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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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unknow artist
Tomb of Empress
1825 Marble Church, Rueil-Malmaison When Jos?phine de Beauharnais ((Marie Jos?phe Rose, Tascher de la Pagerie) died on May 29th 1814, her children decided to pay her a tribute by building a tomb deserving her and her legendary generosity. After eleven years of delay - explained by political background, opposition of State officials and hesitations from the commissioners - on September 28th 1825, however, the mortal remains of the Empress were put down in a white-marble tomb due to Louis Berthault, architect, and Pierre Cartellier, sculptor. The kneeling figure of the praying Empress surmounts her tomb
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unknow artist
Ecce Homo
1560-70 Polychrome wood Diocesan Museum, Valladolid One of the more interesting foreign artists who worked in Spain during the second third of the sixteenth century is the Frenchman Juan de Juni, whose sculpture is noted for its spirituality, manifested in full and beautiful forms, natural in their proportions but declamatory in their distortion of gesture. Juni may have been trained in Italy, since his art shows evidence of contact with the Lombard Renaissance and Michelangelo. In about 1533 he appears in Le?n but by 1541 he was settled in Valladolid. Several of his works deserve individual mention, among them the retables in Valladolid and Burgo de Osma cathedrals, and the Entombment in Segovia cathedral, dating from 1571, which combines figures on the same theme forming part of another Entombment, preseved in the Museum in Valladolid
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unknow artist
Antigua Altar
1545-62 Polychrome wood Cathedral, Valladolid Juan de Juni received the commission for the Antigua altarpiece in 1545 and he finished it in 1562. (It was installed in Valladolid Cathedral in 1922.) Juni tried to produce a classical work in an architectural framework - the firt he ever used. Taken separately, the Corinthian columns, entablatures, and niches are based on the classical Italian arrangement, but the general organization, the relationship between the different parts, the proportions of the niches, and above all the importance given to sculpture are closer to Mannerism
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unknow artist
The Statue of Saint Peter
1300 Bronze Treasury of San Pietro, Vatican This statue of Apostle Peter, seated on a throne, is one of the few surviving monumental bronze statues from the Middle Ages. The antique elements of the work, such as the drapery, make this figure one of the outstanding examples of classicising tendencies of thirteenth-century European sculpture. The majestic figure looks grave and solemn, with dense curls in the hair and beard, and is dressed, antique style, with tunic, heavy mantle, and sandals, while holding the symbolic keys of St Peter in his left hand and giving a blessing with his right. The statue was originally made for the apse of the oratory of San Martino situated externally, near the right side of the apse of Constantine. From 1605 it is placed in front of the first column on the right of the dome in St Peter's. Author: ARNOLFO DI CAMBIO Title: The Statue of Saint Peter , 1251-1300 , Italian Form: sculpture , religious
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unknow artist
Tabernacle
1283 Marble Santa Cecilia in Trastevere, Rome The tabernacle on the altar of Santa Cecilia in Trastevere seems to be complete in its state of conservation. According to a recently discovered inscription, it was made by Arnolfo di Cambio in 1293. It forms part of the final moment of an ample and consistent effort at restoration of the entire decorative system of the church of Santa Cecilia, which included the well-known Cavallini frescoes, the liturgical furnishings, and sculptural ornament. The obvious Gothic 'Rayonnant' character of this revision has recently been attributed to the patronage of a French cardinal, while the direction of the whole project has been attributed to Arnolfo, who, working in the last decades of the thirteenth century in the service of the major families, the new preaching orders, and the popes, without a shadow of doubt dominated the panorama of the most innovative Roman trends in the artistic field. The tabernacle repeats the structural complex and decorative scheme of the San Paolo fuori le Mura tabernacle but simplifies and strengthens the Gothic forms, creating a new proportional balance between the parts and revoking the concept of the whole in light of a more mature assimilation of the classical references. With respect to his first interpretation in Rayonnant taste, here Arnolfo reduced and redirected the ascending elements of the base of the cupola and the pendentives of the crown, and in addition attenuated the vertical soaring of the four gables and the trefoil arcades of the baldacchino, but created a notable development in the height of the supporting columns, to which he also added the original solution of cube-shaped dosserets, decorated with Cosmatesque mosaic. Author: ARNOLFO DI CAMBIO Title: Tabernacle , 1251-1300 , Italian Form: sculpture , religious
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unknow artist
Fish Fishing for People
1844 Print - This print is part of the series Un Autre Monde. Duality is a source of wistful comedy. Grandville, the 'king of caricature', in disturbing prints like his series Today's Metamorphoses (1829) and Un Autre Monde (1844), animated flowers, animals dressed as humans, or as in Fish Fishing for People, exchanging roles with them, suggest the uncontrollable transformations that our multiple identities might produce. Author: GRANDVILLE, Jean-Jacques Title: Fish Fishing for People Form: graphics , 1801-1850 , French , other
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unknow artist
Paris and Helena
1819 Plaster bas-relief, 97 x 125 cm Mus?e des Beaux-Arts, Nancy This relief is an excellent example of the strict Neoclassicsm, the dominant style in the first quarter of the 19th century. Author: JACQUOT, Georges Title: Paris and Helena Form: sculpture , 1801-1850 , French , mythological
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unknow artist
Portrait of Frederik
1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait
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unknow artist
Wounded Soldiers Retrating from Russia
1814 Pencil, pen and brown ink, watercolour, 250 x 206 mm Mus?e des Beaux-Arts, Rouen In spite of his Classical schooling, G?ricault broke with traditional themes and forms to set the tone for the developments in French Romanticism. In this picture he took up the theme of a topical historical event. Exhausted almost to the point of death by hunger and cold, these wounded men struggle through a desert of ice. Far from glorifying the soldier's life, G?ricault depicted the misery of their extreme situation - an approach in tune with the spirit of his age. Author: G?RICAULT, Th?odore Title: Wounded Soldiers Retrating from Russia Form: graphics , 1801-1850 , French , other
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unknow artist
Swiss Guard and Wounded Veteran
1819 Lithograph, 393 x 330 x 362 mm Mus?e du Louvre, Paris Like Goya G?ricault turned to printmaking, choosing the new technique of lithography to reach a popular audience. There is pity in his lithographs of the wounded returning from campaign, above all in The Retreat from Russia. These exhausted soldiers stand for an entire nation; but that they have not lost their pride is clear from a companion print, in which a one-legged veteran defiantly shows off his campaign medals to a slouching Swiss guard outside the Louvre, forcing him to present arms. Author: G?RICAULT, Th?odore Title: Swiss Guard and Wounded Veteran Form: graphics , 1801-1850 , French , other
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unknow artist
A Turk
1820 Black chalk and watercolour, 301 x 226 mm Mus?e du Louvre, Paris The quiet and melancholy Mustapha was a shipwrecked Turkish sailor G?ricault had found in a Paris street and brought home as a model and companion. It is probably his features, dark eyes sad beneath his turban, that are depicted in several late studies of a Turk that strike the viewer as warmly individualized portraits. Author: G?RICAULT, Th?odore Title: A Turk (Mustapha) Form: graphics , 1801-1850 , French , other
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unknow artist
The Fury of Athamas
1790-94 Marble Ickworth, Suffolk The marble group depicts the dramatic moment when Athamas, King of Thebes, snatches his son Learchus from his mother and smashes him against a wall. The fact that Ino, his second wife, thirsted for the blood of his children by her first wife had driven him mad. Author: FLAXMAN, John Title: The Fury of Athamas Form: sculpture , 1751-1800 , English , mythological
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unknow artist
Cain and his Children Accursed of God
height 204 cm Chapel of the Salp?tri?re Hospital, Paris Although Romanticism made its appearance in painting from 1820 onwards, there was a gap of ten years before it was expressed in sculpture at the Salon of 1831 by Duseigneur's Orlando Furioso, with its bulging muscles and twisted limbs, and the Tiger and Crocodile by Barye. These works were soon followed by Etex's Cain, executed in Rome, as a bravado gesture because he did not win the Grand Prix, and by the creations of Pr?ault. Author: ETEX, Antoine Title: Cain and his Children Accursed of God Form: sculpture , 1801-1850 , French , religious
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unknow artist
Blanche de Castille
1837 Marble, height 154 cm Ch?teau, Versailles During the reigns of Louis XVIII Louis Philippe, many commissions were given to various artists to execute statues of great men and women who played an important role in the history of France. These statues were placed in the Ch?teau de Versailles and in the Luxembourg Gardens in Paris. This statue was placed on the first floor of the north wing of the Ch?teau. Author: ETEX, Antoine Title: Blanche de Castille Form: sculpture , 1801-1850 , French , historical
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unknow artist
Dagobert
Versailles Jean-Bernard, known as Jehan, Duseigneur was a French Romantic sculptor. During the reigns of Louis XVIII Louis Philippe, many commissions were given to various artists to execute statues of great men and women who played an important role in the history of France. These statues were placed in the Ch?teau de Versailles and in the Luxembourg Gardens in Paris. This statue was placed on the first floor of the north wing of the Ch?teau. Author: DUSEIGNEUR, Jehan Title: Dagobert Form: sculpture , 1801-1850 , French , historical
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unknow artist
Autumn Landscape with Rainbow
1779 Watercolour and pen, 334 x 415 mm Rijksmuseum, Amsterdam A typically Dutch landscape: stormy weather, driving rain, lashing waves, a lock, and water flooding over the dike into the polder below. In apparent desperation, the man on the lock has joined his hands in prayer, and elsewhere cattle are being driven up onto the dike. This autumn landscape is one of a series depicting the four seasons, together with the four quarters of the day and the four elements - in this case, afternoon and water. Not long after Cats' death, this series was already acknowledged to be his masterpiece. Author: CATS, Jacob Title: Autumn Landscape with Rainbow Form: graphics , 1751-1800 , Dutch , landscape
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unknow artist
The Grandmother's Birthday
1856 Oil on panel, 71 x 58 cm Royal Collection, Windsor Waldmeller was the most important Austrian painter of the Biedermeier period during the first half of the nineteenth century. Within his lifetime he established a reputation in America, and there was a major exhibition of his work in London in 1862. He was proficient in most aspects of painting - miniatures, landscape, portraits and genre. His career within the art establishment was successful, but not without controversy. Appointed Professor at the Academy in Vienna in 1829, he was an advocate of realist painting and of reform, which led to his temporary dismissal from the post from 1857-64. Nonetheless, Waldmiiller was an effective teacher, an influential theorist, and an immensely popular artist within Viennese society and at court. His success as a painter stemmed from his powers of observation, from his measured style and his wholly sympathetic treatment of subject matter. The accumulation and faithful recording of detail led to an idealism based on the subject matter itself, as opposed to one imposed upon it by an outside order, this being a vital distinction between eighteenth- and nineteenth-century art. Rustic genre was the last theme that Waldmeller essayed. The subjects he chose extolled the moral virtues of rural life, or, as here, the joys of family life. The care taken over the rendering of garments, the still life and the surroundings is offset by the radiance of the figures' expressions, reinforced by their gestures which create a circular composition of great tenderness. Waldmeller was well-versed in the tradition of the Old Masters and the composition has affinities with several paintings by Raphael of the Holy Family - the Madonna Canigiani (Munich, Alte Pinakothek), the Madonna dell'Impannata (Florence, Palazzo Pitti), the Madonna of Francis I (Paris, Louvre) and the Madonna della Perla (Madrid, Prado). Waldmeller's homage to Raphael, however, is seen through the eyes of Correggio. Artist: WALDMeLLER, Fedinand Georg Title: The Grandmother's Birthday , painting Date: 1801-1850 Austrian : genre
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unknow artist
Hubert Robert
1788 Oil on wood, 105 x 84 cm Musee du Louvre, Paris Artist: VIGeE-LEBRUN, elisabeth Title: Hubert Robert, Artist Date: 1751-1800 French , painting : portrait
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unknow artist
Judith
131 x 96 cm Neue Pinakothek, Munich The Judith of this painting is powerful and strong, but even after her murderous deed a touch of gentleness remains in her eyes. In the painting we see the tendency to psychological interpretation that was to become a feature of 19th-century art. The artist seeks to convey the message of the Biblical story in Judith's facial expression, making this the overall statement. Artist: RIEDEL, August Title: Judith , painting Date: 1801-1850 German : mythological
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unknow artist
Alceste mourante
1785 Oil on canvas, 327 x 325 cm Musee du Louvre, Paris Peyron's Alceste mourante was much admired at the Salon of 1785, three years after the painter had returned from Rome. Peyron had already impressed by The Funeral of Miltiades (also in the Louvre), painted at Rome in 1782, but a subject of heroic female virtue in itself makes something of a welcome change amid much male heroics in the decade, and though echoes of Poussin are loud in the Alceste, there is also a tender, if sombre, moving quality, as well as fine painting. Artist: PEYRON, Jean-Franeois-Pierre Title: Alceste mourante , painting Date: 1751-1800 French : historical
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| unknow artist
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