Deutschland Öl Gemälde Reproduktion, Kein Minimum!

 
 

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  202

Porträt von einem Mann
1462 The National Gallery, London
1462 Die Nationale Galerie, London
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Titian

Italian High Renaissance Painter, ca.1485-1576

Gemälde ID::  1674

Porträt von einem Mann
1512-13 Pinakothek, Munich
1512-13 Pinakothek, München
Italian High Renaissance Painter, ca.1485-1576

   
 

 

 
   
      

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DOU, Gerrit

Dutch Baroque Era Painter, 1613-1675

Gemälde ID::  19000

Porträt von einem Mann
1642-46 Oil on panel Aurora Art Fund
1642-46 Öle auf täfelt Polarlichtkunstfonds
Dutch Baroque Era Painter, 1613-1675

   
 

 

 
   
      

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Orlandi, Deodato

Flemish Northern Renaissance Painter, ca.1488-1541

Gemälde ID::  19681

Porträt von einem Mann
Oil on panel Galleria degli Uffizi, Florence.
Öl aufUnterausschuss Galleria degli Uffizi, Florenz.
Flemish Northern Renaissance Painter, ca.1488-1541

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Gemälde ID::  28090

Porträt von einem Mann
mk61 1524 Oil on canvas 50x36cm
das Öl von mk61 1524 auf Leinwand 50x36cm
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      


Gemälde ID::  28886

Porträt von einemMann
mk65 Oil on canvas 31 7/8x23 5/8in
mk65 Öl auf Leinwand 31 7/8x23 5/8in

   
 

 

 
   
      

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FOSCHI, Pier Francesco

Italian painter, Florentine school (b. 1502, Firenze, d. 1567, Firenze)

Gemälde ID::  28979

Porträt voneinem Mann
mk65 Oil on panel 25 5/8x19 11/16in Uffizi,Gallery
mk65 Öl auf Unterausschuss 25 5/8x19 11/16in Uffizi Galerie
Italian painter, Florentine school (b. 1502, Firenze, d. 1567, Firenze)

   
 

 

 
   
      

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Palma Vecchio

1480-1528 Italian Palma Vecchio Gallery

Gemälde ID::  29287

Porträt von einem Mann
mk65 Oil on canvas 37x28"
mk65 Öl auf Leinwand 37x28
1480-1528 Italian Palma Vecchio Gallery

   
 

 

 
   
      

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POURBUS, Frans the Elder

Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).

Gemälde ID::  29293

Porträt von einem Mann
mk65 Oil on panel 34x31"
mk65 Öl auf täfelt 34x31
Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).

   
 

 

 
   
      

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MORONI, Giovanni Battista

Italian Mannerist Painter, ca.1520-1578

Gemälde ID::  29300

Porträt von einem Mann
mk65 Oil on canvas 23x19 1/2"
mk65 Öl auf Leinwand23x19 1/2
Italian Mannerist Painter, ca.1520-1578

   
 

 

 
   
      

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VERONESE (Paolo Caliari)

Italian Mannerist Painter, ca.1528-1588

Gemälde ID::  29301

Porträt von einem Mann
mk65 Oil on canvas 25x20"
mk65 Öl auf Leinwand 25x20
Italian Mannerist Painter, ca.1528-1588

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  29328

Porträtvon einem Mann
mk65 Oil o canvas 33x26"
mk65 Ölo Leinwand 33x26
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Philippe de Champaigne

1602-1674 Philippe de Champaigne Locations

Gemälde ID::  29524
Portrait of a Man
1650 Oil on canvas, 91 x 72 cm
1602-1674 Philippe de Champaigne Locations

   
 

 

 
   
      

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Bourdon, Sebastien

French, 1616-1671

Gemälde ID::  29525
Portrait of a Man
Oil on canvas, 105 x 65 cm
French, 1616-1671

   
 

 

 
   
      

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HALS, Frans

Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).

Gemälde ID::  29621

Porträt von einem Mann
1660-66 Oil on canvas, 85,8 x 66,9 cm
1660-66 Öle auf Leinwand 85.8 X 66.9 cm
Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).

   
 

 

 
   
      

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Giovanni Bellini

Italian High Renaissance Painter, ca.1430-1516

Gemälde ID::  29803

Porträt von einem Mann
mk67 Oil on panel 12 3/16x10 1/4in Uffizi,Gallery
mk67Öl auf Unterausschuss 12 3/16x10 1/4in Uffizi Galerie
Italian High Renaissance Painter, ca.1430-1516

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Gemälde ID::  29882

Porträt von einem Mann
mk67 Oil on panel 34 5/8x23 15/26in Uffizi,Gallery
mk67 Öl auf Unterausschuss 34 5/8x23 15/26in Uffizi Galerie
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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Joos van cleve

Flemish Northern Renaissance Painter, ca.1485-1540

Gemälde ID::  29917

Porträt von einem Mann
mk67 OIl on panel 22 7/16x16 9/16in Uffizi,Gallery
mk67 ÖL auf Unterausschuss 22 7/16x169/16in Uffizi Galerie
Flemish Northern Renaissance Painter, ca.1485-1540

   
 

 

 
   
      

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Bernard van orley

Flemish Northern Renaissance Painter , c.1488-1551

Gemälde ID::  29920

Porträt von einem Mann
mk67 Oil on panel 14 9/16x10 5/8in Uffizi,Gallery
mk67 Öl auf Unterausschuss 14 9/16x10 5/8in Uffizi Galerie
Flemish Northern Renaissance Painter , c.1488-1551

   
 

 

 
   
      

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BURGKMAIR, Hans

German Northern Renaissance Painter, 1473-1531

Gemälde ID::  29930

Porträt von einem Mann
mk67 Parchment over panel 10 11/16X8 7/8in Uffizi,Gallery
mk67 Pergament über täfelt 10 11/16X8 7/8in Uffizi Galerie
German Northern Renaissance Painter, 1473-1531

   
 

 

 
   
      

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GOES, Hugo van der

Netherlandish Northern Renaissance Painter, ca.1440-1482

Gemälde ID::  31301

Porträt von einem Mann
c. 1475 Tempera on wood, 31,8 x 26,7 cm Metropolitan Museum of Art, New York
c. der Tempera von1475 auf Holz 31.8 X 26.7 cm Hauptstädtisches Museum der Kunst New York
Netherlandish Northern Renaissance Painter, ca.1440-1482

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  31306

Porträtvon einem Mann
nn07 c.1475 36x25cm
der 36x25cm von nn07 C. 1475
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Gemälde ID::  31735

Porträt von einem Mann
mk76 Painted c.1470 Oil on panel 13 1/8x9 1/8in
Hat mk76 das Öl von C. 1470 auf Unterausschuss 13 1/8x91/8in. Angestrichen
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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HALS, Frans

Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).

Gemälde ID::  31759

Porträt von einem Mann
mk76 Painted c.1660 Oil on canvas 44 1/2x32 1/4in
Hat mk76 das Öl von C. 1660 auf Leinwand 44 1/2x32 1/4in. Angestrichen
Dutch painter (b. 1580, Antwerpen, d. 1666, Haarlem).

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  34274

Porträt von einem Mann
mk91 Oil on canvas 84.5x67
mk91 Öl auf Leinwand 84.5x67
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Fernand Khnopff

1858-1921 Belgian Fernand Khnopff Gallery

Gemälde ID::  34961

Porträt von einem Mann
mk98 c.1885 Oil on panel 25x185
das Öl von mk98 C. 1885 auf täfelt 25x185
1858-1921 Belgian Fernand Khnopff Gallery

   
 

 

 
   
      

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Frank Duveneck

1848-1919 Frank Duveneck Gallery

Gemälde ID::  39082

Porträt von einem Mann
mk140 circa 1876 Oil on canvas 75.5x60.7cm
mk140 zirka 1876 Öle auf Leinwand 75.5x60.7cm
1848-1919 Frank Duveneck Gallery

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  39688

Porträt von einemMann
mk150 c.1654/5 Canvas 108x79.5cm
mk150 c.1654/ 5 Leinwand 108x79.5cm
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  40237

Porträt von einem Mann
mk156 1475 Oil on panel 36x30cm
das Öl von mk156 1475 auf täfelt 36x30cm
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Francis Hayman

English Painter, 1708-1776

Gemälde ID::  40927

Porträt von einem Mann
mk158 c.1747
mk158 C. 1747
English Painter, 1708-1776

   
 

 

 
   
      

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CAPRIOLO, Domenico

Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)

Gemälde ID::  40981

Porträt von einem Mann
mk159 1512 Oil on canvas 117x85CM
das Öl von mk159 1512 auf Leinwand 117x85CM
Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)

   
 

 

 
   
      

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Salvator Rosa

1615-1673 Italian Salvator Rosa Galleries

Gemälde ID::  41014

Porträt von einem Mann
mk159 1640s Oil on canvas 78x64.5cm
mk159 1640er Jahren Ölen auf Leinwand 78x64.5cm
1615-1673 Italian Salvator Rosa Galleries

   
 

 

 
   
      

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Hugo van der Goes

1440-1482 Flemish Hugo van der Goes Galleries

Gemälde ID::  41325

Porträt von einem Mann
mk161 Tempera and oil on wood 12x10
mk161 Tempera und Öl auf Holz 12x10
1440-1482 Flemish Hugo van der Goes Galleries

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Gemälde ID::  42300

Porträt von einem Mann
mk168 Oil on oak 50x36cm
mk168 Öl auf Eichen 50x36cm
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Gemälde ID::  42405

Porträt von einem Mann
mk168 50x32cm Oil on oak
mk168 50x32cm Öl auf Eiche
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Robert Campin

1406-1444 Robert Campin Location

Gemälde ID::  42839
Portrait of a Man
mk170 circa 1430 Oil and egg tempera on oak 40.7x28.1cm
1406-1444 Robert Campin Location

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  42841
Portrait of a Man
mk170 dated 1462 Oil on oak 31.6x20.5cm
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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VIVARINI, Alvise

Italian Early Renaissance Painter , b. 1445/46, Venezia, d. 1503/5, Venezia

Gemälde ID::  42924
Portrait of A Man
mk170 Oil on wood 62.2x47cm
Italian Early Renaissance Painter , b. 1445/46, Venezia, d. 1503/5, Venezia

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Gemälde ID::  43016
Portrait of A man
mk170 circa 1523 Oil on wood 89.5x63.8cm
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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MORETTO da Brescia

Italian High Renaissance Painter, 1498-1554

Gemälde ID::  43050
Portrait of a man
mk170 dated 1526 Oil on canvas 201x92.2cm
Italian High Renaissance Painter, 1498-1554

   
 

 

 
   
      

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Giovanni Battista Moroni

Italian c1520-1578

Gemälde ID::  43056
Portrait of a man
mk170 1565-1570 Oil on canvas 97.8x74.9cm
Italian c1520-1578

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  43152
Portrait of a Man
mk170 1633 Oil on canvas 64.8x50.2cm
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Louis Tocque

Paris 1696-1772

Gemälde ID::  43248
Portrait of a Man
mk170 1747 Oil on canvas 100.3x80cm
Paris 1696-1772

   
 

 

 
   
      

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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669

Gemälde ID::  50271
Portrait of a Man
mk210 1663 Canvas 124x100cm
Born 1606, Died 1669

   
 

 

 
   
      

This artist (Nikolay Fechin) is not available now.


Gemälde ID::  52770
Portrait of a man
mk223 Oil on canvas

   
 

 

 
   
      

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Jean-Auguste Dominique Ingres

French Neoclassical Painter, 1780-1867

Gemälde ID::  53289
Portrait of a man
mk227 Oil on canvas 75.2x58.1cm 1810
French Neoclassical Painter, 1780-1867

   
 

 

 
   
      


Gemälde ID::  56002
portrait of a man
c.1512 ,oil on canvas,32x26.125 in,81.2x66.3 cm,national gallery,london,uk

   
 

 

 
   
      

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El Greco

Greek-born Spanish Mannerist Painter, 1541-1614

Gemälde ID::  62291
Portrait of a Man
1586-90 Oil on cardboard, 7,9 x 5,7 cm The Hispanic Society of America, New York Work by El Greco in small format, which includes miniatures, small-scale religious paintings and reduced versions of larger compositions, is well documented from the time of his residence in Italy onwards. Yet this interesting portrait miniature remains one of the few known in his oeuvre. It bears an original signature on the back
Greek-born Spanish Mannerist Painter, 1541-1614

   
 

 

 
   
      

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GRECO, El

Greek-born Spanish Mannerist Painter, 1541-1614

Gemälde ID::  62338
Portrait of a Man
53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait
Greek-born Spanish Mannerist Painter, 1541-1614

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  63537
Portrait of a Man
1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Gemälde ID::  63545
Portrait of a Man
1504 Oil on panel, 43 x 29 cm Museum of Fine Arts, Budapest D?rer's paintings include altarpieces, religious pictures and some outstanding portraits. Although he began by working in the German late Gothic tradition, D?rer was to introduce the Renaissance to Germany with his pure compositions in which the sure touch of the draughtsman is always evident. With his workshop and followers he marked out the lines of development of the new style for later years. This small picture - a portrait of a youth, painted in brilliant, warm colours - is sometimes ascribed to D?rer's pupils (Hans S?ss von Kulmbach or Hans Baldung Grien). Some scholars believe to recognize in the sitter D?rer's brother Andreas; however the smooth features and simple attire hardly provide enough clues for identifying the sitter. However, a silverpoint drawing by D?rer in the Albertina Collection in Vienna shows the same model in a similar pose, clearly indicated in the inscription as Endres D?rer, the painter's younger brother
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  63547
Portrait of a Man
1634 Oil on canvas, 82,5 x 70 cm Museum of Fine Arts, Budapest The painting is dated at the bottom right part as "AETAT SVAE 28 / AN 1634
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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WEYDEN, Rogier van der

Netherlandish Northern Renaissance Painter, ca.1400-1464

Gemälde ID::  63856
Portrait of a Man
1455-60 Oil on oak panel, 32 x 22,8 cm Thyssen-Bornemisza Collection, Madrid The man, who is of middle age, has not been identified. The fashion in which his hair is cut corresponds roughly to the style worn by Francesco d'Este (Metropolitan Museum of Art, New York), which would suggest that the two pictures are close in date.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait
Netherlandish Northern Renaissance Painter, ca.1400-1464

   
 

 

 
   
      

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WEYDEN, Rogier van der

Netherlandish Northern Renaissance Painter, ca.1400-1464

Gemälde ID::  63878
Portrait of a Man
1450 Oil on panel, 75 x 50 cm Koninklijk Museum voor Schone Kunsten, Antwerp This portrait is probably a copy from c. 1500 of an original by Rogier van der Weyden which, judging by the fashion of the clothes, was executed around or shortly after the middle of the century. An unusual feature is the elegant low neck, which makes the face seem small. Possibly this, like the clock, and the inscriptions reminding the viewer of the transience of life, was a deviation from the original.Artist:WEYDEN, Rogier van der Title: Portrait of a Man Painted in 1401-1450 , Flemish - - painting : portrait
Netherlandish Northern Renaissance Painter, ca.1400-1464

   
 

 

 
   
      

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Giovanni Battista Moroni

Italian c1520-1578

Gemälde ID::  69658
Portrait of a Man
oil on canvas painting by Giovanni Battista Moroni, 1553, Honolulu Academy of Arts
Italian c1520-1578

   
 

 

 
   
      

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Edgar Degas

French Realist/Impressionist Painter and Sculptor, 1834-1917

Gemälde ID::  71458
Portrait of a Man
ca. 1866(1866) Oil on canvas 86.4 x 64.8 cm (34.02 x 25.51 in)
French Realist/Impressionist Painter and Sculptor, 1834-1917

   
 

 

 
   
      

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Lorenzo Costa

Bologna 1460-Mantua 1535

Gemälde ID::  71655
Portrait of a Man
between 1400(1400) and 1499(1499) tempera and Oil on poplar 47.9 x 33 cm (18.86 x 12.99 in)
Bologna 1460-Mantua 1535

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  72204
Portrait of a Man
between 1612(1612) and 1616(1616) Oil on canvas 73.7 X 55.2 cm (29.02 X 21.73 in) cjr
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Frank Duveneck

1848-1919 Frank Duveneck Gallery

Gemälde ID::  72856
Portrait of a Man
Date ca. 1876(1876) Medium Oil on canvas Dimensions 75.5 X 60.7 cm (29.72 X 23.9 in) cyf
1848-1919 Frank Duveneck Gallery

   
 

 

 
   
      

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Lorenzo Costa

1460-1535 Italian Lorenzo Costa Locations

Gemälde ID::  72871
Portrait of a Man
Date between 1400(1400) and 1499(1499) Medium tempera and Oil on poplar Dimensions 47.9 X 33 cm (18.86 X 12.99 in) cyf
1460-1535 Italian Lorenzo Costa Locations

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  73319
Portrait of a Man
Date between 1612(1612) and 1616(1616) Medium Oil on canvas Dimensions 73.7 X 55.2 cm (29.02 X 21.73 in) cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Frederic Bazille

b.Dec. 6, 1841, Montpellier, France d.Nov. 28, 1870, Beaune-la-Rolande French Frederic Bazille Galleries

Gemälde ID::  73578
Portrait of a Man
Oil painting reproduction of FrXdXric Bazille. cjr
b.Dec. 6, 1841, Montpellier, France d.Nov. 28, 1870, Beaune-la-Rolande French Frederic Bazille Galleries

   
 

 

 
   
      


Gemälde ID::  73926
Portrait of a Man
Date ca. 1859(1859) Medium Oil on canvas Dimensions 39.1 X 34 cm (15.39 X 13.39 in) cyf

   
 

 

 
   
      

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BACKER, Jacob Adriaensz.

Dutch Baroque Era Painter, 1608-1651

Gemälde ID::  73952
Portrait of a Man
Date between 1635(1635) and 1639(1639) Medium Oil on canvas Dimensions 75.6 X 65.1 cm (29.76 X 25.63 in) cyf
Dutch Baroque Era Painter, 1608-1651

   
 

 

 
   
      


Gemälde ID::  76931
Portrait of a Man
18th century Oil on canvas 61 x 47 cm (24 x 18.5 in) cjr

   
 

 

 
   
      

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Christoph Amberger

(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

Gemälde ID::  78403
Portrait of a man
1540-1560 Oil on panel cjr
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

   
 

 

 
   
      


Gemälde ID::  78901
Portrait of a Man
Oil on canvas Width: 1.07 m (1.2 yd). Height: 1.39 m (1.5 yd). cjr

   
 

 

 
   
      

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Lorenzo Lotto

Italian 1480-1556 Lorenzo Lotto Galleries

Gemälde ID::  79661
Portrait of a Man
between 1506(1506) and 1510(1510) Oil on wood Height: 42.3 cm (16.7 in). Width: 35.8 cm (14.1 in). cjr
Italian 1480-1556 Lorenzo Lotto Galleries

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  79671
Portrait of a Man
1473(1473) Medium Oil on panel cyf
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  79859
Portrait of a Man
c.1465-70 Oil on panel cjr
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Hindu painter

Richard Ettinghausen believes this work to have been painted in Agra in about 1625

Gemälde ID::  80369
Portrait of a Man
18th century Medium Oil on canvas Dimensions 61 x 47 cm (24 x 18.5 in) cyf
Richard Ettinghausen believes this work to have been painted in Agra in about 1625

   
 

 

 
   
      

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Hans holbein the younger

b. 1497, Augsburg, d. 1543, London

Gemälde ID::  80394
Portrait of a Man
Portrait of a Man, possibly Hans of Antwerp. Oil and tempera on oak, 61 x 46.8 cm, Royal Collection, Windsor Castle cjr
b. 1497, Augsburg, d. 1543, London

   
 

 

 
   
      

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VERSPRONCK, Jan Cornelisz

b. ca. 1597, Haarlem, d. 1662, Haarlem

Gemälde ID::  80693
Portrait of a Man
Medium Oil on canvas cyf
b. ca. 1597, Haarlem, d. 1662, Haarlem

   
 

 

 
   
      

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Mina Kolokolnikov

1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

Gemälde ID::  81208
Portrait of a Man
Date 18th century Medium Oil on canvas cjr
1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

   
 

 

 
   
      

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Christoph Amberger

(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

Gemälde ID::  81694
Portrait of a man
1540-1560 Medium Oil on panel cyf
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

   
 

 

 
   
      

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Edouard Manet

French Realist/Impressionist Painter, 1832-1883

Gemälde ID::  82043
Portrait of a Man
Date 1860(1860) Medium Oil on canvas Dimensions 62 x 50 cm (24.4 x 19.7 in) cjr
French Realist/Impressionist Painter, 1832-1883

   
 

 

 
   
      


Gemälde ID::  82247
Portrait of a man
Portrait of a man, oil on wood panel, 6x5 inches, 1536. cjr

   
 

 

 
   
      

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RAFFAELLO Sanzio

Italian High Renaissance Painter, 1483-1520

Gemälde ID::  82591
Portrait of a Man
Date ca. 1502(1502) Medium Oil on wood Dimensions Height: 45 cm (17.7 in). Width: 31 cm (12.2 in). cjr
Italian High Renaissance Painter, 1483-1520

   
 

 

 
   
      

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Hans Baldung Grien

German 1485-1545 Hans Baldung Grien Galleries

Gemälde ID::  82734
Portrait of a Man
1514(1514) Medium Oil on linden Dimensions 59.3 x 48.9 cm (23.3 x 19.3 in) cyf
German 1485-1545 Hans Baldung Grien Galleries

   
 

 

 
   
      

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Jan Van Eyck

1395-1441 Flemish Jan Van Eyck Locations

Gemälde ID::  82824
Portrait of a Man
English: Oil on Wood Dimensions Deutsch: 15,5 x 19 cm cyf
1395-1441 Flemish Jan Van Eyck Locations

   
 

 

 
   
      

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Bohumil Kubista

(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists. Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting. Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum. He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.

Gemälde ID::  82865
Portrait of a Man
Date 1911(1911) Medium Oil on canvas Dimensions 66 x 52 cm (26 x 20.5 in) cjr
(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists. Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting. Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum. He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.

   
 

 

 
   
      

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Anthony Van Dyck

Dutch 1599-1641 Anthony Van Dyck Locations

Gemälde ID::  82980
Portrait of a Man
Date ca. 1619(1619) Medium Oil on canvas Dimensions 199 x 126 cm (78.3 x 49.6 in) cjr
Dutch 1599-1641 Anthony Van Dyck Locations

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  83530
Portrait of a Man
Date between 1650(1650) and 1653(1653) Medium Oil on canvas Dimensions Height: 84.7 cm (33.3 in). Width: 67 cm (26.4 in). cjr
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Lorenzo Lotto

Italian 1480-1556 Lorenzo Lotto Galleries

Gemälde ID::  83663
Portrait of a Man
between 1506(1506) and 1510(1510) Medium Oil on wood cyf
Italian 1480-1556 Lorenzo Lotto Galleries

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  84276
Portrait of a Man
1462(1462) Medium Oil and egg tempera on wood Dimensions 20.5 x 31.6 cm (8.1 x 12.4 in) cyf
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  84474
Portrait of a Man
Date ca. 1635(1635) Medium Oil on oak Dimensions Height: 24.7 cm (9.7 in). Width: 19.6 cm (7.7 in). cjr
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Girolamo Romanino

Italian High Renaissance Painter, 1484-1562

Gemälde ID::  84585
Portrait of a Man
Date between 1520(1520) and 1525(1525) Medium Oil on wood Dimensions Height: 83 cm (32.7 in). Width: 72 cm (28.3 in). cjr
Italian High Renaissance Painter, 1484-1562

   
 

 

 
   
      

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Hans holbein the younger

b. 1497, Augsburg, d. 1543, London

Gemälde ID::  84639
Portrait of a Man
Oil and tempera on oak, 61 x 46.8 cm cyf
b. 1497, Augsburg, d. 1543, London

   
 

 

 
   
      

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Michiel Jansz. van Mierevelt

(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter. He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht. He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court. Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft. The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.

Gemälde ID::  84692
Portrait of a Man
Date first half of 17th century Medium Oil on wood Dimensions Height: 71.5 cm (28.1 in). Width: 54.5 cm (21.5 in). cjr
(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter. He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht. He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court. Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft. The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.

   
 

 

 
   
      

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Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries

Gemälde ID::  84830
Portrait of a Man
1470(1470) Medium Oil on wood Dimensions 27 x 20.6 cm (10.6 x 8.1 in) cyf
1430-1479 Italian Antonello da Messina Galleries

   
 

 

 
   
      

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Michel Sittow

(c.1469-1525) was a painter from Reval (now Tallinn, Estonia) who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era.

Gemälde ID::  85010
Portrait of a Man
Date 1510s Medium Oil on oak panel Dimensions Height: 36 cm (14.2 in). Width: 26 cm (10.2 in). cjr
(c.1469-1525) was a painter from Reval (now Tallinn, Estonia) who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era.

   
 

 

 
   
      

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Mina Kolokolnikov

1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

Gemälde ID::  85240
Portrait of a Man
18th century Medium Oil on canvas cyf
1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  85335
Portrait of a Man
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

   
 

 

 
   
      

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Edouard Manet

French Realist/Impressionist Painter, 1832-1883

Gemälde ID::  85678
Portrait of a Man
1860(1860) Medium Oil on canvas Dimensions 62 x 50 cm (24.4 x 19.7 in) cyf
French Realist/Impressionist Painter, 1832-1883

   
 

 

 
   
      

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Jan van Beers

(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter. Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland. Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools. Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.

Gemälde ID::  85730
Portrait of a Man
Oil on panel Dimensions 31.8 x 40 cm (12.5 x 15.7 in) cyf
(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter. Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland. Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools. Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.

   
 

 

 
   
      

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Sebastiano del Piombo

1485-1547 Italian Sebastiano del Piombo Galleries

Gemälde ID::  85859
Portrait of a Man
Date between 1512(1512) and 1514(1514) Medium Oil on poplar Dimensions Height: 115 cm (45.3 in). Width: 94 cm (37 in). cjr
1485-1547 Italian Sebastiano del Piombo Galleries

   
 

 

 
   
      

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Francois Clouet

1510-1572 French Francois Clouet Locations

Gemälde ID::  86100
Portrait of a man
Date 16th century Medium Oil on panel Dimensions 26 x 21 cm (10.2 x 8.3 in) cjr
1510-1572 French Francois Clouet Locations

   
 

 

 
   
      

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Diego Velazquez

Spanish Baroque Era Painter, 1599-1660

Gemälde ID::  86127
Portrait of a Man
oil on canvas, 68.6 x 55.2 cm, c. 1630 cjr
Spanish Baroque Era Painter, 1599-1660

   
 

 

 
   
      

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Hans Cranach

(ca. 1513-1537), also known as Johann Lucas Cranach, was a German painter, the oldest son of Lucas Cranach the Elder. German art historian Christian Schuchardt, who discovered his existence, credits him with an altar-piece at Weimar, signed with the monogram "H. C.", and dated 1537. He died at Bologna in 1537. Luther mentions his death in his "Table Talk", and Johann Stigel, a contemporary poet, celebrates him as a painter.

Gemälde ID::  86153
Portrait of a Man
Oil on wood, 51,4 x 35,1 cm Date 1534(1534) cjr
(ca. 1513-1537), also known as Johann Lucas Cranach, was a German painter, the oldest son of Lucas Cranach the Elder. German art historian Christian Schuchardt, who discovered his existence, credits him with an altar-piece at Weimar, signed with the monogram "H. C.", and dated 1537. He died at Bologna in 1537. Luther mentions his death in his "Table Talk", and Johann Stigel, a contemporary poet, celebrates him as a painter.

   
 

 

 
   
      

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Hans Leonhard Schaeufelein

1480-1540 German Hans Leonhard Schaeufelein Gallery

Gemälde ID::  86221
Portrait of a Man
Date 1505(1505) Medium Oil on wood cjr
1480-1540 German Hans Leonhard Schaeufelein Gallery

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  87315
Portrait of a Man
1660(1660) Medium Oil on panel cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  88337
Portrait of a Man
1635(1635) Medium Oil on oak cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Girolamo Romanino

Italian High Renaissance Painter, 1484-1562

Gemälde ID::  88448
Portrait of a Man
between 1520(1520) and 1525(1525) Medium Oil on wood cyf
Italian High Renaissance Painter, 1484-1562

   
 

 

 
   
      

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Michiel Jansz. van Mierevelt

(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter. He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht. He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court. Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft. The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.

Gemälde ID::  88594
Portrait of a Man
first half of 17th century Medium Oil on wood cyf
(Delft, 1567 - Delft 27 June 1641) was a Dutch Golden Age painter. He was the son of a goldsmith, who apprenticed him to the copperplate engraver Hieronymus Wierix. He subsequently became a pupil of Willem Willemz and Augusteyn of Delft, until Anthonie van Montfoort (Houbraken calls him Antony Blokland), who had seen and admired two of Mierevelt's early engravings, Christ and the Samaritan and Judith and Holofernes, invited him to enter his school at Utrecht. He registered as a member of the Guild of St. Luke in The Hague in 1625.Devoting himself first to still lifes, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him.The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious color, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronized by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court. Though Mierevelt is chiefly known as a portrait painter, he also executed some mythological pieces of minor importance. Many of his portraits have been reproduced in line by the leading Dutch engravers of his time. He died at Delft. The Rijksmuseum in Amsterdam has the richest collection of Mierevelt's works, chief of them being the portraits of William, Philip William, Maurice, and Frederick Henry of Orange, and of the count palatine Frederick V. At the Mauritshuis in The Hague are the portraits of four princes of the house of Orange, of Frederick V as king of Bohemia, and of Louise de Coligny as a widow. Other portraits by him are at nearly all the leading continental galleries, notably at Brunswick (3), Gotha (2), Schwerin (3), Munich (2), Paris (Louvre, 3), Dresden (4), Berlin (2), and Darmstadt (3). The town hall of Delft also has numerous examples of his work.

   
 

 

 
   
      

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Michiel Sittow

Estonian 1468-1525 Michiel Sittow Gallery

Gemälde ID::  88783
Portrait of a Man
1510s Medium Oil on oak panel cyf
Estonian 1468-1525 Michiel Sittow Gallery

   
 

 

 
   
      

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PREDIS, Ambrogio de

Italian Early Renaissance Painter, ca.1455-1508

Gemälde ID::  89154
Portrait of a Man
1500(1500) Medium oil on wood cyf
Italian Early Renaissance Painter, ca.1455-1508

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  89540
Portrait of a Man
between 1630(1630) and 1633(1633) Medium oil on canvas cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Jan van Scorel

Dutch 1495-1562 Jan Van Scorel Galleries

Gemälde ID::  89667
Portrait of a Man
1535(1535) Medium oil on oak cyf
Dutch 1495-1562 Jan Van Scorel Galleries

   
 

 

 
   
      


Gemälde ID::  90023
Portrait of a Man
1930s Medium oil on canvas Dimensions 54.5 x 49.5 cm (21.5 x 19.5 in) cjr
1878-1935

   
 

 

 
   
      

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Sebastiano del Piombo

1485-1547 Italian Sebastiano del Piombo Galleries

Gemälde ID::  90033
Portrait of a Man
between 1512(1512) and 1514(1514) Medium oil on poplar cyf
1485-1547 Italian Sebastiano del Piombo Galleries

   
 

 

 
   
      

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Diego Velazquez

Spanish Baroque Era Painter, 1599-1660

Gemälde ID::  90164
Portrait of a Man
oil on canvas, 68.6 x 55.2 cm, Metropolitan Museum of Art Date c. 1630(1630) cyf
Spanish Baroque Era Painter, 1599-1660

   
 

 

 
   
      

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Peter Franchoys

Peter, Peeter or Pieter Franchoys or Francois (1606-1654) was a Flemish Baroque painter from Mechelen, who painted an altarpiece of Calvary influenced by Anthony van Dyck for the St. Gummarus church in Lier, Belgium. [edit] Biography He first learned to paint from his father, Lucas Franchoys the Elder, and later from Gerard Seghers in Antwerp . In 1631 he traveled in France and is recorded being in Fontainebleau. In 1646 he became a member of the Mechelen schutterij and in 1649 he became a master in the Guild of St. Luke there. According to Houbraken he was known for his landscapes with small figures, that attracted the admiration of Archduke Leopold Wilhelm of Austria, for whom he painted many years. His work is memorialized in the Gulden Cabinet of the poet from Lier, Cornelis de Bie.

Gemälde ID::  91522
Portrait of a Man
first half of 17th century Medium Oil on canvas on panel Dimensions Height: 66 cm (26 in). Width: 50 cm (19.7 in). cyf
Peter, Peeter or Pieter Franchoys or Francois (1606-1654) was a Flemish Baroque painter from Mechelen, who painted an altarpiece of Calvary influenced by Anthony van Dyck for the St. Gummarus church in Lier, Belgium. [edit] Biography He first learned to paint from his father, Lucas Franchoys the Elder, and later from Gerard Seghers in Antwerp . In 1631 he traveled in France and is recorded being in Fontainebleau. In 1646 he became a member of the Mechelen schutterij and in 1649 he became a master in the Guild of St. Luke there. According to Houbraken he was known for his landscapes with small figures, that attracted the admiration of Archduke Leopold Wilhelm of Austria, for whom he painted many years. His work is memorialized in the Gulden Cabinet of the poet from Lier, Cornelis de Bie.

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Gemälde ID::  92022
Portrait of a Man
between 1478(1478) and 1480(1480) Medium oil on oak panel Dimensions Height: 31.8 cm (12.5 in). Width: 27.1 cm (10.7 in). cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Gemälde ID::  92318
Portrait of a Man
between 1528(1528) and 1530(1530) Medium oil on panel Dimensions Height: 52 cm (20.5 in). Width: 42 cm (16.5 in). cjr
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Gemälde ID::  92544
Portrait of a Man
Oil on panel trasferred to canvas, 42 x 34 cm TTD
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

   
 

 

 
   
      

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Giovanni Battista Moroni

Italian c1520-1578

Gemälde ID::  92630
Portrait of a Man
Date 1553(1553) Medium oil on canvas TTD
Italian c1520-1578

   
 

 

 
   
      

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Wilhem Drost

painted Portrait of a man in 1653 or 1655

Gemälde ID::  92722
Portrait of a man
1653 or 1655. Oil on canvas. 86.7 X 72.4 cm. cjr
painted Portrait of a man in 1653 or 1655

   
 

 

 
   
      

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Jan Verkolje

(Amsterdam, baptized on 27 February 1650 - Delft, 8 May 1693) was a Dutch Golden Age painter and engraver, often called Jan I to distinguish him from his son Jan II. He is known for his portraits and genre pieces.

Gemälde ID::  93043
Portrait of a Man
1685 Medium oil on copper Dimensions 58 X 50 cm (22.8 X 19.7 in) cjr
(Amsterdam, baptized on 27 February 1650 - Delft, 8 May 1693) was a Dutch Golden Age painter and engraver, often called Jan I to distinguish him from his son Jan II. He is known for his portraits and genre pieces.

   
 

 

 
   
      

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Giulio Campi

(1500 - 5 March 1572) was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters. The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art. In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino e distantly related to him e he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training. Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano. He died in Cremona in 1572.

Gemälde ID::  93855
Portrait of a Man
Oil on canvas, 105,5 x 83 cm 16th century cjr
(1500 - 5 March 1572) was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters. The eldest of a family prominent painters, Campi was born at Cremona. His father Galeazzo (1475-1536) taught him the first lessons in art. In 1522, in Mantua, he studied painting, architecture, and modelling under Giulio Romano. He visited Rome, became an ardent student of the antique, and like Bernardino e distantly related to him e he combined a Lombard and Roman traditions. He collaborated on some works with Camillo Boccaccino, the son of Boccaccio Boccaccino, with whom Campi may also have received training. Campi is called the "Ludovico Carracci of Cremona" although he preceded the founder of the Eclectics. When but twenty-seven Giulio executed for the church of Sant' Abbondio his masterpiece, a Virgin and Child with Sts. Celsus and Nazarus, a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently conceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was animated in all his work by a deep piety. Numerous of his fresco works are housed in churches of Cremona, Mantua, Milan and in the church of Saint Margaret's, in his native town. Among his chief works are the Descent from the Cross (S. Sigismondo) at Cremona, and the frescoes in the dome of S. Girolamo at Mantua. An altar-piece in S. Sigismondo and his Labours of Hercules were engraved by the celebrated Ghiso, il Mantovano. He died in Cremona in 1572.

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  94879
Portrait of a Man
1634 cjr
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Bohumil Kubista

(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists. Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting. Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum. He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.

Gemälde ID::  96341
Portrait of a Man
1911(1911) Medium oil on canvas Dimensions 66 X 52 cm cyf
(1884 - 1918) was a Czech painter and art critic, one of the founders of Czech modern painting. He studied at the School of Applied Arts in Prague, but left in 1906 to study at the Reale Istituto di Belle Arti in Florence. He, Emil Filla, Antonin Prochezka, and five others founded Osma (The Eight), an Expressionist-oriented group of artists. Kubišta came to his individual expression gradually, at first he was influenced by the work of Vincent van Gogh and Paul Cezanne. He educated himself in in philosophy and optics, and studied colour and the geometrical construction of painting. Kubišta, like several other Czech artists of his generation, was strongly affected by the 1905 Edvard Munch exhibition in Prague. Together with Emil Filla he established the artistic group Osma in 1907. He worked in an Expressionist style until 1910, and exchanged ideas with German painters in Die Bre - ke. He also developed visual ideas learned from the work of Cezanne. His later style (approximately from 1911) was strongly influenced by cubism and expressionism. Expressionist elements, particularly his use of color but also his subject matter, immediately distinguish Kubištaes cubist work from that of founding Paris Cubists Picasso and Braque. He studied color theory, analyzing the harmonic and compositional principles of painters such as El Greco, Eugene Delacroix, Vincent van Gogh, and Edvard Munch. He also paid close attention to mathematical and geometric principles. Around 1911, he became acquainted with Jan Zrzavý and the artistic group Sursum. He died prematurely during the global 1918 flu pandemic which ravaged Europe after the First World War.

   
 

 

 
   
      

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Mina Kolokolnikov

1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

Gemälde ID::  96358
Portrait of a Man
18th century Medium oil on canvas cyf
1708e-1775e) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky. He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique. Kolokolnikov's brothers Ivan and Fedot were also painters.

   
 

 

 
   
      

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Jan Van Eyck

1395-1441 Flemish Jan Van Eyck Locations

Gemälde ID::  96363
Portrait of a Man
1433(1433) Medium oil on panel Dimensions 15.5 X 19 cm cyf
1395-1441 Flemish Jan Van Eyck Locations

   
 

 

 
   
      

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Jan van Beers

(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter. Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland. Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools. Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.

Gemälde ID::  96531
Portrait of a Man
oil on panel Dimensions 31.8 X 40 cm cyf
(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter. Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland. Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools. Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.

   
 

 

 
   
      

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Anthony Van Dyck

Dutch 1599-1641 Anthony Van Dyck Locations

Gemälde ID::  96532
Portrait of a Man
circa 1619(1619) Medium oil on canvas Dimensions 199 X 126 cm cyf
Dutch 1599-1641 Anthony Van Dyck Locations

   
 

 

 
   
      

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CORNEILLE DE LYON

Dutch-born French Northern Renaissance Painter, 1500-1575

Gemälde ID::  96600
Portrait of a man
oil on wood panel, 6x5 inches, 1536. cyf
Dutch-born French Northern Renaissance Painter, 1500-1575

   
 

 

 
   
      

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Edouard Manet

French Realist/Impressionist Painter, 1832-1883

Gemälde ID::  96833
Portrait of a Man
1860(1860) Medium oil on canvas Dimensions 62 X 50 cm cyf
French Realist/Impressionist Painter, 1832-1883

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  96920
Portrait of a Man
circa 1660(1660) Medium oil on panel cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Hans Baldung Grien

German 1485-1545 Hans Baldung Grien Galleries

Gemälde ID::  96946
Portrait of a Man
1514(1514) Medium oil on linden wood cyf
German 1485-1545 Hans Baldung Grien Galleries

   
 

 

 
   
      

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Hans Burgkmair

(1473 - 1531) was a German painter and printmaker in woodcut. Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498. Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.

Gemälde ID::  97180
Portrait of a man
Oil on wood, 27.2 x 22.5 Date 1506(1506) cyf
(1473 - 1531) was a German painter and printmaker in woodcut. Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498. Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  97253
Portrait of a Man
between 1650(1650) and 1653(1653) Medium oil on canvas cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      


Gemälde ID::  97415
Portrait of a Man
circa 1515(1515) Medium oil on canvas cyf

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  97482
Portrait of a Man
circa 1635(1635) Medium oil on oak cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  97542
Portrait of a Man
circa 1627(1627) Medium oil on copper cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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Giovanni Battista Pittoni

Giambattista Pittoni (June 6, 1687-November 6, 1767) was an Italian painter of the late-Baroque or Rococo period, active mainly in his native Venice. Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint eThe Torture of St Thomase for San Stae in Venice, which also contains one if his later works in its sacristy. He also completed the transit of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academician of the Accademia Clementina in Bologna. In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions from German, Polish, Russian, Italian and Austrian patrons, including eThe Sacrifice of Jephthah's daughtere for the Royal Palace of Turin, a number of works for the Marshal von Schulenburg, and a eMartyrdom of St Batholomewe for the Basilica of Saint Anthony of Padua. Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects (such as Sophonisba and Polyxena). By 1740, he established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices. Pittoni died at age 80 on November 6, 1767. His tomb is at the church of San Giacomo dall'Orio in Venice. Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and he succeeded as President (1758-1761) his contemporary Giovanni Battista Tiepolo. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.

Gemälde ID::  97617
Portrait of a Man
circa 1500(1500) Medium oil on panel cyf
Giambattista Pittoni (June 6, 1687-November 6, 1767) was an Italian painter of the late-Baroque or Rococo period, active mainly in his native Venice. Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint eThe Torture of St Thomase for San Stae in Venice, which also contains one if his later works in its sacristy. He also completed the transit of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academician of the Accademia Clementina in Bologna. In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions from German, Polish, Russian, Italian and Austrian patrons, including eThe Sacrifice of Jephthah's daughtere for the Royal Palace of Turin, a number of works for the Marshal von Schulenburg, and a eMartyrdom of St Batholomewe for the Basilica of Saint Anthony of Padua. Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects (such as Sophonisba and Polyxena). By 1740, he established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices. Pittoni died at age 80 on November 6, 1767. His tomb is at the church of San Giacomo dall'Orio in Venice. Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and he succeeded as President (1758-1761) his contemporary Giovanni Battista Tiepolo. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Gemälde ID::  98124
Portrait of a Man
1644(1644) Medium oil on panel cyf
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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BRAMANTE

Italian High Renaissance Architect and Painter, 1444-1514

Gemälde ID::  98131
Portrait of a man
oil on canvas. Accession number 266. cyf
Italian High Renaissance Architect and Painter, 1444-1514

   
 

 

 
   
      

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Nicolas de Largilliere

1656-1746 French Nicolas de Largilliere Gallery

Gemälde ID::  98261
Portrait of a Man
1691(1691) Medium oil on canvas Dimensions 64.8 x 53.4 cm cyf
1656-1746 French Nicolas de Largilliere Gallery

   
 

 

 
   
      

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Jacques Daret

Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.

Gemälde ID::  98274
Portrait of a Man
1440(1440) Medium oil on panel Dimensions 37 x 30 cm cyf
Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.

   
 

 

 
   
      

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Thomas De Keyser

1586-1667 Dutch Thomas De Keyser Gallery

Gemälde ID::  98282
Portrait of a Man
1632(1632) Medium oil on panel cyf
1586-1667 Dutch Thomas De Keyser Gallery

   
 

 

 
   
      

Thomas De Keyser
1586-1667 Dutch Thomas De Keyser Gallery
Portrait of a Man

        
 
   
 

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