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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 Garden of Eden
1410 Tempera on wood St?delsches Kunstinstitut, Frankfurt Mary appears in her usual colours, blue and red. Her attributes are illustrated by the flowers richly carpeting the foreground (lilies and lilies of the valley = purity; rose = illumination; violets = modesty and humility) . These flowers, which were also used for medicinal purposes, frequently became connected with the person of the Madonna. In a fourteenth-century poem from the Netherlands, surviving in manuscript form, twelve different flowers refer to Mary, eight of which can be found in this painting.Artist:UNKNOWN MASTER, German Title: The Garden of Eden (detail) Painted in 1401-1450 , German - - painting : religious
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unknow artist
The Garden of Eden
1410 Tempera on wood St?delsches Kunstinstitut, Frankfurt Into the picture of love and undisturbed idyll enters music as the Child Jesus, assisted by St Catherine of Alexandria, plucks on a psaltery. Beyond expressing harmony, music in this picture also refers to the divine nature of this human Jesus. The duality of his being is also intimated by a cherry tree - here substituting for a tree of life - with its twin trunk and bough, from which St Dorothy picks fruit.Artist:UNKNOWN MASTER, German Title: The Garden of Eden (detail) Painted in 1401-1450 , German - - painting : religious
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unknow artist
The Garden of Eden
1410 Tempera on wood St?delsches Kunstinstitut, Frankfurt The female figure wearing a white scarf and drawing from the water of life is St Barbara, whose humility and unshakable strong faith ties her closely to Mary.Artist:UNKNOWN MASTER, German Title: The Garden of Eden (detail) Painted in 1401-1450 , German - - painting : religious
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unknow artist
St George Freeing the Princess
1520 Oil on wood, 19 x 18 cm Galleria degli Uffizi, Florence This small composition represents a theme popular in North European painting and gives us an interpretation of the legend which is particularly charged with fantastic effects. The strangely elongated trees appear to sprout up one on top of the other, waving their ghostly fronds as if in a dream-like vision. The three small archaic figures are somehow lost in the painting, which seems to aim more at conveying the unknown, mysterious forces of nature. The fully armoured knight with his plumed helmet and the fragile kneeling princess thus become merely the pretext for the representation of a far loftier and subtle magic.Artist:LEMBERGER, Georg Title: St George Freeing the Princess Painted in 1501-1550 , German - - painting : religious
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unknow artist
Page from the
1400 Illumination on parchment, 203 x 284 mm Museo Civico d'Arte Antica, Palazzo Madama, Turin The main illumination of the page (folio 4 v.) depicts the Nativity. The lower scene represents the Annunciation of the Shepherds.Artist:MINIATURIST, Netherlandish Title: Page from the Tr?s Belles Heures du Duc de Berry Painted in 1351-1400 , Flemish - - illumination : religious
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unknow artist
Procession of Canons
1250 Stone Cathedral, Amiens The statues are on the South Porch of the Amiens Cathedral. At the beginning of the 13th century there is a relaxation in style of the architectural sculptures. The faces fill out and the features become much more natural and human. In addition, the statues appear rather more as works of art in their own right and less as architectural adjuncts.Artist:GOTHIC SCULPTOR, French Title: Procession of Canons Painted in 1201-1250 , French - - sculpture : religious
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unknow artist
Choir screen with the Crucifixion
1245 Stone Cathedral, Naumburg Inside a Gothic cathedral, the nave was usually separated from the choir by a large stone choir screen, called a 'pulpitum' or 'jub?, which excluded the lay public from the liturgy performed behind it. The screens at Chartres and Amiens were later removed, but at Naumburg a superbly carved example from the middle of the thirteenth century has remained intact. Scenes from the Passion of Christ are carved in relief across the upper level; but it is the life-size figures over the projecting gabled porch that serves as the entrance to the choir that are most striking. Traditionally the three figures of the Crucifixion - Christ flanked by the mourning Mary and St John - were placed atop the screen, but here they are brought down to the level of the worshippers. The anguished Virgin turns to the beholder as if to say "Look!'", while on the other side St John provides another point of emotional entry into the scene, drawing viewers closer to Christ. The statue of Christ stands at the threshold between the priest's and the lay person's space, allowing the clergy almost literally to pass throiugh his body as they enter the sanctuary. Inside, the walls are decorated with large figures, after the manner of the Ste Chapelle in Paris. The figures are secular benefactors of the cathedral.Artist:GOTHIC SCULPTOR, German Title: Choir screen with the Crucifixion Painted in 1201-1250 , German - - sculpture : religious
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unknow artist
The Rape of Europa
1725 Oil on canvas, 99 x 134 cm Gallerie dell'Accademia, Venice Giambattista Tiepolo very early withdrew from the lessons he was receiving from Gregorio Lazzarini, an academic of mediocre talents, and developed rather towards the vigorous chiaroscuro of Federico Bencovich and Piazzetta, render?ng their solutions still more refined and precious by using colours which have an absolutely unmistakable, densely fused luminous vibration to them. At the end of this fundamental experience come the canvas of The Rape of Europa in which the mythological subject is depicted in an airy, disenchanted transcription which at times becomes almost caricature. The severity of the pattern of chiaroscuro loses intensity in favour of refinement of chromatic notes in an interpretation of space open and articulated in depth which is as far from Bencovich and Piazzetta as it is consonant with the taste of Sebastiano Ricci. And the very lively spacial and luministic framework in which the figures take their places with such easy confidence offers a foretaste of the supreme gifts of Tiepolo as an 'organizer' of paintings.Artist:TIEPOLO, Giovanni Battista Title: The Rape of Europa Painted in 1701-1750 , Italian - - painting : mythological
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unknow artist
A Table Laden with Flowers and Fruit
1600-10 Oil on canvas, 74 x 100 cm Wadsworth Atheneum, Hartford In a partially lit environment, a table is seen from slightly above. Placed on the table are two vases of flowers and a basket of fruit arranged in a triangle and surrounded by single pieces of fruit scattered at random. Two flies can be seen on the brightly lit wall at the upper left, and, in the foreground, some fruit and two bunches of grapes hang over the edge of the table creating a trompe-l'oeil effect. The painting aims for the same heightened sense of reality seen in Caravaggio's Boy with a Basket of Fruit. This Table (a more appropriate title than the conventional Still-life with Flowers and Fruit) shares a number of affinities with the depictions of tables laid for eating painted in Holland throughout the seventeenth century. It may be no coincidence that the first dated painting of this type from 1610 was the work of Floris van Dijck. In 1600-01 Van Dijck lived near the studio of Cavaliere d'Arpino, where pictures like the Hartford still-life were probably executed. It was Van Dijck who supplied the information about Cavaliere d'Arpino for Karel van Mander's biography. The Hartford Table has elicited attributions of enormous diversity. The names of Giovanni Battista Crescenzi, Caravaggio, Francesco Zucchi, Prospero Orsi and finally, for no very convincing reason, the Flemish painter Frans Snyders have all been suggested. Although the attribution to Caravaggio does not seem tenable, the Hartford Table is the work of a painter who, like Caravaggio, may have been active in the studio of Cavaliere d'Arpino. It is possible that the picture can be identified with an unattributed still-life listed in the 1607 inventory of Cavaliere d'Arpino's sequestered possessions. In the first decade of the seventeenth century, this anonymous painter was evidently completely familiar with the work of Caravaggio, but chose to present his own, different interpretation of it. It has also been suggested that this Italian artist, who was influenced by Caravaggism, also possessed some familiarity with the work of the first generation of Flemish still-life painters.Artist:MASTER of the Hartford Still-life Title: A Table Laden with Flowers and Fruit Painted in 1601-1650 , Italian - - painting : still-life
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unknow artist
Allegory of the Five Senses
1668 Oil on canvas Glasgow Museum, Glasgow The senses are represented as women and children engaged in some typical activity and with attributes. Hearing is associated with music. Sight holds a mirror. Taste has a fruit and Smell a bunch of flowers. Touch has a bird perching on her raised hand.Artist:LAIRESSE, G?rard de Title: Allegory of the Five Senses Painted in 1651-1700 , Dutch - - painting : mythological
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unknow artist
The Ball at the Court
1604 Oil on wood, 50 x 66 cm Pushkin Museum, MoscowArtist:PEPIJN, Marten Title: The Ball at the Court Painted in 1601-1650 , Flemish - - painting : genre
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unknow artist
Portrait of a Boy
1638 Oil on canvas Galleria Borghese, Rome The portrait of a youth with impressive features is an unusual interpretation of childhood. It belongs to the works in which the brushwork becomes increasingly spontaneous and seems to model the forms like a chisel sculpting marble.Artist:BERNINI, Gian Lorenzo Title: Portrait of a Boy Painted in 1601-1650 , Italian - - painting : portrait
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unknow artist
Surrender of the Burghers of Ghent in
. 1454 Illumination on parchment, 20,8 x 14,7 cm ?sterreichische Nationalbibliothek, Vienna The miniature comes from the manuscript Privileges and Statutes of Ghent and Flanders, the artist is referred to as the Master of the Privileges of Ghent and Flanders. Philip the Good had this manuscript written and magnificently illuminated after his decisive victory over the citizens of Ghent. The full-page miniature faithfully depicts the scene described in the text, when the defeated burghers came out to meet Philip wearing only their shirts or a black robe, barefoot and bareheaded, and had to beg for mercy. We can see them surrendering their guild banners, symbols of civic self-determination.Artist:MINIATURIST, Netherlandish Title: Surrender of the Burghers of Ghent in 1453 Painted in 1451-1500 , Flemish - - illumination : historical
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unknow artist
Story of Alexander the Great
1450-90 Illumination on parchment Biblioth?que Nationale, Paris The picture represents Alexander the Great receiving the mother and wife of the conquered King Darius. The arms and clothes as well as the landscape detailes illustrate contemporary Flanders. The codex was executed by Loyset Ly?det who worked for the Duke of Burgundy. This copy of the manuscript was made for Charles the Bold.Artist:MINIATURIST, Netherlandish Title: Story of Alexander the Great Painted in 1451-1500 , Flemish - - illumination : historical
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unknow artist
Nativity Triptych
1460s Oil on oak panel, 140 x 193 cm (central panel, 89 x 43 cm (each wing) Metropolitan Museum of Art, New York This free copy of Rogier van der Weyden's Middelburg Altarpiece (Staatliche Museen, Berlin) derives not from the completed work itself but from Rogier's sketched design for it, which included the inscription scrolls that were later left out. The anonymous painter must either have seen these sketches and other models in Rogier's workshop, or copied them from material left on his death; the quality of the triptych, however, is not good enough to make it a product of Rogier's workshop.Artist:UNKNOWN MASTER, Flemish Title: Nativity Triptych Painted in 1451-1500 , Flemish - - painting : religious
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unknow artist
Principal Led before the Madonna
1425-50 Tempera on vellum, 14,5 x 9,9 cm Rijksmuseum Twenthe, EnschedeArtist:MINIATURIST, Netherlandish Title: Principal Led before the Madonna Painted in 1401-1450 , Flemish - - illumination : religious
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unknow artist
Girart de Roussillon
1450 Opaque paint, gold, and pen and ink on parchment, 395 x 300 mm ?sterreichische Nationalbibliothek, Vienna Direct borrowings from Rogier van der Weyden's paintings can be traced in the illumination of Girart de Rousillon, with an introductory picture that is one of the variants inspired by Rogier's miniature. Girart de Roussillon, the legendary 9th-century first duke of Burgundy and his bride Berta are being married by a bishop, who is shown joining the hands of the bridal couple. A second bishop and further members of the ducal retinue, including two ladies in waiting holding Berta's train, are also participating in the ceremony, which takes place in the hall of a palace adorned with Girart's old Burgundian coat of arms. The four small miniatures refer to the following episodes of the book: above and below, the Vandals are besieging the fortress of Roussillon from which Girart takes his name, and which itself is shown on the right. The picture on the left is a fantastic view of the church of Pothi?res, founded by Girart and Berta.Artist:MINIATURIST, Netherlandish Title: Girart de Roussillon Painted in 1401-1450 , Flemish - - illumination : historical
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unknow artist
Mary of Burgundy's Book of Hours
1467-80 Illumination on parchment, 22 x 16 cm ?sterreichische Nationalbibliothek, Vienna This Book of Hours is one of the most beautiful codices coming from the court of Burgundy. The woman in the foreground is probably a portrait of Mary of Burgundy. The master of this miniature is not known, he is usually mentioned as the Master of Mary Burgundy after this work.Artist:MINIATURIST, Netherlandish Title: Mary of Burgundy's Book of Hours Painted in 1451-1500 , Flemish - - illumination : religious
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unknow artist
Book of Hours
1470-1500 Illumination on parchment Benedictine Library, Pannonhalma 240 folios of the book survived with 13 figurative miniatures and several initials. The subsewuent pages are illustrated in the picture. Thje left page depicts the scene of Circumcision. The style of the pages is related to that of Alexander Bening (d. 1519), a miniaturist from Bruges whose style was also folowed by his son, Simon Bening (1483-1461).Artist:MINIATURIST, Netherlandish Title: Book of Hours Painted in 1451-1500 , Flemish - - illumination : religious
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unknow artist
Grimani Breviary
1490-1510 Illumination on parchment Biblioteca Nazionale Marciana, Venice The codex is one of the most famous and best known illumunated manuscript. It contains 831 pages with 110 pictures all of them in a decorated frame. The miniatures represent different styles, some of them are attributed to Hans Memling, while others to Alexander and Simon Bening. The origin of the codex is unknown, its name is after Dominico Grimaldi, Cardinal of Venice who bought it in 1520 for 500 golden ducates. This picture presented here shows the month of April from the calendar.Artist:MINIATURIST, Netherlandish Title: Grimani Breviary Painted in 1451-1500 , Flemish - - illumination : religious
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