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Artist: Canaletto
Canaletto Piazza San Marco china oil painting reproduction

Piazza San Marco
1735 Oil on canvas, 68,5 x 93,5 cm Galleria Corsini, Rome Artist: CANALETTO Painting Title: Piazza San Marco, Looking toward San Geminiano , 1701-1750 Painting Style: Italian , , landscape
Painting ID::  63068
3278 ago.
Painting:
Piazza San Marco
Information:
1735 Oil on canvas, 68,5 x 93,5 cm Galleria Corsini, Rome Artist: CANALETTO Painting Title: Piazza San Marco, Looking toward San Geminiano , 1701-1750 Painting Style: Italian , , landscape


Artist: Canaletto
Canaletto Venice Viewed from the San Giorgio Maggiore - Oil on canvas china oil painting reproduction

Venice Viewed from the San Giorgio Maggiore - Oil on canvas
77 x 97 cm St?delsches Kunstinstitut, Frankfurt Artist: CANALETTO Painting Title: Venice Viewed from the San Giorgio Maggiore , 1701-1750 Painting Style: Italian , , landscape
Painting ID::  63067
3278 ago.
Painting:
Venice Viewed from the San Giorgio Maggiore - Oil on canvas
Information:
77 x 97 cm St?delsches Kunstinstitut, Frankfurt Artist: CANALETTO Painting Title: Venice Viewed from the San Giorgio Maggiore , 1701-1750 Painting Style: Italian , , landscape


Artist: Canaletto
Canaletto Return of the Bucentoro to the Molo on Ascension Day china oil painting reproduction

Return of the Bucentoro to the Molo on Ascension Day
1732 Oil on canvas Royal Collection, Windsor Artist: CANALETTO Painting Title: Return of the Bucentoro to the Molo on Ascension Day (detail) , 1701-1750 Painting Style: Italian , , landscape
Painting ID::  63066
3279 ago.
Painting:
Return of the Bucentoro to the Molo on Ascension Day
Information:
1732 Oil on canvas Royal Collection, Windsor Artist: CANALETTO Painting Title: Return of the Bucentoro to the Molo on Ascension Day (detail) , 1701-1750 Painting Style: Italian , , landscape


Artist: GUARDI, Francesco
GUARDI, Francesco The Torre del'Orologio china oil painting reproduction

The Torre del'Orologio
1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K?nste, Vienna Ever since the early sixteenth century the view of Piazza San Marco has been partly determined by the Torre dell'Orologio, the construction of which was largely completed in 1506. Francesco Guardi represented the building here with the two storeys added to the wings in 1755. To the left of this is part of the Procuratie Vecchie, which at that time accommodated the procurators of San Marco, the most important representative magistracy after the Doge; on the right is the Basilica itself. It is striking that the square does not display the geometrical patterns of the paving which was laid in about 1723. Guardi recorded the view from a vantage point beyond the Campanile, though he adapted the result of his observations somewhat for the sake of the composition. By placing the walls of the Procuratie and the Torre parallel to the picture plane, the angle between these structures and the fa?ade of San Marco appear greater than in reality. This also has the effect of making the square much more spacious. There are also several details which do not entirely correspond with the actual situation, such as the three flagstaffs, which have been depicted lower and thinner than in actuality. A drawing by Guardi has been preserved that is virtually identical in terms of detail to the painting. Despite the prominent place of the Torre dell'Orologio it was seldom chosen as an independent motif by the Venetian vedutisti. Carlevaris and Canaletto did include it in paintings, but only as an incidental feature, and furthermore from a different angle. Francesco Guardi painted this theme at least eight times, always from virtually the same vantage point. Each time he gave a slightly different impression of the space by varying the relationships, the light and the positioning of the figures. In this painting the foreground is almost empty and the depth is only accentuated by the strikingly foreshortened fa?ade of San Marco and the lines of the three flagstaffs running parallel to it, and by the tents fluttering fitfully in the wind. In this simple composition Guardi emphasized the play of light and colour on the walls and the pavement. Artist: GUARDI, Francesco Painting Title: The Torre del'Orologio , 1751-1800 Painting Style: Italian , , landscape
Painting ID::  63056
3281 ago.
Painting:
The Torre del'Orologio
Information:
1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K?nste, Vienna Ever since the early sixteenth century the view of Piazza San Marco has been partly determined by the Torre dell'Orologio, the construction of which was largely completed in 1506. Francesco Guardi represented the building here with the two storeys added to the wings in 1755. To the left of this is part of the Procuratie Vecchie, which at that time accommodated the procurators of San Marco, the most important representative magistracy after the Doge; on the right is the Basilica itself. It is striking that the square does not display the geometrical patterns of the paving which was laid in about 1723. Guardi recorded the view from a vantage point beyond the Campanile, though he adapted the result of his observations somewhat for the sake of the composition. By placing the walls of the Procuratie and the Torre parallel to the picture plane, the angle between these structures and the fa?ade of San Marco appear greater than in reality. This also has the effect of making the square much more spacious. There are also several details which do not entirely correspond with the actual situation, such as the three flagstaffs, which have been depicted lower and thinner than in actuality. A drawing by Guardi has been preserved that is virtually identical in terms of detail to the painting. Despite the prominent place of the Torre dell'Orologio it was seldom chosen as an independent motif by the Venetian vedutisti. Carlevaris and Canaletto did include it in paintings, but only as an incidental feature, and furthermore from a different angle. Francesco Guardi painted this theme at least eight times, always from virtually the same vantage point. Each time he gave a slightly different impression of the space by varying the relationships, the light and the positioning of the figures. In this painting the foreground is almost empty and the depth is only accentuated by the strikingly foreshortened fa?ade of San Marco and the lines of the three flagstaffs running parallel to it, and by the tents fluttering fitfully in the wind. In this simple composition Guardi emphasized the play of light and colour on the walls and the pavement. Artist: GUARDI, Francesco Painting Title: The Torre del'Orologio , 1751-1800 Painting Style: Italian , , landscape


Artist: GUARDI, Francesco
GUARDI, Francesco The Piazzetta china oil painting reproduction

The Piazzetta
1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso This painting is one of the earliest views of Venice painted by Francesco Guardi. Artist: GUARDI, Francesco Painting Title: The Piazzetta, Looking toward San Giorgio Maggiore , 1751-1800 Painting Style: Italian , , landscape
Painting ID::  63055
3281 ago.
Painting:
The Piazzetta
Information:
1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso This painting is one of the earliest views of Venice painted by Francesco Guardi. Artist: GUARDI, Francesco Painting Title: The Piazzetta, Looking toward San Giorgio Maggiore , 1751-1800 Painting Style: Italian , , landscape


Artist: MARIESCHI, Michele
MARIESCHI, Michele The Grand Canal at San Geremia - Oil on canvas china oil painting reproduction

The Grand Canal at San Geremia - Oil on canvas
54 x 82 cm Private collection Artist: MARIESCHI, Michele Painting Title: The Grand Canal at San Geremia , 1701-1750 Painting Style: Italian , , landscape
Painting ID::  63054
3281 ago.
Painting:
The Grand Canal at San Geremia - Oil on canvas
Information:
54 x 82 cm Private collection Artist: MARIESCHI, Michele Painting Title: The Grand Canal at San Geremia , 1701-1750 Painting Style: Italian , , landscape


Artist: Thomas Cole
Thomas Cole The Architect's Dream china oil painting reproduction

The Architect's Dream
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other
Painting ID::  62883
3310 ago.
Painting:
The Architect's Dream
Information:
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other


Artist: SANGALLO, Giuliano da
SANGALLO, Giuliano da Exterior of the church begun china oil painting reproduction

Exterior of the church begun
1485 - Santa Maria delle Carceri, Prato Tuscan architects developing the principles laid down by Brunelleschi, constructed important churches in the last years of the 15th century. These include Santa Maria delle Carceri, at Prato, by Giuliano da Sangallo, and Santa Maria del Calcinaio, near Cortona, by Francesco di Giorgio. Both these resemble the experiments with centrally planned churches being carried out in Milan by Leonardo and Bramente. In these churches we see the culmination of the Early Renaissance ideals of classical lightness and purity. The Santa Maria delle Carceri was begun in 1485 and was left in its present incomplete in 1506. It is a pure Greek cross and derives, therefore, from the Brunelleschian tradition of centrally planned churches
Painting ID::  62383
3374 ago.
Painting:
Exterior of the church begun
Information:
1485 - Santa Maria delle Carceri, Prato Tuscan architects developing the principles laid down by Brunelleschi, constructed important churches in the last years of the 15th century. These include Santa Maria delle Carceri, at Prato, by Giuliano da Sangallo, and Santa Maria del Calcinaio, near Cortona, by Francesco di Giorgio. Both these resemble the experiments with centrally planned churches being carried out in Milan by Leonardo and Bramente. In these churches we see the culmination of the Early Renaissance ideals of classical lightness and purity. The Santa Maria delle Carceri was begun in 1485 and was left in its present incomplete in 1506. It is a pure Greek cross and derives, therefore, from the Brunelleschian tradition of centrally planned churches


Artist: Jan van der Heyden
Jan van der Heyden Gothic churches china oil painting reproduction

Gothic churches
mk278 Oil on canvas 46 x 60cm
Painting ID::  62116
3415 ago.
Painting:
Gothic churches
Information:
mk278 Oil on canvas 46 x 60cm


Artist: Jan van der Heyden
Jan van der Heyden Baroque palaces and the Cathedral china oil painting reproduction

Baroque palaces and the Cathedral
mk278 Oil on canvas 20 x 27.5cm
Painting ID::  62115
3415 ago.
Painting:
Baroque palaces and the Cathedral
Information:
mk278 Oil on canvas 20 x 27.5cm


Artist: Jan van der Heyden
Jan van der Heyden Imagine the church and buildings china oil painting reproduction

Imagine the church and buildings
mk278 Oil on canvas 37 x 49.5cm
Painting ID::  62114
3415 ago.
Painting:
Imagine the church and buildings
Information:
mk278 Oil on canvas 37 x 49.5cm


Artist: Jan van der Heyden
Jan van der Heyden Church of the scenery china oil painting reproduction

Church of the scenery
mk278 canvas board 33.5 x 36.3cm
Painting ID::  62112
3415 ago.
Painting:
Church of the scenery
Information:
mk278 canvas board 33.5 x 36.3cm


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Painting:: landscape --> Style:: street