Painting ID:: 62499
Portrait of Frederik 1832 Oil on canvas, 42 x 38 cm Hirschsprungske Samling, Copenhagen A plant is a significant presence in the portrait that the leading Danish painter of the age, Christen K?bke, painted of his friend Frederik S?dring (1809-62) on his birthday in 1832. The smiling, ruddy cheeked landscape painter is seated palette in hand. The vigorous ivy in a pot behind him has a multiple purpose, standing for the friendship that binds artist and sitter, and the creativity that enables him to mediate between nature and the ideal - represented respectively by the pictures of a cow and of Roman ruins pinned to the wall. Once again, while adopting the organic image of creativity common to Romanticism, K?bke's picture presents a wholesome, outgoing impression of the artist's life. Author: K?BKE, Christen Title: Portrait of Frederik S?dring Form: painting , 1801-1850 , Danish , portrait new21/unknow artist-642564.jpg
Painting ID:: 62548
Cloud Study, Thunder Clouds over the Palace Tower at Dresden 1825 Oil on paper mounted on board, 21 x 22 cm Nationalgalerie, Berlin Dahl visited Italy and was fascinated by his impressions of the ever-changing landscape there. It was not the classical landscape but the landscape of light and the different morphology between Italy and the North that inspired him to paint, mostly in small format. Dahl soon became the most famous Norwegian artist of his time, and he is often seen as a forerunner of plein air painting. He was a master of vivid sketches from nature, and practiced a more naturalistic painting than Caspar David Friedrich. Author: DAHL, Johan Christian Clausen Title: Cloud Study, Thunder Clouds over the Palace Tower at Dresden Form: painting , landscape , 1801-1850 , Norwegian new21/johann christian Claussen Dahl-583748.jpg
Painting ID:: 62551
The Riders of the Apocalypse 1845 Drawing, 472 x 588 cm Staatliche Museen, Berlin This drawing is a study to a monumental fresco. Author: CORNELIUS, Peter Title: The Riders of the Apocalypse Form: graphics , 1801-1850 , German , religious new21/CORNELIUS, Peter-267236.jpg
Painting ID:: 62726
Shoulder the rake bar girls mk285 Watercolor 1878 17.6 x 21.4 cm Washington, National Gallery of Art new21/Winslow Homer-883498.jpg
Painting ID:: 62847
The Epsom Derby 1821 Oil on canvas, 92 x 122 cm Musee du Louvre, Paris Painted in 1821, during Gericault's stay in London, the canvas takes its inspiration from English sporting prints, which frequently depict horses at the 'flying gallop' shown by the painter here. The invention of photography, by allowing the various movements of a galloping animal to be analysed, would allow it to be painted accurately, as Degas was to do in his Race-course paintings. Artist: GeRICAULT, Theodore Title: The Epsom Derby , painting Date: 1801-1850 French : other new21/Theodore Gericault-996945.jpg
Painting ID:: 62855
The Entry of the Crusaders into Constantinople 1840 Oil on canvas Musee du Louvre, Paris Artist: DELACROIX, Eugene Title: The Entry of the Crusaders into Constantinople (detail) , painting Date: 1801-1850 French : historical new21/Eugene Delacroix-965869.jpg
Painting ID:: 63047
Adonis Parting from Venus - Copperplate 40 x 31 cm Kunsthistorisches Museum, Vienna At the end of the 16th century the court of Emperor Rudolph II in Prague was one of the most important art and cultural centre of Europe. The Emperor gathered together important artists: painters, sculptors, goldsmiths, who developed a characteristic style as important as that of the Fontainebleau school flowered at the same period in France. One component of the Rudolphean style was the painting of the Flemish Spranger, another the German Hans von Aachen and the third the Swiss Joseph Heintz. Heintz was in Rome between 1583 and 1587 and was a pupil of Hans von Aachen whom he followed to Prague. He was perhaps the best colorist in Prague and he exerted an influence on the older painter in the Empereor's court. Artist: HEINTZ, Joseph the Elder Painting Title: Adonis Parting from Venus , 1551-1600 Painting Style: Swiss , , mythological new21/HEINTZ, Joseph the Elder-854494.jpg
Painting ID:: 63053
Forest Scene - Oil on oak 56,5 x 87,5 cm National Gallery, Prague Artist: KEIRINCKX, Alexander Painting Title: Forest Scene , 1601-1650 Painting Style: Flemish , , landscape new21/KEIRINCKX, Alexander-756739.jpg
Painting ID:: 63078
The New Town Hall in Amsterdam after 1652 Oil on canvas, 73 x 86 cm Musee du Louvre, Paris This is the second version of the same subject that he completed shortly after the first painting. (The first is in the Galleria degli Uffizi, Florence.) Here the viewpoint is somewhat further to the right and the perspective is different; the foreshortening of the Town Hall's fa?ade is less pronounced, and the lantern's distortion - too strong in the first version - has been corrected. Artist: HEYDEN, Jan van der Painting Title: The New Town Hall in Amsterdam , 1651-1700 Painting Style: Dutch , , landscape new21/HEYDEN, Jan van der-899656.jpg
Painting ID:: 63554
Death of the Virgin 1490 Tempera on oak panel, 150 x 228,5 cm Museum of Fine Arts, Budapest Signed on the censer: HANS. HOLPAIN. At the turn of the sixteenth century Hans Holbein the Elder, famous painter of altarpieces and portraits, was the leading painter of the rich merchant city of Augsburg. The painting in Budapest is one of his finest works and, indeed, one of the most significant works of German painting at that time. The inscription tells us that it was commissioned by Wolfgang Preu, Canon of Rottenbuch between 1490 and 1500 and that it originally decorated the tomb of the Preu family in the Church of St James at Straubing. The death of the Virgin is placed in a contemporary domestic setting. Mary, represented as a middle-class woman of Augsburg and wearing the clothes of the period, is seen lying on her canopied bed with the Apostles grouped about her like her family - one of them, wearing spectacles, is reading from the Bible. The artist follows the medieval tradition of simultaneous narration by depicting the sequel in the same picture: at the top we see the Virgin's soul, in the form of an innocent young girl in white, ascending to heaven to be received by God the Father. The Virgin Mary is seen surrounded by the apostles assembled, according to the Legenda Aurea, by divine miracle from various remote parts of the world for this solemn occasion. Though they cannot have met for a long time, they do not speak to one another; uncontestably the Virgin remains the centre of the scene. Every activity, every gesture of pain is directed towards her. She is seated in their midst, fragile and graceful, with a dreamy face - of all the faces in the picture hers shows the finest painting - and a halo around her head representing the supernatural element which is, however, hidden by a bonnet, a concession to wordly fashion. The picture is, indeed, marked by a mixture of accentuated verisimilar and supernatural elements. The young apostle-sitting before the bed, absorbed in reading and taking no part in the social gathering - who wears a kind of pince-nez in accordance with the customs of those days, is a veritable genre figure. The books lying on the bed, the censers and aspersorium painted with equally meticulous precision became ubiquitous pieces of the still-lifes of subsequent ages. In this painting Holbein, with exquisite taste and force, blends the traditional, late Gothic approach with a new style of representing nature and reality adopted from Netherlandish painting new21/HOLBEIN, Hans the Elder-836386.jpg