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Artist: El Greco
El Greco st. louis, king of france china oil painting reproduction

st. louis, king of france
painted 1586-94 46x37 the louvre, paris
Painting ID::  64054
2903 ago.
Painting:
st. louis, king of france
Information:
painted 1586-94 46x37 the louvre, paris


Artist: El Greco
El Greco st. martin and the beggar china oil painting reproduction

st. martin and the beggar
painted 1597-99,mayer 75x38 national gallery of art, washington, dc, widener collection
Painting ID::  64053
2903 ago.
Painting:
st. martin and the beggar
Information:
painted 1597-99,mayer 75x38 national gallery of art, washington, dc, widener collection


Artist: El Greco
El Greco assumption of the virgin,detail china oil painting reproduction

assumption of the virgin,detail
painted1577 the art instute of chicago
Painting ID::  64034
2903 ago.
Painting:
assumption of the virgin,detail
Information:
painted1577 the art instute of chicago


Artist: HALS, Frans
HALS, Frans The Meagre Company china oil painting reproduction

The Meagre Company
1633-37 Oil on canvas, 207,3 x 427,5 cm (whole painting) Rijksmuseum, Amsterdam The exact title of the painting, the rightt side of it being illustrated here, is Officers of the Company of the Amsterdam Crossbow Civic Guard under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. It was commissioned from Frans Hals in 1633, but in 1636, when he had not yet finished it, was given to Pieter Codde for completition. It is dated at the right edge near the centre: A?1637.Artist:HALS, Frans Title: The Meagre Company (detail) Painted in 1601-1650 , Dutch - - painting : portrait
Painting ID::  63877
2915 ago.
Painting:
The Meagre Company
Information:
1633-37 Oil on canvas, 207,3 x 427,5 cm (whole painting) Rijksmuseum, Amsterdam The exact title of the painting, the rightt side of it being illustrated here, is Officers of the Company of the Amsterdam Crossbow Civic Guard under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. It was commissioned from Frans Hals in 1633, but in 1636, when he had not yet finished it, was given to Pieter Codde for completition. It is dated at the right edge near the centre: A?1637.Artist:HALS, Frans Title: The Meagre Company (detail) Painted in 1601-1650 , Dutch - - painting : portrait


Artist: BAROCCI, Federico Fiori
BAROCCI, Federico Fiori St Jerome china oil painting reproduction

St Jerome
1598 Oil on canvas Galleria Borghese, Rome In this painting, recent restoration has revealed a lion, sleeping like a large cat in the background; it had been hidden under thick layers of paint that had darkened with age.Artist:BAROCCI, Federico Fiori Title: St Jerome Painted in 1551-1600 , Italian - - painting : religious
Painting ID::  63843
2917 ago.
Painting:
St Jerome
Information:
1598 Oil on canvas Galleria Borghese, Rome In this painting, recent restoration has revealed a lion, sleeping like a large cat in the background; it had been hidden under thick layers of paint that had darkened with age.Artist:BAROCCI, Federico Fiori Title: St Jerome Painted in 1551-1600 , Italian - - painting : religious


Artist: Agnolo Bronzino
Agnolo Bronzino St John the Baptist china oil painting reproduction

St John the Baptist
1550-55 Oil on wood, 120 x 92 cm Galleria Borghese, Rome Appearing to be full-size, this painting demonstrates the skill of the Mannerist painter in fitting a brilliant body-study into a small pictorial space. Artistically, all interest is on the nude, with the nakedness concealed more by the way the figure holds his body than the way he plays with the drapery and the hide mantle. The only symbol in the picture is the Jacob's staff, in the dark. This is cleverly foreshortened, and thus not the real message of the painting.Artist:BRONZINO, Agnolo Title: St John the Baptist Painted in 1501-1550 , Italian - - painting : religious
Painting ID::  63530
2941 ago.
Painting:
St John the Baptist
Information:
1550-55 Oil on wood, 120 x 92 cm Galleria Borghese, Rome Appearing to be full-size, this painting demonstrates the skill of the Mannerist painter in fitting a brilliant body-study into a small pictorial space. Artistically, all interest is on the nude, with the nakedness concealed more by the way the figure holds his body than the way he plays with the drapery and the hide mantle. The only symbol in the picture is the Jacob's staff, in the dark. This is cleverly foreshortened, and thus not the real message of the painting.Artist:BRONZINO, Agnolo Title: St John the Baptist Painted in 1501-1550 , Italian - - painting : religious


Artist: FETI, Domenico
FETI, Domenico David with the Head of Goliath china oil painting reproduction

David with the Head of Goliath
1620 Oil on canvas, 153 x 125,1 cm Royal Collection, Windsor Feti was a peripatetic artist. Having been trained in Rome by the Florentine painter, Lodovico Cigoli, he worked at the court of Mantua from around 1613 and towards the end of his life spent some time in Venice. His principal patron was Duke Ferdinando Gonzaga at Mantua and it was with the purchase of the Gonzaga collection in 1625-27 that Charles I acquired a number of works by Feti. The artist was influenced by Venetian painters, as well as by Elsheimer and Rubens. His portraits and a series of small-scale pictures illustrating parables, probably commissioned by Ferdinando Gonzaga, are perhaps his best works. The artists technique is distinctive, with rapid brushstrokes of pure colour applied as highlights over broader areas of paint on canvases primed with dark tones. Similarly, the poses of his figures and the choice of viewpoints are often unusual. David with the Head of Goliath almost certainly formed part of the Gonzaga collection. A version of some quality is in Dresden (Staatliche Kunstsammlungen) and others are recorded. A date around 1620 has been suggested, that is, before the artist moved to Venice in 1622. The pose is somewhat reminiscent of the Ignudi by Michelangelo on the ceiling of the Sistine Chapel in Rome, and it is possible that the painting was meant to be hung as an overdoor. The present work depicts the story of David and Goliath as recounted in the first Book of Samuel, 17:48-51. The shepherd boy, David, defeats Goliath, the champion of the Philistines, in single combat using a sling with a stone. Afterwards David cuts off Goliath's head using the giants own sword. The body of Goliath is visible on the left in the middle distance. Feti cleverly contrasts the large scale of the decapitated head and sword with David's smaller body. Artist: FETI, Domenico Painting Title: David with the Head of Goliath , 1601-1650 Painting Style: Italian , , religious
Painting ID::  63052
2978 ago.
Painting:
David with the Head of Goliath
Information:
1620 Oil on canvas, 153 x 125,1 cm Royal Collection, Windsor Feti was a peripatetic artist. Having been trained in Rome by the Florentine painter, Lodovico Cigoli, he worked at the court of Mantua from around 1613 and towards the end of his life spent some time in Venice. His principal patron was Duke Ferdinando Gonzaga at Mantua and it was with the purchase of the Gonzaga collection in 1625-27 that Charles I acquired a number of works by Feti. The artist was influenced by Venetian painters, as well as by Elsheimer and Rubens. His portraits and a series of small-scale pictures illustrating parables, probably commissioned by Ferdinando Gonzaga, are perhaps his best works. The artists technique is distinctive, with rapid brushstrokes of pure colour applied as highlights over broader areas of paint on canvases primed with dark tones. Similarly, the poses of his figures and the choice of viewpoints are often unusual. David with the Head of Goliath almost certainly formed part of the Gonzaga collection. A version of some quality is in Dresden (Staatliche Kunstsammlungen) and others are recorded. A date around 1620 has been suggested, that is, before the artist moved to Venice in 1622. The pose is somewhat reminiscent of the Ignudi by Michelangelo on the ceiling of the Sistine Chapel in Rome, and it is possible that the painting was meant to be hung as an overdoor. The present work depicts the story of David and Goliath as recounted in the first Book of Samuel, 17:48-51. The shepherd boy, David, defeats Goliath, the champion of the Philistines, in single combat using a sling with a stone. Afterwards David cuts off Goliath's head using the giants own sword. The body of Goliath is visible on the left in the middle distance. Feti cleverly contrasts the large scale of the decapitated head and sword with David's smaller body. Artist: FETI, Domenico Painting Title: David with the Head of Goliath , 1601-1650 Painting Style: Italian , , religious


Artist: unknow artist
unknow artist The Death of St Stanislas Kostka china oil painting reproduction

The Death of St Stanislas Kostka
1705 Marble Sant'Andrea al Quirinale, Rome Le Gros' artistic makeup was such a successful synthesis of Italian and French elements that he never lacked work; his commissions, however, frequently embodied retardataire taste, none more so than the extraordinary multicolored St Stanislaus Kostka on his Deathbed. Here Le Gros'work looks back to the tradition of ecstatic or dying saints created by Bernini and Caffa, but instead of a white marble figure set off by coloured marbles, colour forms an integral part of Le Gros' work: black touchstone for the Jesuit habit, Sicilian jasper and yellow marble for the bedding, and gilt bronze for the fringe. The saints hands, feet and head are carved from white Carrara marble, with the hair left rough and unpolished and the nails and eyes delicately incised. The work's purpose was to shock visitors entering the room where the young man once lived, by conveying the impression of someone actually dying, and the Jesuits resisted Le Gros' attempts to have the sculpture moved from their novitiate to the church of Sant'Andrea al Quirinale, largely because of its effectiveness in its intended setting. Artist: LE GROS, Pierre Painting Title: The Death of St Stanislas Kostka , 1651-1700 Painting Style: French , , religious
Painting ID::  63044
2979 ago.
Painting:
The Death of St Stanislas Kostka
Information:
1705 Marble Sant'Andrea al Quirinale, Rome Le Gros' artistic makeup was such a successful synthesis of Italian and French elements that he never lacked work; his commissions, however, frequently embodied retardataire taste, none more so than the extraordinary multicolored St Stanislaus Kostka on his Deathbed. Here Le Gros'work looks back to the tradition of ecstatic or dying saints created by Bernini and Caffa, but instead of a white marble figure set off by coloured marbles, colour forms an integral part of Le Gros' work: black touchstone for the Jesuit habit, Sicilian jasper and yellow marble for the bedding, and gilt bronze for the fringe. The saints hands, feet and head are carved from white Carrara marble, with the hair left rough and unpolished and the nails and eyes delicately incised. The work's purpose was to shock visitors entering the room where the young man once lived, by conveying the impression of someone actually dying, and the Jesuits resisted Le Gros' attempts to have the sculpture moved from their novitiate to the church of Sant'Andrea al Quirinale, largely because of its effectiveness in its intended setting. Artist: LE GROS, Pierre Painting Title: The Death of St Stanislas Kostka , 1651-1700 Painting Style: French , , religious


Artist: PARMIGIANINO
PARMIGIANINO The Conversion of St Paul - Oil on canvas china oil painting reproduction

The Conversion of St Paul - Oil on canvas
177,5 x 128,5 cm Kunsthistorisches Museum, Vienna Artist: PARMIGIANINO Painting Title: The Conversion of St Paul , 1501-1550 Painting Style: Italian , , religious
Painting ID::  63016
2982 ago.
Painting:
The Conversion of St Paul - Oil on canvas
Information:
177,5 x 128,5 cm Kunsthistorisches Museum, Vienna Artist: PARMIGIANINO Painting Title: The Conversion of St Paul , 1501-1550 Painting Style: Italian , , religious


Artist: GHIRLANDAIO, Domenico
GHIRLANDAIO, Domenico St Jerome china oil painting reproduction

St Jerome
1471 Fresco Parish Church of Sant'Andrea, Cercina St Jerome, wearing a torn penitential robe, is looking across at St Barbara. His wiry, semi-naked body seems to have been ravaged by the hardships of his hermit life. In his right hand he is holding a stone with which to beat himself. His stance is reminiscent of classical contrapposto, his right foot protruding out of the space of the niche across the painted cornice. Artist: GHIRLANDAIO, Domenico Painting Title: St Jerome , 1451-1500 Painting Style: Italian , , religious
Painting ID::  63002
2983 ago.
Painting:
St Jerome
Information:
1471 Fresco Parish Church of Sant'Andrea, Cercina St Jerome, wearing a torn penitential robe, is looking across at St Barbara. His wiry, semi-naked body seems to have been ravaged by the hardships of his hermit life. In his right hand he is holding a stone with which to beat himself. His stance is reminiscent of classical contrapposto, his right foot protruding out of the space of the niche across the painted cornice. Artist: GHIRLANDAIO, Domenico Painting Title: St Jerome , 1451-1500 Painting Style: Italian , , religious


Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Ignudo china oil painting reproduction

Ignudo
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
Painting ID::  62926
2999 ago.
Painting:
Ignudo
Information:
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious


Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Ignudo china oil painting reproduction

Ignudo
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
Painting ID::  62925
2999 ago.
Painting:
Ignudo
Information:
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious


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Painting:: people --> Style:: man