Verehrung desMagi 1433-35
Museo San Marco, Florence 1433-35 Museo Sankt Marco, Florenz Fra Angelico Galleries
b.c. 1400, Vicchio, Florence
d.Feb. 18, 1455, Rome
Verehrung des Magi King's College Chapel, Cambridge, UK
die Hochschulkapelle von König, Cambridge, Vereinigtes Königreich Flemish Baroque Era Painter, 1577-1640
Verehrung des Magi (central panel of the
Monforte Altar; from
Monforte de Lemos
cloister, Spain).1470
Oil on wood.
Gemaldegalerie,Berlin (zentraler Unterausschuss des Monforte Altar; von Monforte de Lemos Kreuzgang, Spain).1470 Öl auf Holz. Gemaldegalerie, Berlin 1440-1482
Flemish
Hugo van der Goes Galleries
Verehrung des Magi 1476
Tempera on wood
111x134cm
Uffizi,Florence
der Tempera von 1476 auf Holz111x134cm Uffizi Florenz Italian Early Renaissance Painter, 1445-1510
Verehrung des Magi 1475-1476
detail of youth in a red tunic,standing on the left (Giuliano de' Medici?)Florence,Galleria degli Uffizi (mk57) 1475-1476 Details der Jugend in einer roten Uniformjacke stehend zur Linken (Giuliano de- Medici) Florenz Galleria degliUffizi (mk57) Italian Early Renaissance Painter, 1445-1510
Verehrung des Magi 1475--1476
Florence,Galleria degli Uffizi. (mk57) 1475 -- der Florenz von 1476Galleria degli Uffizi. (Mk57) Italian Early Renaissance Painter, 1445-1510
Verehrung des Magi c 1482
Washington,National Gallery of Art (mk57) C das Washington von 1482 Nationale Galerieder Kunst (mk57) Italian Early Renaissance Painter, 1445-1510
Flemish painter (b. 1564, Bruxelles, d. 1638, Antwerp).
Gemälde ID:: 29156
Verehrung des Magi mk65
1638
Oil on canvas
transferred freo panel
14x22"
hat das Öl von mk65 1638 auf Leinwand freo Unterausschuss 14x22. übertragen Flemish painter (b. 1564, Bruxelles, d. 1638, Antwerp).
Verehrung des Magi mk86
1308-1311
Tempera on wood
42.5x44cm
mk86 1308-1311 Tempera auf Holz 42.5x44cm 1255-1318
Italian Duccio di Buoninsegna
Locations
Verehrung des Magi mk86
1423
Tempera on wood
303x282cm
Florence,Galleria Degli Uffizi.
der Tempera von mk86 1423 auf Holz303x282cm Florenz, Galleria Degli Uffizi. Fabriano ca 1370-Rome 1427
Verehrung des Magi mk86
1421/22
Tempera on wood
144x177cm
Florence,Galleria degli Uffizi
mk86 1421/22 Tempera auf Holz 144x177cm Florenz, Galleria degli Uffizi Italian
c1370-c1424
Lorenzo Monaco Gallery
Verehrung des Magi mk86
c.1455
Tempera on wood
138x153cm
Munich,Bayerische Staatsgemaldesammlungen,
Alte Pinakothek
der Tempera von mk86 C. 1455 auf Holz 138x153cm München, BayerischeStaatsgemaldesammlungen, Alte Pinakothek c.1399-1464
Verehrung des Magi mk86
c.1481
Oil and bistre on wood
240x246cm
Florence,Galleria degli Uffizi.
mk86 C. 1481 Öl und bistre auf Holz 240x246cm Florenz, Galleria degli Uffizi.
Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Gemälde ID:: 38172
Verehrungdes Magi mk29
c.1470s
Tempera on poplar panel
52x28cm
mk29 Tempera auf Pappel täfelt 52x28cm Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 40251
Verehrung des Magi mk156
c.1481
Tempera,oil,vanish and white lead on panel
246x243cm
der Tempera von mk156 C. 1481, Öl, verschwindet und weißes Blei auf Unterausschuss 246x243cm Italian High Renaissance Painter and Inventor, 1452-1519
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 40290
Verehrung des Magi mk156
1504
Oil on panel
98x112cm
das Öl von mk156 1504 auf täfelt 98x112cm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 58237
Adoration of the magi Adoration of the magi, around 1563/1564, oil on canvas, Kunsthistorisches Museum, Vienna
Italian
c1510-1592
Jacopo Bassano Gallery
Gemälde ID:: 62319
Adoration of the Magi 1620 Oil on canvas Museum of Fine Arts, Budapest It is assumed that the figure at the bottom was painted after a model Toledo ca ,1585-1624
Spanish painter (b. 1615, Madrid, d. 1673, Madrid)
Gemälde ID:: 62358
Adoration of the Magi 83 x 119 cm Museo de Bellas Artes, Bilbao This painting of intense colours shows Italian, particularly Venetian influences. The composition follows the example of Paolo Veronese's paintings of the same subject, painted one century earlier. This probably can be partly explained by the Italian origin of the artist Spanish painter (b. 1615, Madrid, d. 1673, Madrid)
Gemälde ID:: 62397
Adoration of the Magi 1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture Italian Early Renaissance Painter, 1420-1497
Gemälde ID:: 62412
Adoration of the Magi 1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome Italian
1449-1494
Domenico Ghirlandaio Galleries
Gemälde ID:: 63010
Adoration of the Magi 1488 Tempera on wood, 285 x 240 cm Spedale degli Innocenti, Florence Vasari writes about the painting: "In the church of the Innocenti he painted in tempera a much-admired picture of the Magi, containing some fine heads and varied physiognomies of people both young and old, notably a head of the Virgin, displaying all the modesty, beauty and grace which art can impart to the Mother of God". There are so many saints in this Adoration that it is not easy to make out the three Magi. On the left, Saint John the Baptist is kneeling and pointing to the Madonna. The orphans of the Spedale are represented by two of the innocent boys who were killed during the Slaughter of the Innocents in Bethlehem, kneeling in the foreground. There are gaping bloody wounds to their faces, arms and necks. In this Adoration of the Magi, Ghirlandaio's carefully thought out use of colour is particularly impressive: Ghirlandaio distributes the glowing colours evenly. Mary in the centre is wearing a blue cloak over a red dress. The oldest king kneeling in front of her is wearing a variation of these colours combined with yellow. To the left of Mary, the youngest king holding the valuable goblet in his hand - he almost looks like Saint John the Evangelist - is also dressed in blue, yellow and red. The figure standing on the right edge of the picture wearing an expensive hat repeats this combination of colours, though now the blue and yellow are reversed. In the second figure from the right, wearing the blue hat, the Madonna's colours of red and blue are visible again, and they are repeated in clothes of the bearded man wearing a turban on the left edge of the picture. Between the Madonna and the man with the blue hat on the right, the artist creates a yellow highlight, though with a weaker blue accent, in the figure of Joseph. This row of figures alone produces a rhythm of colour from left to right: red and blue; yellow, blue and red; red and blue; yellow and blue; red and blue; yellow, blue and red. The work represents one of Ghirlandaio's most important "easel" works. Here too the assistants were at work. Indeed, in the scene of the Slaughter of the Innocents in the background, Berenson recognized the hand of Bartolomeo di Giovanni, the author of the stories from the predella. Artist: GHIRLANDAIO, Domenico Painting Title: Adoration of the Magi , 1451-1500 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1449-1494
Gemälde ID:: 63065
Adoration of the Magi 1526-28 Oak, 251 x 185 cm Gem?ldegalerie, Dresden The painting, coming probably from a church in Genoa, was attributed to D?rer in the 16th century. Artist: CLEVE, Joos van Painting Title: Adoration of the Magi , 1501-1550 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1485-1540
German Northern Renaissance Painter and Printmaker, ca.1484-1545
Gemälde ID:: 63525
Adoration of the Magi 1507 Oil on wood Staatliche Museen, Berlin In the centre of the altarpiece the donor, Ernst von Wettin, Archbishop of Magdeburg, brother of Emperor Frederic the Wise, is represented. The side panels depict St George and St Maurice, the latter being the patron saint of the Magdeburg archbishopry.Artist:BALDUNG GRIEN, Hans Title: Adoration of the Magi Painted in 1501-1550 , German - - painting : religious German Northern Renaissance Painter and Printmaker, ca.1484-1545
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 63739
Adoration of the Magi 1504 Oil on wood Galleria degli Uffizi, FlorenceArtist:D?RER, Albrecht Title: Adoration of the Magi (detail) Painted in 1501-1550 , German - - painting : religious b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 63945
Adoration of the Magi 1501-06 Oil on wood, 132 x 79 cm Vasco Museum, Viseu The Adoration of the Magi, is one of the fourteen panels from the altarpiece of the Chancel in Viseu Cathedral, and the earliest dated work of the artist. It is a key work in the evaluation of the impact which the painting and the painters from southern parts of the Low Countries had on the taste of patrons and on the work of painters in Portugal. Despite the controversy surrounding its authorship, everything points to a team, led by the Flemish painter Francisco Henriques, joined locally by the young Vasco Fernandes, elaborating the altarpiece for the bishop of Viseu. The Adoration of the Magi includes iconographic details which confirm that the altarpiece was made locally. The black Wise King, Balthasar, is replaced by an Indian from Brazil. The closeness in time of this artistic representation (the first in Western art) to the discovery of the lands of the True Cross (Brazil) gives it an extraordinary historical value. , Artist: FERNANDES, Vasco , Adoration of the Magi , 1501-1550 , Portuguese , painting , religious Portuguese painter (active 1500-1542 in Viseu
Gemälde ID:: 63982
Adoration of the Magi 1515 Oil on panel, 83 x 166 cm Rockox House, Antwerp In comparison with other artistic centres, Antwerp had relatively little tradition in art in the beginning of the 16th century: but it was fertile ground ready to receive the seeds of new ideas brought by the many artists who flocked to the town on the Scheldt from other towns in the Low Countries. This burgeoning artistic life yielded religious works based on iconographic and compositional formulae derived from foreign examples. Moreover, the Low Countries' own traditional church based art had reached a crisis, and signs could already be seen heralding the advent of a different type of painting all together, with the birth of the Italian Renaissance. The economic and social revolution which transformed the needs and demands of art lovers resulted in a much looser relationship between artist and patron. Artists no longer felt obliged to bow to specific requirements as to the form or content of the painting imposed by the patron or institution commissioning it. Instead, they began to feel that their responsibility was rather to satisfy the tenets of taste held by nameless international artistic circles in which they moved. Thus an art market was created. Artists began to specialise, made life easier for themselves by repeating certain motifs over and over again, and aimed to create a certain effect. The anonymous Adoration of the Magi is an admirable example of the most popular subject of these artists, who are known as the Antwerp Mannerists. Strutting vanity and late Gothic and Renaissance decorations are depicted in sharp contrast with quiet modesty. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Gemälde ID:: 64036
Adoration of the Magi . 1515 Polychromed wood, 73 x 64,5 x 21 cm Rockox House, Antwerp , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , sculpture , religious
Gemälde ID:: 64062
Adoration of the Magi 1520 Panel, 29 x 22 cm (central), 29 x 8,5 cm (side panels) Koninklijk Museum voor Schone Kunsten, Antwerp The charming little work by anonymous artist called the Master of the Antwerp Adoration is exuberant, lively and full of eccentric shapes and attitudes, while the newly acquired wealth of Antwerp is displayed in the abundance of luxurious, gothic reminiscences. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Gemälde ID:: 64144
Adoration of the Magi 1500-10 Oil on oak panel, 151 x 115,5 cm Groeninge Museum, Bruges The altarpiece - shown in the original frame - probably hung in the Chapel of the Magi in the former Saint Donatian's Church in Bruges. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Gemälde ID:: 64216
Adoration of the Magi 83,4 x 73,1 cm Museum Mayer van den Bergh, Antwerp The picture shows the central panel of a triptych. , Artist: MASTER of Hoogstraeten , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Gemälde ID:: 64217
Adoration of the Magi Oil on oak panel Museum Mayer van den Bergh, Antwerp , Artist: MASTER of Hoogstraeten , Adoration of the Magi (detail) , 1501-1550 , Flemish , painting , religious
Gemälde ID:: 64699
Adoration of the Magi 1626-29 Oil on canvas, 283 x 219 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious Flemish Baroque Era Painter, 1577-1640
Gemälde ID:: 64701
Adoration of the Magi 1618-19 Oil on canvas, 245 x 325 cm Mus?e des Beaux-Arts, Lyon Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious Flemish Baroque Era Painter, 1577-1640
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Gemälde ID:: 71631
Adoration of the Magi between 1753(1753) and 1757(1757)
Oil on canvas
99.1 x 73.7 cm (39.02 x 29.02 in)
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Gemälde ID:: 72830
Adoration of the Magi Date between 1753(1753) and 1757(1757)
Medium Oil on canvas
Dimensions 99.1 X 73.7 cm (39.02 X 29.02 in)
cyf 17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Gemälde ID:: 78249
Adoration of the Magi between 1628(1628) and 1630(1630)
Medium Oil on panel
Dimensions Width: 53 cm (20.9 in).
cyf Dutch Baroque Era Painter, 1596-1674
Gemälde ID:: 85168
adoration of the Magi 1560(1560)
Medium Oil on panel
Dimensions 167.5 x 180 cm (65.9 x 70.9 in)
cyf 1508-1575
Flemish
Pieter Aertsen Galleries
Gemälde ID:: 91872
Adoration of the Magi c. 1505
Medium : Oil on panel
Dimensions 50 3/4 x 40 in. (128.9 x 101.6 cm)
cjr 1440-1482
Flemish
Hugo van der Goes Galleries
Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy.
Gemälde ID:: 94645
Adoration of the Magi 1434
Type Tempera on panel
Dimensions 47 cm x 42 cm (19 in x 17 in)
cyf Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy.
Gemälde ID:: 94652
Adoration of the Magi 1462
Type Tempera on panel
Dimensions 76 cm x 76.5 cm (30 in x 30.1 in)
cyf Italian
1431-1506
Andrea Mantegna Locations
Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 94658
Adoration of the Magi 1481
Type oil on wood
Dimensions 246 cm x 243 cm (97 in x 96 in)
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Gemälde ID:: 94667
Adoration of the Magi 1496
Type Oil on panel
Dimensions 258 cm x 243 cm (102 in x 96 in)
cyf Italian
1457-1504
Filippino Lippi Galleries
Gemälde ID:: 94799
Adoration of the Magi 1619
Type Oil on canvas
Dimensions 204 cm x 126.5 cm (80 in x 49.8 in)
cyf Spanish Baroque Era Painter, 1599-1660
