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Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger The Solothurn Madonna China oil painting reproduction

Painting ID::  63710
The Solothurn Madonna
1522 Limewood Museum der Stadt Solothurn, Solothurn The original painting by Holbein was revealed only after restoration by Thomas Brachert in 1971; it had been completely overpainted in the Pre-Raphaelite style by the 19th century restorer Andreas Eigner. Eigner's aim was twofold: not only to "beautify" the picture, but also to cover up the many wormholes that had appeared. Restoration showed up the extensive craquelure that had been covered over and which regrettably spoils the fine modeling of the flesh tones in particular.Artist:HOLBEIN, Hans the Younger Title: The Solothurn Madonna (detail) Painted in 1501-1550 , German - - painting : religious
 

Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Darmstadt Madonna China oil painting reproduction

Painting ID::  63712
Darmstadt Madonna
1526 and after 1528 Oil on limewood Schlossmuseum, Darmstadt The presentation of the Madonna and Child is a triumph of illusionism that ranks with the achievements of Van Eyck in Flanders a century before. The play of light over the fluting of the architectural shell behind the two figures carves out the space into which the delicately shadowed crown, hair and face of the Madonna are set. There is no Raphaelesque regularity in the Madonna's features - as with most northern Madonnas, a specific model was used, a friend of Holbein's, one Magdalena Offenburg who also posed for the Lais and whose lifestyle, ironically, was not considered blameless. However, the compelling physical presence and credibility of the figures is the result of artistic means alone; the twisting of the child's body emphasizes the weight the Madonna's arms must carry, and Christ's projecting feet and the foreshortening of his own and his mother's arms stress the space his torso occupies. The combination of warm green and gold also brings the Madonna forward against the neutral .tone of the stonework.Artist:HOLBEIN, Hans the Younger Title: Darmstadt Madonna (detail) Painted in 1501-1550 , German - - painting : religious
 

Artist: Albrecht Durer
Albrecht Durer Virgin and Child before an Archway China oil painting reproduction

Painting ID::  63732
Virgin and Child before an Archway
1495 Oil on panel, 48 x 36 cm Magnani Collection, Mamiano near Parma Mary and the Christ Child sitting in her lap appear to be right in the foreground of a space which opens to one side onto a bordering interior courtyard. The baby reaches for his mother's hand and their eyes meet. While the Madonna still owes much to the Late Gothic German type, the Christ Child is reminiscent of Italian models. Half length figures such as this early picture of the Madonna were widespread in Italy and the Netherlands. The depiction of the space with the view to the side through an arch is reminiscent of Flemish models, but the figural conception and monumental triangular composition of the group of figures also relates to Italy, in particular to the Madonna paintings by Giovanni Bellini. The picture dates either from D?rer's visit to Venice in 1494-5 or soon afterwards in Nuremberg. It was discovered in the 1950s in the Capuchin monastery of Bagnacavallo, near Ravenna, and this suggests that it was painted in Italy where it has remained.Artist:D?RER, Albrecht Title: Virgin and Child before an Archway Painted in 1501-1550 , German - - painting : religious
 

Artist: Albrecht Durer
Albrecht Durer The Dresden Altarpiece China oil painting reproduction

Painting ID::  63735
The Dresden Altarpiece
1496 Oil on canvas, 117 x 96,5 cm Gem?ldegalerie, Dresden The attribution of the central panel to D?rer, displayed with the side panels in the Gem?ldegalerie, was rejected in 1991 on solid grounds and it was attributed to a Dutch painter of the name Jan, who worked in Frederick's court.Artist:D?RER, Albrecht Title: The Dresden Altarpiece (central panel) Painted in 1501-1550 , German - - painting : religious
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Madonna dell'Impannata China oil painting reproduction

Painting ID::  63781
Madonna dell'Impannata
1513-14 Oil on wood, 158 x 125 cm Galleria Palatina (Palazzo Pitti), Florence In the mid-1510s Raphael had passed from the highly synthetic and expressive compositions of the first years of the decade to representations which were more and more complex and even more dispersive. Most of these were also finished by his pupils, for this was the busiest moment in Raphael's career. The Madonna dell'Impannata in the Pitti Gallery in Florence was also painted with the help of assistants. According to some critics, the assistants executed the entire painting. But others see the master's hand at least in the major figures (some say in the Christ Child, some in St Elizabeth, some in both figures). The composition is innovative in respect to the usual iconography of the holy family. It shows St Catherine, St Elizabeth, Christ, the Virgin and St John gathered together in a group. A large tent is visible in the background and a window covered by linen (the impannata, or cloth covering of a window, which gives the painting its name) can be seen at the extreme right. Like many other works by Raphael, this painting was carried off by the French in 1799 and was not returned until after the Congress of Vienna, in 1815.Artist:RAFFAELLO Sanzio Title: Madonna dell'Impannata Painted in 1501-1550 , Italian - - painting : religious
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Madonna della Seggiola China oil painting reproduction

Painting ID::  63789
Madonna della Seggiola
1514 Oil on wood, diameter 71 cm Galleria Palatina (Palazzo Pitti), Florence Raphael painted the picture in Rome, probably during the period immediately after the completion of the Stanza di Eliodoro. It soon passed into the Medicean collections. It was already there by 1589 and has been in the Pitti since the 18th century. It was carried off to Paris by the Napoleonic troops in 1799 and brought back to Florence in 1815. A celebrated picture in which Raphael is under the influence of the antique and of the Venetian school, of Titian and of Sebastiano del Piombo. The form of a "tondo" is in itself a reminder of Florence and carries us back to the taste of the Quattrocento. Of the form of the tondo the artist preserves and emphasizes the curve with his genial adaptation of the figures to the outline of the painting. And yet the composition is in no way forced, but on the other hand the figures in following the curve become more closely entwined together. This grouping, this closing around the fulcrum of the tondo coincides with the centre of affection - the little Christ, the spiritual centre of the picture. The colour, in spite of its vividness, has a fusion and a warmth which Raphael attains with genial and personal mastery.Artist:RAFFAELLO Sanzio Title: Madonna della Seggiola (Sedia) Painted in 1501-1550 , Italian - - painting : religious
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Madonna and Child China oil painting reproduction

Painting ID::  63820
Madonna and Child
1508 Oil on wood, 81 x 57 cm National Gallery of Art, Washington The dominance of the lyrical and graceful aspect of this painting (known also as The Niccolini-Cowper Madonna) over the religious content mark it as belonging to Raphael's Florentine period, 1505-08. In fact this panel, signed and dated 1508, was executed near the end of Raphael's stay in Florence. The date 1508 and the artist's monogram "RV" have been worked into the embroidery of the Virgin's robe. The title derives from the names of two former owners. The full, well-formed figures reveal an early influence of Michelangelo, while the soft modeling and the use of chiaroscuro reveal the influence of Leonardo. Fra Bartolomeo's influence is particularly clear. The composition is extremely simple and essential; the gesture of the Child, who stretches his hand toward the Virgin while turning his attention toward the spectator, and the gesture with which the Virgin holds the hand to her breast, provide the only signs of life. The sentiment of anxious motherhood which, enriched by greater awareness, will be fully expressed in the Tempi Madonna, now in the Alte Pinakothek of Munich, appears here for the first time.Artist:RAFFAELLO Sanzio Title: Madonna and Child (The Large Cowper Madonna) Painted in 1501-1550 , Italian - - painting : religious
 

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait Diptych of Jean de Gros China oil painting reproduction

Painting ID::  63860
Portrait Diptych of Jean de Gros
1450s Oil on oak panel, 36 x 27 cm Mus?e des Beaux-Arts, Tournai Of the Madonnas in the portrait diptychs, the most interesting is the one accompanying the Portrait of Jean de Gros (Art Institute, Chicago). She represents one of the early types of half length figures of the Virgin, which were used in many pictures by Rogier's successors, and copied with what are often only very slight deviations. The head of Mary in particular recurs almost unchanged in many pictures from Rogier's workshop or by his close colleagues, and has come down to us, for instance, in a drawing that was intended as the model for a painting (Mus?e du Louvre, Paris). This panel of the Madonna formed a diptych with the portrait of Jean de Gros; both have the donor's motto and emblem on the back. The painting has suffered from its poor state of preservation, and may perhaps be by a workshop assistant.Artist:WEYDEN, Rogier van der Title: Portrait Diptych of Jean de Gros (left wing) Painted in 1401-1450 , Flemish - - painting : religious
 

Artist: MASSYS, Quentin
MASSYS, Quentin Virgin with the Child China oil painting reproduction

Painting ID::  63978
Virgin with the Child
22,5 cm Rockox House, Antwerp Around 1500, when the port of Antwerp began to emerge as the capital of north European trade, it also became a cultural melting pot. All manner of artists flocked into the town on the Scheldt. One of these was Quentin Massys from Louvain, who registered as a painter in the St. Lucas Guild in 1491, and is regarded as the founder of the Antwerp School which was soon to topple the hegemony of the School of Bruges. He remained faithful to the Flemish tradition, although the sfumato in the background of some of his landscapes shows that he was familiar with the work of Leonardo da Vinci. He is usually regarded as a painter of monumental works, and rightly so, but he also painted smaller scale scenes with figures. This is hardly surprising, since his technique had its sources in miniature paintings. The Holy Virgin with the Child Jesus, a small tondo, bears witness to the attention the master paid to sensitive, finely detailed drawing to express the tender movement of the form, and the subtle use of colour to convey the essence of a variety of textures. , Artist: MASSYS, Quentin , Virgin with the Child , 1451-1500 , Flemish Form
 

Artist: MASSYS, Quentin
MASSYS, Quentin Virgin and Child China oil painting reproduction

Painting ID::  63979
Virgin and Child
The Hague , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
 

Artist: MASSYS, Quentin
MASSYS, Quentin Virgin and Child China oil painting reproduction

Painting ID::  63980
Virgin and Child
130 x 86 cm Musees Royaux des Beaux-Arts, Brussels The Virgin is seated in three-quarter profile on an imposing stone throne with Gothic ornamentation. Richly dressed in a dark red, fur-lined gown and a mantle bordered with pearl braiding, her head inclined in recollection, she holds the infant Jesus on her right arm. She appears to be meditating a passage in the book that Christ is thumbing. Their faces are surrounded by halos of golden rays. The Child, in a long white shirt, has seized the bookmark. Through an open window to the right of the throne we glimpse a building on the other side of a courtyard. The upper part of the window is decorated with a stained glass panel depicting St Catherine flanked by two escutcheons. A similar stained glass window to the left carries the figure of St Barbara. This painting, attributed to Quentin Massys, is part of the Madonna with Child group that the artist painted during his youth. The symmetrical composition, the hieratic presentation of the figures, the style of the Virgin's garments and the vigorous modelling of the draperies as well as the Gothic ornamentations all recall the tradition of the Flemish Primitives. The iconographic theme picks up the traditional image of Christ's incarnation. The Virgin in majesty is directly associated with the divine nature of her Son, the Word incarnate. Her meditative attitude and the red of her garments evoke the presentiment she had of her Child's destiny right from his birth. Massys' work refers back to earlier compositions that present Christ reading in the Virgin's arms. Two famous examples are Rogier van der Weyden's Madonna Duren (Madrid, Prado) and the Ince Hall Virgin attributed to a follower of Jan van Eyck (Melbourne, National Gallery of Victoria). With Massys we have the same monumental pose of the Virgin, with the niche-shaped throne similar to the one in Van der Weyden's painting. Even if the Brussels Madonna with Child shows how much the painter was part of the Flemish tradition, before coming under the influence of the Renaissance, it already contains the novel elements that were to make Massys the captivating and highly innovative artist whose talent would be fully revealed in his later works. With his exceptionally ample volumes, his supple shapes caressed by a strong, yet soft light, and the virtuoso translucency of his colouring technique, he carries the art of modelling forward to new heights. , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
 

Artist: unknow artist
unknow artist Rest on the Flight into Egypt China oil painting reproduction

Painting ID::  64039
Rest on the Flight into Egypt
1500 Oil on oak panel, 57 x 44,2 cm Groeninge Museum, Bruges An anonymous but important Bruges master painted the Rest on the Flight into Egypt at around 1500. With the exception of its vast panoramic landscape, it differs little from its predecessors, especially from works by David. , Artist: UNKNOWN MASTER, Flemish , Rest on the Flight into Egypt , 1501-1550 , Flemish , painting , religious
 

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Painting:: people --> Style:: madonna
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