Verehrung von den Hirten 1622
Wallraf-Richartz Museum, Cologne der Wallraf-Richartz von 1622 Museum, Herrenduft 1590-1656
Dutch
Gerrit Van Honthorst Galleries
Verehrung von den Hirten 1480
Wood, 97 x 245 cm
Staatliche Museen
Berlin das Holz von 1480, Haben 97 X 245 cm Staatliche Berlin. Nachgesonnen 1440-1482
Flemish
Hugo van der Goes Galleries
Verehrung von den Hirten 1646
Oil on canvas, 97 x 71,5 cm
Alte Pinakothek, Munich das Öl von 1646 auf Leinwand, 97 X 71.5 cm Alte Pinakothek, München Born 1606, Died 1669
Verehrung von den Hirten Oil on canvas
The Hermitage, St. Petersburg. Öl aufLeinwand Die Einsiedlei, Str. Petersburg. Spanish Baroque Era Painter, 1578-1649
Verehrung von den Hirten mk84
1639
Grenoble
canvas
267x185cm
der Grenoble von mk84 1639 Leinwand 267x185cm 1598-1664
Spanish Francisco de Zurbaran Galleries
Verehrung von den Hirten mk161
Tempera on canvas
transferred from wood
mk161Tempera auf Leinwand hat von Holz übertragen Italian
1431-1506
Andrea Mantegna Locations
Gemälde ID:: 55998
adoration of the shepherds mk247
1505 to 10 ,oil on panel,35.75x43 in,91x111 cm,national gallery of art,washingtom,dc,usa Italian
1476-1510
Giorgione Galleries
Gemälde ID:: 56053
adoration of the shepherds mk247
1622,oil on can vas 64x74 in,164x190 cm,wallraf richartz museum,cologne,germany 1590-1656
Dutch
Gerrit Van Honthorst Galleries
Gemälde ID:: 62317
Adoration of the Shepherds 15 x 29,5 cm Museo de Bellas Artes, Bilbao This small painting was painted on a copper plate used for engraving, the back side of the plate shows an engraving of the Sermon of St Luis Beltr?n. The attribution to Juan Ribalta is debated, Francisco Ribalta and Pedro Orrente are also mentioned in the literature as possible author Spanish Baroque Era Painter, ca.1565-1628
Gemälde ID:: 62331
Adoration of the Shepherds 11 x 47 cm Galleria Nazionale d'Arte Antica, Rome The two paintings in the Galleria Nazionale d'Arte Antica in Rome (Adoration of the Shepherds, Baptism of Christ) were considered workshop pieces or autograph replicas of two of the three pictures that El Greco executed for the Colegio di Do?a Mar?a de Arag?n in Madrid (now dispersed and housed in the Muzeul de Arta, Bucharest and the Museo del Prado, Madrid). However, a recent radiographic analysis (1997) has proven that they are original oil sketches by the hand of El Greco himself. The presence of pentimenti, compositional emendations beneath the paint surface, reveals the creative process of the artist and leads to the conclusion that these are not copies but preparatory bozzetti for the Madrid cycle. The important commission, probably designed as a triptych to decorate the high altar of the chapel, was given to El Greco in 1596: work continued until the Holy Year of 1600. The third oil sketch, depicting the Annunciation, is preserved at the museum in Bilbao. The silvery light, the coloristic range based on cold tones, the quick, almost impressionistic brushwork and the use of strong contrasts of light and shadow in this picture are all typical characteristics of El Greco's Spanish manner (1576-1614). Author: GRECO, El Title: Adoration of the Shepherds , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62335
Adoration of the Shepherds 1596-1600 Oil on canvas National Museum of Art of Romania, Bucharest The detail shows the lower part of the painting which was probably on the left of the retable of the Colegio de Do?a Maria. Author: GRECO, El Title: Adoration of the Shepherds (detail) , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 62410
Adoration of the Shepherds 167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps Italian
1449-1494
Domenico Ghirlandaio Galleries
Gemälde ID:: 62417
Adoration of the Shepherds 1750 Oil on canvas Mus?e des Beaux-Arts, Lyon Boucher had never been a committed artistic believer. Although he had worked in Italy, the Italian tradition did not tempt him into vast imaginative schemes. He never aimed at a heroic vision. He expressed no glorious promises about heaven: either as an Olympian refuge for aristocratic families, or in ordinary Christian terms. Like most French eighteenth-century painters, he could not evolve a satisfactory idiom for religious pictures of any kind; and he was particularly unsuited to the task by the nature of his real abilities. The picture shows one of his rare paintings of religious subject French Rococo Era Painter, 1703-1770
Flemish painter (b. 1593, Antwerpen, d. 1678, Antwerpen).
Gemälde ID:: 63967
Adoration of the Shepherds Oil on canvas Mauritshuis, The Hague , Artist: JORDAENS, Jacob , Adoration of the Shepherds , 1651-1700 , Flemish , painting , religious Flemish painter (b. 1593, Antwerpen, d. 1678, Antwerpen).
Gemälde ID:: 64074
adoration of the shepherds painted during the last period,c.1604-14
64x42
the metropolitan museum of art, new york Greek-born Spanish Mannerist Painter, 1541-1614
Gemälde ID:: 64574
Adoration of the Shepherds 1758 Fresco Parish Church, S?meg Artist:MAULBERTSCH, Franz Anton Title: Adoration of the Shepherds, 1751-1800, Austrian , painting , religious Austrian Painter, 1724-1796
Gemälde ID:: 64575
Adoration of the Shepherds 1758 Fresco Parish Church, S?meg The detail shows the self-portrait of the artist. Artist:MAULBERTSCH, Franz Anton Title: Adoration of the Shepherds (detail), 1751-1800, Austrian , painting , religious Austrian Painter, 1724-1796
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:: 71326
Adoration of the Shepherds ca. 1755(1755)
Oil on canvas
96.5 x 73.3 cm (37.99 x 28.86 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.
Gemälde ID:: 72441
Adoration of the Shepherds Date ca. 1755(1755)
Medium Oil on canvas
Dimensions 96.5 X 73.3 cm (37.99 X 28.86 in)
cyf Italian Neoclassical Painter, ca.1691-1765
Gemälde ID:: 73785
Adoration of the Shepherds Date between 1740(1740) and 1760(1760)
Medium Oil on canvas
Dimensions 81.3 X 43.2 cm (32.01 X 17.01 in)
cyf Spanish , Madrid 1763 - 1834
Gemälde ID:: 81308
Adoration of the Shepherds Date 1608(1608)
Medium Oil on canvas
Dimensions 64 x 47 cm (25.2 x 18.5 in)
cjr Flemish Baroque Era Painter, 1577-1640
Gemälde ID:: 92731
Adoration of the Shepherds 1646(1646)
Medium oil on canvas
Dimensions Height: 97 cm (38.2 in). Width: 71.5 cm (28.1 in).
cjr Born 1606, Died 1669
Gemälde ID:: 94800
Adoration of the Shepherds 1609
Type Oil on canvas
Dimensions 314 cm x 211 cm (124 in x 83 in)
cyf Italian Baroque Era Painter, ca.1571-1610
