Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 9853
Zeugenabgabe 1435-40
Oil on panel.
Museo del Prado
Madrid, Spain 1435-40 Öle auf Unterausschuss. Museo del PradoMadrid, Spanien Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Zeugenabgabe c. 1435
Oil on oak panel, 220 x 262 cm
Museo del Prado, Madrid c. das Öl von 1435 auf Eichenunterausschuss, 220 X 262 cm Museo del Prado, Madrid Netherlandish Northern Renaissance Painter, ca.1400-1464
Zeugenabgabe mk68
Oil on wood
Florence
Church of Santa Felicita
c.1528
Italy
mk68 Öl auf Holz Florenz Kirche vom Italien von SantaFelicita C. 1528 Italian 1494-1557 Jacopo Pontormo Galleries
Zeugenabgabe mk86
1521
Oil on wood
333x195cm
Volterra Pinacoteca Comunale
das Öl von mk86 1521 auf Holz 333x195cm Volterra Pinacoteca Comunale Italian Mannerist Painter, ca.1495-1540
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 40183
Zeugenabgabe mk156
c.1435
Oil on panel
220x262cm
das Öl von mk156 C. 1435 auf täfelt 220x262cm Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 55936
Deposition 1435-40,oil on oak panel,86.5x102.125 in,220x262 cm,museo del prado,madrid,spain Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance
Gemälde ID:: 63100
Deposition 1510-20 Oil on canvas transferred from wood, 141 x 106,5 cm The Hermitage, St. Petersburg The picture shows an early example of the works of Romanist painters (Northern artists influenced by Italian renaissance painting). Artist: GOSSAERT, Jan (Mabuse) Painting Title: Deposition , 1501-1550 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1478-1532
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 63632
Deposition 1512 Engraving, 117 x 74 mm Metropolitan Museum of Art, New York Sheet No. 13 of the Engraved Passion. In this case the engraved and woodcut version can be easily compared. Both were executed at about the same time. One is the most complicated, the other the simplest solution. In the engraving some of the dignity is sacrificed by the complicated overlappings, as in the case of Christ's body. The woodcut version of the Small Passion was difficult to surpass in the engraving. D?rer decided to use the tomb as seen from the front, making for the interesting overlappings. The gentle dignity of the woodcut version was, however, lost. It is not quite clear which one of the praying women is the Virgin Mary.Artist:D?RER, Albrecht Title: Deposition (No. 13) Painted in 1501-1550 , German - - graphics : religious b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Gemälde ID:: 63942
Deposition 1460 Oil on oak panel, 57 x 52 cm Alte Pinakothek, Munich With the body of Christ still on the Cross high above the scene, this picture, presumably painted in Brussels, shows the Deposition in a more traditional way than Rogier's famous version (Prado, Madrid). On the right are the centurion who recognized the Son of God, and his followers; it is not clear which of the two figures in the foreground is actually the centurion, since they are both making gestures that would be suitable for him. The artist who painted this small Deposition used figures from Rogier van der Weyden's great painting for the body of Christ and for Nicodemus, and drawing on other works by Rogier van der Weyden and by the Master of Flemalle for the remaining figures. The group of the Virgin and St John, for instance, was taken from the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, the painter of this Deposition fails to unite the groups of figures successfully. The small panel of the Deposition, certainly not painted before the middle of the century, seems to have found its way quite early to southern Germany, where parts of it were already being copied in 1465 (Hof Altarpiece by Hans Pleydenwurff in the Alte Pinakothek, Munich). Like the composition of the Descent from the Cross, probably of roughly the same date, it is a relatively early example of the work of independent artists who picked up ideas from Rogier, imitating his style as best they could. , Artist: UNKNOWN MASTER, Flemish , Deposition , 1451-1500 , Flemish , painting , religious
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