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The Meyer or Darmstadt Madonna is the last, most famous and most effective of Holbein's great religious works, above all in its depiction of individual human identities combined with spectacular spatial control and illusionism - as exemplified by the ruckled carpet.Standing in a scalloped niche with projecting consoles... | description | |
This introspection is echoed by Jakob Meyer's wives the enigmatic enwrapped profile of Jakob Meyer's first, Magdalena Baer (who had died in 1511) and Dorothea Kannengiesser. | content | |
Also Leonardesque is the prowess shown in the foreshortening of the Christ-child's extended arm, and the naturalness of the Christ-child's pose, which recall The Virgin of the Rocks | form | |
Typologically, the painting is a Schutzmantelbild (a `Virgin of Pity' painting), in which the donor, Jakob Meyer, invokes and gains divine protection for himself and his family. | context | |
Artwork painted in 1501-1550 | timeframe | |
Artwork from the German school | school | |
Artwork made with Oil on limewood | material | |
Artwork of the religious genre | genre | |
Whereas Canaletto incorporates classically inspired structures or ruins into his fantastic views, and accords them an important place in the composition, Francesco Guardi's capriccios mostly refer to his own immediate surroundings: the Venetian Lagoon. In this poetic scene decorative fishing boats with yellow and brown... | description | |
Francesco Guardi gave this view an unmistakably Venetian streak, however, by means of the Lagoon-like atmosphere and the striking belltowers, walls and roofs, which seem to be borrowed literally from the Venetian townscape | content | |
The middle distance is formed by a spit of land with the remains of a wall on the spit of land in subdued, brown tones, and a large ornamental vase on a pedestal, a motif that Francesco Guardi may have borrowed from Marco Ricci. | form | |
Similar little ships also figure prominently in a number of Guardi's town views. | context | |
Artwork by GUARDI, Francesco | author | |
Artwork painted in 1751-1800 | timeframe | |
Artwork from the Italian school | school | |
Artwork made with Oil on canvas | material | |
Artwork of the landscape genre | genre | |
In this painting the refinement of the colouring and complexity of poses are linked to the typically late Mannerist quest for technical prowess; yet the attempt to return to a more direct expression of physical reality can be observed | description | |
In this painting the refinement of the colouring and complexity of poses are linked to the typically late Mannerist quest for technical prowess; yet the attempt to return to a more direct expression of physical reality can be observed | form | |
Artwork by BILIVERT, Giovanni | author | |
Artwork painted in 1601-1650 | timeframe | |
Artwork from the Italian school | school | |
Artwork made with Oil on copper | material | |
Artwork of the religious genre | genre | |
The left side of the painting was cut, originally Saint John was depicted behind Mary, and the motive of hand kissing was in the centre of the composition | content | |
Artwork by GEERTGEN tot Sint Jans | author | |
Artwork painted in 1451-1500 | timeframe | |
Artwork made with wood | material | |
Artwork of the religious genre | genre | |
The painting illustrates a famous episode from the fifth canto of Dante's Inferno, in which Dante and Virgil see Paolo and Francesca condemned to the darkness of Hell with the souls of the lustful. This is the prime version of a composition Scheffer repeated several times and it has a frame which he specially devised t... | description | |
This is the prime version of a composition Scheffer repeated several times and the prime version has a frame which Scheffer specially devised to suit the subject. | content | |
Artwork from the Dutch school | school | |
Artwork made with Oil on canvas | material | |
Fra Angelico dedicated several of his works to the scene of Mary's coronation (Louvre, Paris; Museo di San Marco, Florence, Uffizi, Florence). In these pictures the ceremoniousness of the event is lessened by the gentle charm of the details.This painting is from the church of Sant'Egidio of Ospedale di Santa Maria Nuov... | description | |
Among the other instruments we can recognize a beautiful lute on the left, and a small oval-shaped violin (or mandola) on the right. | content | |
Spatial relations are illustrated by the use of size differences, the virtuoso rendering of light-rays, and colour perspective.The angelic choir greets the Queen of Heavens with song and dance. | form | |
Artwork by ANGELICO, Fra | author | |
Artwork painted in 1401-1450 | timeframe | |
Artwork made with Tempera on wood | material | |
Artwork of the religious genre | genre | |
The Bardi di Vernio Chapel in Santa Croce is one of the ten that were built at the same time as the transept between 1295 and 1310. It is located in the northern arm of the transept. The chapel was frescoed c. 1335 by Maso di Banco, one of Giotto's pupils and followers. Patronage of this chapel was not transferred to t... | description | |
Maso painted only the front wall of the arcosolium, the interior of the niche is attributed to Taddeo Gaddi.On the fresco a male member of the Bardi family kneels on his sarcophagus, quite alone on the desolate plain of the afterlife. | content | |
In the fourteenth century the Bardi di Mangona, a branch of the family named after the Castello di Mangona near Florence, were its patrons.In the upper part of the left (north) wall the St Sylvester cycle of Maso di Banco can be found. | context | |
Artwork by MASO DI BANCO | author | |
Artwork made with Fresco | material | |
Artwork of the religious genre | genre | |
This portrait is an example of El Greco's late work. Juan Pardo de Tavera (1472-1545) held both important ecclesiastical and political offices under Charles V, being active among other things as Grand Inquisitor and government chief of Castile. He founded in 1541 the Hospital de San Juan Bautista. By the time of his po... | description | |
Juan Pardo de Tavera (1472-1545) held both important ecclesiastical and political offices under Charles V, being active among other things as Grand Inquisitor and government chief of Castile. | content | |
This portrait is an example of El Greco's late work. | context | |
Artwork by GRECO, El | author | |
Artwork painted in 1551-1600 | timeframe | |
Artwork made with Oil on canvas | material | |
Artwork of the portrait genre | genre | |
Leonardo's painting of the Last Supper was constructed symmetrically according to the laws of central perspective, with a main figure, Jesus, in the centre. He is physically and psychologically isolated from the other figures and with his hands is pointing to the bread and wine, making the introduction of the Eucharist... | description | |
But Judas above all was clearly characterized by Leonardo, for Judas was not, as was customary, placed in the centre of the picture in front of the table, but placed amongst the row of disciples. | content | |
Leonardo's painting of the Last Supper was constructed symmetrically according to the laws of central perspective, with a main figure, Jesus, in the centre. | form | |
Artwork painted in 1451-1500 | timeframe | |
Artwork from the Italian school | school | |
Artwork made with Unknown | material | |
Artwork of the religious genre | genre | |
Traditionally the painting was ascribed to Pieter Bruegel the Elder, however, now Baltens' authorship is fully recognised. The composition was probably inspired, but only in the broadest of outlines, by Pieter Bruegel's painting of this subject, dated 1564, now in Vienna, Kunsthistorisches Museum, which Baltens must ha... | description | |
The composition was probably inspired, but only in the broadest of outlines, by Pieter Bruegel's painting of this subject, dated 1564, now in Vienna, Kunsthistorisches Museum, a painting which Lodewijk Baltens must have known in Antwerp | form | |
Traditionally the painting was ascribed to Pieter Bruegel the Elder, however, now Lodewijk Baltens' authorship is fully recognised. | context | |
Artwork by BALTENS, Peeter | author | |
Artwork painted in 1501-1550 | timeframe | |
Artwork of the religious genre | genre | |
The painting represents a mountain landscape with a hunting party | description | |
The painting represents a mountain landscape with a hunting party | content | |
Artwork from the Flemish school | school | |
Artwork made with Oil on canvas | material | |
Artwork of the landscape genre | genre | |
The figures, which might have been taken from Gothic sculpture, are placed before a chased golden background. To the left of the middle distance is the view of a small town with spires, to the right austere mountains. The suffering figure of the Virgin dominates the painting. No longer young, her pallid face is immobil... | description | |
In a strange pose, the back arched, the body rigid, Christ, with a white cloth wrapped across Christ's loins, appears to be floating on the Virgin Mary's lap. | content | |
Artwork by CHARONTON, Enguerrand | author | |
Artwork painted in 1451-1500 | timeframe | |
Artwork of the religious genre | genre | |
The painting was executed for the church of San Felipe Reale in Madrid.The artist was an Italian painter of religious subjects who settled in Spain and was one of the first to work in a Baroque style there. He was the elder brother of Vicente Carducho | description | |
The painting was executed for the church of San Felipe Reale in Madrid.Bartolomé Carducho was an Italian painter of religious subjects who settled in Spain and was one of the first to work in a Baroque style there. | context | |
Artwork by CARDUCHO, Bartolomé | author | |
Artwork painted in 1551-1600 | timeframe | |
Artwork made with Oil on canvas | material | |
Artwork of the religious genre | genre | |
This is another original version of the Venus and Cupid theme, this time showing the young Philip II playing the organ. These paintings of Venus are not based on any mythological theme. It has been suggested that a possible explanation for the exceptional combination of a contemporary (in this case even identifiable) p... | description | |
The naked skin, the beauty of the scene, and the sound of the organ could represent the senses of touch, sight and hearing | content | |
Artwork by TIZIANO Vecellio | author | |
Artwork painted in 1501-1550 | timeframe | |
Artwork from the Italian school | school | |
Artwork made with Oil on canvas | material | |
Aert Van der Neer painted his first moonlit landscape in 1643 and his mastery of this genre established him as one of the most innovative Dutch landscape painters of the 17th century. His mature style of depicting the light of the moon diffused and reflected across a monochrome landscape allowed for a continuation of e... | description | |
Aert Van der Neer's mature style of depicting the light of the moon diffused and reflected across a monochrome landscape allowed for a continuation of elements from Aert Van der Neer's tonal period of the previous decades | context | |
Artwork by NEER, Aert van der | author | |
Artwork painted in 1601-1650 | timeframe | |
Artwork from the Dutch school | school | |
Artwork made with Oil on wood | material | |
Artwork of the landscape genre | genre | |
The paintings and pastels of Tissot were invariably meticulously drawn, dryly painted, yet often effectively composed, and charmingly anecdotal. Recently they have enjoyed a revival on the art market and among scholars | description | |
The paintings and pastels of Tissot were invariably meticulously drawn, dryly painted, yet often effectively composed, and charmingly anecdotal. | context | |
Artwork by TISSOT, James | author | |
Artwork painted in 1851-1900 | timeframe | |
Artwork from the French school | school |
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