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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
St Vincent and a Donor
185 x 117 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Archbishop Dalmau of Mur. Artist:UNKNOWN MASTER, Spanish Title: St Vincent and a Donor, 1451-1500, Spanish , painting , religious
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unknow artist
St Barbara
1762 Painted and gilt wood Monastery Church, Ettal Straub created mainly elegant wooden statues, sometimes, like St Barbara, with courtly attitudes. Artist:STRAUB, Johann Baptist Title: St Barbara, 1751-1800, German , sculpture , religious
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unknow artist
Cook in front of the Stove
1559 Oil on wood, 172,5 x 82 cm Mus?es Royaux des Beaux-Arts, Brussels Firmly positioned in front of the imposing chimney-piece, the cook stands surrounded by the food she is preparing to cook: voluminous cabbages in a basket, and fowls and a leg of meat skewered on a spit which she holds firmly in one hand, whilst with the other she grabs a skimming ladle. The sculptural silhouette with its powerful arms, its solid body and vigorously modelled face radiates a strong sense of assurance. The fact that she is looking towards the unseen part of the room suggests that something is going on there that the viewer is unable to see. Pieter Aertsen made use several times of this form of composition in which a single, solidly-built figure occupies the entire panel in a vertical format which accentuates his or her solidity. This is an invention by the artist, which although originating in the foregrounds of the works of Jan van Hemessen, has no real precedent in the Antwerp painting of the period. Even though he never painted a picture not containing a human figure, Pieter Aertsen played an essential role in the emergence of the still-life by granting a dominating place to objects and to victuals, which he represents in all their triviality. Whilst every element appears to have been observed with attention to real-life detail, the image has nonetheless been recomposed in the studio. What cook would place small fowls and a heavy leg of lamb on the same spit? We also find the same kitchen utensils, furniture and victuals, differently interlinked, in many of the artist's compositions. Whilst the household objects are drawn from life, the classical lines of the chimney are taken from the architectural treaty of the Italian Sebastiano Serlio, whom Aertsen would have known from the Antwerp edition of his works in 1549. The total absence of religious subject matter, which still underlay all genre scenes at the time, is another stroke of daring by the painter, even if 16th century viewers would have immediately recognised, in the cook, the Martha of the gospel narrative, who is busy preparing the meal whilst her sister Mary is listening to Christ's words. This image also has a moralising content and should be read as a warning against the dangers of the pleasures of the flesh, "voluptas carnis". Artist:AERTSEN, Pieter Title: Cook in front of the Stove, 1501-1550, Flemish , painting , genre
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unknow artist
Deposition from the Cross
1178 Marble Duomo, Parma Artist:ANTELAMI, Benedetto Title: Deposition from the Cross, 1201-1250, Italian , sculpture , religious
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unknow artist
St Joachim
1749 Stucco, life-size Unsere Liebe Frau, Birnau The artist decorated the pilgrimage church at Birnau with life-size stucco figures. The figures express their emotion through agitated movements. Artist:FEUCHTMAYR, Joseph Anton Title: St Joachim, 1701-1750, German , sculpture , religious
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unknow artist
Male Saint
1759-63 Painted wood, over life-size Parish Church, Rott-am-Inn In the German Rococo period a similarity with the Middle Ages is the vast scale of the new undertakings, and the fact that however beautiful the individual figures or groups or pieces, they were considered originally as part of a vast theatrical whole, and should always be considered in that context. Again, as in Gothic, they were usually dependent upon the use of colour and gilding, which was applied in the same traditional way as in the times of Riemenschneider, though perhaps to an even more lavish extent.. Ignaz G?nther possibly pre-eminent among the Bavarians, but he is closely followed up by a host of others. Artist:G?NTHER, Franz Ignaz Title: Male Saint, 1751-1800, German , sculpture , religious
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unknow artist
Mercury Piping to Argus before
1660 Oil on canvas, 117 x 100 cm National Gallery, London Artist:LOTH, Johann Karl Title: Mercury Piping to Argus, 1651-1700, German , painting , mythological
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unknow artist
Smokers in an Interior
1643 Oil on canvas, 117 x 137 cm Mus?e du Louvre, Paris Not all the Le Nain genre scenes depict peasants. Some of them show middle-class sitters, even rarer in art than the depiction of the poor. It is one of these larger 'bourgeois compositions' which admits the Le Nain brothers into that small group of painters capable of creating a masterpiece. This is the Smokers in an Interior in the Louvre, dated 1643. Its technique must have been learned during the painting of the Forge, but the brushwork is far more precise. The composition is much less original, being closer to the type familiar from the Dutch. The figures are grouped round a table illuminated by a solitary candle, and the figure on the left has fallen asleep at the table. In this painting it seems that the depiction of low life - here middle-class men smoking in an interior - has risen beyond its normal pictorial limitations to create a masterpiece which is, perforce, unexpected. While Nicolas Poussin was obsessed with the concept of beauty and with the need to be able to paint exactly what he thought, here the painter's desire arises from an opposite need, the need to observe. Each of the models appears to be a portrait, although it is difficult to explain why the sitters should have chosen to be depicted with such casualness. There is no clue to the possibility of a confraternity, although the curious emblems on the carpet on the table could be symbols of some secret society. The eerie quality of the picture is emphasized by the fall of the shadows on the faces and by the way in which the figures stare into space just like the peasants in other pictures and the seated figure on the right has all the appearance of being under the influence of some drug. There is no satisfactory explanation for such a picture; it is as if this trio of painters, observers of a small fragment of their times, never intended the meanings of their pictures to be divined. Artist:LE NAIN brothers Title: Smokers in an Interior, 1601-1650, French , painting , genre
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unknow artist
Still-Life with Books
1628 Oil on wood, 61,3 x 97,4 c, Alte Pinakothek, Munich In the university city of Leiden a special variety of the still-life occurs: the still-lifes with books representing the infinite quantity of knowledge included in the books. The piles of old, well-used books signal the vanity of the scholarly life. Artist:UNKNOWN MASTER, Dutch Title: Still-Life with Books, 1601-1650, Dutch , painting , still-life
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unknow artist
Legend of St Margaret
1380-90 Illumination on parchment Biblioteca Medicea-Laurenziana, Florence According to the legend St Margaret was thrown into prison because she rejected Olybrius, the Roman governor. In the prison she was attacked by the Devil and, while at prayer, swallowed by a dragon. Since she was carrying a small crucifix she was able to cut a hole in the monsters belly and escaped. The miniature represents the scene when Prefect Olybrius leaves for hunting. Artist:MINIATURIST, Italian Title: Legend of St Margaret, 1351-1400, Italian , illumination , religious
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unknow artist
Emperor Constantine
1654-70 Marble Palazzi Pontifici, Vatican Artist:BERNINI, Gian Lorenzo Title: Emperor Constantine, 1601-1650, Italian , sculpture , portrait
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unknow artist
The Madonna of St Vitus Cathedral in Prague
1420 Tempera on wood, 89 x 77 cm National Gallery, Prague The half length figure of the Virgin holding her Child in front of her on her right side appears in an ornate, three-dimensional frame - though we are not sure whether the frame originally belonged to the picture. Although the whole composition and the manner in which Mary is showing her Child to the congregation of the faithful has preserved the formal solemnity of devotional pictures, the almost coquettish posture of her head and the animation of the Child radiate a natural atmosphere. The striking three-dimensional qualities of the painting point to the influence of the sculptures of "Beautiful Madonnas" of the period, indeed, some scholars believe that the painter is identical with the master of the Beautiful Madonna of Krumlov. Precise and subtle modelling conveys the full forms of the figures, as do the deep, falling folds of the Virgin's mantle, which is made of some heavy fabric; the Child's body and hands are represented organically, and the two figures constitute a group imagined in spatial terms. The Virgin is depicted in a complicate counterpoise: her body is not only bent sidewise, but is also drawn backwards, whereas the whole torso of Jesus faces the spectator. The movements of the two figures in opposite directions stress that the construction of the composition is determined by the two diagonals of the oblong standing frame. The torso of the Virgin is bent into the direction of the diagonal line directed towards the upper right corner, while her head and the Child's body parallel with it point to the opposite direction. The two flesh-coloured areas, the face and the body, are placed in the middle of that diagonal line. The harmonious overall effect of the well-poised composition is intensified by the fact that the Infant's right shoulder is merged with that of His mother and by this means a single, undisturbed outline encloses the two figures. Artist:UNKNOWN MASTER, Bohemian Title: The Madonna of St Vitus Cathedral in Prague, 1401-1450, Bohemian , painting , religious
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unknow artist
Drunkennes of Noah
1425-52 Bronze Baptistry, Florence Artist:GHIBERTI, Lorenzo Title: Drunkennes of Noah (panel from the eastern door), 1401-1450, Italian , sculpture , religious
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unknow artist
Killing of Abel
1425-52 Bronze Baptistry, Florence Artist:GHIBERTI, Lorenzo Title: Killing of Abel (detail of a panel from the eastern door), 1401-1450, Italian , sculpture , religious
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unknow artist
The Baptism of Christ
Oil on canvas Mus?e du Louvre, Paris , CORNELIS VAN HAARLEM , The Baptism of Christ , 1551-1600 , Dutch , painting , religious
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unknow artist
The Seventh Angel of the Apocalypse Proclaiming the Reign of the Lord
1180 Tempera, gold, and ink on parchment, 44,5 x 30 cm Metropolitan Museum of Art, New York The picture shows a detail of a leaf from a copy of the Commentary on the Apocalypse by Beatus of Li?bana. It was produced in the Monastery of San Pedro de Carde?a, Burgos. , MINIATURIST, Spanish , The Seventh Angel of the Apocalypse Proclaiming the Reign of the Lord , 1151-1200 , Spanish , illumination , religious
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unknow artist
Lament over the Dead Christ
29 x 80.8 cm Biblioth?que Nationale, Paris The folio is from the so-called "Grandes Heures de Rohan" executed by the Master of the Rohan Prayer-book. The picture fills the whole surface of the folio, and also includes, in a separate little frame, a part of the text. The pale, greyish, angular and thin body of the dead Christ, bleeding from five wounds, lies right on the greenish-brown bare ground. Above Him the deathly pale Virgin opens her arms for a last embrace, but would collapse, fainting, onto her dead Son if St John did not support her with an energetic movement. At the same time St John turns his head with a complaining and reproachful countenance towards the monumental torso of God the Father appearing in the top right-hand corner of the picture. The monumentality of God, descending from heavenly heights to earthly proximity, is further increased by His figure being disproportionately larger than the other three figures. Only His complexion is rosy. In his left hand He is holding the sphere, while the expressions of blessing, of appreciation and of sorrow are blended in the movement of His right arm. The background of the scene is like a tapestry of gold and blue patterns on a black ground. The whirl of angels flying about quickly and the flashing of their golden wings provide the basic mood of the scene as an orchestral accompaniment. The main characteristic of the composition is that, while it is based on a strict geometrical framework, it is pervaded in every respect by sharp contrasts and tensions, which are, however, all resolved by the painter. The moment represented, the transitory state of the fall held back, is fraught with tension; it is somewhat eased by the fact that the tip of the Virgin's fingerjust touches the end of Christ's beard. The four heads emphasized by their haloes are placed on the quarter of an arc, the radius of which is the horizontally placed body of Christ, as if that nadir were attracting the other three figures. It is a nadir, but, at the same time, also a centre of gravity, its solidity being ensured by the fact that both ends of the rigid body not only touch the frame on either side, but that at one point the head and halo even break through it. At both ends of the quarter circle two faces are turned towards each other. The heads of Christ and St John, both with their eyelids closed, are turned to God the Father, while the glance of the Virgin and of God the Father rest on the head of Christ. The bodies of the Virgin and of St John seem to be turning into opposite directions from a common trunk. They are both represented in sharp profile, whereas the heads of God the Father and of Christ are shown from a three-quarter view. , MINIATURIST, French , Lament over the Dead Christ , 1401-1450 , French , illumination , religious
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unknow artist
Locusts Come upon the Earth
1180 Tempera, gold, and ink on parchment, 44,5 x 30 cm Metropolitan Museum of Art, New York The picture shows a leaf from a copy of the Commentary on the Apocalypse by Beatus of Li?bana. It was produced in the Monastery of San Pedro de Carde?a, Burgos. , MINIATURIST, Spanish , Locusts Come upon the Earth , 1151-1200 , Spanish , illumination , religious
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unknow artist
Deeds of Alexander the Great
1400-50 Illumination on parchment National Sz?ch?nyi Library, Budapest The codex contains the copy of the fragmentary work by the Roman historian Curtius Rufus (1st century B.C.) The miniatures of the codex are the work of an unknown artist referred to as "Master of Vitae imperatorum" after his most significant work. The owner of the codex was Giovanni Matteo Butigella who served the Visconti family. The page presented here is the title page. The decoration is full of references to the Visconti and Butigalla families. , MINIATURIST, Italian , Deeds of Alexander the Great , 1401-1450 , Italian , illumination , historical
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unknow artist
Weingarten Missal
29,2 x 20,3 cm Pierpont Morgan Library, New York In Germany, the Byzantinizing style of manuscripts survived into the thirteenth century. A striking example is the group of manuscripts associated with Berthold, abbot of the Swabian monastery of Weingarten from 1200 to 1232. The most impressive of the group is the Weingarten Missal, from which the Crucifixion represents a page. The faces are close to Byzantine types; and the drapery definitely clings to the figures. , MINIATURIST, German , Weingarten Missal , 1201-1250 , German , illumination , religious
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| unknow artist
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