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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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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 October from the calendar.Artist:MINIATURIST, Netherlandish Title: Grimani Breviary Painted in 1451-1500 , Flemish - - illumination : religious
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Heliodorus Driven from the Temple
1658-62 Oil on canvas, 146 x 174 cm Mus?es Royaux des Beaux-Arts, Brussels This Flemish painting refers to a different cultural current from the grand Antwerp works of the Baroque. Whilst the Southern Low Countries were succumbing to Rubens' genius, Li?ge artists were looking towards contemporary Italian and French painters. Returning to Li?ge in 1646 after a long stay in Rome, Florence and Paris, Bertholet Fl?mal imported the Poussinesque ideas that he had soaked up during his trip. Hence there flourished, not far from Antwerp, a Franco-Roman current of which Bertholet Fl?mal is the best representative. (Other artists of this school were Gerard Douffet, J. W. Carlier, Gerard de Lairesse.) Typical of this art, Heliodorus Driven from the Temple must have been intended for an amateur collection. The subject, which prefigures the conversion of St Paul, is taken from the second book of Maccabees (3.22-30). The general Heliodorus had been sent to Jerusalem by the King of Syria to confiscate the sacred treasure of the Temple. Having entered it with his guards, he was carrying out his heinous deed when a horseman and two young men appeared to him. According to the Bible, the horse reared above Heliodorus, whilst the two messengers of God flogged him, at which point the Syrian troops fled. It is this precise moment that Fl?mal illustrates. The main scene, set against a background of imposing antique architecture, groups the various protagonists. The fiery horseman and the general knocked to the floor are inspired by Raphael's fresco adorning the Stanza dell'Eliodoro in the Vatican. The painting captures this precise moment, with the main group thrown into relief by the lively colours, mixed with white highlights and strong shadows. We also note the painter's consummate art in the modelling of the draperies, with their typically tight folds. The composition is balanced, with the central group in the foreground offset on both sides by two secondary groups in the background. To the left prostrate Jews implore heaven to avoid the profanation of the holy place, to the right Heliodorus' soldiers flee empty-handed. The large red curtain, hanging in what is otherwise a void, imparts a sense of space to the composition. Fl?mal never signed or dated his paintings. There is no doubt as to the attribution of this one, which is so characteristic of his art, and can be situated in his mature period, in the late 1650s and early 1660s.Artist:FL?MAL, Bertholet Title: Heliodorus Driven from the Temple Painted in 1651-1700 , Flemish - - painting : religious
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St Norbert
1637 Oil on panel, 158 x 120 cm O.-L. Vrouwekathedraal, Antwerp Marten Pepijn (also spelled Pepyn), an artist at Antwerp painted in a style faithful to the humanists of the preceding generation. St Norbert played a special part in Antwerp ecclesiastical history. In 1124 he overcame the heretic Tanchelm at Antwerp and made the chapel of Our Lady from which the Cathedral was to evolve, the city's parish church. As one might expect, the pious story does not tally entirely with historical reality. Norbert is customarily portrayed as an archbishop or abbot. His attribute is a monstrance containing the Host, as he defended the Eucharist against Tanchelm's disbelief. The saint is dressed here in the habit of the Norbertine or Premonstratensian Order, of which he was the founder. He kneels before a monstrance. A sanctuary lamp - an oil lamp that has to be kept burning by the Holy Sacrament (the consecrated wafers) - is suspended in front of a curtain. The olive branch in the background symbolizes Norbert's message of peace.Artist:PEPIJN, Marten Title: St Norbert Painted in 1601-1650 , Flemish - - painting : religious
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Deposition
1460 Oil on oak panel, 57 x 52 cm Alte Pinakothek, Munich With the body of Christ still on the Cross high above the scene, this picture, presumably painted in Brussels, shows the Deposition in a more traditional way than Rogier's famous version (Prado, Madrid). On the right are the centurion who recognized the Son of God, and his followers; it is not clear which of the two figures in the foreground is actually the centurion, since they are both making gestures that would be suitable for him. The artist who painted this small Deposition used figures from Rogier van der Weyden's great painting for the body of Christ and for Nicodemus, and drawing on other works by Rogier van der Weyden and by the Master of Flemalle for the remaining figures. The group of the Virgin and St John, for instance, was taken from the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, the painter of this Deposition fails to unite the groups of figures successfully. The small panel of the Deposition, certainly not painted before the middle of the century, seems to have found its way quite early to southern Germany, where parts of it were already being copied in 1465 (Hof Altarpiece by Hans Pleydenwurff in the Alte Pinakothek, Munich). Like the composition of the Descent from the Cross, probably of roughly the same date, it is a relatively early example of the work of independent artists who picked up ideas from Rogier, imitating his style as best they could. , Artist: UNKNOWN MASTER, Flemish , Deposition , 1451-1500 , Flemish , painting , religious
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St Andrew
123 x 95 cm Museo del Prado, Madrid Ribera was trained in Valencia, but in about 1616 he moved to Italy, settling in Naples. A clever draftsman and a master of composition, his numerous paintings are more varied than the legends concerning him might lead one to suppose. In his better work the dominant colors, browns and reds, contrast with cruel lighting, which sometimes appears to do violence to the forms. In Ribera highly refined ecxecution and realistic modeling, particularly the marvelous flesh tints of his saints, are combined with a marked preference for dramatic themes, as may be seen in his St Andrew, in the Prado, or better in the painting of the martyrdom of the same saint, now in Budapest. His Crucifixion, in the collegiate church od Osuna, and his Martyrdom of St Bartholomew (1630) in the Prado, are similar in intention and technique. A preference does not imply total exclusion, and there is evidence that Ribera was also a sumptuous colorist. His style evolved from an early preoccupation with 'tenebrist' techniques, through a period of experiment with a silvery light, to a final stage characterized by warm and golden tones. One of his most beautiful paintings is the Holy Family in the Metropolitam Museum of Art in New York. Ribera also practiced engraving and his influence was considerable, both in Italy, where he lived in Naples when it was ruled by Spanish viceroys, and in Spain. Much of his work was intended for Spanish patrons and was an object of admiration as well as a stimulus to Spanish painters. , Artist: RIBERA, Jusepe de , St Andrew , 1601-1650 , Spanish , painting , religious
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Last Judgment anf the Wise and Foolish Virgins
1450s and c. 1480 Oil on oak panel, 65 x 35 cm Staatliche Museen, Berlin The artist obviously took Rogier van der Weyden's Beaune Altarpiece as the model for his smaller-scale composition., but "corrected" it by adding the traditional little demons tormenting the damned. The representation of the Wise and Foolish Virgins, below, is a later addition on an extra piece of wood, by a Brussels painter of the last quarter of the 15th century. , Artist: UNKNOWN MASTER, Flemish , Last Judgment anf the Wise and Foolish Virgins , 1451-1500 , Flemish , painting , religious
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Assumption of the Virgin
1506 Oil on wood, 131,5 x 130,5 cm Vasco Museum, Viseu This painting is a pivotal work in evaluating how the artist interpreted his decisive Flemish influences: the abundant and angular folds of the robes, the way he depicts the ringleted hair of the angels who minister to the Blessed Virgin or the manner in which he painstakingly paints with precise realism and poetic sentiment, the details and miniature forms of the upper background. , Artist: FERNANDES, Vasco , Assumption of the Virgin , 1501-1550 , Portuguese , painting , religious
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Jacob Receives Isaac s Blessing
1637 Oil on canvas, 129 x 289 cm Museo del Prado, Madrid , Artist: RIBERA, Jusepe de , Jacob Receives Isaac's Blessing , 1601-1650 , Spanish , painting , religious
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Saint Onufri
1637 Oil on canvas The Hermitage, St. Petersburg Ribera studied in Francisco Ribalta's workshop in Valencia, but when still young he went to Naples, then under Spanish rule, where he worked for the rest of his life. He was called there as Lo Spagnoletto. He obtained most of his commissions from the Spanish Viceroy and his entourage, but he also completed a good many paintings for the churches of the city. The influence of Caravaggio was felt throughout southern Italy and there can be little doubt that Ribera was the artist with the strongest and most independent personality of all his followers. Ribera represented crude reality boldly and without embellishment. The construction of his pictures is monumental and he reveals a strong sense of drama, empahasized by means of strongly contrasting light and shade. The poor inhabitants of Naples and the peasants of southern Italy were his models, and he depicted them without flattery or idealization as enormous figures clothed in rags. The painting of Saint Onufri also shows the influence of Caravaggio. , Artist: RIBERA, Jusepe de , Saint Onufri , 1601-1650 , Spanish , painting , religious
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St Peter
75 x 63 cm The Hermitage, St. Petersburg *** Keywords: ************* Artist: RIBERA, Jusepe de , St Peter , 1601-1650 , Spanish , painting , religious
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The Adoration of the Magi
1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious
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Apocalypse
1380 Tapestry, height 430 cm Chateau d'Angers, Angers The most popular picture-books of the thirteenth century were those that illustrated St John's vision of the Apocalypse. The standard Apocalypse cycle, containing numerous scenes, was first developed in England. Those scenes were later used in creating other art forms, like the monumental tapestry woven in Paris for Louis d'Anjou. One element that was increasingly emphasized in both manuscript and monumental versions was St John himself, standing as a spectator within each of the scenes. He served to mediate the visionary experience for the beholder, sometimes looking through a window onto the action, but always registering an active response to what he is seeing. , Artist: UNKNOWN MASTER, French , Apocalypse , 1351-1400 , French , painting , religious
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The Small Circular Piet
1390 Panel, diameter 22,7 cm Musee du Louvre, Paris Despite its small dimensions this work, with its vivid colours, with its golds, blues, reds, greens and purples, produces a monumental effect. The tortured figure of Christ, wearing the crown of thorns, is seated on the Virgin's knees. The figures surrounding them, St Mary Magdalen, St John the Evangelist, St Joseph of Arimathaea and Nicodemus, are imbued with a sense of profound sorrow and a muted awe, for the agony and ecstasy of passionate emotion find no place in French mediaeval art. , Artist: UNKNOWN MASTER, French , The Small Circular Piet? , 1351-1400 , French , painting , religious
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The Adoration of the Magi
44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious
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Sight
1500 Wool and silk, 300 x 303 cm Musee de Cluny, Paris The picture shows a tapestry representing Sight from the Five Senses Tapestries that were made for a member of the le Viste family of Lyons - probably Antoine le Viste - at the end of the fifteenth century. Though few have survived into the present, tapestries like these were the most sought-after, expensive and important of the Gothic luxury arts in the later Middle Ages in northern Europe. They were carried from castle to castle, providing warm hangings against draughts and a sumptuous setting for court spectacles. Their densely patterned floral grounds provided the backdrop for stories from the Bible, classical epics, and chivalric romances. Most came in sequences that could create a theme for a room, transforming bare walls into an exotic setting or, as with le Viste's series (sometimes called "La Dame a la Licorne"), a space for erotic experience. This series of tapestries was made as an engagement present in which the patron could present his future betrothed with an art of love based on his future expectations of sensuous pleasure. The lover, Viste himself, is not present as a person in the tapestries, but in each of them he is represented by his heraldic emblems, the lion and the unicorn. Only a beautiful lady, according to the traditional bestiary story, could tame the enigmatic unicorn. Thus, in the Sight tapestry, the lady herself does not look in the mirror, but makes the unicorn, playing like a pet in her lap, admire his own reflection. The way in which the lady's clothing illusionistically recreates within the medium of tapestry itself other expensive types of woven and embroidered threads and the sophisticated way in which natural forms, leaves, and sexual symbols like rabbits are sprinkled into an otherwise flat field, exhibit the most refined expression of Gothic art. , Artist: UNKNOWN MASTER, French , Sight , 1451-1500 , French , painting , mythological
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Philip the Bold
1500s Panel painting Musee National, Versailles *** Keywords: ************* Artist: UNKNOWN MASTER, French , Philip the Bold , 1501-1550 , French , painting , portrait
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The Adoration of the Magi
1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious
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Adoration of the Magi
1515 Oil on panel, 83 x 166 cm Rockox House, Antwerp In comparison with other artistic centres, Antwerp had relatively little tradition in art in the beginning of the 16th century: but it was fertile ground ready to receive the seeds of new ideas brought by the many artists who flocked to the town on the Scheldt from other towns in the Low Countries. This burgeoning artistic life yielded religious works based on iconographic and compositional formulae derived from foreign examples. Moreover, the Low Countries' own traditional church based art had reached a crisis, and signs could already be seen heralding the advent of a different type of painting all together, with the birth of the Italian Renaissance. The economic and social revolution which transformed the needs and demands of art lovers resulted in a much looser relationship between artist and patron. Artists no longer felt obliged to bow to specific requirements as to the form or content of the painting imposed by the patron or institution commissioning it. Instead, they began to feel that their responsibility was rather to satisfy the tenets of taste held by nameless international artistic circles in which they moved. Thus an art market was created. Artists began to specialise, made life easier for themselves by repeating certain motifs over and over again, and aimed to create a certain effect. The anonymous Adoration of the Magi is an admirable example of the most popular subject of these artists, who are known as the Antwerp Mannerists. Strutting vanity and late Gothic and Renaissance decorations are depicted in sharp contrast with quiet modesty. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
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Calvary
1500 Oil on oak panel, 142 x 225,5 cm Groeninge Museum, Bruges Borrowings from a variety of artists (Master of Flemalle, Van der Goes, Memling and Derer) are found in the Crucifixion, most likely painted in 1500. (The date on the original frame could be rewritten.) The anonymous Bruges master, referred to on the basis of this work as the 'Master of the Bruges Passion Scenes', combined the three principal elements of the Passion story in a single landscape setting. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1501-1550 , Flemish , painting , religious
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Adoration of the Magi
. 1515 Polychromed wood, 73 x 64,5 x 21 cm Rockox House, Antwerp , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , sculpture , religious
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