|
|
|
|
|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
|
|
|
|
|
|
|
|
unknow artist
Passion Altarpiece
1490-95 Oak, 88,5 x 87,5 cm Museum Mayer van den Bergh, Antwerp Brabant workshops were world-famous in the 15th and 16th centuries for their carved and painted altarpieces. These works were not only designed for local use, they were exported all over Europe. Some altarpieces were extremely large, and only a few were produced on a miniature scale. This example in the Mater van den Bergh Museum is one of them. Small altarpieces of this kind were undoubtedly intended for private use. The little Passion altarpiece corresponds in form and style to the works produced in Brussels in around 1500. The mark of the Brussels joiners who made the case can still be seen, confirming the city of origin. It was once possible to close the altarpiece by means of painted wings. As so often, however, these have been lost. Nevertheless, the beautifully painted groups of carved figures tell us a great deal about the artistic talent of the painter and the rich colour scheme that must once have characterized the piece. , Artist: UNKNOWN MASTER, Flemish , Passion Altarpiece , 1451-1500 , Flemish , sculpture , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Virgin and Child
1475-1500 Oil on oak panel, 38 x 29,7 cm Private collection The Virgin is carrying the naked Infant Christ, who is sitting on a cloth, in both hands. She is in front of a wall-hanging in red-gold brocade and is clothed in a dark blue garment with a grey fur lining and a mantle of the same colour (in fact it has darkened into blue-green). With his left hand the Child reaches for the hanger of a necklace made of red coral (possibly an allusion to the blood of his sacrifice), and in his other hand he holds a pear (as the fruit of the `new Adam', an allusion to Salvation). The Virgin is situated in front of a golden balustrade with an arcade of rounded arches which encloses the choir of a church with stained-glass windows. She appears behind a golden arch resting on brown marble pillars. The image should probably be interpreted as a Virgin who is standing behind a low wall supporting an arch. The top of this little wall was originally probably visible and seems to have been sawn off. This Virgin-and-Child type is frequently encountered in works by Memling and his followers, sometimes with the Child sitting on the wall. Related examples by Memling are: the Van Nieuwenhove Virgin (Memlingmuseum, Bruges); the Virgin and Child in Lisbon (Museu Nacional de Arte Antiga). A similar type by a Memling follower is in the Metropolitan Museum of Art, New York. The little work discussed here is also Memlingian from a stylistic point of view. The type of the Virgin with the bulging forehead, the long straight nose and the narrow bow-shaped eyebrows is particularly closely related to Memling. The faces, however, are flatter and squarer, especially in the case of the Child. Apart from the Virgin type the staffage and architectural surroundings have the same roots: red brocade hangings with vegetally decorated edges, brown marble columns on each side, perspective of a church interior with stained-glass windows consisting of small coloured squares. , Artist: UNKNOWN MASTER, Flemish , Virgin and Child , 1451-1500 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Scenes from the Legend of St George
1500-10 Oil on oak panel, 133,2 x 98,8 cm Groeninge Museum, Bruges There are two wings with episodes from the legend of St George in the Groeninge Museum in Bruges. They were painted by an unknown master in Bruges around the turn of century. , Artist: UNKNOWN MASTER, Flemish , Scenes from the Legend of St George , 1501-1550 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Portrait of a Young Man
1530-40 Oil on panel, 69 x 52 cm Koninklijk Museum voor Schone Kunsten, Antwerp , Artist: UNKNOWN MASTER, Flemish , Portrait of a Young Man , 1501-1550 , Flemish , painting , portrait
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Adoration of the Magi
1500-10 Oil on oak panel, 151 x 115,5 cm Groeninge Museum, Bruges The altarpiece - shown in the original frame - probably hung in the Chapel of the Magi in the former Saint Donatian's Church in Bruges. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Nativity
1475-1500 Oil on oak panel, 35,8 x 30,5 cm Detroit Institute of Arts, Detroit The composition was inspired by the central panel of the Bladelin triptych (Berlin, Staatliche Museen) by Rogier van der Weyden. But as with Memling, the Virgin is here in an attitude of prayer (Nativity, Prado, Madrid; Floreins triptych, Memlingmuseum, Bruges). Formerly attributed to Van der Weyden and the Master of the Legend of St Catherine, it came to be regarded as a Bruges work by most art historians who expressed a view about it. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1451-1500 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Portrait of a Young Man
46 x 32 cm Koninklijk Museum voor Schone Kunsten, Antwerp This portrait of a young man aged 19 provides us with a lively document of the 16th century. , Artist: UNKNOWN MASTER, Dutch , Portrait of a Young Man , 1501-1550 , Dutch , painting , portrait
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Portrait of the Artist and his Wife
1500 Wood, 97,7 x 57,7 cm (central part), 95,4 x 28,3 cm (each wing) Museum Mayer van den Bergh, Antwerp The two saints flanking the Virgin are St Catherine and St Barbara. , Artist: UNKNOWN MASTER, Flemish , Retable with the Virgin and Child , 1451-1500 , Flemish , sculpture , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Graduale
1490-1508 Parchment Nationalbibliothek, Vienna The folio from this gradual with polyphonic masses contains the Missa Salve diva parens, from Kyrie I, by Jacob Obrecht (Hobrecht). View the portrait of the composer by Hans Memling. , Artist: MINIATURIST, Flemish , Graduale , 1451-1500 , Flemish , illumination , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Scenes from the
1440s Oil on pinewood, 54,5 x 162 and 55 x 150 cm, respectively Wallraf-Richartz Museum, Cologne This minor Cologne master painting in popular style may well have worked in the studio of the Master of 1456. This studio was responsible for another cycle with the legend of St Ursula in the St Ursula Church in Cologne, the so-called `large cycle', dated 1456. Both panels, which belong to a series of fifteen, may have been used as the lids or doors of a reliquary. It is one of the oldest known extensive Ursula cycles. Hans Memling clearly drew inspiration from these panels for similar scenes in his Ursula Shrine. , Artist: UNKNOWN MASTER, German , Scenes from the 'Small Ursula Cycle' , 1401-1450 , German , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Interior of St Bavo s Church in Haarlem
1628 Paper, 174 x 263 mm Musees Royaux des Beaux-Arts, Brussels Pieter Jansz. Saenredam was born in Assendelft in 1597, the son of Jan Saenredam, a respected engraver who worked, among others, for Hendrick Goltzius. From the outset of his career Saenredam devoted almost his entire energy to depicting existing buildings, mainly churches and city halls. Only occasionally did he leave the city of Haarlem to go and paint in other Dutch cities. At his death in 1665 he was seen as the Netherlands' first architecture specialist. With unusual precision he prepared each canvas by what was then a totally new method. In each case he started from sketches made in situ, as the present drawing, which shows the transept and a part of the choir of the late Gothic church of St Bavo. After this he took measurements of the building or, as in this case, consulted a list of basic measurements. Using this material and with the help of perspective techniques specific to surveyors and architects, he then developed a construction drawing in his studio. This drawing had the same measurements as the final painting and was scored onto the prepared panel. In the present case, the corresponding painting is to be found in the Paul Getty Museum, Malibu. The lines are sketched in rather than drawn, giving a looser and more spontaneous impression than his later, somewhat stiffer hand. Even so the drawing already possesses the impressive poetic power of Saenredam's full-grown style. He sought not to provide an anecdotal description of the church, but rather to give a suggestion of its absolutely pure space. This interior with its sober, bare walls expresses a refined distinction. This is supported in an unequalled manner by the equally pure means of representation: a soft grey wash over fragile pen lines. In this way the church seems to be filled with a subdued light that binds objects together with a series of intangible gradations from light to dark. One striking fact is that the south transept gives access through three open doors into the street, whereas the transept in fact ended in a closed doorway. This demonstrates the genius with which Saenredam made his quest for topographical exactitude subservient to the demands of an attractive composition and a lively "mise en scene". , Artist: SAENREDAM, Pieter Jansz , Interior of St Bavo's Church in Haarlem , 1601-1650 , Dutch , graphics , interior
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Memorial of Bishop Marius Ambrose Capello
1676 White an black marble O.-L. Vrouwekathedraal, Antwerp Bishop Capello died in 1676, leaving his possessions to the poor of Antwerp. The city almoners commissioned this memorial that same year. The monument was designed specifically for the location in the Antwerp Cathedral where the almoners used to have their 'counter', from which alms were dispensed to the poor. The impression created, therefore, was that their benefactor had risen from the grave to see that his will was being carried out properly. The presentation of the exalted bishop was both an exhortation to charity and an eternal tribute. The splendid mausoleum of the bishop, sculpted by Artus Quellin the Younger, stands in one of the choir chapels of the same Cathedral. , Artist: VERBRUGGEN, Hendrick Frans , Memorial of Bishop Marius Ambrose Capello , 1651-1700 , Flemish , sculpture , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Nativity
1400 Tempera on wood, 33 x 21 cm Museum Mayer van den Bergh, Antwerp This small panel originally belonged to a polyptych which was probably conceived as a portable altarpiece or devotional painting, as it could be folded up to a size that would fit readily into a small box or leather pouch. Other panels from the polyptych representing St Christopher and the Resurrection are also in the same museum. The iconography of St Joseph in the Nativity panel is unusual. What we find here is the story of 'Joseph's stockings'. Jesus' father sits at the bottom of the panel, cutting up one of his leggings. Certain Middle Dutch and German Christmas carols tell that the Christ Child was swaddled in cloth cut from this undergarment. Aachen Cathedral once owned a relic said to be 'Joseph's Stockings', which were the subject of intense veneration in around 1400. It is likely, therefore, therefore, that this little panel was produced in the Aachen area (or at least the region between the Meuse and Rhine), probably some time around 1400. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1401-1450 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Portrait of Jean le Bon King of France
1360 Wood, 60 x 44 cm Musee du Louvre, Paris Although no mid-fourteenth century panel painting has come down to us, we can imagine what it may have been like in regarding this portrait of Jean le Bon, which is at the same time the earliest example of portraiture north of the Alps. The painter's brush is used with remarkable assurance, obviously practised in the creation of larger compositions as well. The artist has painted the sitter in profile against a golden background. The very individual character of the face is painted with great realism. A faintly perceptible smile hovers on the lips, the hair is red, the eyes blue. Without the inscription above his head 'Jehan, roi de France', one would hardly imagine it the portrait of a royal personage, a king whose life was full of vicissitudes, ruling during the hardships of the Hundred Years' War. , Artist: UNKNOWN MASTER, French , Portrait of Jean le Bon, King of France , 1351-1400 , French , painting , portrait
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
The Preaching
1475-80 Wood, 98 x 69 cm Musee du Louvre, Paris The painting, called also 'The Pastoral Sermon', shows in the background the church of St Gudule in Brussels. Consequently, the unknown painter of this panel is referred to as Master of the view of St Gudule. , Artist: UNKNOWN MASTER, Flemish , The Preaching of St Gery , 1451-1500 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Resurrection
1400 Tempera on wood, 33,1 x 21,2 cm Museum Mayer van den Bergh, Antwerp This small panel originally belonged to a polyptych which was probably conceived as a portable altarpiece or devotional painting, as it could be folded up to a size that would fit readily into a small box or leather pouch. Other panels from the polyptych representing St Christopher and the Nativity are also in the same museum. , Artist: UNKNOWN MASTER, Flemish , Resurrection , 1401-1450 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Calvary
1400 Oak, 70,5 x 141 cm Groeninge Museum, Bruges The immense growth and renewal of painting as an artistic medium that occurred in the Southern Netherlands from around 1425-30 meant that most existing altarpieces were gradually replaced. Examples of fourteenth- or even early fifteenth-century panel painting are thus extremely scarce. One such work, from around 1400, is the Crucifixion with Saint Catherine and Saint Barbara, also known as the 'Tanners' Crucifixion', because it probably once belonged to the Bruges tanners' guild. It is one of the very few well-preserved examples of local Flemish painting in the Gothic International Style, which conquered Europe with its courtly and artful grace, elegant curves and decorative linearism. Tightly knit groups of figures are arranged on either side of the Cross in matching curved formations. The Virgin and Saint John form the nucleus of the group on the left, while the centurion and high priest do the same on the right. The sky is an unreal, golden plane with decorative motifs in relief. The painting is a 'chest retable', so called because the lid folds up to reveal a blue painted surface showing a geometric, starry sky. It is often held up as an exemplar of Bruges painting before Van Eyck, even though it could equally well have been produced in Brabant. , Artist: UNKNOWN MASTER, Flemish , Calvary , 1401-1450 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
The Annunciation
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Cartouche with Flowers
66 x 85 cm Groeninge Museum, Bruges , Artist: VERBRUGGEN, Gaspar-Pieter the Younger , Cartouche with Flowers , 1701-1750 , Flemish , painting , still-life
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
unknow artist
Garland of Flowers
129,5 x 97,5 cm Museum voor Schone Kunsten, Ghent Garlands of flowers became a specialism in their own right within the overall genre of Flemish floral painting. The theme was developed by Jan Brueghel and perfected by his best-known pupil, Daniel Seghers. The garland customarily surrounds a medallion or cartouche containing a religious image that was usually added by another specialist artist. , Artist: SEGHERS, Daniel , Garland of Flowers , 1601-1650 , Flemish , painting , still-life
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| unknow artist
|
|
|
|
|
|
|
|
|
