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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  197

Jungfrau und Kind
Metropolitan Museum of Art, New York
Hauptstädtisches Museum der Kunst, New York
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Fra Filippo Lippi

Italian 1406-1469 Fra Filippo Lippi Galleries

Gemälde ID::  2565

Jungfrau und Kind
1440-45 Musee du Louvre, Paris
1440-45 Musee du Louvre,Paris
Italian 1406-1469 Fra Filippo Lippi Galleries

   
 

 

 
   
      

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Bartolome Esteban Murillo

Spanish 1618-1682 Bartolome Esteban Murillo Galleries

Gemälde ID::  2766

Jungfrau und Kind
1672 Metropolitan Museum of Art, New York
1672 Hauptstädtisches Museum der Kunst, New York
Spanish 1618-1682 Bartolome Esteban Murillo Galleries

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  10034

Jungfrau und Kind
Oil on wood, 21,6 x 16,5 cm Metropolitan Museum of Art,NY
Öl auf Holz, 21.6 X 16.5 cm Hauptstädtisches Museum der Kunst, NY
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Simon Vouet

b. 1590, Paris, d. 1649, Paris

Gemälde ID::  10138

Jungfrau und Kind
Oil on canvas Musee des Beaux-Arts, Lyon
Öl auf Leinwand Musee des Beaux-Künsten, Lyon
b. 1590, Paris, d. 1649, Paris

   
 

 

 
   
      

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RUBENS, Pieter Pauwel

Flemish Baroque Era Painter, 1577-1640

Gemälde ID::  29667

Jungfrau und Kind
Oil on panel, 62 x 50 cm
Öl auf Unterausschuss 62 X 50 cm
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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BERRUGUETE, Pedro

Spanish Early Renaissance Painter, ca.1450-1504

Gemälde ID::  32255

Jungfrau und Kind
Panel, 58 x 43 cm
Täfelt 58 X 43 cm
Spanish Early Renaissance Painter, ca.1450-1504

   
 

 

 
   
      

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Duccio

1255-c1319 Italian Duccio Location

Gemälde ID::  50887
Virgin and Child
mk216 Duccio has been called the last artist of the old world
1255-c1319 Italian Duccio Location

   
 

 

 
   
      

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WEYDEN, Rogier van der

Netherlandish Northern Renaissance Painter, ca.1400-1464

Gemälde ID::  51165
Virgin and Child
c. 1440 Oil on panel, 100 x 52 cm
Netherlandish Northern Renaissance Painter, ca.1400-1464

   
 

 

 
   
      

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MASACCIO

Italian Early Renaissance Painter, 1401-1428

Gemälde ID::  55927
Virgin and Child
mk247 1426,egg tempera on wood 53.125x29 in,135x73.5cm,national gallery.london,uk
Italian Early Renaissance Painter, 1401-1428

   
 

 

 
   
      

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Geertgen Tot Sint Jans

Netherlandish Northern Renaissance Painter, ca.1460-1490

Gemälde ID::  62445
Virgin and Child
26,8 x 20,5 cm Museum Boijmans Van Beuningen, Rotterdam This small painting of the Madonna depicts a fragile female figure holding her newborn together with a vanquished dragon. The artist indicates her floating, vision-like quality with the use of fantastic lighting and an army of angels in concentric circles. By arranging the choir of angels in a manner reminiscent of spheres, it is also expressed that the infant Jesus in the centre of the picture is the ruler of the Universe. With a sweeping gesture and a look of concentration, the infant is shaking two bells, as if to be in concert with the angel doing the same thing on the left side of the picture. They are definitely looking at each other, and since they are the only two doing this, the action has special significance: it shows the "conductor" Jesus in the role of the universe's prime mover. Thus the painting clearly expresses a concept formulated by St Thomas Aquinas, according to which Jesus created the harmony of the spheres. In Geertgen's painting the three attributes of Mary (glory, sadness and joy) are represented by angels encircling the Madonna in three rings. The inner circle contains six-winged cherubs and seraphs. The angels of the second circle hold above the head of Mary the early Christian symbols of glorification, scrolls with the word "Sanctus" appearing on them three times. The rest bear the objects associated with the Passion: the cross, the crown of thorns, a spear, nails, a hammer, and a column. The outside circle presents a multitude of musical angels, symbolizing heavenly happiness. Here we can see nearly all of the instruments of the period: lutes, violas, double recorders, trumpets, drums, bells, horns, bagpipes, hurdy-gurdies, etc. The larger keyboard instruments are located in the corners; on the organ we can see the hand-operated bellows. Obviously, the painter did not intend to reproduce the image of a real orchestra, that is why he included instruments which were never used together
Netherlandish Northern Renaissance Painter, ca.1460-1490

   
 

 

 
   
      


Gemälde ID::  63704
Virgin and Child
1510s Panel, 30 x 20,3 cm Wallraf-Richartz Museum, Cologne This painting shows the characteristics of the school of Cologne: oval face, long nose, high forehead and an overall delicate grace.Artist:MASTER of the St. Bartholomew Altar Title: Virgin and Child Painted in 1451-1500 , German - - painting : religious

   
 

 

 
   
      

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MASSYS, Quentin

Flemish Northern Renaissance Painter, ca.1465-1530

Gemälde ID::  63979
Virgin and Child
The Hague , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      

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MASSYS, Quentin

Flemish Northern Renaissance Painter, ca.1465-1530

Gemälde ID::  63980
Virgin and Child
130 x 86 cm Musees Royaux des Beaux-Arts, Brussels The Virgin is seated in three-quarter profile on an imposing stone throne with Gothic ornamentation. Richly dressed in a dark red, fur-lined gown and a mantle bordered with pearl braiding, her head inclined in recollection, she holds the infant Jesus on her right arm. She appears to be meditating a passage in the book that Christ is thumbing. Their faces are surrounded by halos of golden rays. The Child, in a long white shirt, has seized the bookmark. Through an open window to the right of the throne we glimpse a building on the other side of a courtyard. The upper part of the window is decorated with a stained glass panel depicting St Catherine flanked by two escutcheons. A similar stained glass window to the left carries the figure of St Barbara. This painting, attributed to Quentin Massys, is part of the Madonna with Child group that the artist painted during his youth. The symmetrical composition, the hieratic presentation of the figures, the style of the Virgin's garments and the vigorous modelling of the draperies as well as the Gothic ornamentations all recall the tradition of the Flemish Primitives. The iconographic theme picks up the traditional image of Christ's incarnation. The Virgin in majesty is directly associated with the divine nature of her Son, the Word incarnate. Her meditative attitude and the red of her garments evoke the presentiment she had of her Child's destiny right from his birth. Massys' work refers back to earlier compositions that present Christ reading in the Virgin's arms. Two famous examples are Rogier van der Weyden's Madonna Duren (Madrid, Prado) and the Ince Hall Virgin attributed to a follower of Jan van Eyck (Melbourne, National Gallery of Victoria). With Massys we have the same monumental pose of the Virgin, with the niche-shaped throne similar to the one in Van der Weyden's painting. Even if the Brussels Madonna with Child shows how much the painter was part of the Flemish tradition, before coming under the influence of the Renaissance, it already contains the novel elements that were to make Massys the captivating and highly innovative artist whose talent would be fully revealed in his later works. With his exceptionally ample volumes, his supple shapes caressed by a strong, yet soft light, and the virtuoso translucency of his colouring technique, he carries the art of modelling forward to new heights. , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      


Gemälde ID::  64141
Virgin and Child
1475-1500 Oil on oak panel, 38 x 29,7 cm Private collection The Virgin is carrying the naked Infant Christ, who is sitting on a cloth, in both hands. She is in front of a wall-hanging in red-gold brocade and is clothed in a dark blue garment with a grey fur lining and a mantle of the same colour (in fact it has darkened into blue-green). With his left hand the Child reaches for the hanger of a necklace made of red coral (possibly an allusion to the blood of his sacrifice), and in his other hand he holds a pear (as the fruit of the `new Adam', an allusion to Salvation). The Virgin is situated in front of a golden balustrade with an arcade of rounded arches which encloses the choir of a church with stained-glass windows. She appears behind a golden arch resting on brown marble pillars. The image should probably be interpreted as a Virgin who is standing behind a low wall supporting an arch. The top of this little wall was originally probably visible and seems to have been sawn off. This Virgin-and-Child type is frequently encountered in works by Memling and his followers, sometimes with the Child sitting on the wall. Related examples by Memling are: the Van Nieuwenhove Virgin (Memlingmuseum, Bruges,', ', ', ', ', ', ', '); the Virgin and Child in Lisbon (Museu Nacional de Arte Antiga). A similar type by a Memling follower is in the Metropolitan Museum of Art, New York. The little work discussed here is also Memlingian from a stylistic point of view. The type of the Virgin with the bulging forehead, the long straight nose and the narrow bow-shaped eyebrows is particularly closely related to Memling. The faces, however, are flatter and squarer, especially in the case of the Child. Apart from the Virgin type the staffage and architectural surroundings have the same roots: red brocade hangings with vegetally decorated edges, brown marble columns on each side, perspective of a church interior with stained-glass windows consisting of small coloured squares. , Artist: UNKNOWN MASTER, Flemish , Virgin and Child , 1451-1500 , Flemish , painting , religious

   
 

 

 
   
      

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RUBENS, Pieter Pauwel

Flemish Baroque Era Painter, 1577-1640

Gemälde ID::  64698
Virgin and Child
1620-24 Oil on wood, 65 x 48 cm Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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RUBENS, Pieter Pauwel

Flemish Baroque Era Painter, 1577-1640

Gemälde ID::  64700
Virgin and Child
62 x 50 cm St.-Niklaaskerk, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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Raphael

Italian High Renaissance Painter, 1483-1520

Gemälde ID::  64784
virgin and child
enthroned with ss. john the baptist and nicholas of bari national gallry, london oil on wood,209x148 se
Italian High Renaissance Painter, 1483-1520

   
 

 

 
   
      

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Mariotto Albertinelli

(October 13, 1474 - November 5, 1515) was a High Renaissance Italian painter of the Florentine school, closely involved with Fra Bartolomeo and influenced by Raphael. He was born in Florence. Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Mariotto was a most restless person and carnal in the affairs of love and apt to the art of living, and, taking a dislike to the studies and brain-wracking necessary to painting, being also often stung by the tongues of other painters, as is their way, he resolved to give himself to a less laborious and more jovial profession, and so opened the most lovely hostelry outside the Porta San Gallo, and at the sign of the Dragon at the Ponte Vecchio a tavern and inn. This life he led for many months, saying that he had taken up an art that was without muscles, foreshortening or perspective and, better still, without faultfinding, and that the art that he had given up imitated flesh and blood, but this one created flesh and blood; in this if you had good wine you heard yourself praised, but in that every day you were blamed. But at last the low life became an annoyance to him, and, filled with remorse, he returned to painting.

Gemälde ID::  76013
Virgin and Child
ca. 1512(1512) panel 35 cm (13.8 in). Height: 51 cm (20.1 in). cjr
(October 13, 1474 - November 5, 1515) was a High Renaissance Italian painter of the Florentine school, closely involved with Fra Bartolomeo and influenced by Raphael. He was born in Florence. Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Mariotto was a most restless person and carnal in the affairs of love and apt to the art of living, and, taking a dislike to the studies and brain-wracking necessary to painting, being also often stung by the tongues of other painters, as is their way, he resolved to give himself to a less laborious and more jovial profession, and so opened the most lovely hostelry outside the Porta San Gallo, and at the sign of the Dragon at the Ponte Vecchio a tavern and inn. This life he led for many months, saying that he had taken up an art that was without muscles, foreshortening or perspective and, better still, without faultfinding, and that the art that he had given up imitated flesh and blood, but this one created flesh and blood; in this if you had good wine you heard yourself praised, but in that every day you were blamed. But at last the low life became an annoyance to him, and, filled with remorse, he returned to painting.

   
 

 

 
   
      

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Bartolome Esteban Murillo

Spanish 1618-1682 Bartolome Esteban Murillo Galleries

Gemälde ID::  77535
Virgin and Child
oil on canvas painting by Bartolome Esteban Murillo, early 1650s cyf
Spanish 1618-1682 Bartolome Esteban Murillo Galleries

   
 

 

 
   
      

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ALBERTINELLI Mariotto

Italian Early Renaissance Painter, 1474-1515

Gemälde ID::  77946
Virgin and Child
ca. 1512(1512) Medium panel cyf
Italian Early Renaissance Painter, 1474-1515

   
 

 

 
   
      

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Luis de Morales

(1510 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion. Influenced, especially in his early work, by Raphael Sanzio and the Lombard school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work. His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters

Gemälde ID::  81321
Virgin and Child
Date from 1560(1560) until 1570(1570) Medium Oil on canvas Dimensions 85 x 64 cm (33.5 x 25.2 in) cjr
(1510 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion. Influenced, especially in his early work, by Raphael Sanzio and the Lombard school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work. His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  82206
Virgin and Child
Date second half of 15th century Medium Oil on wood Dimensions Height: 21.6 cm (8.5 in). Width: 16.5 cm (6.5 in). cjr
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640

Gemälde ID::  82595
Virgin and Child
Date between 1620(1620) and 1624(1624) Medium Oil on wood Dimensions Height: 65 cm (25.6 in). Width: 48 cm (18.9 in). cjr
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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Pedro Berruguete

(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.

Gemälde ID::  83093
Virgin and Child
Date ca. 1475(1475) Medium Oil on wood Dimensions Height: 65 cm (25.6 in). Width: 52 cm (20.5 in). cjr
(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.

   
 

 

 
   
      

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Jan provoost

Dutch, born circa 1465-1529

Gemälde ID::  83188
Virgin and Child
Date first half of 16th century Medium Oil on oak panel Dimensions Height: 33.7 cm (13.3 in). Width: 23.9 cm (9.4 in). cjr
Dutch, born circa 1465-1529

   
 

 

 
   
      

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Giovanni Santi

(c. 1435 - 1 August 1494) was an Italian painter and decorator, father of Raphael. He was born at Colbordolo in the Duchy of Urbino. He was a petty merchant for a time; he then studied under Piero della Francesca. He was influenced by Fiorenzo di Lorenzo, and seems to have been an assistant and friend of Melozzo da Forle. He was court painter to the Duke of Urbino and painted several altarpieces, two now in the Berlin Museum, a Madonna in the church of San Francesco in Urbino, one at Santa Croce on Fano, one in the National Gallery at London, and another in the gallery at Urbino; an Annunciation at the Brera in Milan; a resurrected Christ in the Museum of Fine Arts, Budapest; and a Jerome in the Lateran. He died in Urbino.

Gemälde ID::  83190
Virgin and Child
Date 1480s Medium Egg tempera and oil on panel Dimensions Height: 68 cm (26.8 in). Width: 49 cm (19.3 in). cjr
(c. 1435 - 1 August 1494) was an Italian painter and decorator, father of Raphael. He was born at Colbordolo in the Duchy of Urbino. He was a petty merchant for a time; he then studied under Piero della Francesca. He was influenced by Fiorenzo di Lorenzo, and seems to have been an assistant and friend of Melozzo da Forle. He was court painter to the Duke of Urbino and painted several altarpieces, two now in the Berlin Museum, a Madonna in the church of San Francesco in Urbino, one at Santa Croce on Fano, one in the National Gallery at London, and another in the gallery at Urbino; an Annunciation at the Brera in Milan; a resurrected Christ in the Museum of Fine Arts, Budapest; and a Jerome in the Lateran. He died in Urbino.

   
 

 

 
   
      

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Jan Gossaert Mabuse

1478-1534 Flemish Jan Gossaert Mabuse Galleries

Gemälde ID::  83556
Virgin and Child
Date ca. 1530(1530) Medium Oil on oak Dimensions Height: 48 cm (18.9 in). Width: 38 cm (15 in). cjr
1478-1534 Flemish Jan Gossaert Mabuse Galleries

   
 

 

 
   
      

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Boccaccio Boccaccino

(c. 1467 - c. 1525) was a painter of the early Italian Renaissance, belonging to the Emilian school. He is profiled in Vasari's Le Vite delle pie eccellenti pittori, scultori, ed architettori (or, in English, Lives of the Most Excellent Painters, Sculptors, and Architects). He was born in Ferrara and studied there, probably under Domenico Panetti. Few facts of his life are known. His principal artistic activity was in Venice, Ferrara, and especially in Cremona, where he founded a school in which Garofalo was a pupil. His most celebrated achievement is the frescoes in the Cathedral of Cremona (1506-1519) representing the Birth of the Virgin and some subjects from her life. His position there was taken over by Altobello Melone. His remaining works, which include the Marriage of Saint Catherine (Accademia), the Virgin and Child with Four Saints (Venice, San Giuliano), the Virgin and Two Saints (Cremona, San Quirilo), and the Holy Family (Paris, Louvre), are considered by Lanzi remarkable for richness of drapery, variety of color, spirit and grace of attitude, and harmony of landscape. Several works formerly attributed to Pietro Perugino, Pinturicchio, and Garofalo are now ascribed to Boccaccino. His son and pupil Camillo Boccaccino (1501-46) was a painter at Cremona.

Gemälde ID::  83562
Virgin and Child
Date between 1500(1500) and 1505(1505) Medium Oil and tempera on panel Dimensions Height: 81 cm (31.9 in). Width: 62 cm (24.4 in). cjr
(c. 1467 - c. 1525) was a painter of the early Italian Renaissance, belonging to the Emilian school. He is profiled in Vasari's Le Vite delle pie eccellenti pittori, scultori, ed architettori (or, in English, Lives of the Most Excellent Painters, Sculptors, and Architects). He was born in Ferrara and studied there, probably under Domenico Panetti. Few facts of his life are known. His principal artistic activity was in Venice, Ferrara, and especially in Cremona, where he founded a school in which Garofalo was a pupil. His most celebrated achievement is the frescoes in the Cathedral of Cremona (1506-1519) representing the Birth of the Virgin and some subjects from her life. His position there was taken over by Altobello Melone. His remaining works, which include the Marriage of Saint Catherine (Accademia), the Virgin and Child with Four Saints (Venice, San Giuliano), the Virgin and Two Saints (Cremona, San Quirilo), and the Holy Family (Paris, Louvre), are considered by Lanzi remarkable for richness of drapery, variety of color, spirit and grace of attitude, and harmony of landscape. Several works formerly attributed to Pietro Perugino, Pinturicchio, and Garofalo are now ascribed to Boccaccino. His son and pupil Camillo Boccaccino (1501-46) was a painter at Cremona.

   
 

 

 
   
      

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Quentin Matsys

Flemish Northern Renaissance Painter, ca.1465-1530

Gemälde ID::  83564
Virgin and Child
Date 1529(1529) Medium Oil on wood Dimensions Height: 68 cm (26.8 in). Width: 51 cm (20.1 in). cjr
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Gemälde ID::  83800
Virgin and Child
1525(1525) and 1527(1527) Medium Oil on panel cjr
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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Jan van Hemessen

(c. 1500 - c. 1566) was a Flemish Northern Renaissance painter. He was born in Hemiksem, then called Hemessen or Heymissen. Following studies in Italy, in 1524 he settled in Antwerp. A mannerist, his images focused on human failings such as greed and vanity. Like his daughter, Catarina van Hemessen,he specialised in painted portraits. Jan Sanders van Hemessen was a Flemish Northern Renaissance painter who was part of the mannerist movement. He was born in Hemessen in the Netherlands but settled in Antwerp in 1524 after studying in Italy. Hemessen specialized in scenes of human character flaws such as vanity and greed. His pictures are often religious, while his style helped found the Flemish traditions of genre painting. Hemessen was also a portrait painter, which influenced his daughter to become a Flemish Northern Renaissance painter as well. The Surgeon of 1555 is an oil painting by Jan Sanders Van Hemessen currently in the Museo del Prado in Madrid, Spain. The scene likely represents a stonecutter at a fair. The surgeon, who is clearly happy that his operations have been successful, painstakingly moves his knife towards the stone, which is already visible. Behind him hang stones which have been successfully cut out of the head of other patients as a sign of his skill. Next to the quack stands a man who is wringing his hands in desperation, clearly going to be the next patient under the scalpel.

Gemälde ID::  83814
Virgin and Child
Date first half of 16th century Medium Oil on oak panel Dimensions Height: 150 cm (59.1 in). Width: 116.5 cm (45.9 in). cjr
(c. 1500 - c. 1566) was a Flemish Northern Renaissance painter. He was born in Hemiksem, then called Hemessen or Heymissen. Following studies in Italy, in 1524 he settled in Antwerp. A mannerist, his images focused on human failings such as greed and vanity. Like his daughter, Catarina van Hemessen,he specialised in painted portraits. Jan Sanders van Hemessen was a Flemish Northern Renaissance painter who was part of the mannerist movement. He was born in Hemessen in the Netherlands but settled in Antwerp in 1524 after studying in Italy. Hemessen specialized in scenes of human character flaws such as vanity and greed. His pictures are often religious, while his style helped found the Flemish traditions of genre painting. Hemessen was also a portrait painter, which influenced his daughter to become a Flemish Northern Renaissance painter as well. The Surgeon of 1555 is an oil painting by Jan Sanders Van Hemessen currently in the Museo del Prado in Madrid, Spain. The scene likely represents a stonecutter at a fair. The surgeon, who is clearly happy that his operations have been successful, painstakingly moves his knife towards the stone, which is already visible. Behind him hang stones which have been successfully cut out of the head of other patients as a sign of his skill. Next to the quack stands a man who is wringing his hands in desperation, clearly going to be the next patient under the scalpel.

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Gemälde ID::  84295
Virgin and Child
Date ca. 1478(1478) Medium Oil on oak panel Dimensions Height: 33.4 cm (13.1 in). Width: 23.8 cm (9.4 in). cjr
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Bernard van orley

Flemish Northern Renaissance Painter , c.1488-1551

Gemälde ID::  84701
Virgin and Child
Date ca. 1515(1515) Medium Oil on wood Dimensions Height: 59 cm (23.2 in). Width: 38.5 cm (15.2 in). cjr
Flemish Northern Renaissance Painter , c.1488-1551

   
 

 

 
   
      

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Alesso Baldovinetti

(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.

Gemälde ID::  84865
Virgin and Child
Dimensions 90 x 74 cm (35.4 x 29.1 in) Medium English: Oil on canvas Date English: 15th century cjr
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.

   
 

 

 
   
      

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Luis de Morales

(1510 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion. Influenced, especially in his early work, by Raphael Sanzio and the Lombard school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work. His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters

Gemälde ID::  85354
Virgin and Child
from 1560(1560) until 1570(1570) Medium Oil on canvas Dimensions 85 x 64 cm (33.5 x 25.2 in) cyf
(1510 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion. Influenced, especially in his early work, by Raphael Sanzio and the Lombard school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work. His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters

   
 

 

 
   
      

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Giovanni Antonio Boltraffio

was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci.[2] Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. His major painting of the 1490s is the Resurrection (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A Madonna and Child in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento. His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's sfumato. In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he produced his masterwork, the Pala Casio for the Church of the Misericordia (Louvre Museum); it depicts a Madonna and Child with John the Baptist and Saint Sebastian and two Kneeling Donors, Giacomo Marchione de' Pandolfi da Casio and his son, the Bolognese poet Girolamo Casio[3], who mentioned Boltraffio in some of his sonnets. Boltraffio's portrait of Girolamo Casio is at the Pinacoteca di Brera, Milan.

Gemälde ID::  86947
Virgin and Child
between 1493(1493) and 1499(1499) Medium Oil on wood cyf
was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci.[2] Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. His major painting of the 1490s is the Resurrection (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A Madonna and Child in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento. His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's sfumato. In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he produced his masterwork, the Pala Casio for the Church of the Misericordia (Louvre Museum); it depicts a Madonna and Child with John the Baptist and Saint Sebastian and two Kneeling Donors, Giacomo Marchione de' Pandolfi da Casio and his son, the Bolognese poet Girolamo Casio[3], who mentioned Boltraffio in some of his sonnets. Boltraffio's portrait of Girolamo Casio is at the Pinacoteca di Brera, Milan.

   
 

 

 
   
      

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Lucas Cranach

1472-1553 German Lucas Cranach Locations

Gemälde ID::  86973
Virgin and Child
between 1525(1525) and 1530(1530) Medium Oil on canvas transferred from panel cyf
1472-1553 German Lucas Cranach Locations

   
 

 

 
   
      

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Pedro Berruguete

(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.

Gemälde ID::  87243
Virgin and Child
1475(1475) Medium Oil on wood cyf
(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.

   
 

 

 
   
      

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Jan provoost

Dutch, born circa 1465-1529

Gemälde ID::  87297
Virgin and Child
first half of 16th century Medium Oil on oak panel cyf
Dutch, born circa 1465-1529

   
 

 

 
   
      

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Giovanni Santi

(c. 1435 - 1 August 1494) was an Italian painter and decorator, father of Raphael. He was born at Colbordolo in the Duchy of Urbino. He was a petty merchant for a time; he then studied under Piero della Francesca. He was influenced by Fiorenzo di Lorenzo, and seems to have been an assistant and friend of Melozzo da Forle. He was court painter to the Duke of Urbino and painted several altarpieces, two now in the Berlin Museum, a Madonna in the church of San Francesco in Urbino, one at Santa Croce on Fano, one in the National Gallery at London, and another in the gallery at Urbino; an Annunciation at the Brera in Milan; a resurrected Christ in the Museum of Fine Arts, Budapest; and a Jerome in the Lateran. He died in Urbino.

Gemälde ID::  87298
Virgin and Child
1480s Medium Egg tempera and oil on panel cyf
(c. 1435 - 1 August 1494) was an Italian painter and decorator, father of Raphael. He was born at Colbordolo in the Duchy of Urbino. He was a petty merchant for a time; he then studied under Piero della Francesca. He was influenced by Fiorenzo di Lorenzo, and seems to have been an assistant and friend of Melozzo da Forle. He was court painter to the Duke of Urbino and painted several altarpieces, two now in the Berlin Museum, a Madonna in the church of San Francesco in Urbino, one at Santa Croce on Fano, one in the National Gallery at London, and another in the gallery at Urbino; an Annunciation at the Brera in Milan; a resurrected Christ in the Museum of Fine Arts, Budapest; and a Jerome in the Lateran. He died in Urbino.

   
 

 

 
   
      

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BOCCACCINO, Boccaccio

Italian painter, Cremonese school (b. before 1466, Ferrara, d. 1524/25, Cremona)

Gemälde ID::  87403
Virgin and Child
between 1500(1500) and 1505(1505) Medium Oil and tempera on panel cyf
Italian painter, Cremonese school (b. before 1466, Ferrara, d. 1524/25, Cremona)

   
 

 

 
   
      

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Quentin Matsys

Flemish Northern Renaissance Painter, ca.1465-1530

Gemälde ID::  87405
Virgin and Child
1529(1529) Medium Oil on wood cyf
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      

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Jan Gossaert Mabuse

1478-1534 Flemish Jan Gossaert Mabuse Galleries

Gemälde ID::  87494
Virgin and Child
1530(1530) Medium Oil on oak cyf
1478-1534 Flemish Jan Gossaert Mabuse Galleries

   
 

 

 
   
      


Gemälde ID::  87694
Virgin and Child
between 1525(1525) and 1527(1527) Medium Oil on panel cyf
1503 ~ 1540

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Gemälde ID::  88107
Virgin and Child
1478(1478) Medium Oil on oak panel cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Alesso Baldovinetti

(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.

Gemälde ID::  88727
Virgin and Child
15th century Français : XVe Medium English: Oil on canvas cyf
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Gemälde ID::  89112
Virgin and Child
second half of 15th century Medium oil on wood cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Boccaccio Boccaccino

(c. 1467 - c. 1525) was a painter of the early Italian Renaissance, belonging to the Emilian school. He is profiled in Vasari's Le Vite delle pie eccellenti pittori, scultori, ed architettori (or, in English, Lives of the Most Excellent Painters, Sculptors, and Architects). He was born in Ferrara and studied there, probably under Domenico Panetti. Few facts of his life are known. His principal artistic activity was in Venice, Ferrara, and especially in Cremona, where he founded a school in which Garofalo was a pupil. His most celebrated achievement is the frescoes in the Cathedral of Cremona (1506-1519) representing the Birth of the Virgin and some subjects from her life. His position there was taken over by Altobello Melone. His remaining works, which include the Marriage of Saint Catherine (Accademia), the Virgin and Child with Four Saints (Venice, San Giuliano), the Virgin and Two Saints (Cremona, San Quirilo), and the Holy Family (Paris, Louvre), are considered by Lanzi remarkable for richness of drapery, variety of color, spirit and grace of attitude, and harmony of landscape. Several works formerly attributed to Pietro Perugino, Pinturicchio, and Garofalo are now ascribed to Boccaccino. His son and pupil Camillo Boccaccino (1501-46) was a painter at Cremona.

Gemälde ID::  92047
Virgin and Child
Oil on panel Muzeul National de Arta, Bucharest Date 1510s cjr
(c. 1467 - c. 1525) was a painter of the early Italian Renaissance, belonging to the Emilian school. He is profiled in Vasari's Le Vite delle pie eccellenti pittori, scultori, ed architettori (or, in English, Lives of the Most Excellent Painters, Sculptors, and Architects). He was born in Ferrara and studied there, probably under Domenico Panetti. Few facts of his life are known. His principal artistic activity was in Venice, Ferrara, and especially in Cremona, where he founded a school in which Garofalo was a pupil. His most celebrated achievement is the frescoes in the Cathedral of Cremona (1506-1519) representing the Birth of the Virgin and some subjects from her life. His position there was taken over by Altobello Melone. His remaining works, which include the Marriage of Saint Catherine (Accademia), the Virgin and Child with Four Saints (Venice, San Giuliano), the Virgin and Two Saints (Cremona, San Quirilo), and the Holy Family (Paris, Louvre), are considered by Lanzi remarkable for richness of drapery, variety of color, spirit and grace of attitude, and harmony of landscape. Several works formerly attributed to Pietro Perugino, Pinturicchio, and Garofalo are now ascribed to Boccaccino. His son and pupil Camillo Boccaccino (1501-46) was a painter at Cremona.

   
 

 

 
   
      

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Jan van Bijlert

Dutch Baroque Era Painter, ca.1597-1671

Gemälde ID::  95483
Virgin and Child
circa 1635(1635) Medium oil on canvas cyf
Dutch Baroque Era Painter, ca.1597-1671

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  96889
Virgin and Child
second half of 15th century Medium oil on panel cyf
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Master Of Flemalle

Robert Campin (c. 1375 - 26 April 1444), now usually identified as the artist known as the Master of Flemalle, is usually considered the first great master of Flemish and Early Netherlandish painting. This had been a matter of controversy for decades; Campin's life is relatively well documented for the period, but no works in assessable condition could be securely connected with him, whilst a corpus of work had been attached to the unidentified "Master of Flemalle", named after the supposed origin of a work. Campin seems to have had relatives in Valenciennes. He first appears as settled in Tournai from the archives of 1405-6, as a free master of the guild of painters, and he bought citizenship in 1410, which suggests he was not born there. He eventually attained the office of dean of the guild, and wardenship of a church and other civic offices, and was running a large workshop. By 1432, however, he lost his civic positions because of scandals, and probably his role in political disturbances in the city. In 1429 he was found guilty of withholding evidence, and sentenced to go on a pilgrimage, and in 1432 was convicted of adultery and banished for a year. Margaret of Burgundy, wife of the Count of Holland and sister of John the Fearless, Duke of Burgundy intervened on his behalf, and this was reduced to a fine. The dated Werl Altarpiece (1438) shows he continued to work (the two outer wings are in the Prado; the main panel is lost).

Gemälde ID::  96948
Virgin and Child
circa 1410(1410) Medium oil on panel cyf
Robert Campin (c. 1375 - 26 April 1444), now usually identified as the artist known as the Master of Flemalle, is usually considered the first great master of Flemish and Early Netherlandish painting. This had been a matter of controversy for decades; Campin's life is relatively well documented for the period, but no works in assessable condition could be securely connected with him, whilst a corpus of work had been attached to the unidentified "Master of Flemalle", named after the supposed origin of a work. Campin seems to have had relatives in Valenciennes. He first appears as settled in Tournai from the archives of 1405-6, as a free master of the guild of painters, and he bought citizenship in 1410, which suggests he was not born there. He eventually attained the office of dean of the guild, and wardenship of a church and other civic offices, and was running a large workshop. By 1432, however, he lost his civic positions because of scandals, and probably his role in political disturbances in the city. In 1429 he was found guilty of withholding evidence, and sentenced to go on a pilgrimage, and in 1432 was convicted of adultery and banished for a year. Margaret of Burgundy, wife of the Count of Holland and sister of John the Fearless, Duke of Burgundy intervened on his behalf, and this was reduced to a fine. The dated Werl Altarpiece (1438) shows he continued to work (the two outer wings are in the Prado; the main panel is lost).

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Gemälde ID::  97279
Virgin and Child
between 1525(1525) and 1527(1527) Medium oil on panel cyf
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  97583
Virgin and Child
between 1465(1465) and 1470(1470) Medium oil on panel cyf
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Gemälde ID::  97831
Virgin and Child
1460-5 Medium Oil and tempera on panel cyf
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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1420-1475 Flemish Dieric Bouts Locations
Virgin and Child

        
 
   
 

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