DerMariä Verkündigung 1440
Martelli Chapel, San Lorenzo, Italy der Martelli von 1440 Kapelle, Sankt Lorenzo, Italien Italian
1406-1469
Fra Filippo Lippi Galleries
b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
Gemälde ID:: 3246
Der Mariä Verkündigung 1512
Galleria Palatina, Florence der Galleria Palatina von1512, Florenz b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
Der Mariä Verkündigung c1441/43
Museo di San Marco, Florence c1441/43 Museo di Sankt Marco, Florenz Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Der Mariä Verkündigung 1430's
Museo di San Marco, Florence 1430er Jahren Museo di SanktMarco, Florenz Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Der MariäVerkündigung 1425-28, oil on panel, Metropolitan Museum of Art at New York. 1425-28, Öl auf Unterausschuss, Hauptstädtisches Museum von Kunst an New York. 1406-1444
Robert Campin Location
Der Mariä Verkündigung , central panel of a triptych, undated, wood, Mus??e du Louvre, Paris. , zentraler Unterausschuss von einem Triptychon, nicht datiert, Holz, Musee du Louvre, Paris. Italian, active 1478-1501
Der Mariä Verkündigung 1857-58
Oil and pencil on canvas
Birmingham Museums and Art Gallery. 1857-58 Öl und Bleistift auf Leinwand Birmingham Museen und Kunstgalerie. 1712-1787
English
Der Mariä Verkündigung mk65
Tempera on panel
59x61 7/16in
Uffizi
mk65 Tempera auf täfelt 59x61 7/16in Uffizi Italian Early Renaissance Painter, 1445-1510
Der Mariä Verkündigung mk76
Painted c.1440
Tempera on panel
25 1/8x9 7/8in
Hat mk76 der Tempera von C. 1440 auf Unterausschuss 25 1/8x9 7/8in. Angestrichen Italian
1406-1469
Fra Filippo Lippi Galleries
Der MARIÄ VERKÜNDIGUNG mk76
Painted c.1440
Tempera on panel
25 1/8X10IN
Hat mk76 der Tempera von C. 1440 auf Unterausschuss 25 1/8X10IN. Angestrichen Italian
1406-1469
Fra Filippo Lippi Galleries
Der Mariä Verkündigung mk78
Spoleto,cathedral of Santa Maria Assunta,
mk78 Spoleto Dom von Santa Maria Assunta Italian
1406-1469
Fra Filippo Lippi Galleries
Der Mariä Verkündigung mk86
c.1410-1415
Tempera on wood
130x230cm
Florence,Galleria dell'Accademia
mk86 c.1410-1415 Tempera auf Holz 130x230cm Florenz, Galleria dell-Accademia Italian
c1370-c1424
Lorenzo Monaco Gallery
Der Mariä Verkündigung mk86
c.1450
Fresco
216x321cm
Florence,Covent of San Marco
das Freskogemälde 216x321cm Florenz von mk86 C. 1450, Coventvon Sankt Marco Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Der Mariä Verkündigung mk29
c.1440
Tempera on poplar panels
der Tempera von mk29 C. 1440 aufPappelnunterausschüssen Italian
1406-1469
Fra Filippo Lippi Galleries
Gemälde ID:: 51685
The Annunciation nn09
detail of Panel with Nine Scenes from the Silver Chest of Saintssima Annunziata
c.1450
Tempera on wood
39x39cm
Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 51687
The Annunciation nn09
c.1435
wood
86x93cm
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 55957
The annunciation 1472-75,oil on panel,38.675x85.375 in,98x217 cm,uffizi,florence,ltaly Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 62325
The Annunciation 128 x 83 cm Toledo Museum of Art, Toledo, Ohio The colour and ecstatic movement is of the utmost splendour and grace, appropriate to the presentation of this particular Mystery, one of El Greco's favourite themes. The painting is a later and simpler version of the subject painted for the Colegio de Do?a Maria, Madrid Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62332
The Annunciation 315 x 174 cm Museo del Prado, Madrid The "expressionist" stylistic traits, characteristic of El Greco's paintings at the end of the 1590s, are also found in the paintings of a retable El Greco created for the Augustinian college of Nuestra Se?ora de la Encarnacion in Madrid between 1596 and 1600. The patroness of the college, the lady-in-waiting Do?a Mar?a de Cordoba y Arag?n, had died back in 1593, implying that the commission likely came from her executor. The retable, like many other works in possession of the Church, was disassembled into its component parts during the French occupation of Spain. All we know from the surviving written sources is that El Greco supplied a total of seven paintings. This Annunciation in the Prado is one of these paintings, and it is an especially good example of the daring palette that characterizes the entire series. At the bottom of the canvas, the terrestrial world is barely indicated by the steps, sewing basket and rose-bush in flame. The flames are rendered so naturalistically that they probably have appeared to mirror the real candle flames burning on the altar during the celebration of the Mass. But above and beyond El Greco has distorted light, colour and form. Indeed,all the form are in a state of flux. the grand rhythm of the wings of Gabriel and the Holy Spirit quicken the drama. Garments of crystalline blue, crimson and yellow-green vibrate against the blue-grey void. Incandescent light is reflected off the figures with such intensity that each seems to be its own source of light Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62333
The Annunciation 1596-1600 Oil on canvas Museo del Prado, Madrid Author: GRECO, El Title: The Annunciation (detail) , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62334
The Annunciation 114 x 67 cm Thyssen-Bornemisza Collection, Madrid This painting is a remarkably fine reduced replica of one of El Greco's most haunting images, the Annunciation in the Prado, Madrid, that is almost three times as large. The Prado Annunciation formed the centre of the elaborate altarpiece commissioned from the artist in 1596 for the Colegio de Do?a Mar?a de Arag?n. El Greco's habit of making reduced replicas is amply documented. It is common knowledge that El Greco kept smaller, preliminary versions of almost all his works at home to show to his customers, and that he considered them finished, definitive works in themselves. Author: GRECO, El Title: The Annunciation , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62439
The Annunciation 62 x 47 cm The Hermitage, St. Petersburg Albani painted many versions of this subject. One of the best is the large altarpiece in the church of San Bartolomeo in Bologna, to which this painting is closely related. Author: ALBANI, Francesco Title: The Annunciation , 1601-1650 , Italian Form: painting , religious Italian, 1578-1660
Gemälde ID:: 63539
The Annunciation 1340 Fresco Collegiate, San Gimignano The picture shows the upper scene of the fresco cycle.Artist:BARNA DA SIENA Title: The Annunciation Painted in 1301-1350 , Italian - - painting : religious Italian Painter, active ca.1350
Gemälde ID:: 64183
The Annunciation 1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
Flemish painter (b. 1590, Ghent, d. after 1650, ?)
Gemälde ID:: 64260
The Annunciation 258 x 222 cm Museum voor Schone Kunsten, Ghent Rubens was not the only influential artist in the Low Countries in the 17th century. A significant number of artists clung on to the principles of realism, while also embracing the dramatic lighting effects of Caravaggio. One among them was Jan Janssens. His Annunciation is a pure example of Caravaggism characterized by simple, sharply outlined shapes and strong, theatrical lighting effects. , Artist: JANSSENS, Jan , The Annunciation , 1601-1650 , Flemish , painting , religious Flemish painter (b. 1590, Ghent, d. after 1650, ?)
Gemälde ID:: 65001
The Annunciation 1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious
b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
Gemälde ID:: 76490
The Annunciation Date ca. 1528(1528)
Medium Oil on wood
cyf b.July 16, 1486, Florence
d.Sept. 28, 1530, Florence
Italian Andrea del Sarto Galleries
Gemälde ID:: 79184
The Annunciation "The Annunciation" by Geronimo Lucenti da Correggio
Painting, Oil on copperplate, 67x51 cm
First quarter of the 17th century
cjr
(also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance.
Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena,
He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V.
During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio.
Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608).
He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist.
At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli.
Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari.
This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604).
At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa.
In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape.
His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Gemälde ID:: 84549
The Annunciation Date ca. 1605(1605)
Medium Oil on wood
Dimensions Height: 42.8 cm (16.9 in). Width: 29 cm (11.4 in).
cjr (also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance.
Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena,
He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V.
During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio.
Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608).
He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist.
At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli.
Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari.
This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604).
At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa.
In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape.
His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 84587
The Annunciation Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 84588
The Annunciation Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 84589
The Annunciation Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 84591
The Annunciation Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 86060
The annunciation Date between 1502(1502) and 1503(1503)
Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen.
English: Tempera grassa (egg-oil) on canvas.
Español: Óleo sobre lienzo.
Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile.
Italiano: Tempera grassa su tavola trasportata su tela.
Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in).
cjr Italian High Renaissance Painter, 1483-1520
Gemälde ID:: 86825
The Annunciation 1570(1570)
Medium Oil on canvas mounted on panel
Dimensions 26 x 20 cm (10.2 x 7.9 in)
cyf Greek-born Spanish Mannerist Painter, 1541-1614
(c. 1420-c. 1505 ; active 1454-1499) was an Italian painter born and active in Perugia. He painted a Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago.
Gemälde ID:: 86827
The Annunciation Date between 1467(1467) and 1468(1468)
Medium Tempera, oil and gold on panel
Dimensions Height: 50 cm (19.7 in). Width: 48 cm (18.9 in).
cjr (c. 1420-c. 1505 ; active 1454-1499) was an Italian painter born and active in Perugia. He painted a Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago.
Gemälde ID:: 86828
The Annunciation Date 1504(1504)
Medium Oil and tempera on canvas
Dimensions Height: 130 cm (51.2 in). Width: 140 cm (55.1 in).
cjr Italian
1455-1526
Vittore Carpaccio Locations
Gemälde ID:: 87593
The Annunciation Date c. 1445(1445)
Medium Oil on wood
Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in).
cjr 1420-1475
Flemish
Dieric Bouts Locations
Gemälde ID:: 87628
The Annunciation Date c. 1515(1515)
Medium Oil on wood
Dimensions Height: 269 cm (105.9 in). Width: 141 cm (55.5 in).
cjr German Northern Renaissance Painter, ca.1470-1528
(also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance.
Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena,
He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V.
During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio.
Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608).
He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist.
At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli.
Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari.
This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604).
At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa.
In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape.
His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Gemälde ID:: 88389
The Annunciation 1605(1605)
Medium Oil on wood
cyf (also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance.
Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena,
He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V.
During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio.
Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608).
He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist.
At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli.
Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari.
This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604).
At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa.
In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape.
His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 88650
The Annunciation between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 88651
The Annunciation between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 88652
The Annunciation between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 88654
The Annunciation between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 89721
The Annunciation c. 1435(1435)
Medium Oil, transferred from wood to canvas
Dimensions Height: 93 cm (36.6 in). Width: 37 cm (14.6 in).
cjr 1395-1441
Flemish
Jan Van Eyck Locations
(c. 1420-c. 1505 ; active 1454-1499) was an Italian painter born and active in Perugia. He painted a Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago.
Gemälde ID:: 91498
The Annunciation between 1467(1467) and 1468(1468)
Medium tempera, oil and gold on panel
cyf (c. 1420-c. 1505 ; active 1454-1499) was an Italian painter born and active in Perugia. He painted a Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago.
Gemälde ID:: 93659
The Annunciation 1495(1495)
Medium Tempera and oil on canvas transferred from wood
Dimensions Height: 136 cm (53.5 in). Width: 107 cm (42.1 in).
cjr Italian Painter, ca.1459-1517
Gemälde ID:: 93769
The Annunciation circa 1600
Medium oil on canvas
Dimensions 107 x 74 cm (42.12 x 29.13 inches)
cjr Greek-born Spanish Mannerist Painter, 1541-1614
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 96280
The Annunciation first half of 15th century
Medium color on panel
cyf Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 97193
The Annunciation 1570(1570)
Medium oil on canvas mounted on panel
Dimensions 26 X 20 cm (10.2 X 7.9 in)
cyf Greek-born Spanish Mannerist Painter, 1541-1614
(1588 - Nov 1, 1629) was a Dutch painter, and a leading member of the Dutch followers of Caravaggio ?? the so-called Dutch Caravaggisti.
Little is known of the early life of ter Brugghen; he could have been born in The Hague, but his family seems to have moved to the strongly Catholic Utrecht in the early 1590s. Here he started painting at the age of thirteen, studying with Abraham Bloemaert. From Bloemaert, a Mannerist history painter, he learned the basics of the art. Around 1604, however, ter Brugghen travelled to Italy to expand his skills, a rather unusual move for Dutch painters at the time. He was in Rome in 1604, and could therefore have been in direct contact with Caravaggio.
Gemälde ID:: 98417
The Annunciation between 1624(1624) and 1625(1625)
Medium oil on canvas
Dimensions Height: 134 cm (52.8 in). Width: 85 cm (33.5 in).
(1588 - Nov 1, 1629) was a Dutch painter, and a leading member of the Dutch followers of Caravaggio ?? the so-called Dutch Caravaggisti.
Little is known of the early life of ter Brugghen; he could have been born in The Hague, but his family seems to have moved to the strongly Catholic Utrecht in the early 1590s. Here he started painting at the age of thirteen, studying with Abraham Bloemaert. From Bloemaert, a Mannerist history painter, he learned the basics of the art. Around 1604, however, ter Brugghen travelled to Italy to expand his skills, a rather unusual move for Dutch painters at the time. He was in Rome in 1604, and could therefore have been in direct contact with Caravaggio.
(Amersfoort, c. 1601 - Amersfoort, 10 August 1669) was a Dutch painter.
Bor was descended from a notable Catholic family. He made a study trip to Rome, where he was one of the founders of the Bentvueghels, taking the nickname Orlando. He returned in 1626 to Amersfoort and joined Jacob van Campen in the decoration of the palace Honselaarsdijk belonging to Frederik Hendrik. In 1656, he became regent of the godshuis "De Armen de Poth" in Amersfoort.
Bor's style of painting was rather at odds with that of contemporary painters from Utrecht. He initially painted rather Caravaggisti-like history paintings, but his works fast became marked by a classicism related to that of his townsman van Campen. Through unusual compositions and primitive technique, his paintings depict strange and mysterious subjects.
Gemälde ID:: 98447
The Annunciation first half of 17th century
Medium oil on canvas
Dimensions Height: 198 cm (78 in). Width: 152 cm (59.8 in).
(Amersfoort, c. 1601 - Amersfoort, 10 August 1669) was a Dutch painter.
Bor was descended from a notable Catholic family. He made a study trip to Rome, where he was one of the founders of the Bentvueghels, taking the nickname Orlando. He returned in 1626 to Amersfoort and joined Jacob van Campen in the decoration of the palace Honselaarsdijk belonging to Frederik Hendrik. In 1656, he became regent of the godshuis "De Armen de Poth" in Amersfoort.
Bor's style of painting was rather at odds with that of contemporary painters from Utrecht. He initially painted rather Caravaggisti-like history paintings, but his works fast became marked by a classicism related to that of his townsman van Campen. Through unusual compositions and primitive technique, his paintings depict strange and mysterious subjects.
Paulus Bor (Amersfoort, c. 1601 - Amersfoort, 10 August 1669) was a Dutch painter.
Bor was descended from a notable Catholic family. He made a study trip to Rome, where he was one of the founders of the Bentvueghels, taking the nickname Orlando. He returned in 1626 to Amersfoort and joined Jacob van Campen in the decoration of the palace Honselaarsdijk belonging to Frederik Hendrik. In 1656, he became regent of the godshuis "De Armen de Poth" in Amersfoort.
Bor's style of painting was rather at odds with that of contemporary painters from Utrecht. He initially painted rather Caravaggisti-like history paintings, but his works fast became marked by a classicism related to that of his townsman van Campen. Through unusual compositions and primitive technique, his paintings depict strange and mysterious subjects.
The Annunciation
