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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
Traveller's Missal
1360-64 Illumination on parchment Knihovna N?rodniho Muzea, Prague The manuscript served as a Missal for masses during traveling. The name of the owner (Johann von Neumarkt) can be read in Latin below the frame at the bottom. The initial G represents the scene of Annunciation. At the upper right corner of the initial Prophet Isaias, at the upper left corner King David and a bird can be seen. , MINIATURIST, Bohemian , Traveller's Missal , 1351-1400 , Bohemian , illumination , religious
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unknow artist
Christ on the Cross between the Virgin and St John the Evangelist
1413 Vellum, 41,5 x 29,5 cm Town Archive, Brno The folio is from the Missal of St Vitus Cathedral in Prague, otherwise known as the Olomouc Missal. In a frame of a standing oblong shape, which gives a three-dimensional effect, the crucified Christ is represented between the figures of the Virgin and of St John the Evangelist. The marginal decoration of scrolls of acanthus leaves springs from the corners of the frame, and encircles a small, round field at the bottom, where the Vir Dolorum is depicted. The acanthus decoration which had been made some 10-20 years earlier in the workshop which executed commissions for the Emperor Wenceslas, is here arranged in a more regular and decorative manner, the scrolls and leaves being even more stylized. They have virtually assumed a metallic hardness. In the picture itself the features which formerly characterized the International Gothic style have been further modified to the point of being exaggerated. All elements in the picture have been made secondary to a desire for decorativeness: Christ's ribs form a regular pattern of parallel lines, as do the veins of the wood of the cross. The crown of thorns looks like an ornamental head-dress rather than an instrument of torture; and the drops of blood falling from the wound of Christ on the kerchief of the Virgin harmonize beautifully with her cherry-red lips. Though the figures beside the cross are slender, in accordance with the taste of the period, they are wrapped in enormously ample draperies. But to show the Virgin so full of joie de vivre that she almost seems to be dancing does not suit the mood of this picture. Furthermore, St John is so enveloped in a mass of draperies disproportionate to his small head that he appears to be hiding someone under his garments. His right arm extended to touch the cross looks rather distorted; it is too long and is twisted at the wrist in a strange, unnatural manner. These extremely stylized idioms of form fit the abstract and symbolic figure of the Vir Dolorum better; even so, the way that the end of His loincloth is placed in front of the sarcophagus and arranged in a decorative manner, seems to indicate certain playfulness whose purpose is not fully clarified. International Gothic art, no doubt, had always been in danger of becoming exaggeratedly stylized, and by the time the style was coming to an end this contrived and purposeless formalism had begun to dominate it, particularly in the work of minor artists. In the miniature in Brno a feature appears which is in sharp contrast to the accepted qualities of the International Gothic style, a feature which is more characteristic of the art of subsequent decades: instead of soft, wavy lines the folds show harder lines and sharper angles (particularly in the mantle of St John. , MINIATURIST, Bohemian , Christ on the Cross between the Virgin and St John the Evangelist , 1401-1450 , Bohemian , illumination , religious
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unknow artist
St Benedict
15,5 x 16,1 cm Museum of Fine Arts, Budapest The picture was cut out from a so-called antiphonary (which is a manuscript containing liturgical texts and music) along the line of its frame. When and why this happened is not known. The picture originated from the workshop of an artist known as The Master of the Martyrologium of Gerona, who, in the first two decades of the fifteenth century, was one of the most important figures in Bohemian miniature painting. He knew the leading movements in Western European art at first hand, and adopted the layout of his compositions and the method of representing landscape masses mainly from the painter of the Mar?chal of Boucicault and the Limbourg brothers. The prolific output of his workshop, where numerous assistants were engaged, exerted a marked effect on miniature and panel painting not only in Bohemia but in the neighbouring countries too (for example on the Hungarian Thomas de Coloswar). The picture reproduced here is, in all likelihood, the work of one of his assistants. Its frame is a three-dimensional, quatrefoil green shape embedded in a golden square. The background is provided by a geometrical design of stylized white flowers in a golden network on a red ground. The ground- plan of the setting is undefinable, the only furniture being a stepped, pale yellow platform, on whose right side stands a lectern of the same colour. Facing the spectator, St Benedict is seated in the middle, holding an abbot's crozier in his left hand and, with his right hand, presenting to the monks the book containing the rules of the Benedictine order. The rich design of the background sets off the simplicity of the monks and the same effect is achieved by the contrast of the plain d?cor without any details and the figures in their plain black habits. The emphasis on the massive group of the monks is brought into equilibrium by the mass of the lectern placed fairly high and by the figure of St Benedict which is set slightly to the right of the central axis. His right foot, placed somewhat higher, is in the axis of the composition. His black mantle falls asymmetrically to two sides from his raised right knee. The undulating hem of this garment runs parallel with the lines of his arm and virtually merges with the lobes on both sides of the frame. , MINIATURIST, Bohemian , St Benedict , 1401-1450 , Bohemian , illumination , religious
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unknow artist
Breviarium
1400 Illumination on parchment Biblioteka Jagiellonska, Cracow On this page of the Breviarium in the initial A the figures of Apostles Peter and Andrew are represented. They can be recognized by their attributes, peter with the key of the Heaven and Andrew with the cross. , MINIATURIST, Polish , Breviarium , 1401-1450 , Polish , illumination , religious
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unknow artist
Graduale, Volume I
1510s Parchment, 770 x 660 mm Cathedral Library, Esztergom The first page of the Graduale is very richly decorated. Above the God, below the coat-of-arms of Bak?cz-Erd?dy can be seen. At the two sides the Anunciation is divided into two scenes, Gabriel on the left and Mary on the right side, respectively. In the "A" illumination the kneeling King David is depicted in a mountaineous landscape. This page is the only fully completed decorated page. , MINIATURIST, Hungarian , Graduale, Volume I , 1501-1550 , Hungarian , illumination , religious
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unknow artist
Ingeborg Psalter before
1210 Illumination on parchment, 30,5 x 20,5 cm Mus?e Cond? Chantilly The picture shows a page from the Ingeborg Psalter representing the Pentecost. Beside the Bibles, the psalter was a popular type of manuscript in the twelfth century. The psalter was a private devotional book, often owned by people in some religious vocation. The psalters are expensive picture books with long series of illustrations prefaced to the main text. The Ingeborg Psalter was owned by the French queen Ingeborg, wife of Philip Augustus. It is an example of this type of devotional manual. , MINIATURIST, French , Ingeborg Psalter , 1201-1250 , French , illumination , religious
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unknow artist
Fragment of an Antiphonale after
1250 Illumination on parchment Museum of Fine Arts, Budapest 14 pages of the manuscript survived, twelve of them contain figurative miniatures. The text of this page comes from the Old Testament (Exodus 3). The initial L represents God and Moses with a tree symbolizing the burning bush. , MINIATURIST, French , Fragment of an Antiphonale , 1251-1300 , French , illumination , religious
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unknow artist
Breviarium
1490s Illumination on parchment Forschungsbibliothek-Schloss Friedenstein, Gotha The decoration of the codex contains the coat-of-arms Ferdinand of Aragonia (1479-1516) and Queen Isabel (1474-1504). In the initial B the kneeling King David wears a Spanish garment. The decorative elements of the page sho Moorish influence. , MINIATURIST, Spanish , Breviarium , 1451-1500 , Spanish , illumination , religious
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unknow artist
Bible
1252-70 Illumination on parchment Cathedral Museum, Toledo This miniature is from the Bible in three volumes that St Louis, King of France, gave to Ferdinand III. , MINIATURIST, French , Bible , 1251-1300 , French , illumination , religious
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unknow artist
Dante Codex
1340s Illumination on parchment University Library, Budapest The codex contains Dante's work, the "Divina Commedia". In the 14th century the codex belonged to the Venetian Emo family. The three figurative pictures on the title page shown here illustrate lines 1-2 and 30-50 of the "Inferno". In the N initial the figure of Dante appears, below it Dante meditates in a racky landscape. The third picture depicts the meeting of Dante with the three symbolic beasts (lion, wolf, panther). , MINIATURIST, Italian , Dante Codex , 1301-1350 , Italian , illumination , other
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unknow artist
Parisian Book of Hours
1405-10 Illumination on parchment British Museum, London This page, the opening page of the Hours of the Virgin, is from a Parisian Book of Hours. The artist has been identified as an Italian called Zebo da Firenze. In the opening years of the fifteenth century, the importance of Italian ideas in French manuscript painting is clear, with fresh experiments in landscape, with the introduction of architectural portraiture and occasionally with the transposition to the manuscript page of compositions derived from Italian wall-painting. A significant innovation was the introduction of Italianate acanthus leaves into the borders of traditional spiky ivy-leaf. One Italian manuscript painter can certainly be traced to France. He was called Zebo da Firenze and worked probably in Paris during the beginning of the fifteenth century. In the page from a Parisian Book of Hours he tended to engulf the text in a mass of decorative acanthus liberally interspersed with putti. His narrative scenes were not always confined to a restricted area but sometimes spilled over into the border after the Italian manner. , MINIATURIST, Italian , Parisian Book of Hours , 1401-1450 , Italian , illumination , religious
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unknow artist
Bible of Borso d'Este
1450-70 Illumination on parchment Biblioteca Estense, Modena The Bible in two volumes was made by several artists under the direction of Taddeo Crivelli and Franco de Russi. The page presented here is the first page of the Jeremiah's Book, accordingly, the miniature below represents the people of Jerusalem begging God for help in their difficult situation. , MINIATURIST, Italian , Bible of Borso d'Este , 1451-1500 , Italian , illumination , religious
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unknow artist
Book of Hours
1490s Illumination on parchment Cathedral Library, Esztergom The miniature representing Meeting of Mary and Elisabeth comes from a Book of Hours (Book of Prayers) with provenance of Tours. , MINIATURIST, Spanish , Book of Hours , 1451-1500 , Spanish , illumination , religious
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unknow artist
Munich Psalter
1200 Illumination on parchment, 27,5 x 18,8 cm Bayerische Staatsbibliothek, Munich This is a page of the Munich Psalter, representing Christ in Glory. The Psalter is the most lavish produced in England at the beginning of the 13th century. It possesses the extraordinary number of eighty full-page illustrations. It appears to have originated in the Gloucester area. Naturally, in an undertaking of this size several artists took part. , MINIATURIST, English , Munich Psalter , 1201-1250 , English , illumination , religious
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unknow artist
Queen Mary Psalter
1300-1320 Illumination on parchment British Library, London The large codex contains hundreds of illustrations of scenes from the Old and New Testament. It is one of the most outstanding piece of the 14th century English codices. This page is divided into six fields of different background patterns, all representing the figures of a prophet and an apostle. Their names are at the bottom of the fields: Sofonias-Philippus, Micheas-Matheus, Daniel-Tadeus, Iohel-Bartolomeus, Malachias-Simon, Ezechiel-Mathias. The name of the codex comes from the fact that 200 years after its creation it was given to Queen Mary of Tudor. , MINIATURIST, English , Queen Mary' Psalter , 1301-1350 , English , illumination , religious
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unknow artist
Bible
Illumination on parchment Episcopal Library, P?cs The decoration of this page contains seven scenes from the Genesis depicting the seven days of the Creation. The closing picture of the series is a Calvary. The style of the decoration is closely related to the so-called Sainte-Chapelle style named after the stained-glass decoration of the chapel in Paris. , MINIATURIST, French , Bible , 1251-1300 , French , illumination , religious
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unknow artist
Gradual
1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature representing water-drinkers comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious
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unknow artist
Italian Antiphonary
1450 Illumination on parchment National Sz?ch?nyi Library, Budapest This miniature, representing the Stigmatization of Saint Francis, is from the Italian Antiphonary, illuminated by the Sienese painter Giovanni di Paolo with scenes of the Passion and miniatures representing the legend of Saint Francis of Assisi. , MINIATURIST, Italian , Italian Antiphonary , 1401-1450 , Italian , illumination , religious
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unknow artist
Queen Mary Psalter
1310 Illumination on parchment, 27,5 x 17,3 cm British Museum, London The illumination from the Queen Mary Psalter represents the Marriage at Cana. In the beginning of the fourteenth century the most important group of English manuscripts is associated with not London but East Anglia. One book of this group, the so-called Queen Mary Psalter with its high quality and prolific but restrained illustration, ought to be a royal book. It contains a large number of introductory pictures, pictures set in the text, and small drawings at the foot of the pages. The illustrations are executed in a drawing technique. The small drawings are lightly tinted; the main pictures are more heavily coloured but still rely on line rather than modelling. The Psalter has some interesting features. The presentation of most of the illuminations is uniform in that the scenes are enacted within a modest architectural framework. They are, moreover, included within the text of the psalter as illustrations independent of the initial decoration. , MINIATURIST, English , Queen Mary Psalter , 1301-1350 , English , illumination , religious
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unknow artist
Gradual
1480-84 Illumination on parchment National Sz?ch?nyi Library, Budapest The miniature showing a goldsmith's shop comes from a Gradual of French provenance which belonged to King Matthias Corvinus' (1458-1490) Bibliotheca Corviniana in Buda. , MINIATURIST, French , Gradual , 1451-1500 , French , illumination , religious
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| unknow artist
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