Die Geburt 1857-58
Oil and gold leaf canvas
Birmingham Museums and Art Gallery. 1857-58 Öl und Blattgold Leinwand BirminghamMuseen und Kunstgalerie. 1712-1787
English
Die Geburt Approx. 1385
Tempera on wood panel
Vatican Picture Gallery. Ungefähr. Der Tempera von 1385 auf Holz täfelt Vatikan Bild Galerie. Italian Painter, active ca.1394-1424
Italian Mannerist/Baroque Era Painter, ca.1535-1612
Gemälde ID:: 31307
Die Geburt nn07
1597
Oil on canvas, 134 x 105 cm
Museo del Prado, Madrid
das Öl von nn07 1597 auf Leinwand 134 X 105 cm Museo del Prado Madrid Italian Mannerist/Baroque Era Painter, ca.1535-1612
Die Geburt mk65
Oil on panel
9 1/16x19 11/16in
Uffizi,Gallery
mk65Öl auf Unterausschuss 9 1/16x19 11/16in Uffizi Galerie Italian Early Renaissance Painter, 1474-1515
Die Geburt mk86
1403
Mixed media on wood
73x56cm
Bad Wildungen,
St Nikolaus
die Gemischten Medien von mk86 1403 auf Holz 73x56cm Schlechtem Wildungen, St Nikolaus 1370-1422
German Konrad Gallery
Die Geburt mk86
1520
Oil on wood
105.5x70.4cm
Munich,Bayerische Staatsgemalde-sammlungen,Alte Pinakothek
das Öl von mk86 1520 auf Holz 105.5x70.4cm München, Bayerische Staatsgemalde-sammlungen, Alte Pinakothek German Northern Renaissance Painter, 1473-1531
Gemälde ID:: 63975
The Nativity 1445 Wood, 130 x 97 cm National Gallery of Art, Washington The painter, a follower of Jan van Eyck, here illustrates the Biblical theme in terms of contemporary life in his native city of Bruges. Joseph, for example, is shown as a Flemish peasant who, realizing he is on holy ground, has removed his wooden clogs. Under the influence of Rogier van der Weyden, Christus has framed the scene with a sculptured archway, typical of late Gothic churches in Flanders. These simulated sculpture groups, depicting the stories in Genesis of man and his sin, illustrate the historical reason for the subject of the painting, the coming of Christ as the Redeemer. , Artist: CHRISTUS, Petrus , The Nativity , 1451-1500 , Flemish , painting , religious Netherlandish Northern Renaissance Painter, ca.1410-1473
Gemälde ID:: 64693
The Nativity 1440s Panel Collection Lippmann, Berlin Borrass?was succeeded as central figure of the Barcelona school by Bernat Martorell, a painter in whom scrupulous attention to detail is combined with touches of poetry. In spite of the limitations of his empirical and conventional perspective, he was able to convey an impression of depth and space, and to give life to every element of his composition. Artist:MARTORELL, Bernat Title: The Nativity (detail), 1401-1450, Spanish , painting , religious Spanish Early Renaissance Painter, ca.1400-1452
Gemälde ID:: 65253
The Nativity 1400 Tempera on walnut, 41 x 29,5 cm Galerie mittelalterlicher ?sterreichischer Kunst, Vienna The artist of this painting is referred to as Master of Salzburg. In this picture the scene of the Nativity is represented according to an apocryphal story of the Gospel: the Virgin is reclining on her bed while two midwives are on the point of giving a bath to the Infant. The woman in green is taking the Child from His mother, while the other is taking care that the bathwater is at right temperature. The bath puts an emphasis on the human aspect of the divine Child and is a hint to baptism. Joseph is seated on the right-hand side deep in thought. He holds his staff with his left hand, and is supporting his head with his right hand. The ox and the ass at the manger in the back seem to warm the straw and the small cambric kerchief with their breath. In addition to some stylistic resemblances the painting is reminiscent in other respects too of the Trebon Master's picture of the same scene. In both pictures the composition is divided by the building of the stable, with the difference that here the supports of the stable look like the frame of the scene represented, and divide the surface into two parts and not into three. In both pictures the supporting pole, emphatically placed in the foreground, separates Joseph, who views the events from the back and plays a role similar to the spectator's. In this picture too we can see birds on the roof of the stable, but they are shaped more firmly and realistically (as are the figures) than in the work of the Master of Trebon. In spite of the simplicity of the presentation and the somewhat rugged shaping of the figures with their rather large heads the susceptibility of the International Gothic style to elegance and decorative patterns evinces itself in this painting too. The elegance can be seen in the buoyant lines of the draperies, and in the Virgin's mantle, which clings to her body as if it were wet; the decorativeness in the way in which the painter has used the opportunities inherent in the rustic surroundings, and brought into harmony the pattern of the thatched roof, the mat and the fence, which are made of similar materials, and there is an additional harmonious touch in the plaited hair of one of the midwives. As in a great many other pictures of the period the ground is exceedingly steep here; compared to the figures in the foreground the stable seems to be high, on the other hand the beam underneath the roof touches the animals' heads. Although the white piece of cloth between the two midwives-in all probability a napkin, another symbol of the human nature of Jesus-looks as though it were hovering, in fact it lies on the ground. All this is not surprising, since these forms do not convey space, they are meant, first and foremost, to fill up the surface of the picture. Artist: UNKNOWN MASTER, Austrian , The Nativity , 1351-1400 , Austrian , painting , religious
Gemälde ID:: 89707
The Nativity oil on panel
Dimensions Height: 265 cm (104.3 in). Width: 117.2 cm (46.1 in).
cjr Italian High Renaissance Painter, 1484-1562
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