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Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Portrait of Dorothea Meyer China oil painting reproduction

Painting ID::  63721
Portrait of Dorothea Meyer
Kannengiesser 1516 Limewood, 38,5 x 30,8 cm Kunstmuseum, ?ffentliche Kunstsammlung, Basle There is a companion-piece of this painting, the portrait of the sitter's husband, Jakob Meyer zum Hasen. The architecture provides a link between the two portraits and creates a shared space for the figures; prior to Holbein, such a pictorial concept was unknown in Basle panel painting. The same applies to the decorative elements on the architecture, derived from the Italian Renaissance, such as the coffered vault and the acanthus leaf frieze, which incorporates two putti. The gilded coffering and pillar enhance the appearance of sober opulence in this striking and forthright depiction of Dorothea Kannengiesser, the second wife of Jakob Meyer. Their double-portrait, signed and dated 1516, was probably commissioned to celebrate Meyer's election as burgomaster. This had crucial repercussions for Holbein's career; evidently pleased with such an impressive diptych from so young an artist, Meyer gained Holbein numerous commissions in the following few years. Meyer was a member of the increasingly important mercantile class in Basle and the first of its members to achieve significant administrative power. (The coin he holds signifies his money-dealing role and also perhaps Basle's new-found permission to mint coins.) His friends and colleagues were therefore in the financial position to aid Holbein through their patronage. Meyer's tenure was brief, however - in 1521 he was impeached for accepting a larger bribe than was permitted from the French, imprisoned when he protested at his treatment and barred from office thereafter. He remained a Catholic after the city's secession to the reformed religion and led the Catholic party in the city: Holbein would perceive such strength of character again, in the analogous determination of Sir Thomas More to remain true to his faith .Artist:HOLBEIN, Hans the Younger Title: Portrait of Dorothea Meyer, n?e Kannengiesser Painted in 1501-1550 , German - - painting : portrait
 

Artist: HOLBEIN, Hans the Younger
HOLBEIN, Hans the Younger Portrait of an Unknown Lady China oil painting reproduction

Painting ID::  63722
Portrait of an Unknown Lady
1541 Vellum mounted on playing card, diameter 5,1 cm Royal Collection, Windsor The first portrait miniatures were produced in France, their precursors being the small circular works commissioned by Francis I to celebrate the victory of Marignano in 1515. Jean Clouet was among the early practitioners of this format, which seems to have arrived in England by 1526 in the form of French royal portraits. Ten years elapsed before Holbein's contribution, but his work marks an immediate advance over the productions of earlier native practitioners like Lucas Horenbout. The small scale and different medium - vellum mounted on playing card (and termed `miniature' because of the lead, Latin minium, used in the paint) did nothing to hamper Holbein's sturdy realism. The identity of the lady is uncertain - the Romantic view of the 1840s judged it to be a portrait of Henry VIII's tragic fifth wife, Catherine Howard, executed for alleged adultery, although no ascertainable portrait of her exists elsewhere. What is certain is that Holbein's powers of characterization lost nothing in the confined space. Features of his late style include the clarity and simplicity of the background, often eschewing even the standard biographical information so as to maintain as direct a perception of the sitter as possible.Artist:HOLBEIN, Hans the Younger Title: Portrait of an Unknown Lady Painted in 1501-1550 , German - - painting : portrait
 

Artist: Albrecht Durer
Albrecht Durer Portrait of a Venetian Woman China oil painting reproduction

Painting ID::  63729
Portrait of a Venetian Woman
1506-07 Oil on poplar panel, 28,5 x 21,5 cm Staatliche Museen, Berlin The painting is poorly conserved. Almost all the final layers of colour are missing. The eyes have been restored. Because of the absence of the topmost layer of colour, the painting has acquired a soft chromatic shading. Even if we know that D?rer executed it during his second sojourn in Italy, probably in the autumn of 1506 after the Feast of the Rose Garlands, workmanship seems particularly "Venetian." The refinement of the artist is clearly absent in the sketching of the hair. Some object is discernible in the curl hanging to the left. Only a few traces of the hairnet have been preserved, and the sky blue of the background, which is inexplicably divided into two sections, is probably no longer its original shade. In its original state, however, this half-bust must have been in the Venetian style, because of her full, soft shapes, delicately modeled with a measured use of light. We must count this painting among the most beautiful works D?rer produced during his second sojourn in Venice. The various attempts to identify the model - for example, as Agnes D?rer, because of the letters AD on the trimming of the clothes or the woman with her head turned in the middle right of the Feast of the Rose Garlands - have not held up to criticism. The letters are probably the initials of a motto.Artist:D?RER, Albrecht Title: Portrait of a Venetian Woman Painted in 1501-1550 , German - - painting : portrait
 

Artist: Albrecht Durer
Albrecht Durer Portrait of a Young Girl China oil painting reproduction

Painting ID::  63749
Portrait of a Young Girl
1507 Oil on panel tranferred from parchment, 30 x 20 cm Staatliche Museen, Berlin This small painting was in the collection of the Imhoff family of Nuremberg, and cited in their inventory from 1573-74 until 1628. In 1633, it was handed over, with the title Portrait of a Young Girl, with other works by D?rer, to Abraham Bloemart, an artist and merchant from Amsterdam. In 1899, the portrait reappears in London, and the firm P. and D. Colnaghi donated it to the Berlin art gallery. The delicate girl is portrayed with soft, curly blond hair, slightly dreamy her eyes, one somewhat lower than the other, a gentle, melancholic gaze; and well-defined, slightly parted lips. The red beret, worn sideways, with a little slit to the side, with a long red ruby and black pearl pendant, gives her a slightly cheeky air. The square green border of the red bodice sets off the upper part of her body. All these details put together have led to various interpretations. In addition to the fact that the "girl," when sold by the Imhoffs, was transformed into a "boy," Panofsky (1955) attributes an androgynous nature to her that could reveal the possible homosexual tendencies of the artist. A teasing letter of 1507 from the canonical Lorenz Behaim of Bamberg and the fact that the portrait does not seem to have been ordered would support this hypothesis. It has also been debated whether the painting was executed in Venice or after D?rer's return to Nuremberg. Considering the clothing to be typically German, there is no doubt as to its provenance.Artist:D?RER, Albrecht Title: Portrait of a Young Girl Painted in 1501-1550 , German - - painting : portrait
 

Artist: Giovanni Battista Tiepolo
Giovanni Battista Tiepolo The Banquet of Cleopatra China oil painting reproduction

Painting ID::  63770
The Banquet of Cleopatra
1746-47 Fresco Palazzo Labia, Venice For the face of Anthony Tiepolo fell back on a type of portrait which he often used in other contexts, e. g. for the god of war, Mars. This section lets us see the detailed rendering of the ornamental decoration on the armor and helmet, thus demonstrating the importance Tiepolo assigned to such apparently insignificant details.Artist:TIEPOLO, Giovanni Battista Title: The Banquet of Cleopatra (detail) Painted in 1701-1750 , Italian - - painting : historical
 

Artist: STROZZI, Bernardo
STROZZI, Bernardo Berenice - Oil on canvas Galleria d'Arte Antica China oil painting reproduction

Painting ID::  63774
Berenice - Oil on canvas Galleria d'Arte Antica
UdineArtist:STROZZI, Bernardo Title: Berenice Painted in 1601-1650 , Italian - - painting : mythological
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Woman with a Veil China oil painting reproduction

Painting ID::  63780
Woman with a Veil
1516 Oil on canvas, 82 x 60,5 cm Galleria Palatina (Palazzo Pitti), Florence Tradition identifies the subject with "la Fornarina", the woman whom the painter loved in his last years and whose face reappeared in both his paintings (e.g. in the Sistine Madonna) and those of his followers. However, the woman, has never been decisively identified. She seems to represent Raphael's ideal of beauty at this time. The painting shows greater attention to colour and to the rendering of skin and clothes in respect to previous female portraits. The regular oval of the young woman's face stands out against the dark background and her eyes hold an intense and penetrating look. The silk of her sleeves contrasts with her ivory-like skin, and is closely associated with the thin pleating of the dress, held up by a corset with golden embroidery. As in the portrait of Castiglione, the figure radiates a sense of great dignity and restraint. But greys and light-blues dominated the portrait of Castiglione: here the warm tonalities of white and gold take over. Raphael is preparing the wider colour range and the more complex composition which will be expressed in the Portrait of Leo X.Artist:RAFFAELLO Sanzio Title: Woman with a Veil (La Donna Velata) Painted in 1501-1550 , Italian - - painting : portrait
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Portrait of Jeanne d'Aragon China oil painting reproduction

Painting ID::  63782
Portrait of Jeanne d'Aragon
1518 Oil on wood transferred to canvas, 120 x 95 cm Mus?e du Louvre, Paris The painting was commissioned by Cardinal Bibbiena. It was intended as a gift for Francis I, King of France. It was executed by one of Raphael's pupils, perhaps on the basis of a design by Raphael. The painting was restored in 1540 by Primaticcio in Fontainebleau, after the restoration it was transferred from wood to canvas.Artist:RAFFAELLO Sanzio Title: Portrait of Jeanne d'Aragon Painted in 1501-1550 , Italian - - painting : portrait
 

Artist: RAFFAELLO Sanzio
RAFFAELLO Sanzio Portrait of a Woman China oil painting reproduction

Painting ID::  63818
Portrait of a Woman
1507 Oil on wood, 64 x 48 cm Galleria Nazionale, Urbino The female portrait known as The Mute Woman represents a return to the influence of Leonardo. It certainly comes from the Florentine environment, for it was given in trust to the National Gallery of the Marches by the Uffizi, where it had been stored for several hundred years. It was attributed to Raphael only recently. Leonardo inspires mainly the pose of the figure (whose characteristically crossed hands constitute a very clear reference to the Mona Lisa). The neatness of the large areas of colour which emerge in lighter tones from the near-black background, and the analytical treatment of the details of the woman's clothing are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour - used here in a fairly limited range - which unify the composition as a whole.Artist:RAFFAELLO Sanzio Title: Portrait of a Woman (La Muta) Painted in 1501-1550 , Italian - - painting : portrait
 

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Lady Wearing a Gauze Headdress China oil painting reproduction

Painting ID::  63849
Lady Wearing a Gauze Headdress
1445 Oil on oak panel, 47 x 32 cm Staatliche Museen, Berlin Leaving aside the portraits of the Duke and Duchess of Burgundy (Philip the Good and Isabella of Portugal), which have been preserved only in copies (by anonymous masters, now in Berlin and Malibu), the only extant panel portrait from the period before about 1450 is the Portrait of a Young Woman. The young woman, with her expansive Flemish winged or horned coif of fine linen, through which the forehead remains visible, fills almost the entire panel. The 'nakedness' of the face and the softness of the features form an attractive contrast to the firm outlines of the stiffly folded linen and the dark background. The sitter's hands with beringed fingers are laid firmly on one another and rest on an invisible sill, support being provided visually by the frame. While in his twenties the artist married Elisabeth Goffaerts, a native of Brussels, and it has been generally assumed that she is the subject of the Berlin portrait. Although there is no real foundation for it, this is not an unreasonable assumption; the open, warmhearted expression seems to preclude an official portrait and to suggest someone close to the artist. It was undoubtedly this impression of intimacy created in this portrait - it occurs nowhere else in the painter's work - which seemed to call for some explanation. To portray the subject looking directly at the viewer was something quite new when this painting was executed; in the Netherlands this technique occurs for the first time in van Eyck's portraits. The resemblance to the portrait of a woman by the Master of Fl?malle (now in the National Gallery, London) is worth noting. The artist has modelled his subject with sympathy and sensitivity, while avoiding contact with the observer.Artist:WEYDEN, Rogier van der Title: Lady Wearing a Gauze Headdress Painted in 1401-1450 , Flemish - - painting : portrait
 

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der Portrait of a Young Woman China oil painting reproduction

Painting ID::  63866
Portrait of a Young Woman
1440 Silverpoint on prepared paper, 166 x 116 mm British Museum, London The finest of the drawings ascribed to Rogier is the Portrait of a Young Woman. In its freshness of observation and lively expression the drawing comes closest to the painted portrait of another young woman (Staatliche Museen, Berlin), although in contrast to that painting - probably the earliest of the independent portraits by Rogier still extant - the draftsman has modeled the face with much greater plasticity, using light and shade to make shapes like the eyelids appear more rounded and fleshier. This factor in turn links the drawing closely to a portrait of a woman ascribed to the Master of Fl?malle, now in the National Gallery, London, and to the faces in Rogier's earlier Deposition (Prado, Madrid). The strong, bright reflections on the shaded areas of the sitter's throat and cheeks also adopt a method frequently used by Jan van Eyck to heighten the sense of three-dimensionality. By comparison with the chiaroscuro and the powerful three-dimensional style of the drawing, the painted face of the young woman in the portrait appear generally more linear - paradoxically, one might almost say more like a drawing. The draftsman's intention of placing several strong contrasts of light and shade side by side also matches the effects in the Deposition. Like the shaded side of the head of the Virgin, the right-hand side of the portrait drawing shows the alternation of light and very dark areas, and the artist has even shaded the headdress heavily next to the area of reflected light on the sitter's jaw line just below her ear, though this effect is illogical, since if the head-dress is to reflect light it ought to be lit there itself. However, the darkness in the outer area of the drawing, emphasizing the fold at the back of the head-dress, is a genuinely distinctive feature, producing the effect of heavy shadow. There are no such heavy shadows in any painted portrait by Rogier; this pictorial device, creating a sense of space around the figure, first appears in painting around the middle of the century in works by the artist Petrus Christus, who was active in Bruges. Here the draftsman may have created the shadows before drawing the sitter herself, or he may have placed them there to make the back of the headdress retreat into the background - an effect that would also be achieved by the uniform dark ground of a painted portrait. The immediacy of this portrait gives the impression that it was drawn from life. Such an impression is further supported by the fact that only the head and the complicated head-dress are executed in detail, while the upper part of the sitter's body is only lightly indicated; her dress with its patterns of folds could be added later, and leaving it out while the woman herself was being portrayed would have spared her the tedium of sitting for the artist. Such details could easily enough be copied from a painting, but the visible part of the woman's body appears rather awkwardly executed. The right hand on the edge of the picture is particularly jarring, and does not quite connect up anatomically with her shoulder. It is complex in structure, but only half shown, and its clear outline does not make it look like a study from nature. Perhaps the artist completed the lower areas of the portrait later, using a work already in his stock, and experimenting with the composition of his planned painting. All Early Netherlandish portraits were certainly based on drawings from life, for the long process of painting would not have allowed the artist to work from a living model. The Portrait of a Young Woman, outstanding as both a drawing and a portrait, must be one of the very few examples of this genre to have been preserved. Since over and beyond these qualities, the drawing shows similarities with Rogier's painted portraits in its presentation, and with his Deposition in the manner of depicting a head, it could well be by his own hand. It was probably done quite close to the time of the great altarpiece for the Archers of Leuven, while the other (painted) Portrait of a Young Woman must have been executed rather later.Artist:WEYDEN, Rogier van der Title: Portrait of a Young Woman Painted in 1401-1450 , Flemish - - graphics : portrait
 

Artist: WEYDEN, Rogier van der
WEYDEN, Rogier van der St Catherine China oil painting reproduction

Painting ID::  63867
St Catherine
1445 Oil on oak panel, 21,7 x 18,6 cm Gulbenkian Foundation, Lisbon This fragment was sawn out of the same large altarpiece as the Mary Magdalene in the National Gallery, London. The face of the saint, probably painted by an assistant, shows weaknesses in the drawing.Artist:WEYDEN, Rogier van der Title: St Catherine Painted in 1401-1450 , Flemish - - painting : religious
 

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