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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
The Funeral of Miltiades
1782 Oil on canvas, 98 x 136 cm Musee du Louvre, Paris This painting was seized during the French Revolution from the collection of the Comte d'Angiviller
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unknow artist
The Death of Socrates
1787 Oil on canvas, 98 x 133 cm Statens Museum fur Kunst, Copenhagen Peyron's The Death of Socrates, commissioned by d'Angiviller for the Crown, was in competition with Jacques-Louis David's work of the same subject. David's confidence in surpassing his rival, coupled with his aggressive and ambitious nature, make it very possible that he chose to paint his own Socrates when he learned of Peyron's plans. The force and clarity of David's version was thrown into even sharper relief by the lack of drama and focus in Peyron's work, and both the public and critics declared David's work to be far superior. David eclipsed his long-time rival once and for all, and from then on Peyron had to be content with a subordinate role in the art world
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unknow artist
Marguerite
16 x 12 cm Wallace Collection, London Marguerite Gerard was the pupil and sister-in-law of Fragonard whom she sometimes assisted with his later paintings. Artist: DUMONT, Franeois Title: Marguerite Gerard , painting Date: 1751-1800 French : portrait
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unknow artist
Mary Lodge
Bride of Baron Charles-Louis de Keverberg de Kessel 1818 Oil on canvas, 212 x 145 cm Groeninge Museum, Bruges The painting is the companion-piece of the portrait of Charles-Louis de Keverberg de Kessel, governor of East Flanders. Artist: DUCQ, Joseph-Franeois Title: Mary Lodge, Bride of Baron Charles-Louis de Keverberg de Kessel , painting Date: 1801-1850 Belgian : portrait
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unknow artist
Portrait of Sylvie de la Rue
1810 Oil on canvas, 120,5 x 89,5 cm Groeninge Museum, Bruges Van der Donckt was a local painter in Bruges, who was a skilled pastel painter. The shown oil painting represents the niece of the painter, the future wife of Joseph Odevaere, another Bruges painter. Artist: DONCKT, Franeois van der Title: Portrait of Sylvie de la Rue , painting Date: 1801-1850 Flemish : portrait
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unknow artist
Portrait of Colette Versavel
Wife of Isaac J. de Meyer 1822 Oil on canvas, 145,5 x 109,5 cm Museum voor Schone Kunsten, Ghent Ducq was a Belgian artist in Bruges. His portrait of Colette Versavel conveys a marvellous and poetic combination of Neoclassical portraiture and the rendering of an architectural setting. Artist: DUCQ, Joseph-Franeois Title: Portrait of Colette Versavel, Wife of Isaac J. de Meyer , painting Date: 1801-1850 Belgian : portrait
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The Castle of Batavia
Seen from Kali Besar West 1656 Oil on canvas, 108 x 151,5 cm Rijksmuseum, Amsterdam Dutch expansion overseas was in both directions, eastward and westwards. In particular, it was the establishment of the Dutch East India Company (VOC) in 1602 and the Dutch West India Company (WIC) in 1621, each with clearly demarcated areas of activity, that caused the number of Dutch overseas territories to increase rapidly. Some of the settlements in the western hemisphere were only briefly under Dutch administration: Northern Brazil (1624-1661) and New Holland, with the city of New Amsterdam ethe future New York eat the mouth of the Hudson river (1628-1664). On the other hand, the islands of Curacao, Aruba, Bonaire, St. Eustatius, Saba and St. Martin are still Dutch, while Surinam became independent in 1975. The Far Eastern territories were the most important, including settlements in India, Ceylon (now Sri Lanka), Malacca (now part of Malaysia), Formosa (now Taiwan), the Japanese island of Deshima and the Indonesian archipelago. It was here, in Batavia on the island of Java, that the VOC established its administrative headquarters, with a governor-general in charge from 1610 onwards. Trading contracts were signed and alliances concluded with local princes. In 1652, a staging post for VOC ships was established at the southern tip of Africa, known as the Cape of Good Hope. The arrival of settlers was to transform this into a fully-fledged Dutch colony. In the background of the paianting is the castle of Batavia, the bastion of Dutch rule in Asia. This was where the VOC's administrators lived. The governor-general is just arriving in town with his retinue. In the foreground is a market by the Kali Besar, or Great River. The Dutch built Batavia in 1619 on the site of Jakarta, which they had destroyed. Beeckman was commissioned by the voc to paint this peaceful scene on the spot. Artist: BEECKMAN, Andries Title: The Castle of Batavia, Seen from Kali Besar West , painting Date: 1651-1700 Dutch : landscape
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unknow artist
Annunciation
1482 Fresco Loggia del Comune, Collegiata, San Gimignano The detail shows the lectern, reminiscent of Flemish still-lifes. Artist: MAINARDI, Bastiano Painting Title: Annunciation (detail) , 1451-1500 Painting Style: Italian , , still-life
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unknow artist
Bust of a woman
1688-89 Marble, life-size Palazzo Pitti, Florence Portraiture broadened considerably during the late Baroque period. Complementary to the imaginary portraits of anti-heroic types was the celebration of ideal beauty in female busts loosely based upon Classical prototypes. These were often commissioned to adorn palace interiors and are related to garden sculpture in that they strike Classical poses without being specifically related to a given prototype. The bust by Piamontini on the staircase of Palazzo Pitti in Florence epitomize this trend: their heads are vaguely Classical but their drapery retains a flicker of Baroque agitation. Artist: PIAMONTINI, Giuseppe Painting Title: Bust of a woman , 1651-1700 Painting Style: Italian , sculpture Type: portrait
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unknow artist
The Rape of Europe
1580 Oil on canvas, 240 x 303 cm Sala di Anticollegio, Palazzo Ducale, Venice Painted between 1576 and 1580, the picture was reported by Zanetti as hanging in its present place in 1755; it was removed by the French in 1797 and taken to Paris, where it was restored and altered. It represents the mythical rape of Europa by Jupiter in the guise of a bull, as she prepares to mount on the god's back with the help of her maids. The action unfolds towards the right in the manner of a stage sequence, in successive scenes down to the final plunge into the waves of the sea. The composition clearly marks the moment of transition from Renaissance Classicism to seventeenth-century Arcadia. The sumptuous decor and rich colouring were to provide a seminal experience for subsequent Baroque painting. Thus the painting initiates the exaltation of the ruling class through court mythology intended to rekindle the aristocracy's love of pomp and circumstance by allegories with which it could identify itself. *** Keywords: ************* Artist: VERONESE, Paolo Painting Title: The Rape of Europe , 1551-1600 Painting Style: Italian , , mythological
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unknow artist
Release from Deception
1752-59 Marble, height 195 cm Santa Maria della Piet?dei Sangro, Naples No instance in Italian sculpture in this period is more extreme than the Sansevero Chapel in Naples, which was transformed into a a sculptural pantheon by Raimondo di Sangro, Prince of Sansevero, in the 1750s. By importing Antonio Corradini from Venice and Francesco Queirolo (1704-1762) from Genoa, the Prince of Sansevero evolved an elaborate programme of monuments and medallions to celebrate generations of his family, each in the light of a guiding virtue. The subjects of the tombs included Sincerity, Religious Zeal and Liberality, but the most remarkable works are Corradini's Modesty and Queirolo's Release from Deception. Paired in the chapel's presbytery, they were conceived as monuments to the patron's mother and father respectively. The Release from Deception shows a man's emergence from the snares of error. It is, in fact, a self-portrait of the sculptor, as he is being helped from a net of cords by his own intellect, shown in the guise of a winged boy; the intellect points at the world, the source of deception, with a sceptre. Artist: QUEIROLO, Francesco Painting Title: Release from Deception , 1701-1750 Painting Style: Italian , sculpture Type: mythological
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unknow artist
Stucco decoration
1662-65 Stucco Sant'Andrea al Quirinale, Rome Antonio Raggi worked alongside Bernini on the stuccoes at Castelgandolfo and the Roman churches of Sant'Andrea al Quirinale and the Ges? shaping with his modelling tool graceful women and lovable putti, martyrs and garlands, youths and maidens. Artist: RAGGI, Antonio Painting Title: Stucco decoration , 1651-1700 Painting Style: Italian , sculpture Type: religious
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unknow artist
Fortitude
1685-86 Stucco Ludovisi Chapel, Sant'Ignazio, Rome Rusconi represented Fortitude as female - most abstract qualities are of the feminine gender in Latin. His Fortitude is a rather conventional Minerva-like figure in armour. Artist: RUSCONI, Camillo Painting Title: Fortitude , 1701-1750 Painting Style: Italian , sculpture Type: mythological
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unknow artist
Fortitude
1710-17 White stucco and gilding, height 200 cm Oratorio del Rosario di San Domenico, Palermo Serpotta decorated several oratories with stuccoes in which may be seen all the elements of Rococo style that was to flourish in Germany. He emerged from generations of artisans to become the greatest Sicilian sculptor of his day. He only knew the Baroque indirectly, from prints and contacts with artists who had trained on the mainland, but he achieved a distinctive synthesis of Sicilian and mainland influences, coupled with an extraordinary combination of verve and dexterity. Serpotta represented Fortitude as female - most abstract qualities are of the feminine gender in Latin. His Fortitude was given a column as her attribute. The emphasis is contemporary, from her plumed hat to her high-heeled shoes. Artist: SERPOTTA, Giacomo Painting Title: Fortitude , 1651-1700 Painting Style: Italian , sculpture Type: mythological
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unknow artist
Tomb of Gregory XIII
1719-25 Marble Basilica di San Pietro, Vatican The process of populating the churches of Rome with statues and carved tombs continued at the beginning of the eighteenth century, and the sculptors' workshops were extremely active. (They even produced for export, e.g. statues were ordered from Rome for the Palace-Monastery of Mafra near Lisbon.) Sculpture was now firmly fixed in the style of Bernini. Camillo Rusconi, the Frenchman Pierre Legros (1666-1719) and Ren?Michel (called Michel-Ange) Slodtz are among the sculptors most typical of this continuation of the Baroque. The tomb of Pope Gregory XIII in St Peter's is one of Rusconi's masterpieces. Like most such memorials in the early eighteenth century, it is subscribed to the basic formula of Algardi's tomb of Leo XI, albeit with Berninesque touches. Religion looks up to the figure of the Pope giving benediction as Fortitude lifts the massive drapery to reveal a sarcophagus with a relief commemorating the Gregorian emendation of the calendar. Despite the ostensible religious context of the monument, its focal point remained the Pope as enlightened reformer rather than spiritual leader. Artist: RUSCONI, Camillo Painting Title: Tomb of Gregory XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
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unknow artist
High Altar
1761 Stucco Sant'Agostino alla Zecca, Naples In Naples, stucco and even papier m?ch?were frequently pressed into service in churches where marble or bronze would have been too costly. Sammartino became one of the foremost stuccoists there, and even developed an especially resistant form of plaster for exterior statues. His flair in the medium can be seen in the high altar of Sant'Agostino alla Zecca, where the patron saint casts down Heresy while Faith and Charity minister to the faithful. Artist: SAMMARTINO, Giuseppe Painting Title: High Altar , 1751-1800 Painting Style: Italian , sculpture Type: religious
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unknow artist
The Dead Icarus
1743 Marble Musee du Louvre, Paris The Icarus is a brilliant piece of drama, in one way an academically respectable study of the nude, in another highly picturesque. The almost pretty handling of the long feathers of the wings and the loops of ribbon is counteracted by the starkly dramatic pose of the broken body, whose flotsam-like character is conveyed by its being supported on the crest of a wave. It is raised only to be about to fall again; and already the water draws away in foam at the lower right. While remaining elegant, the piece yet manages to convey a sense of shock; in its effect it is not so much Rococo as romantic. Artist: SLODTZ, Paul-Ambroise Painting Title: The Dead Icarus , 1701-1750 Painting Style: French , sculpture Type: mythological
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unknow artist
S. Ignazio Cures Victims of the Plague
1688-90 Fresco Sant'Ignazio, Rome The picture shows part of the decorative program by Andrea Pozzo which focused on the miracles of the founder of the Jesuit order. The frescoes were considered, both in Rome and beyond, an excellent example of the Baroque technique of creating the illusion of architectural depth in painting. Artist: POZZO, Andrea Painting Title: S. Ignazio Cures Victims of the Plague , 1651-1700 Painting Style: Italian , , religious
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St James the Great
1715-18 Marble, height 425 cm San Giovanni in Laterano, Rome The significant sculptural undertaking that inaugurated the eighteenth century in Rome was the realization of the colossal statues of the Apostles in twelve monumental, green marble niches, decorated by the dove symbol of the Pamphili family, which Francesco Borromini built during the reconstruction of the interior of San Giovanni in Laterano. The statues, the completion of Borromini's project, were executed before 1718 by the most important sculptors of the time from Rome and elsewhere. The sculptors included Camillo Rusconi (Andrew, Matthew, James the Greater, John the Evangelist), Francesco Moratti (Simon), Angelo de' Rossi (James the Less), Giuseppe Mazzuoli (Philip), Lorenzo Ottoni (Thaddeus), as well as the Frenchmen Pierre-?tienne Monnot (Peter, Paul) and Pierre Le Gros (Bartholomew, Thomas). Among these artists Camillo Rusconi was the most noted sculptor of the first half of the century. Artist: RUSCONI, Camillo Painting Title: St James the Great , 1701-1750 Painting Style: Italian , sculpture Type: religious
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unknow artist
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
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| unknow artist
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