), and altarpiece of Sant'Antonio da Padova, a Virgin and two saints, and a Triumph of Silenus in the Gallerie dell Accademia of Venice. He painted a series of canvases for the Oratory of San Nicola da Tolentino in Vicenza.
ID de tableau:: 95888
Crucifixion circa 1648(1648)
Medium oil on canvas
cyf (1613 - 29 January 1678) was an Italian painter and etcher of the early Baroque era.
Born probably in Venice, Carpioni studied under Alessandro Varotari (il Padovanino) and was also influenced by the work of Simone Cantarini, Carlo Saraceni and Jean Leclerc. He came into contact with Lombard art after a brief visit to Bergamo in 1631. In 1638 he settled in Vicenza and executed most of his work there.
He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher; his best plates being St. Anthony of Padua, Christ on the Mount of Olives, The Virgin reading, and The Virgin with Rosary. He died at Verona. Carlo Carpioni, his son, was also a painter.
Among his important works are the Apotheosis of the Dolfin family (1647) and the Allegory of the Grimani Family (1651), and altarpiece of Sant'Antonio da Padova, a Virgin and two saints, and a Triumph of Silenus in the Gallerie dell Accademia of Venice. He painted a series of canvases for the Oratory of San Nicola da Tolentino in Vicenza.
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
ID de tableau:: 97222
Crucifixion between 1545(1545) and 1550(1550)
Medium oil on panel
cyf (1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
Maarten van Heemskerck (1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
Crucifixion
