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Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.

 

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Dieric Bouts Installation of the hl.  Communion oil painting

Painting ID::  45696

X 
 

Dieric Bouts
Installation of the hl. Communion
mk186 1464-67 Lowen, Sint-Pieterskerk
   
   
     

 

 

Dieric Bouts The way to Paradise oil painting

Painting ID::  51759

X 
 

Dieric Bouts
The way to Paradise
nn09 c.1450 Oil on wood 115x69.5cm
   
   
     

 

 

Dieric Bouts The Fall of the Danned oil painting

Painting ID::  51760

X 
 

Dieric Bouts
The Fall of the Danned
nn09 c.1450 Oil on wood 115x69.5cm
   
   
     

 

 

Dieric Bouts Altarpiece of the Holy Sacrament oil painting

Painting ID::  52094

X 
 

Dieric Bouts
Altarpiece of the Holy Sacrament
1464-67 Oil on wood, 185 x 294 cm
   
   
     

 

 

Dieric Bouts Altarpiece of the Holy Sacrament oil painting

Painting ID::  52095

X 
 

Dieric Bouts
Altarpiece of the Holy Sacrament
1464-67 Oil on wood, 185 x 294 cm
   
   
     

 

 

Dieric Bouts Christ in the House of Simon oil painting

Painting ID::  52096

X 
 

Dieric Bouts
Christ in the House of Simon
1440s Oil on wood, 40,5 x 61 cm
   
   
     

 

 

Dieric Bouts Triptych of the Virgin oil painting

Painting ID::  52097

X 
 

Dieric Bouts
Triptych of the Virgin
c. 1445 Oil on wood
   
   
     

 

 

Dieric Bouts Martyrdom of St Erasmus oil painting

Painting ID::  52098

X 
 

Dieric Bouts
Martyrdom of St Erasmus
Oil on wood
   
   
     

 

 

Dieric Bouts The Meeting of Abraham and Melchizedek oil painting

Painting ID::  52099

X 
 

Dieric Bouts
The Meeting of Abraham and Melchizedek
1464-67 Oil on wood
   
   
     

 

 

Dieric Bouts The Execution of the Innocent Count oil painting

Painting ID::  52100

X 
 

Dieric Bouts
The Execution of the Innocent Count
c. 1460 Oil on wood, 324 x 182 cm
   
   
     

 

 

Dieric Bouts The Gathering of the Manna oil painting

Painting ID::  52101

X 
 

Dieric Bouts
The Gathering of the Manna
1464-67 Oil on wood
   
   
     

 

 

Dieric Bouts The Feast of the Passover oil painting

Painting ID::  52102

X 
 

Dieric Bouts
The Feast of the Passover
1464-67 Oil on wood
   
   
     

 

 

Dieric Bouts Prophet Elijah in the Desert oil painting

Painting ID::  52103

X 
 

Dieric Bouts
Prophet Elijah in the Desert
1464-68 Oil on panel, 88 x 71 cm
   
   
     

 

 

Dieric Bouts Mansportratt oil painting

Painting ID::  53676

X 
 

Dieric Bouts
Mansportratt
mk234 1426 32x20cm
   
   
     

 

 

Dieric Bouts kristushuvud oil painting

Painting ID::  69130

X 
 

Dieric Bouts
kristushuvud
1468 olja på trä 22.5x19 se
   
   
     

 

 

Dieric Bouts Christ in the House of Simon oil painting

Painting ID::  74237

X 
 

Dieric Bouts
Christ in the House of Simon
Date 1440-1450 Current location Staatliche Museen Deutsch: Berlin, Deutschland cyf
   
   
     

 

 

Dieric Bouts Studio of Dieric Bouts oil painting

Painting ID::  78913

X 
 

Dieric Bouts
Studio of Dieric Bouts
Studio of Dieric Bouts (the elder) (b. ca. 1415, Haarlem, d. 1475, Leuven) Saint Luke painting the Virgin Penrhyn Castle, Bangor, North Wales Oil and tempera transferred from panel to canvas in 1899 cjr
   
   
     

 

 

Dieric Bouts Virgin Penrhyn Castle oil painting

Painting ID::  81968

X 
 

Dieric Bouts
Virgin Penrhyn Castle
Oil and tempera transferred from panel to canvas in 1899 cyf
   
   
     

 

 

Dieric Bouts Virgin and Child oil painting

Painting ID::  82206

X 
 

Dieric Bouts
Virgin and Child
Date second half of 15th century Medium Oil on wood Dimensions Height: 21.6 cm (8.5 in). Width: 16.5 cm (6.5 in). cjr
   
   
     

 

 

Dieric Bouts Head of Christ oil painting

Painting ID::  83272

X 
 

Dieric Bouts
Head of Christ
1464(1464) (1463-1465) Medium Oil on panel Dimensions 36 x 27 cm (14.2 x 10.6 in) cyf
   
   
     

 

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Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.