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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 Archangel Michael
127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious
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unknow artist
Triptych
45 x 56 cm Gallerie dell'Accademia, Venice Much more of an innovator than either Catarino or Lorenzo Veneziano was Jacobello Alberegno, who in the Triptych with Crucifixion and Saints, his only signed work, reveals himself to be an artist of penetrating refinement. If it is true that the two lateral saints, St Gregory and St Jerome, are examples of stylized Gothic figures, the images of the small central panel display a naturalness worthy of one of the best of Giotto's disciples. An extraordinary human dimension seems to govern the expression of sentiments in the picture: a grief-stricken St John the Evangelist clutches his cloak to his breast while the Virgin extends imploring arms and stares transfixed with anguish at her crucified son. , ALBEREGNO, Jacobello , Triptych , 1351-1400 , Italian , painting , religious
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unknow artist
Vendor of Vegetable
Oil on wood Staatliche Museen, Berlin , AERTSEN, Pieter , Vendor of Vegetable , 1501-1550 , Flemish , painting , genre
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unknow artist
The Fight between David and Goliath
1123 Mural, 82 x 75 cm Museu Nacional d'Art de Catalunya, Barcelona This mural, removed from the wall of the church of Santa Maria at Tahull, is one of the most famous surviving examples of Catalonian Romanesque painting. The artist of this painting is referred to as the Master of Tahull. The rigid hieratic saints or Christs enthroned seen in earlier works are here replaced by a vivid and expressive representation of the fight between young David and the champion Goliath, who is depicted in chain armour and armed with a spear and shield. When the fresco was first made it included a scene in which David and Goliath were depicted side by side, David using his sling and Goliath slain by the stone. These details have been damaged beyond restoration and there remains only this scene in which David beheads Goliath. Here too the colours have faded in the course of centuries. In the Romanesque fresco we see the decorative manner of representation characteristic of the Mozarabic miniatures, that is to say, the fight is not shown as taking place in any particular landscape setting, but is depicted against a background divided horizontally by lines similar to the fesses of a heraldic escutcheon. There is also some of the crudeness seen in miniatures, for example, the exaggerated size of the hands. But the fresco represents a conscientious effort to depict the story with great accuracy, for these murals served not only to decorate the church but also to instruct the people in Biblical history. The artist clearly attempted to give the faces of David and Goliath certain individual features, introducing also such realistic details as the carrion bird beside the body, the lively drapery of the cloak and the Jewish cap on David's head. The fresco dates from a period when the fight between David and Goliath was thought of as an Old Testament manifestation of the struggle between Christ and Satan. , UNKNOWN MASTER, Spanish , The Fight between David and Goliath , 1101-1150 , Spanish , painting , religious
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unknow artist
Christ and the Twelve Apostles
1100 Wood, 103 x 130 cm Museu Nacional d'Art de Catalunya, Barcelona The earliest surviving examples of Spanish panel paintings are the altar panels produced by painters active in the workshops attached to religious houses. These panels were intended for the decoration of altars and the choice of theme was confined to the symbolic representation of figures from the New Testament. Scenes from the lives of saints were but rarely depicted. In practically every one of these panels we find centrally placed in the composition the figure of the Virgin or of Christ, surrounded by a round or oval halo. Round the central figure are narrative scenes or a hieratic arrangement of the apostles. This panel, now in Barcelona, is a typical example of such a retable. Its painter is referred to as the Master of Seo de Urgell. There are innumerable contemporary miniatures in which the faces and the drapery of the garments have been painted in a similarly stereotyped manner. Every single figure is schematic: the apostles stand stiffly upright, each one holding some object by which he can be identified - and yet the artist has breathed life into these figures. Christ, judging the world, places his hand on a book with the very gesture that might be used by a student of the law as he closes the codex in which he has sought guidance in reaching a fair judgement. At the same time there is in the iconography all the naivete of folk-art: the detail and ornamental elements convey the painter's delight in unrestricted decoration. , UNKNOWN MASTER, Spanish , Christ and the Twelve Apostles , 1101-1150 , Spanish , painting , religious
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unknow artist
Scenes from the Life of Jesus
105 x 175 cm Museu Nacional d'Art de Catalunya, Barcelona The picture represents one of the most characteristic themes of Spanish Romanesque painting: the Virgin with scenes from the life of Jesus on either side of the central group; it was painted by the Master of Avi? the master responsible for the altar in the church of Avi? These scenes are well known even today to those who appreciate early European painting: represented from left to right are the Annunciation, then the Visitation (Mary's visit to Elizabeth, the mother of St John the Baptist); the upper right scene depicts the ox and the ass bending over the Child in the manger; the bottom left scene shows the three Magi guided by the star, while the lower right scene depicts Jesus being presented in the temple. The central figure of the Child on Mary's knee is not the small adult seen in earlier paintings: the artist has portrayed a lively child who seems to be leaping out of the architectonic frame, as if to acknowledge the welcoming gesture of Melchior. This panel reveals a much more 'modern' approach than that of the Master of Seo de Urgell who executed the rigid representation of the twelve apostles in Christ and the Twelve Apostles. The colours are brighter, the contrasts sharper, the figures more animated and the drapery less schematic; but because of the emphatic red of the cheeks, the lack of perspective and the stereotyped representation of the eyes, this picture is also a characteristic example of Romanesque painting. , UNKNOWN MASTER, Spanish , Scenes from the Life of Jesus , 1151-1200 , Spanish , painting , religious
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unknow artist
South-Tyrolian Evangelistarium
1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Annunciation comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious
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unknow artist
South-Tyrolian Evangelistarium
1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Presentation comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious
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unknow artist
South-Tyrolian Evangelistarium
1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Vision of St John the Evangelist (The Eagle and Christ-Child} comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious
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unknow artist
Coronation of Mary
1400-50 Tempera on wood Museo L?zaro Galdiano, Madrid The painter of this panel from an altarpiece is referred to as Master of Teruel after the Altarpiece of Mary in the Bishop's Palace in Teruel. The figures of Mary on the two pictures are very similar. the composition follows an example of the German International Gothic. , UNKNOWN MASTER, Spanish , Coronation of Mary , 1401-1450 , Spanish , painting , religious
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unknow artist
Gradual
1500-20 Illumination on parchment Cathedral Library, Esztergom The miniature representing King David Kneeling comes from the Gradual of Esztergom. It was commissioned by Tam?s Bak?cz, archbishop of Esztergom (1498-1521). This wonderfully ornamented large-size codex, produced at Esztergom, was never completed. , MINIATURIST, Hungarian , Gradual , 1451-1500 , Hungarian , illumination , religious
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unknow artist
Winged Altarpiece
1330 Tempera on oak, 65 x 48 cm (centre panel), 65 x 24 cm (each wing) Wallraf-Richartz Museum, Cologne From the evidence of the pious donor at the foot of the Cross, this little altar comes from the Cologne convent of the nuns of St Clare. It is a private devotional altar used for personal meditation on the life and suffering of Christ. The frame, the niches for reliquaries and the rich punching of the gold background show a link with the goldwork for which Cologne was famous. The style of drawing, with the many gestures of the figures, connects the work with Cologne manuscript illumination around 1300. With its articulated spaces, its use of highlights to model figures and structures, and its transparent colours this little altarpiece represents the starting point of Gothic painting in Cologne. , UNKNOWN MASTER, German , Winged Altarpiece , 1301-1350 , German , painting , religious
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unknow artist
The Great Chronicle of France
1375 Illumination on parchment Biblioth?que Nationale, Paris The scenes on the picture illustrate the legend of the Trojan origin of the French. The upper two scenes show the siege of Troy. The codex was executed for Charles V King of France as indicated by the coat-of-arms held by the angels at the bottom of the page. , MINIATURIST, French , The Great Chronicle of France , 1351-1400 , French , illumination , historical
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unknow artist
St George Altarpiece
1460 Oak, 124,5 x 167 cm (central panel), 124,5 x 77 cm (each wing) Wallraf-Richartz Museum, Cologne This unusual altar is the first in Cologne not to have Christ or the Virgin as its subject but an individual saint, St George. However, on the exterior of the wing on the left is the Adoration of the Christ Child with the donor Peter Kannegieser and family, and on the right the Ecce Homo with the donor's parents. The artist of the altarpiece is referred to as the Master of the Legend of St George. , UNKNOWN MASTER, German , St George Altarpiece , 1451-1500 , German , painting , religious
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unknow artist
Revelations of St Bridget of Sweden
1400 Illumination on parchment, 26,8 x 19 cm Pierpont Morgan Library, New York The illumination shows St Bridget's mystical vision of God. The often dramatic staging of the transubstantiation of the Eucharistic bread and wine into the body and blood of Christ reaches its high point when the priest raises the host. Through this act, the believer was able to feel the presence of God, but without being able to see the divine rays of God's gaze necessary for this metamorphosis to take place. This is something witnessed only by the Elect, of whom St Bridget of Sweden was one. In an illustration of one of her visions, we can see how the transformation of the host occurred. The saint is seated at her writing desk. In front of her the Eucharist is being celebrated. her head is lit by a divine ray which descends from an open heaven in which the angels and saints have gathered. The Virgin and Christ, seated in a mandorla, impart the rays which reveal the miracle: only Bridget is able to see the body of Christ rising from the wafer. , MINIATURIST, Italian , Revelations of St Bridget of Sweden , 1401-1450 , Italian , illumination , religious
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unknow artist
Nativity
1200-50 Wood Museu Nacional d'Art de Catalunya, Barcelona The picture shows a detail of an altar frontal from Betese (L?rida). The Neo-Byzantine style of the first half of the thirteenth century is evident in the altar frontal Betesa. This example is from Catalonia, since work of this kind is seldom found in Aragon and Castile. , UNKNOWN MASTER, Spanish , Nativity , 1201-1250 , Spanish , painting , religious
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unknow artist
Codex pictoratus Balthasaris Behem
1505 Illumination on parchment Biblioteka Jagiellonska, Cracow The codex contains the statutes and privilegies of the town of Cracow. It was made for and owned by Balthasar Behem, Chancellor of Cracow. The miniature shown here depicts the Cricifix with Mary and St John. , MINIATURIST, Polish , Codex pictoratus Balthasaris Behem , 1451-1500 , Polish , illumination , historical
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unknow artist
Psalter of Blanche of Castile
1235 Illumination on parchment, 28 x 20 cm Biblioth?que de l'Arsenal, Paris This is a page from the so-called Psalter of Blanche of Castile representing the Crucifixion and Deposition. This psalter - according to a fourteenth-century tradition - belonged to Blanche of Castile (died 1252), the mother of Louis IX. It is a richly decorated book with illustrations arranged in roundels. This idea almost certainly derives from stained glass. Since the glazier was a specialized sort of painter, it is not surprising to find the two professions overlapping. Stained glass frequently mirrors the style of manuscript painting; and here the illuminator seems to be adapting to a page layout an idea taken over from the glazier. , MINIATURIST, French , Psalter of Blanche of Castile , 1201-1250 , French , illumination , religious
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unknow artist
Psalter of St Louis
1252-70 Illumination on parchment, 21,0 x 14,5 cm Biblioth?que Nationale, Paris This page from the Psalter of St Louis depicts Balaam and his Ass . It is known that Louis IX built up a library of manuscripts and himself commissioned a number of works, among them the Psalter of St Louis. It is a luxurious book, with a preliminary group of seventy-eight full-page illuminations of scenes from the Old Testament. These are remarkably uniform in their layout. Each page contains a row of figures surmounted by a handsome architectural canopy with pinnacles, traceried windows and two large gables each containing a rose window. It is worth noting that this type of decoration can equally well be found in the small reliquiaries of goldsmiths. With these manuscripts the earlier style vanishes. Drapery falls with reasonable naturalism over the figures, it hangs rather than clings. The figures are dainty in their proportions and actions and have long arms which they tend to gesticulate. But it is perhaps in the heads that the change is most obvious. They are tiny in proportion to the bodies and are scarcely coloured, much less modelled in colour. The main features are drawn in, each head representing a minute triumph of penmanship. In the formation of this style, the influence of sculpture seems likely. The illustration is from the story of Balaam and his ass, very popular in the Middle Ages. Balaam, riding on his ass, is followed by his servant and by the princes of Moab. The subtle and slender figures are elongated in the Gothic style; the heads are small and long, their fingers delicate and expressive. The unknown master was above all intent on conveying emotions, and the gestures of the figures are used to elucidate the story. The decorative and compelling effect of the miniature is enhanced by the magnificent colours. , MINIATURIST, French , Psalter of St Louis , 1251-1300 , French , illumination , religious
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unknow artist
Book of Prayers
1470 -90 Illumination on parchment Biblioth?que Nationale, Paris The codex was executed for Louis Laval de Chatillon, a French nobleman by the workshop of Jean Colombe (1440-93). It contains the representations of the twelve sibyls and more than a thousand miniatures. This page represents the Eryhtrean Sibyl. The white rose is the symbol of the Annunciation, since - according to tradition - this sibyl previewed the birth of Christ. , MINIATURIST, French , Book of Prayers , 1451-1500 , French , illumination , religious
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| unknow artist
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