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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
A Protestant Allegory
1542-44 Oil on panel, 68 x 84,4 cm Royal Collection, Windsor The subject refers to the English Reformation, formally sanctioned by the Act of Supremacy of 1534, whereby Henry VIII broke away from the Church of Rome and was established as head of the Church of England. The painting was in the collection of Henry VIII who owned at least two other anti-papal pictures. The composition comprises a pope sprawling on the ground, flanked by two female figures representing avarice and hypocrisy, all of whom are being stoned by the four evangelists. On the ground in front of these figures are a cardinal's hat and a document with four seals (probably a Papal Bull). The city in the distance on the left may be Jerusalem. Above the city is a burning candle, which contrasts with another in the immediate foreground that has been extinguished by a cooking pan. These candles have been interpreted as symbolising respectively the true light of the Gospels and the false doctrine of Rome. Historically, the pope should be Paul III (1534-49), but the depicted likeness is closer to Julius II (1503-13). A specific identification may not have been intended. The painting has been executed in grisaille with highlights in gold. The composition bears a striking resemblance to three identical woodcuts illustrating scenes of stoning in the Coverdale Bible of 1535 (Leviticus XXIV, Numbers XV, and Joshua VII), the first bible to be issued in English. The tenor of the propagandist element in this picture is more commonly found in contemporary book illustrations. The pose of Saint Matthew resembles that of a figure in The Stoning of Saint Stephen (Genoa, San Stefano), an altarpiece of about 1521-23 by Giulio Romano, with whom Girolamo da Treviso may have worked when he was still in Italy. Artist: GIROLAMO DA TREVISO the Younger Painting Title: A Protestant Allegory , 1501-1550 Painting Style: Italian , , mythological
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unknow artist
Concert
1690s Oil on canvas Musee du Louvre, Paris Artist: TOURNI?RES, Robert Painting Title: Concert , 1701-1750 Painting Style: French , , genre
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unknow artist
Andromeda and the Sea Monster
1700-04 Marble Metropolitan Museum of Art, New York Monnot was a French sculptor working in Rome and in Germany. He did the tomb of Innocent XI (1700) in St Peter's following the example of Algardi's tomb of Leo XI. He brought some of the most striking Baroque characteristics to Germany from Rome. His many fine works on mythological subjects included themes previously treated by Bernini and Puget, such as Apollo and Daphne, and Perseus and Andromeda. Artist: MONNOT, Pierre Etienne Painting Title: Andromeda and the Sea Monster , 1651-1700 Painting Style: French , , mythological
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unknow artist
The Death of St Agnes
1660-64 Marble, over life-size Sant'Agnese in Agone, Rome Ferrata's high altar sculpture, representing St Agnes on the pyre, bears unmistakable, though not entirely reconciled, elements drawn from Algardi and Bernini. The saint's pose is indebted to one of Algardi's most emotive works, the St Mary Magdalene, but the head and drapery are more classically correct. These elements are overlaid by two touches worthy of Bernini: the fire at St Agnes's feet and the drapery billowing out for no apparent reason behind her shoulders. The result is a work whose impact is weakened by overly theatrical gestures. Artist: FERRATA, Ercole Painting Title: The Death of St Agnes , 1601-1650 Painting Style: Italian , sculpture Type: religious
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unknow artist
Triumph of Death
1350 (?) Fresco Campo Santo, Pisa The celebrated frescoes, the Triumph of Death, with accompanying scenes of the Last Judgment, Hell, and Legends of the Hermits were attributed for long time to Francesco Traini. These, among the outstanding Italian paintings of the 14th century, were badly damaged by bombs in the Second World War, but this brought to light, by way of partial compensation, the beautiful 'sinopie, which are now shown in the Museo delle Sinopie. The frescoes include many telling details of death's victims and are usually seen as a reflection of the horrors of the Black Death of 1348, but some authorities consider them earlier and attribute them to the mysterious Buffalmacco. Artist: BUFFALMACCO, Bounamico Painting Title: Triumph of Death (detail) , 1301-1350 Painting Style: Italian , , mythological
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unknow artist
L Histoire de Saint Graal
1316 Illumination on parchment, 5,9 x 8,3 cm British Library, London The interaction between image and viewer can be seen in illustrations to courtly tales of chivalric love, or romances, like in a lavishly illuminated volume of Arthurian romances made for a wealthy patron in St Omer or Th?rouanne in French Flanders. Here, at the beginning of the story of the quest for the Holy Grail, the artist depicts the strange things that were seen during the night by a pagan king called Evelac, not in a dream but in a waking vision. At the climax he sees a beautiful child enter a room without opening the door, an effect subtly evoked with transparent layers of paint. Artist: MINIATURIST, French Painting Title: L'Histoire de Saint Graal , 1301-1350 Painting Style: French , illumination Type: historical
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unknow artist
Visitation Group
1211-25 Stone Cathedral, Rheims The most obvious direct imitations of the antique took place in Rheims in the years 1211-25. Of these imitations the figures of the Visitation are the most famous. The figures are on the exterior of the Cathedral as jamb figures (left side) of the central portal on the west fa?ade. The group consists of Archangel Gabriel with the Annunciate Virgin; Mary and Elizabeth. It is possible that the original intention was to decorate the whole west fa?ade with sculpture of this style. Artist: GOTHIC SCULPTOR, French Painting Title: Visitation Group , 1201-1250 Painting Style: French , sculpture Type: religious
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unknow artist
Hyacinth
1680s Marble, under life-size Galleria di Palazzo Reale, Genoa Parodi created a remarkable set of four statues for the garden of the Palazzo Durazzo in Genoa. Drawn from Ovid's Metamorphoses, his figures were conceived as pairs and shared an appropriately horticultural theme of flowers: one pair featured Clytie and Hyacinth, who were beloved of Apollo and changed into flowers after their death. The interest here is very much the process of transformation - Clytie into a sunflower, Hyacinth into the flower that bears his name. Although the subject matter is somewhat unusual, Parodi's models are even more remarkable, for he has adapted them from late works by Bernini in an entirely different context. Clytie is a witty parody of the master's Truth from his unfinished Truth Unveiled, and her sunflower is derived from the sun held by Bernini's figure, but Hyacinth follows the unexpected example of the Angel with the Superscription from the Ponte Sant'Angelo in Rome, an intensely spiritual meditation that could hardly seem less appropriate. Artist: PARODI, Filippo Painting Title: Hyacinth , 1651-1700 Painting Style: Italian , sculpture Type: mythological
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unknow artist
Clytie
1680s Marble, under life-size Galleria di Palazzo Reale, Genoa Parodi created a remarkable set of four statues for the garden of the Palazzo Durazzo in Genoa. Drawn from Ovid's Metamorphoses, his figures were conceived as pairs and shared an appropriately horticultural theme of flowers: one pair featured Clytie and Hyacinth, who were beloved of Apollo and changed into flowers after their death. The interest here is very much the process of transformation - Clytie into a sunflower, Hyacinth into the flower that bears his name. Although the subject matter is somewhat unusual, Parodi's models are even more remarkable, for he has adapted them from late works by Bernini in an entirely different context. Clytie is a witty parody of the master's Truth from his unfinished Truth Unveiled, and her sunflower is derived from the sun held by Bernini's figure, but Hyacinth follows the unexpected example of the Angel with the Superscription from the Ponte Sant'Angelo in Rome, an intensely spiritual meditation that could hardly seem less appropriate. Artist: PARODI, Filippo Painting Title: Clytie , 1651-1700 Painting Style: Italian , sculpture Type: mythological
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unknow artist
Angel - Terracotta nad bronze Chigi Saracini Collection
Siena Mazzuoli was a Sienese Late Baroque sculptor. He was a pupil of Ferrata and Caff?and worked for Bernini, especially on the Tomb of Alexander VII. He kept the Berninesque tradition alive and untouched by French classicism. He worked in Rome after 1686, and completed Caff?s Baptism of Christ in Valetta cathedral, Malta after Caff?s early death. His twelve Apostles, originally in Siena Cathedral, are now in the Oratory, London. Artist: MAZZUOLI, Giuseppe Painting Title: Angel , 1651-1700 Painting Style: Italian , sculpture Type: religious
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unknow artist
Apollo and Daphne - Tempera on wood
30 x 20 cm National Gallery, London Artist: POLLAIUOLO, Antonio del Painting Title: Apollo and Daphne , 1451-1500 Painting Style: Italian , , mythological
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unknow artist
Baptism of Christ
1502-05 Marble, 282 and 260 cm with bases Baptistry, Florence This group is located over the east entrance of the Baptistry. Artist: SANSOVINO, Andrea Painting Title: Baptism of Christ , 1501-1550 Painting Style: Italian , sculpture Type: religious
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unknow artist
Beheading of St Paul
1650 Marble, height: 286 cm San Paolo Maggiore, Bologna Virgilio Spada, a career ecclesiastic whose family had established itself in Bologna engineered one of Algardi's greatest triumphs of the 1630s, the dramatic altarpiece of the Beheading of St Paul for the Bolognese church of San Paolo Maggiore. Unusual in Rome, such sculptural altars were not unknown in Venice and in the region around Bologna. Algardi created a masterpiece without equal in Baroque sculpture. Often compared to painted altarpieces, Algardi's tableau exploits the traditional strength of sculpture by achieving a fully rounded, spatially complex group which plays upon the contrasting types and emotions of the figures. Having established action frozen in time, the sculptor sets a spiral pattern in motion, from the poised right arm of the executioner through the shoulders and arms of the kneeling saint and back to his assailant's right leg and drapery. The centre of the composition is a void, and tension builds up because of the imminent execution and the inevitability of martyrdom. Artist: ALGARDI, Alessandro Painting Title: Beheading of St Paul , 1601-1650 Painting Style: Italian , sculpture Type: religious
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unknow artist
Tomb of Pope Benedict XIII
1734 Marble Santa Maria sopra Minerva, Rome Pietro Braci was - together with Filippo della Valle - the pupil of Camillo Rusconi. He applied more painterly effects than his master and the other pupils by using multi-coloured marble. The tomb of Pope Benedict XIII was designed by Carlo Marchionni and carried out in collaboration with Bartolomeo Pincelotti (died in 1740), who was responsible for the figure of Humility. The tomb takes after the by now established Algardian model due to the ways Rusconi worked. Bracci sculpted the statue of Purity and, above all, the statue of the pope, clearly configured as an eighteenth-century reinterpretation of Bernini's figure of Alexander VII at prayer, realized for the funerary monument of the pontiff. Bracci's choice is, however, much more theatrical: Benedict XIII, seated on a throne, holds his hand to his breast in a gesture partly of Christian submission, and partly as an eternal promise of faith. Artist: BRACCI, Pietro Painting Title: Tomb of Pope Benedict XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious
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unknow artist
Comments on Psalms
1200 Illumination on parchment Cathedral Library, Esztergom The codex contains comments on King David's Psalms. The picture shows a B initial, one of the 14 initials of the codex.Artist:MINIATURIST, English Title: Comments on Psalms Painted in 1201-1250 , English - - illumination : religious
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unknow artist
Four reliefs with the trials of Saint Peter
1460-64 Marble, height: 133 cm, width: 37 cm (each) Musei Vaticani, Vatican The four relief are: Emperor Nero and three Roman officials Two Roman soldiers Three Roman soldiers Saint Peter in chains between two guards
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unknow artist
Four reliefs with the trials of Saint Paul
1460-64 Marble, height: 133 cm, width: 37 cm (each) Musei Vaticani, Vatican The four relief are: Three Roman soldiers Three Roman soldiers Saint Paul in chains between two guards Three Roman officials *** Keywords: ************* Author: PAOLO ROMANO Title: Four reliefs with the trials of Saint Paul Painted in 1451-1500 , Italian - - sculpture : religious
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unknow artist
Ascension of Christ
1446 Glazed terracotta, 260 cm at base Duomo, Florence The Cantoria earned Luca della Robbia further support and the Cathedral Vestry Board offered him several new commissions. Two lunettes representing the Resurrection and the Ascension were ordered from him in 1442 and 1446, respectively.Artist:ROBBIA, Luca della Title: Ascension of Christ Painted in 1401-1450 , Italian - - sculpture : religious
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unknow artist
Bacchus and Ariadne
1520-25 Marble, height: 56 cm Kunsthistorisches Museum, Vienna In Venice, during the closing decades of the 15th century, a pure classicising style, derived from Andrea Mantegna, was introduced. Tullio Lombardo turned to classical sculpture proper for his guiding force. His portraits of young couples in high relief (the other is in the Ca' d'Oro in Venice) were inspired by antique funerary busts, but the sculptor completely rejected naturalism. The simplicity of the volumes and the sobriety of expression are set off by decorative refinements which depart from the antique schema. They include embroidered hairnets in the hair and meticulously designed sinuous locks. His Bacchus and Ariadne shows him at his most lyrical, under the influence of the Humanism at the Gonzaga court at Mantua, where he worked for Isabella d'Este in 1523 and 1527
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unknow artist
The Garden of Eden
1410 Tempera on wood St?delsches Kunstinstitut, Frankfurt The other tree in the Garden is that of Knowledge, which is also the Tree of Death. It is embraced by the youthful St Sebastian, whose martyrdom (he was tied to a tree and killed by arrows) may be related to the crucifixion of Jesus. The figures sitting in front are easily recognizable by their attributes: the Archangel St Michael by the monkey-like monster cowering at his feet, who is the vanquished Satan himself; St George by his knightly clothes and by the corpse of the dragon, the embodiment of earthly wickedness.Artist:UNKNOWN MASTER, German Title: The Garden of Eden (detail) Painted in 1401-1450 , German - - painting : religious
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| unknow artist
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