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ALLORI Alessandro

Italian Mannerist Painter, 1535-1607

Gemälde ID::  4693

Venus und Amor
Oil on wood Mus??e Fabre, Montpellier
Öl auf Holz Musee Fabre, Montpellier
Italian Mannerist Painter, 1535-1607

   
 

 

 
   
      

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Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar

Gemälde ID::  29062

Venus und Amor
mk65 Oil on canvas transferred from panel 84x40"
mk65 Ölauf Leinwand die von übertragen wird täfelt 84x40
b. 1472, Kronach, d. 1553, Weimar

   
 

 

 
   
      

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Jean Honore Fragonard

1732-1806 French Jean Honore Fragonard Locations

Gemälde ID::  29534

Venusund Amor
c. 1760 Oil on canvas, 37 x 34 cm
c. das Öl von 1760 auf Leinwand 37 X 34 cm
1732-1806 French Jean Honore Fragonard Locations

   
 

 

 
   
      

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ALLORI Alessandro

Italian Mannerist Painter, 1535-1607

Gemälde ID::  32226

Venus und Amor
Oil on wood
Öl auf Holz
Italian Mannerist Painter, 1535-1607

   
 

 

 
   
      

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Lorenzo Lotto

Italian 1480-1556 Lorenzo Lotto Galleries

Gemälde ID::  32560

Venus und Amor
mk79 About 1530
mk79 ungefähr 1530
Italian 1480-1556 Lorenzo Lotto Galleries

   
 

 

 
   
      

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Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar

Gemälde ID::  40302

Venus und Amor
mk156 1509 Oil on canvas transferred from wood 213x102cm
das Öl von mk156 1509 auf Leinwand hat von Holz 213x102cm übertragen
b. 1472, Kronach, d. 1553, Weimar

   
 

 

 
   
      

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CRANACH, Lucas the Elder

German painter (b. 1472, Kronach, d. 1553, Weimar).

Gemälde ID::  42957
Venus and Cupid
mk170 circa 1530 oil on wood 82.1x55.8cm
German painter (b. 1472, Kronach, d. 1553, Weimar).

   
 

 

 
   
      

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Jules Pascin

Bulgarian-born French Expressionist Painter, 1885-1930

Gemälde ID::  51572
Venus and Cupid
mk219 17.5x17cm 1924
Bulgarian-born French Expressionist Painter, 1885-1930

   
 

 

 
   
      

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GOSSAERT, Jan (Mabuse)

Flemish Northern Renaissance Painter, ca.1478-1532

Gemälde ID::  52339
Venus and Cupid
1521 Panel, 36 x 32,5 cm
Flemish Northern Renaissance Painter, ca.1478-1532

   
 

 

 
   
      

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Agnolo Bronzino

Italian Mannerist Painter, 1503-1572

Gemälde ID::  62079
Venus and Cupid
mk276 1540 Oil on canvas 147 x 117cm National Gallery, London
Italian Mannerist Painter, 1503-1572

   
 

 

 
   
      


Gemälde ID::  62080
Venus and Cupid
mk276 Oil on canvas

   
 

 

 
   
      


Gemälde ID::  69667
Venus and Cupid
oil on canvas painting by Battista Dossi

   
 

 

 
   
      

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Alessandro Allori

(May 3, 1535 - September 22, 1607) was an Italian portrait painter of the late Mannerist Florentine school. Born in Florence, in 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.

Gemälde ID::  84656
Venus and Cupid
Date second half of 16th century Medium Oil on wood cjr
(May 3, 1535 - September 22, 1607) was an Italian portrait painter of the late Mannerist Florentine school. Born in Florence, in 1540, after the death of his father, he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy.

   
 

 

 
   
      

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Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640

Gemälde ID::  88529
Venus and Cupid
Around 1606-1611 Medium Oil on canvas Dimensions Height: 137 cm (53.9 in). Width: 111 cm (43.7 in). cjr
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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Sebastiano Ricci

(1 August 1659 - 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. He was born in Belluno, son of Andreana and Livio Ricci. In 1671, he apprenticed to Federico Cerebri of Venice. Others claim Ricci's first master was Sebastiano Mazzoni. In 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young pregnant woman to avoid marriage. Imprisoned, he gained release only after intervention of a nobleman, probably a Pisani family member. He married the pregnant mother in 1691, although this was a stormy union. After his arrest, he moved to Bologna, where he domiciled near the Parish of San Michele del Mercato. His painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the "Fraternity of Saint John of Florence" to paint a Decapitation of John the Baptist for their Oratory. On 9 December 1685, the Count of San Segundo near Parma commissioned from Ricci the decoration of the Oratory of the Madonna of the Seraglio, which he completed in collaboration of Ferdinando Galli-Bibiena by October 1687, receiving a compensation of 4,482 Lira.

Gemälde ID::  90488
Venus and Cupid
Oil on canvas. 72 x 97 cm. Date c. 1700 cyf
(1 August 1659 - 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. He was born in Belluno, son of Andreana and Livio Ricci. In 1671, he apprenticed to Federico Cerebri of Venice. Others claim Ricci's first master was Sebastiano Mazzoni. In 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young pregnant woman to avoid marriage. Imprisoned, he gained release only after intervention of a nobleman, probably a Pisani family member. He married the pregnant mother in 1691, although this was a stormy union. After his arrest, he moved to Bologna, where he domiciled near the Parish of San Michele del Mercato. His painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the "Fraternity of Saint John of Florence" to paint a Decapitation of John the Baptist for their Oratory. On 9 December 1685, the Count of San Segundo near Parma commissioned from Ricci the decoration of the Oratory of the Madonna of the Seraglio, which he completed in collaboration of Ferdinando Galli-Bibiena by October 1687, receiving a compensation of 4,482 Lira.

   
 

 

 
   
      

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Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar

Gemälde ID::  91132
Venus and Cupid
1509(1509) Medium Oil on canvas transferred from wood Dimensions Height: 213 cm (83.9 in). Width: 102 cm (40.2 in). cyf
b. 1472, Kronach, d. 1553, Weimar

   
 

 

 
   
      

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Jacopo Pontormo

Italian 1494-1557 Jacopo Pontormo Galleries

Gemälde ID::  91180
Venus and Cupid
between 1532(1532) and 1534(1534) Medium oil on panel cyf
Italian 1494-1557 Jacopo Pontormo Galleries

   
 

 

 
   
      


Gemälde ID::  94603
Venus and Cupid
oil on canvas Dimensions 31,8 x 46,4 cm cjr
1810-1877

   
 

 

 
   
      

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Joachim von Sandrart

(12 May 1606 - 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. Sandrart was born in Frankfurt, but the family originated from Mons. According to Houbraken (who used his Teutsche Akademie as a primary source), he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Gillis Sadelaar (also known as Aegidius Sadeler of the Sadeler family). Sadelaar in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolaas Ringnerus. He then set out for Bologna, where he was met by his cousin on his father's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). Sandrart became famous as a portrait-painter. After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.

Gemälde ID::  95442
Venus and Cupid
circa 1630(1630) Medium oil on canvas cyf
(12 May 1606 - 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. Sandrart was born in Frankfurt, but the family originated from Mons. According to Houbraken (who used his Teutsche Akademie as a primary source), he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Gillis Sadelaar (also known as Aegidius Sadeler of the Sadeler family). Sadelaar in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolaas Ringnerus. He then set out for Bologna, where he was met by his cousin on his father's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). Sandrart became famous as a portrait-painter. After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637.

   
 

 

 
   
      

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BRAMANTE

Italian High Renaissance Architect and Painter, 1444-1514

Gemälde ID::  97947
Venus and Cupid
Oil on Canvas. Found in Germany after the Second World War. Accession number: 1867 or MNR 16 cyf
Italian High Renaissance Architect and Painter, 1444-1514

   
 

 

 
   
      

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Maarten van Heemskerck

(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World. He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem. His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.

Gemälde ID::  97960
Venus and Cupid
1545(1545) Medium oil on panel cyf
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World. He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem. His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.

   
 

 

 
   
      

Maarten van Heemskerck
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World. He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem. His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
Venus and Cupid

        
 
   
 

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