ID de tableau:: 2794
Portrait of a Woman Le Portrait dune Femme 1885
Deri Museum, Debrecen 1885 Deri Musée, Debrecen 1844-1900
Hungarian
Mihaly Munkacsy Locations
ID de tableau:: 10003
Portrait of a Woman le Portrait d-une Femme 1475Tempera on panel
Palazzo Pitti, Galleria
Palatina, Florence, 1475Détrempe sur lambriser Palazzo Pitti, Galleria Palatina, Florence, Italian Early Renaissance Painter, 1445-1510
Italian Expressionist Painter and Sculptor, 1884-1920
ID de tableau:: 10621
Portrait of a Woman le Portrait d-une Femme 1918, oil on canvas, 24 x 18 1/8 ins (61x46 cm). Denver Art Museum, Charles Francis Hendrie Memorial Collection. 1918, huiler sur le canevas, 24 x 18 1/8 dans (61x 46 cm). Le Musée d-Art de denver, Charles Francis Hendrie la Collection Commémorative. Italian Expressionist Painter and Sculptor, 1884-1920
ID de tableau:: 7720
Portrait of a Woman le Portrait d-une Femme 1795
Oil on canvas, 131 x 103 cm
Museum of Fine Arts, Budapest 1795 Pétrole sur le canevas, 131 x 103 Musée de cm de beaux-arts, Budapest Swiss Neoclassical Painter, 1741-1807
ID de tableau:: 18997
Portrait of a Woman le Portrait d-une Femme 1635-40
Oil on panel
Private collection. 1635-40Pétrole sur le panneau collection Privée. Dutch Baroque Era Painter, 1613-1675
ID de tableau:: 19001
Portrait of a Woman le Portrait d-une Femme 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:: 19120
Portrait of a Woman le Portrait d-une Femme 1883, oil on canvas, The Tretyakov Gallery, Moscow. 1883, huiler sur le canevas, La Galerie de Tretyakov, Moscou. Russian Painter, 1837-1887
ID de tableau:: 19682
Portrait of a Woman le Portrait d-une Femme Oil on panel
Galleria degli Uffizi, Florence. unPétrole sur lambrise Galleria degli Uffizi, Florence. Flemish Northern Renaissance Painter, ca.1488-1541
ID de tableau:: 11883
Portrait of a Woman le Portrait d - une Femme ca 1897
6'6'' x 3' 9''(198 x 114 cm) Californie 1897 6 - 6 › › x 3 › 9 › › (198 x 114 cm) French
1844-1910
Henri Rousseau Locations
ID de tableau:: 28846
Portrait of a Woman le Portrait d~une Femme mk65
Oil on canvas
32 5/16x23 13/16in
mk65 Pétrole sur le canevas 325/16x23 13/16in Italian High Renaissance Painter, 1483-1520
ID de tableau:: 28913
Portrait of a Woman le Portraitd~une Femme mk65
Oil on canvas
26 3/16x20 7/8in
Uffizi,Vasari Corridor
mk65 Pétrole sur le canevas 26 3/16x20 7/8in Uffizi, le Couloir de Vasari 1604-1679
Italian
Girolamo Forabosco Location
Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze)
ID de tableau:: 28916
Portrait of a Woman le Portrait d~une Femme mk65
Oil on panel
25 9/16x18 7/8in
mk65 Pétrole sur le panneau 25 9/16x18 7/8in Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze)
Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
ID de tableau:: 29292
Portrait of a Woman le Portrait d~une Femme mk65
Oil on panel
34x31"
mk65 Pétrole sur lambrise 34x31 Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
ID de tableau:: 29376
Portrait of a Woman le Portrait d~une Femme mk65
25x21 1/2"
Oil on canvas
mk65 25x211/2 Huile sur le canevas 1745-1802
Danish
Jens Juel Galleries
ID de tableau:: 29752
Portrait of a Woman le Portrait d~une Femme mk67
Tempera on panel
21 5/8x13 3/8in
mk67 Détrempe sur le panneau 21 5/8x13 3/8in Italian Early Renaissance Painter, ca.1441-1496
ID de tableau:: 29918
Portrait of a Woman le Portrait d~une Femme mk67
Oil on panel
22 7/16x16 9/16in
Uffizi,Gallery
mk67 Pétrole sur le panneau 22 7/16x16 9/16in Uffizi, la Galerie Flemish Northern Renaissance Painter, ca.1485-1540
ID de tableau:: 29921
Portrait of a Woman le Portrait d~une Femme mk67
Oil on panel
14 9/16x11 7/16in
Uffizi,Gallery
mk67 Pétrole sur lepanneau 14 9/16x11 7/16in Uffizi, la Galerie Flemish Northern Renaissance Painter , c.1488-1551
Dutch painter (b. 1600, Middelburg, d. 1647, Middelburg)
ID de tableau:: 31758
Portrait of a woman le Portrait d~une femme mk76
Dated 1635
Oil on canvas
45 7/8x36 3/4in
mk76 A Daté 1635 Pétrole sur le canevas 45 7/8x36 3/4in Dutch painter (b. 1600, Middelburg, d. 1647, Middelburg)
ID de tableau:: 32130
portrait of a Woman le portrait d~une Femme mk78
Berlin
Staatliche Museen
Preussischer Kulturbesitz
mk78 Berlin Staatliche Preussischer Kulturbesitz Médité Italian
1406-1469
Fra Filippo Lippi Galleries
ID de tableau:: 34985
Portrait of A Woman le Portrait d~UNE Femme mk98
c 1883
Oil on canvas,mounted on cardboard
14x11.3
mk98 c 1883 Huilent sur le canevas, monté sur le carton 14x11.3 1858-1921
Belgian
Fernand Khnopff Gallery
ID de tableau:: 35019
Portrait of a Woman le Portrait d~une Femme mk98
c 1899
Red chalk and coloured pencil on paper
23x13.7
mk98 c 1899 craie Rouge et le crayon coloré sur en papier 23x13.7 1858-1921
Belgian
Fernand Khnopff Gallery
ID de tableau:: 39048
Portrait of a Woman le Portrait d~une Femme mk140
1748
Oil on canvas
mk140 1748 Huilent sur lecanevas 1710-1750
Robert Feke Gallery
ID de tableau:: 40285
Portrait of a Woman le Portrait d~une Femme mk156
Oil on panel
43.5x34.3cm
mk156 Pétrole sur lambrise 43.5x34.3cm Italian Painter, ca.1470-1531
ID de tableau:: 40973
Portrait of a Woman le Portrait d~une Femme mk159
1500-06
Oil on canvas
57x44cm
mk159 1500-06 Huilent sur le canevas 57x44cm 1460-1535
Italian
Lorenzo Costa Locations
ID de tableau:: 40996
Portrait of a woman le Portrait d~une femme mk159
1526
Oil on canvsa
88.5x58.6cm
mk159 1526 Huilent sur canvsa 88.5x58.6cm b. 1472, Kronach, d. 1553, Weimar
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42388
Portrait of a woman lePortrait d~une femme mk168
c.1490
Oil on coniferous wood
c.1490
47x36cm
mk168 c. 1490 Pétrole sur le c de bois conifère. 1490 47x36cm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
(May 3, 1535 - September 22, 1607) was an Italian portrait painter of the late Mannerist Florentine school.
Born in Florence, in 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.
ID de tableau:: 58189
Portrait of a Woman Portrait of a Woman (Bianca Cappello?) Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence (May 3, 1535 - September 22, 1607) was an Italian portrait painter of the late Mannerist Florentine school.
Born in Florence, in 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.
ID de tableau:: 63818
Portrait of a Woman 1507 Oil on wood, 64 x 48 cm Galleria Nazionale, Urbino The female portrait known as The Mute Woman represents a return to the influence of Leonardo. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years. It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure (whose characteristically crossed hands constitute a very clear reference to the Mona Lisa). The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole.Artist:RAFFAELLO Sanzio Title: Portrait of a Woman (La Muta) Painted in 1501-1550 , Italian - - painting : portrait Italian High Renaissance Painter, 1483-1520
ID de tableau:: 64219
Portrait of a Woman 89,6 x 71,2 cm Museum voor Schone Kunsten, Ghent , Artist: MAES, Nicolaes , Portrait of a Woman , 1651-1700 , Dutch , painting , portrait Dutch Baroque Era Painter, 1634-1693.
Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 64259
Portrait of a Woman 84,5 x 67,5 cm Museum voor Schone Kunsten, Ghent This portrait, showing an unidentified, 53-year-old woman, evokes a powerful sense of bourgeois self-confidence. , Artist: HALS, Frans , Portrait of a Woman , 1601-1650 , Dutch , painting , portrait Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).
ID de tableau:: 64711
Portrait of a Woman Oil on canvas Mus?e des Beaux-Arts, Marseille Artist:RUBENS, Pieter Pauwel Title: Portrait of a Woman, 1601-1650, Flemish , painting , portrait Flemish Baroque Era Painter, 1577-1640
ID de tableau:: 70668
Portrait of a Woman Medium Oil on canvas
Dimensions Expression error: Missing operand for *90.3 ?? 70.4 cm
1688-1751
John Smibert Gallery
English-born American Rococo Era Painter, ca.1700-1780
ID de tableau:: 70885
Portrait of a Woman ca. 1762(1762)
Oil on canvas
111.8 x 91 cm (44.02 x 35.83 in)
English-born American Rococo Era Painter, ca.1700-1780
English-born American Rococo Era Painter, ca.1700-1780
ID de tableau:: 71874
Portrait of a Woman Date ca. 1762(1762)
Dimensions 111.8 x 91 cm (44.02 x 35.83 in)
English-born American Rococo Era Painter, ca.1700-1780
konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings.
Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports.
Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher.
In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910).
From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha, ', ', ', ', ', ', ', '); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921).
Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).
ID de tableau:: 72283
Portrait of a woman Konrad Mägi "Portrait of a woman", 1918-1920, oil on canvas, 68 x 55
cjr konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings.
Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports.
Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher.
In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910).
From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha, ', ', ', ', ', ', ', '); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921).
Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).
ID de tableau:: 73317
Portrait of a woman Date 1644
Medium Oil on canvas
Dimensions 75.9 X 62.5 cm (29.88 X 24.61 in)
cyf 1580-1666
Frans Hals Galleries
(1622 - 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden. According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families. Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.
Sir William Davidson of Curriehill, Conservator of the Cloth Staple at Veere (with his son Charles), 1664.He became master of the Guild of St. Luke in 1657 and in 1659 he was chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling
ID de tableau:: 73406
Portrait of a Woman Portrait of a Woman (alternative title: Portrait of the widow of admiral van Balen)
1670(1670)
Oil painting on canvas
123 x 103.5 cm
cjr (1622 - 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden. According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families. Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.
Sir William Davidson of Curriehill, Conservator of the Cloth Staple at Veere (with his son Charles), 1664.He became master of the Guild of St. Luke in 1657 and in 1659 he was chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling
(c. 1480 - July 1528), born Jacopo Palma or known as Jacopo Negretti, was an Italian painter of the Venetian school born at Serina Alta near Bergamo. He is called Palma Vecchio in English ("Old Palma" - in Italian Palma il Vecchio) to distinguish him from Palma Giovane, his great-nephew.
When Palma arrived in Venice early in the 16th century, he reputedly was a companion and competitor of Lorenzo Lotto, and to some extent a pupil of Titian. He may also have taught Bonifazio Pitati and influenced Giovanni Busi. Palma's earlier works betray the influence of the Bellini.
ID de tableau:: 74855
Portrait of a Woman Oil on canvas. 95 x 80 cm (37 3/8 x 31 1/2 in.).
cjr (c. 1480 - July 1528), born Jacopo Palma or known as Jacopo Negretti, was an Italian painter of the Venetian school born at Serina Alta near Bergamo. He is called Palma Vecchio in English ("Old Palma" - in Italian Palma il Vecchio) to distinguish him from Palma Giovane, his great-nephew.
When Palma arrived in Venice early in the 16th century, he reputedly was a companion and competitor of Lorenzo Lotto, and to some extent a pupil of Titian. He may also have taught Bonifazio Pitati and influenced Giovanni Busi. Palma's earlier works betray the influence of the Bellini.
ID de tableau:: 76776
Portrait of a Woman Portrait of a Woman (possibly Elizabeth Warren), 1759, oil on canvas painting by Joshua Reynolds, Kimbell Art Museum.
cjr British
1723-1792
Sir Joshua Reynolds Locations
ID de tableau:: 80899
Portrait of a woman 1793(1793)
Medium Oil , Sheet copper
Dimensions 48 x 37 cm (18.9 x 14.6 in)
cyf (1742 - 1800)
Budapest, Magyar Nemzeti Galeria
(June 30, 1799 - June 20, 1882) was a French genre painter.
Born at Lyon, he traveled around the world, sketching on the way. He was particularly successful in rendering burlesque groups.
His painting, Scenes on the Coast of Africa, depicted on the right, was the inspiration behind Isaac Julien's short film The Attendant (1993). Biard was a known abolitionist against the Atlantic slave trade.
Wikimedia Commons has media related to: Auguste François Biard
This article incorporates text from the public domain 1907 edition of The Nuttall Encyclopædia.
ID de tableau:: 82948
Portrait of a woman Medium Oil on canvas
Dimensions 214.5 x 159 cm (84.4 x 62.6 in)
cjr (June 30, 1799 - June 20, 1882) was a French genre painter.
Born at Lyon, he traveled around the world, sketching on the way. He was particularly successful in rendering burlesque groups.
His painting, Scenes on the Coast of Africa, depicted on the right, was the inspiration behind Isaac Julien's short film The Attendant (1993). Biard was a known abolitionist against the Atlantic slave trade.
Wikimedia Commons has media related to: Auguste François Biard
This article incorporates text from the public domain 1907 edition of The Nuttall Encyclopædia.
(Valladolid, 1553 - 26 October 1608, Madrid) Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style.
Juan Pantoja de La Cruz was, born 1553 in Valladolid. Very little is known of his formative years as a painter. He was a pupil of the court painter Alonso Senchez Coello in Madrid and he must have assisted his master in complying with his duties as painter of the Spanish King, Philip II. Pantoja probably continued to work in his master studio after completing his training. He married in 1585 beginning to paint for the court around that time. After Sanchez Coello's death in 1588, Pantoja took over his master workshop and became court painter to Philip II of Spain.
Pantoja kept working for the court and the nobility, painting portraits of Prince Philip, the future Philip III, in 1592 and 1594. Among his most well known works is the portrait of Philip II wearing a cape and hat all in black, painted around 1594 for the Escorial. This portrait is one of the best representations of the idea of Spanish majesty, based on the remoteness of the monarch. On Philip II's death in 1598, Philip III confirmed Pantoja's status as court painter. When the court settled in Valladolid in 1601, Pantoja moved to the new capital, remaining in this city, several years.
ID de tableau:: 83656
Portrait of a woman 17th century
Medium Oil on canvas
cyf (Valladolid, 1553 - 26 October 1608, Madrid) Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style.
Juan Pantoja de La Cruz was, born 1553 in Valladolid. Very little is known of his formative years as a painter. He was a pupil of the court painter Alonso Senchez Coello in Madrid and he must have assisted his master in complying with his duties as painter of the Spanish King, Philip II. Pantoja probably continued to work in his master studio after completing his training. He married in 1585 beginning to paint for the court around that time. After Sanchez Coello's death in 1588, Pantoja took over his master workshop and became court painter to Philip II of Spain.
Pantoja kept working for the court and the nobility, painting portraits of Prince Philip, the future Philip III, in 1592 and 1594. Among his most well known works is the portrait of Philip II wearing a cape and hat all in black, painted around 1594 for the Escorial. This portrait is one of the best representations of the idea of Spanish majesty, based on the remoteness of the monarch. On Philip II's death in 1598, Philip III confirmed Pantoja's status as court painter. When the court settled in Valladolid in 1601, Pantoja moved to the new capital, remaining in this city, several years.
(c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
ID de tableau:: 84535
Portrait of a woman Date first half of 16th century
Medium Oil on wood
Dimensions Height: 90 cm (35.4 in). Width: 75 cm (29.5 in).
cjr (c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
(c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
ID de tableau:: 84538
Portrait of a woman Date 1522(1522)
Medium Oil on wood
Dimensions Height: 83.5 cm (32.9 in). Width: 71.5 cm (28.1 in).
cjr (c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
ID de tableau:: 85332
Portrait of a woman 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
(c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
ID de tableau:: 88371
Portrait of a woman 1522(1522)
Medium Oil on wood
cyf (c. 1489 - 1565) was an Italian High Renaissance painter of Venice and Lombardy. Born in Poscante (Bergamo). He mainly painted portraits and religious canvases.
ID de tableau:: 90755
Portrait of a Woman 1625-30(1625-30)
Medium oil on canvas
Dimensions 46 1/2 x 36 in. (118.1 x 91.4 cm)
cjr Dutch
1597-1660
Pieter Claesz Locations
ID de tableau:: 90988
Portrait of a Woman 1512(1512)
Medium oil on panel
Dimensions Height: 68 cm (26.8 in). Width: 55 cm (21.7 in).
cyf 1485-1547 Italian Sebastiano del Piombo Galleries
ID de tableau:: 91893
Portrait of a Woman c. 1886
Medium oil on canvas
Dimensions 27 1/8 x 22 1/8 in. (68.9 x 56.2 cm)
cjr Hannah Brown Skeele (1829 - 1901)
ID de tableau:: 91898
Portrait of a Woman c. 1696
Medium oil on canvas
Dimensions 64 1/4 x 51 1/4 in. (163.2 x 130.2 cm)
cjr 1656-1746
French
Nicolas de Largilliere Gallery
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
ID de tableau:: 92115
Portrait of a woman 1464(1464)
Medium oil on oak panel
Dimensions Height: 36.5 cm (14.4 in). Width: 27 cm (10.6 in).
cyf Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
ID de tableau:: 92389
Portrait of a Woman c. 1560-70
Medium oil on panel
Dimensions 21 1/4 x 16 1/2 in. (54 x 41.9 cm)
cjr German Northern Renaissance Painter, 1493-1555
ID de tableau:: 92905
Portrait of a woman c. 1650-1652
Medium oil on canvas
Dimensions 102.6 X 88.9 cm (40.4 X 35 in)
cjr 1580-1666
Frans Hals Galleries
ID de tableau:: 93655
Portrait of a Woman 1507(1507)
Medium oil on panel
Dimensions Height: 64 cm (25.2 in). Width: 48 cm (18.9 in).
cjr Italian High Renaissance Painter, 1483-1520
Cornelis Janssens van Ceulen (also Cornelius Jonson van Ceulen, Cornelius Johnson, Cornelis Jansz. van Ceulen and many other variants) (bapt. October 14, 1593, London - bur. August 5, 1661, Utrecht) was an English painter of portraits of Dutch or Flemish parentage. He has been described as "one of the most gifted and prolific portrait painters practising in England during the 1620s and 1630s".
ID de tableau:: 93933
Portrait of a Woman 1619, oil on wood painting by Cornelius Janssen van Ceulen, Cleveland Museum of Art
TTD Cornelis Janssens van Ceulen (also Cornelius Jonson van Ceulen, Cornelius Johnson, Cornelis Jansz. van Ceulen and many other variants) (bapt. October 14, 1593, London - bur. August 5, 1661, Utrecht) was an English painter of portraits of Dutch or Flemish parentage. He has been described as "one of the most gifted and prolific portrait painters practising in England during the 1620s and 1630s".
(February 10, 1810 in Mărcuşa, now Romania - February 12, 1898 in Budapest) was a Hungarian painter. He his mostly known for his portrait paintings.
He was born in Kezdimerkosfalva. He spent most of his life in Pest, where he was director of the art society from 1862 until his death. He became a member of the Parliament of Hungary in 1867. He died in Budapest.
ID de tableau:: 95511
Portrait of a Woman 1846(1846)
Medium oil on canvas
cyf (February 10, 1810 in Mărcuşa, now Romania - February 12, 1898 in Budapest) was a Hungarian painter. He his mostly known for his portrait paintings.
He was born in Kezdimerkosfalva. He spent most of his life in Pest, where he was director of the art society from 1862 until his death. He became a member of the Parliament of Hungary in 1867. He died in Budapest.
(February 10, 1810 in Mărcuşa, now Romania - February 12, 1898 in Budapest) was a Hungarian painter. He his mostly known for his portrait paintings.
He was born in Kezdimerkosfalva. He spent most of his life in Pest, where he was director of the art society from 1862 until his death. He became a member of the Parliament of Hungary in 1867. He died in Budapest.
ID de tableau:: 95561
Portrait of a Woman Unknown date
Medium oil on canvas
cyf (February 10, 1810 in Mărcuşa, now Romania - February 12, 1898 in Budapest) was a Hungarian painter. He his mostly known for his portrait paintings.
He was born in Kezdimerkosfalva. He spent most of his life in Pest, where he was director of the art society from 1862 until his death. He became a member of the Parliament of Hungary in 1867. He died in Budapest.
(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:: 96290
Portrait of a Woman 1529(1529)
Medium oil on oak 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.
(Porto, 13 May 1765 - Funchal, 2 May 1805), who choose the artistic name of Vieira Portuense, was a Portuguese painter, one of the introducers of Neoclassicism in Portuguese painting. He was, in the neoclassical style, one of the two great Portuguese painters of his generation, with Domingos Sequeira.
He first studied in Lisbon, later moving to Rome. He traveled through Italy, Germany, Austria and England, before returning to Portugal, in 1800. He met Swiss painter Angelika Kauffmann, from whom he seems to have received influences. He seems to anticipate some motives of the romantic painting in several of his historical paintings, like "Dona Filipa de Vilhena knighting her sons" (1801).
He contracted tuberculosis, and moved to Madeira, were he died, aged only 39.
He is represented at the National Museum of Ancient Art, in Lisbon, and at the National Museum Soares dos Reis, in Porto.
Not to be confused with another Portuguese painter, Francisco Vieira de Matos, better known as Vieira Lusitano.
ID de tableau:: 96679
Portrait of a Woman 1800(1800)
Medium oil on canvas
Dimensions 88 X 66 cm (34.6 X 26 in)
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(Porto, 13 May 1765 - Funchal, 2 May 1805), who choose the artistic name of Vieira Portuense, was a Portuguese painter, one of the introducers of Neoclassicism in Portuguese painting. He was, in the neoclassical style, one of the two great Portuguese painters of his generation, with Domingos Sequeira.
He first studied in Lisbon, later moving to Rome. He traveled through Italy, Germany, Austria and England, before returning to Portugal, in 1800. He met Swiss painter Angelika Kauffmann, from whom he seems to have received influences. He seems to anticipate some motives of the romantic painting in several of his historical paintings, like "Dona Filipa de Vilhena knighting her sons" (1801).
He contracted tuberculosis, and moved to Madeira, were he died, aged only 39.
He is represented at the National Museum of Ancient Art, in Lisbon, and at the National Museum Soares dos Reis, in Porto.
Not to be confused with another Portuguese painter, Francisco Vieira de Matos, better known as Vieira Lusitano.
(Rome, 28 June 1674 - Rome, 6 March 1755) was an Italian Rococo painter and caricaturist active in Rome.
Caricature of composer Antonio Vivaldi by Pier Leone GhezziGhezzi was born in Rome. His father, Giuseppe Ghezzi, (1634-1721), also trained Antonio Amorosi, and was a secretary to the Roman Accademia di San Luca. Pier Leone himself joined the Academy in 1705 and he executed a painting, the Allegory of Gratitude, to be donated to the institution, as was customary.
He was the godson of Carlo Maratta. Pier Leone is known for his frescoes in the Villa Falconieri of Frascati.
His pen and gouache caricatures are much freer in emotion than his state portraiture, and often depict named individuals or professions in satirical fashion.
ID de tableau:: 97403
Portrait of a woman Oil on canvas, 42 x 33 cm
Date 1911(1911)
cyf (Rome, 28 June 1674 - Rome, 6 March 1755) was an Italian Rococo painter and caricaturist active in Rome.
Caricature of composer Antonio Vivaldi by Pier Leone GhezziGhezzi was born in Rome. His father, Giuseppe Ghezzi, (1634-1721), also trained Antonio Amorosi, and was a secretary to the Roman Accademia di San Luca. Pier Leone himself joined the Academy in 1705 and he executed a painting, the Allegory of Gratitude, to be donated to the institution, as was customary.
He was the godson of Carlo Maratta. Pier Leone is known for his frescoes in the Villa Falconieri of Frascati.
His pen and gouache caricatures are much freer in emotion than his state portraiture, and often depict named individuals or professions in satirical fashion.
Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze)
ID de tableau:: 97776
Portrait of a Woman between 1506(1506) and 1510(1510)
Medium oil on panel
cyf Italian painter, Florentine school (b. 1475, Firenze, d. 1554, Firenze)
Victor Meirelles de Lima (August 18, 1832 -February 22, 1903) was a 19th century painter. He studied art in Paris but painted most of his works in and about his native Brazil. His religious and military paintings helped him become one of the most popular and celebrated Brazilian painters. His The first Mass in Brazil was the first Brazilian painting to be accepted in the Salons of Paris and is one of the most well known paintings in his native country, being reproduced in every book of History for elementary schools.
ID de tableau:: 98004
Portrait of a woman 1880(1880)
Medium oil
Dimensions 74 x 60 cm
cyf Victor Meirelles de Lima (August 18, 1832 -February 22, 1903) was a 19th century painter. He studied art in Paris but painted most of his works in and about his native Brazil. His religious and military paintings helped him become one of the most popular and celebrated Brazilian painters. His The first Mass in Brazil was the first Brazilian painting to be accepted in the Salons of Paris and is one of the most well known paintings in his native country, being reproduced in every book of History for elementary schools.
English-born American Rococo Era Painter, ca.1700-1780
ID de tableau:: 98449
Portrait of a Woman circa 1762(1762)
Medium oil on canvas
Dimensions 111.8 x 91 cm (44 x 35.8 in)
English-born American Rococo Era Painter, ca.1700-1780
