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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 Bartholomew and St Thomas
1395 Tempera on wood, 65,5 x 49,5 cm National Gallery, Prague The work is a fragment of the epitaph of Jan of Jeren, canon of Prague, who died in 1395 and was buried in Prague Cathedral. The inscribed panel must have been set on his tomb a short time afterwards. The Madonna and Child may have been in the centre of the surviving right-hand part, while on the left further saints and the praying figure of the donor may have completed the composition. The Apostles Bartholomew and Thomas are standing on a narrow strip of ground in front of a shining golden background. Their figures are surrounded by abundant intricate draperies, whose edges of soft lines, corners and folds which tumble down like waterfalls seem to live a separate life independent of the bodies. The bright colours of the two saints' cloaks complement one another-as do the hues of the linings. The pink lining of the green cloak and the blue lining of the red one serve a purely decorative function. The artist composed the two figures so as to create harmonious forms. The right-hand edge of St Bartholomew's draperies, forming a gently wavy line and the straight left-hand contour of St Thomas's mantle, which appears to continue the line of the spear, run very near each other. This narrow stripe turns the two figures into a form springing from the same basis and bending in two opposite directions. At the bottom the formation is completed by the green cloak flowing into the red one, while at the top it is enclosed by the tips of the flaying knife and of the spear which touch each other. Artist: UNKNOWN MASTER, Bohemian , St Bartholomew and St Thomas , 1351-1400 , Bohemian , painting , religious
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unknow artist
First Folio of the Golden Bull of Charles IV
1400 Vellum, 42 x 29,5 cm ?sterreichische Nationalbibliothek, Vienna In 1400 Wenceslas, King of Bohemia and Emperor of the Holy Roman Empire, had a copy made of the Golden Bull - a version of the Empire's constitution - first issued in 1356. The copy is richly decorated and displays a number of the emblems of Wenceslas himself. We do not know what part political considerations played in the commission, nor how great a part was played by his enthusiasm for beautiful books. At all events, in the same year Wenceslas was deprived by the electors from his rank as emperor. The volume is among the few that survived from his magnificent library. The text arranged in two columns is encircled by stylized acanthus leaves and scrolls. The light colours of the fleshy leaves appear like tongues of flames in the space they have created for themselves. A variety of tiny figures and animals painted from a close observation of nature, or derived from fairytales, are to be seen among the serpentine vines: birds, monkeys, a bear, a dog, a crouching monk, a "savage" in animals' skins who is holding a heraldic shield, girls dressed in light and loose garments, etc. In their shapes and colours these figures resemble the foliate ornaments, curving along with the vines. Indeed, the maidens' draperies are tied at the waist, and look like vines. On the other hand, the blue acanthus leaves in the round field in the bottom right turn into spilt water, where the tub has been turned upside down. Below the entangled foliate ornaments the motifs are compressed around a three-dimensional letter W, in which the monarch himself is depicted. The humorous detail with the bathing-women, a nearly nude female figure and towels tied into knots are, on the one hand, symbols of the Luxembourg dynasty and, on the other, of eroticism, referring to the love of the King and Queen, inspired by the plays of chivalric poetry. But, in addition to this, a romantic and Utopian desire for general physical and spiritual cleansing is also expressed in these representations (motifs of bathing) as well as for a return to the primordial state of mankind (the savage). The text of the Golden Bull begins with a prayer to the Creator, which is illustrated by the Maiestas Domini on the right-side column. The figures of the Lord and two praying angels appear in a three-dimensional frame which seems to lift their figures from the sphere of the world of nature; nevertheless it does not break the homogeneity of the folio, because it gives the impression of being stretched between two green stems of the foliate decoration, while new shoots spring from its corners. Artist: UNKNOWN MASTER, Bohemian , First Folio of the Golden Bull of Charles IV , 1351-1400 , Bohemian , graphics , historical
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unknow artist
Icon of St Nicholas
13th-14th century Egg tempera on panel, gesso ground, 107 x 82 cm The Hermitage, St. Petersburg Novgorod Veliky (Novgorod the Great) is one of the oldest Russian towns. In the 12th to 15th centuries it was the centre of a large republic, whose art was greatly influenced by popular ideas of beauty. This was especially striking in the art of painting of the 13th and early 14th centuries, the period to which the Hermitage icon of Saint Nicholas is dated. Its red background is usually noted, for the vivid red (cinnabar) background combined with the lemon-coloured halo and the bluishgreen vestment of the saint make a striking impression. The beauty of the icon is enhanced by the careful graphic treatment of the forms and by the ornamental design. The saint is represented as sublime and severe in accordance with the standard developed in the Christian art of Byzantium. But the vivid colours and embellishments adopted from folk art soften the hieratic posture and stern countenance, turning the austere Byzantine saint into the Russian Nik?la, who was believed to be involved in all of humans' daily doings and cares. Artist: UNKNOWN MASTER, Russian , Icon of St Nicholas , 1301-1350 , Russian , painting , religious
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unknow artist
Icon of St Theodore Stratilates and St Theodore Tyron
15th century Egg tempera on panel, gesso ground, 53,5 x 38 cm The Hermitage, St. Petersburg The ancient Novgorod school of painting is a remarkable and singular phenomenon in Russian art. This is especially evident from 15th century icon painting. A refined work of art, this icon in the Hermitage collection was produced by a skilful master who preferred graceful delicate forms and elongated proportions. The icon depicts two holy warriors. The features of their faces are small, which is a characteristic of the Novgorod icon-painting school. The saints' light figures are full of inner movement and their feet barely touch the ground. They are draped with flowing cloaks. The faces are dark with sharply contrasting light spots. In the colour scheme based primarily on the combination of ochre, red, brown and green, the cinnabar cloak of Theodore Stratilates is a bright spot on a light background. The haloes still retain traces of their original gilding. Artist: UNKNOWN MASTER, Russian , Icon of St Theodore Stratilates and St Theodore Tyron , 1451-1500 , Russian , painting , religious
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unknow artist
Icon of the Transfiguration
16th century Egg tempera on panel, gesso ground, 55,5 x 43,5 cm The Hermitage, St. Petersburg The icon of the Transfiguration creates a tremendous impression on its simplicity and clarity of composition, splendid drawing and bright coloration. On the mount are Christ in His glorious radiance and the Prophets Elijah and Moses conversing with him; below are apostles astonished by the miracle, Peter kneels in amazement and John and James fall dazzled by the light. The painter, illustrating the evangelical theme of Christ's miraculous transfiguration in the presence of his disciples, was, above all, an excellent colourist. On the light blue background and light ochre mountain he boldly laid thick, bright colours-green and red, yellow and brown, white, and dark to the point of blackness. Typical of none of the icon-painting schools, the icon of the Transfiguration with this light blue background can, owing to its artistic merits, rank among the finest examples of early Russian easel painting. Artist: UNKNOWN MASTER, Russian , Icon of the Transfiguration , 1501-1550 , Russian , painting , religious
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unknow artist
St Margaret
1400 Brush, Chinese ink, red chalk, 21.4 X 14 cm Museum of Fine Arts, Budapest This lovely sheet is one of the drawings made about 1400, which are on the borderline of drawing as an autonomous genre. It may have been the preparatory sketch for a picture or a sculpture, or its subsequent copy; or else it may have served for a model drawing. Up to now no direct connection with existing works of art has been established. The drawing produced by the brush in greyish-black Chinese ink and coloured by red chalk is so delicate and exquisite, asserting three-dimensional values and effects of light with such a number of nuances, that for us it represents self contained artistic values of a very high level indeed. The main reason why it is so difficult to fix the place where the work was created is that it represents in a very highly developed form and exceptional quality the style of the time about 1400, an art interwoven from several European trends. It was originally considered to have been the work of a Cologne master, then an Austrian one, while Oettinger, due to the relationship between the drawing and the P?hl Altarpiece, had in mind a master of the Augsburg region, but working under the effect of Bohemian art. Czech scholars revealed some connections, both of form and of shape, with the so-called "beautiful Madonnas" and a group of paintings produced under their influence. Indeed, the equilibrium of the figure brought about by movements of opposite directions, and, above all by the dense and deep folds of the wide garment which completely conceals the body, draperies that fall downwards on either side like a cascade, the edges showing rhythmically undulating lines, as well as the three-dimensional modelling of the soft, heavy folds are reminiscent of the Beautiful Madonna of Krumlov and the sculptures and paintings inspired by it. The composition of the drawing is carefully poised. The dragon at the saint's feet provides a pedestal broad enough for the slender figure in her ample garments. The mass of the dragon's head is counterbalanced by the sling made by the end of its tail, whereas the line of the saint's body leaning towards the right is counterpoised by an imaginary diagonal line drawn from the dragon's head to the cross. The abundant drapery falling onto the right hip is a characteristic example of how in the International Gothic style draperies achieved the status of elements from which a picture can be constructed, motifs that have an independent life of their own. Artist: UNKNOWN MASTER, Bohemian , St Margaret , 1351-1400 , Bohemian , graphics , religious
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unknow artist
The Nativity
1400 Tempera on walnut, 41 x 29,5 cm Galerie mittelalterlicher ?sterreichischer Kunst, Vienna The artist of this painting is referred to as Master of Salzburg. In this picture the scene of the Nativity is represented according to an apocryphal story of the Gospel: the Virgin is reclining on her bed while two midwives are on the point of giving a bath to the Infant. The woman in green is taking the Child from His mother, while the other is taking care that the bathwater is at right temperature. The bath puts an emphasis on the human aspect of the divine Child and is a hint to baptism. Joseph is seated on the right-hand side deep in thought. He holds his staff with his left hand, and is supporting his head with his right hand. The ox and the ass at the manger in the back seem to warm the straw and the small cambric kerchief with their breath. In addition to some stylistic resemblances the painting is reminiscent in other respects too of the Trebon Master's picture of the same scene. In both pictures the composition is divided by the building of the stable, with the difference that here the supports of the stable look like the frame of the scene represented, and divide the surface into two parts and not into three. In both pictures the supporting pole, emphatically placed in the foreground, separates Joseph, who views the events from the back and plays a role similar to the spectator's. In this picture too we can see birds on the roof of the stable, but they are shaped more firmly and realistically (as are the figures) than in the work of the Master of Trebon. In spite of the simplicity of the presentation and the somewhat rugged shaping of the figures with their rather large heads the susceptibility of the International Gothic style to elegance and decorative patterns evinces itself in this painting too. The elegance can be seen in the buoyant lines of the draperies, and in the Virgin's mantle, which clings to her body as if it were wet; the decorativeness in the way in which the painter has used the opportunities inherent in the rustic surroundings, and brought into harmony the pattern of the thatched roof, the mat and the fence, which are made of similar materials, and there is an additional harmonious touch in the plaited hair of one of the midwives. As in a great many other pictures of the period the ground is exceedingly steep here; compared to the figures in the foreground the stable seems to be high, on the other hand the beam underneath the roof touches the animals' heads. Although the white piece of cloth between the two midwives-in all probability a napkin, another symbol of the human nature of Jesus-looks as though it were hovering, in fact it lies on the ground. All this is not surprising, since these forms do not convey space, they are meant, first and foremost, to fill up the surface of the picture. Artist: UNKNOWN MASTER, Austrian , The Nativity , 1351-1400 , Austrian , painting , religious
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unknow artist
Virgin and Child with Angels and Saints
1400-25 Tempera on wood, 150 x 82 cm Museo del Prado, Madrid The picture shows the central panel of a polyptych called the Alterpiece of Archbishop Don Sancho de Rojas after the donator who is depicted kneeling at the left side of the painting. It comes from the church of San Benito (St Benedict) in Valladolid. The painter is identified as Rodriguez de Toledo, a representant of the Italo-Gothic painting in Castile. Artist: UNKNOWN MASTER, Spanish , Virgin and Child with Angels and Saints , 1401-1450 , Spanish , painting , religious
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unknow artist
The Life of St Eulalia
1350 Tempera on wood Cathedral, Palma de Mallorca The altarpiece has a composition characteristic of 13th-14th century Sienese painting. The figures and the scenes show the strong influence of Pietro and Ambrogio Lorenzetti. The master of the altarpiece is referred to as the Master of the Privileges after he had illustrated the famous Majorcan Book of Privilegies of about 1334. Artist: UNKNOWN MASTER, Spanish , The Life of St Eulalia , 1301-1350 , Spanish , painting , religious
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unknow artist
The Visitation
1480-1500 Panel, 126 x 155 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Perea. Artist: UNKNOWN MASTER, Spanish , The Visitation , 1451-1500 , Spanish , painting , religious
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unknow artist
Saint Ladislaus, King of Hungary
1600 Oil on wood, 103 x 101,3 cm Hungarian National Gallery, Budapest Of the Hungarian kings St Ladislas is perhaps the one most often represented in post-medieval frescoes, altar paintings and statues. In the Middle Ages he was associated with the ideal of chivalry and the legends which gathered around him determined the manner of his representation. Thus the knightly armour and the battle-axe have become permanent attributes, in addition to the crown and the orb. The painting illustrated here, dating from the late sixteenth century, is only superficially linked with medieval portraits of St. Ladislas. The king is shown seated on a throne wearing an ample, richly embroidered cloak studded with pearls round the hem. In the foreground is a voluted and foiled shield with the national emblem, stylized in harmony with the throne. The background is designed to suggest the interior of a Renaissance palace. Through opening on either side of the wall behind the throne - draped with embroidered hangings - there is a view of landscape. A similar motif was often used to fill in the background in north Italian Madonna paintings of the fifteenth and sixteenth centuries. The monochrome landscape on the left is a topographic reference to one of St. Ladislas' most important church activities, the foundation of the Cathedral in Nagyv?rad, while the one on the right shows his legendary defeat of the Cumanian abductor. This evocation of two popular episodes from the story of the king's life is intended partly to identify St. Ladislas as a rule of worldly power, and partly to indicate the ideal unity of the Christian king and the Christian knight. St Ladislas is shown as a historical personage, without a halo - a fact indicating that the painting was destined for a secular building. The episodes from the king's life or, to be mere accurate, from legends associated with his name, are treated as historical facts. The same approach characterized the series of prints of royalty and other notabilities which became so popular all Europe in the course of the sixteenth century. It may be assumed that such prints served as models for the painted portrait of St. Ladislas and the two related pictures of St. Stephen and St Emeric. Artist: UNKNOWN MASTER, Hungarian , Saint Ladislaus, King of Hungary , 1551-1600 , Hungarian , painting , religious
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unknow artist
de Bagnac
2,592 ?? 1,944
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unknow artist
nouaillemaupertuis
2,592 ?? 1,944 pixels
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unknow artist
Robert
393 ?? 455 pixels,
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unknow artist
Carrucoabstracto
2,502 ?? 3,148 pixels
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unknow artist
Forrest Brook
700 ?? 826 pixels
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unknow artist
FarzinFakhrYaseri
745 ?? 590 pixels
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unknow artist
Galland Wald
290 ?? 232 pixels
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unknow artist
Hans Herbst
650 ?? 337 pixels
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unknow artist
Kulikov Selfportrait
1,330 ?? 1,691 pixels
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| unknow artist
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