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GUERCINO
Et in Arcadia Ego
new4/GUERCINO-522649.jpg
mk68
Oil on canvas
32 1/4x25 1/4"
Rome,National Gallery of Art of the Past
1618-1622
Italy
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GUERCINO
The Dying Cleopatra
new4/GUERCINO-822999.jpg
mk68
Oil on canvas
Genoa
c.1648
Italy
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GUERCINO
Recreation by our Gallery
new9/GUERCINO-227748.jpg
mk79
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GUERCINO
The Return of the Prodigal Son
new9/GUERCINO-367273.jpg
mk86
1619
Oil on canvas
106.5x143.5cm
Vienna,Kunsthistorisches Museum
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GUERCINO
The return of the prodigal son
new12/GUERCINO-277523.jpg
mk150
c.1619
Canvas
107x143.5cm
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GUERCINO
Woman that self undresses
new16/GUERCINO-493955.jpg
MK169
ca. 1620 Plants ink on paier 25.6x20.7cm British Museum. Rewarded
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GUERCINO
The Dead Christ Mourned by two Angels
new16/GUERCINO-622978.jpg
mk170
1617-1618
Oil on copper
36.8x44.4cm
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GUERCINO
Saint Gregory the Great with Saints Ignatius Loyola and Francis Xavier
new16/GUERCINO-532935.jpg
mk170
1625-26
Oil on canvas
296x211cm
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GUERCINO
The Cumaean Sibyl with a Putto
new16/GUERCINO-558465.jpg
mk170
1651
Oil on canvas
222x168.5cm
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GUERCINO
The Angel Appearing to Hagar and Ishmael
new16/GUERCINO-363895.jpg
mk170
1652-1653
Oil on canvas
193x229cm
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GUERCINO
Samson brings the parents the Honiguabe
new17/GUERCINO-326848.jpg
mk186
1657 San Francisco
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GUERCINO
Mary Magdalene in Penitence
new18/GUERCINO-282448.jpg
Oil on canvas,
121 x 102 cm
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GUERCINO
Magdalen and Two Angels
new18/GUERCINO-325699.jpg
1622
Oil on canvas Pinacoteca
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GUERCINO
St Luke Displaying a Painting of the Virgin
new18/GUERCINO-567567.jpg
1652-53
Oil on canvas Nelson-Atkins Museum of Art, Kansas City
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GUERCINO
Doubting Thomas
new18/GUERCINO-527383.jpg
Oil on canvas
Residenzgalerie
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GUERCINO
Venus, Mars and Cupid
new18/GUERCINO-782663.jpg
1633
Oil on canvas
Pinacoteca Estense
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GUERCINO
Jesus and aktenskapsbryterskan
new19/GUERCINO-433853.jpg
mk234
about 1621
98x122cm
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GUERCINO
The Return of the Prodigal son
new20/GUERCINO-494464.jpg
mk244
106.5x143.5cm
Oil on canvas
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GUERCINO
return of the prodigal son
new20/GUERCINO-892858.jpg
mk247
c.1619,oil on canvas,42x56 in,107x143.5 cm kunsthistorisches museum,vienna,austria
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GUERCINO
portrait of shah jahan
new20/GUERCINO-255267.jpg
mk247
c.1619,watercolor and gold on paper,8x5 in ,21x14 cm,victoria and albert museum,london,uk
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GUERCINO
raising of lazarus
new20/GUERCINO-476493.jpg
mk247
c.1619,oil on canvas,78.375x91.75 in ,199x233 cm,louvre,paris,france
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GUERCINO
St Romuald
new21/GUERCINO-555398.jpg
1640-41 Oil on canvas, 292 x 184 cm Pinacoteca Comunale, Ravenna In his last period Guercino proceeded to a marked classicism by eliminating the 'chiaroscuro' effects of the earlier years. Romuald (c. 952-1027) was a Benedictine monk who entered the Order as an act of atonement after his father had murdered a relative. Finding the monastic life of his day in need of reform he founded communities that were vowed to solitude and silence, of which the best known was the monastery of Camaldoli in the Appenines near Arezzo. Romuald is old and white-bearded and is dressed in the habit of the Camaldolese Order, a striking loose-flowing white garment with wide sleeves.Artist:GUERCINO Title: St Romuald Painted in 1601-1650 , Italian - - painting : religious
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GUERCINO
Saul Attacking David
new21/GUERCINO-676226.jpg
1646 Oil on canvas, 147 x 220 cm Galleria Nazionale d'Arte Antica, Rome This painting was executed along with a pendant, now in Los Angeles, that depicts Samson showing his hair - secret of his superhuman strength - to Delilah. Guercino painted the pair of canvases in 1646 for the Cardinal Falconieri, who was at the time serving as Papal Legate to Bologna. The two paintings were separated at the end of the eighteenth century. Guercino's increasing tendency towards classicism began in the 1630's when the painter fell under the influence of the late work of Guido Reni. Like its pendant, the Saul Attacking David is a splendid example of his late style, a period in which Guercino brought his investigations into classicising style to their fullest conclusion. Despite the dramatic quality of the narrative, the composition of the painting is extremely balanced: everything centres on the monumentality of the two figures, contrasting protagonists of the scene. Almost frozen in their action, they are displayed entirely in the foreground, as if in a relief sculpture. The chromatic range, light and highly refined, is rather far from the richly impasted mode of the artist's youth, as is the way in which the shadows ably underline the plastic quality of the two personages.Artist:GUERCINO Title: Saul Attacking David Painted in 1601-1650 , Italian - - painting : religious
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GUERCINO
Apparition of Christ to the Virgin
new21/GUERCINO-437959.jpg
1628-30 Oil on canvas Pinacoteca Civica, Cento , Artist: GUERCINO , Apparition of Christ to the Virgin , 1601-1650 , Italian , painting , religious
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GUERCINO
Samson Captured by the Philistines
new23/GUERCINO-963686.jpg
Medium Oil on canvas
Dimensions Expression error: Missing operand for *191.1 ?? 236.9 cm
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GUERCINO
assumption of the Virgin
new23/GUERCINO-798877.jpg
o/c, 116,6 x 92,2 cm, Ackland Art Museum
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GUERCINO
Jacob, Ephraim, and Manasseh, painting by Guercino
new24/GUERCINO-468356.jpg
Jacob, Ephraim, and Manasseh, painting by Guercino
cjr
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GUERCINO
Return of the Prodigal Son
new24/GUERCINO-799467.jpg
Date 1619
Medium Oil on canvas
Dimensions Deutsch: 107 x 143,5 cm Rahmenmaße: 129 x 166 x 11 cm
cyf
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GUERCINO
Personification of Astrology
new24/GUERCINO-577375.jpg
circa 1650-1655
Oil on canvas
80.6 cm x 65.4 cm
cjr
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GUERCINO
Mary Magdalene
new24/GUERCINO-344664.jpg
circa 1624-1625
Medium Oil on canvas
cyf
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GUERCINO
Italian Baroque Era Painter, 1591-1666
best known as Guercino or Il Guercino, was an Italian Baroque painter from the region of Emilia, and active in Rome and Bologna. Guercino is Italian for squinter, a nickname that was given to him because he was cross-eyed. He is especially noted for his many superb drawings. Guercino was born at Cento, a village between Bologna and Ferrara. By the age of 17 he was associated with Benedetto Gennari, a painter of the Bolognese School. By 1615 he moved to Bologna, where his work earned the praise of an elder Ludovico Carracci. He painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, in what appears to be a stark naturalist Caravaggesque style (although it is unlikely he had been able to see any of the Roman Caravaggios first-hand). They were painted for Cardinal Serra, Papal Legate to Ferrara. The Arcadian Shepherds (Et in Arcadia ego) was painted in 1618 contemporary with The Flaying of Marsyas by Apollo in Palazzo Pitti. His first style, he often claimed, was influenced by a canvas of Carracci in Cento. Some of his later pieces approach rather to the manner of his great contemporary Guido Reni, and are painted with more lightness and clearness. Guercino was esteemed very highly in his lifetime. He was then recommended by Marchese Enzo Bentivoglio to the Bolognese Ludovisi Pope, Pope Gregory XV. His two years (1621-23) spent in Rome were very productive. From this stay date his frescoes of Aurora at the casino of the Villa Ludovisi and the ceiling in San Crisogono (1622) of San Chrysogonus in Glory; his portrait of Pope Gregory (now in the Getty Museum, and, what is considered his masterpiece, The Burial of Saint Petronilla or St. Petronilla Altarpiece, for the Vatican (now in the Museo Capitolini). The Franciscan order of Reggio in 1655 paid him 300 ducats for the altarpiece of Saint Luke Displaying a Painting of the Madonna and Child (now in Nelson-Atkins Museum of Art, Kansas City). The Corsini also paid him 300 ducats for the Flagellation of Christ painted in 1657.
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