Painting ID:: 63932
St Columba Altarpiece 1455 Oil on oak panel, 138 x 70 cm Alte Pinakothek, Munich The picture shows the Presentation in the Temple, the right panel of the altarpiece executed for the St Columba church in Cologne. According to Mosaic law, all firstborn sons had to be presented to God in the temple. When Mary and Joseph carried out this duty, the pious old Simeon recognized the child as the Redeemer whom, according to a prophecy, he was to see before he died. He thanks God with the words, "Lord, now lettest thou they servant depart in peace, according to thy word." The old prophetess Anna, who also recognizes the Christ, is standing behind Simeon. The servant behind Mary is holding two doves for the sacrifice of purification that followed childbirth.Artist:WEYDEN, Rogier van der Title: St Columba Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-362833.jpg
Painting ID:: 63934
Miraflores Altarpiece 1440 Oil on oak panel, 71 x 43 cm Staatliche Museen, Berlin The right panel of the Miraflores Altarpiece depicts the risen Christ with his mother.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (right panel) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-863666.jpg
Painting ID:: 63935
Miraflores Altarpiece 1440 Oil on oak panel Staatliche Museen, Berlin The scene on the right panel is the only one in this altarpiece that illustrates two events at once: in the foreground we see Christ appearing to the Virgin Mary, while in the background we can see the immediately preceding event, His resurrection on Easter morning. The artist may have thought it necessary to explain the main scene, which was not often painted. The winding road from the tomb to the building in the foreground makes it clear that Christ went to his mother at once, so that she would be the first to experience the joy of reunion with him.Artist:WEYDEN, Rogier van der Title: Miraflores Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-328398.jpg
Painting ID:: 63936
Seven Sacraments 1445-50 Oil on oak panel, 119 x 63 cm Koninklijk Museum voor Schone Kunsten, Antwerp The right wing of the triptych represents the Holy Order, the Matrimony and the Extreme Unction.Artist:WEYDEN, Rogier van der Title: Seven Sacraments (right wing) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-299739.jpg
Painting ID:: 63937
Seven Sacraments Altarpiece 1445-50 Oil on oak panel Koninklijk Museum voor Schone Kunsten, Antwerp The detail of the right panel shows the ordination, the marriage, and the extreme unction. Each sacrament has a side chapel to itself in this panel, so that the architecture a Gothic church ingeniously lies at the heart of the pictorial structure. The range of sacraments begins with the first to be performed in life, baptism, in the foreground of the left panel, and moves on to the last, seen here in the foreground. While the dying man receives extreme unction, his wife stands beside the bed with a candle to place it in his hand at the moment of death.Artist:WEYDEN, Rogier van der Title: Seven Sacraments Altarpiece (detail) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-386799.jpg
Painting ID:: 63950
Fishmonger's 202 x 337 cm Koninklijk Museum voor Schone Kunsten, Antwerp Flemish artists of the 17th century, like Roelandt Savery and Jan van Kessel, use a narrative subject as a vehicle for painting their animals, while Frans Snyders, by contrast, takes a realistic starting point - a market scene - for his painting of the Fishmonger's. The dramatic, large format was also used for hunting scenes. , Artist: SNYDERS, Frans , Fishmonger's , 1601-1650 , Flemish , painting , still-life new21/SNYDERS, Frans-257269.jpg
Painting ID:: 63951
The Fishmonger 170 x 145 cm Rockox House, Antwerp This is the surviving left segment of The Fishmonger with a figure by one of Rubens' pupils, and a view of the Antwerp wharf in the background. , Artist: SNYDERS, Frans , The Fishmonger , 1601-1650 , Flemish , painting , still-life new21/SNYDERS, Frans-338222.jpg
Painting ID:: 64224
Storm on the Sea 60 x 85 cm National Gallery, Prague , Artist: PEETERS, Bonaventura the Elder , Shipwreck , 1601-1650 , Flemish , painting , landscape new21/PEETERS, Bonaventura the Elder-799792.jpg
Painting ID:: 64256
Construction of the 1669 Oil on canvas, 103 x 138,5 cm Royal Collection, London The Cheteau de Versailles, a 17th-century palace built by Louis XIV, was the principal residence of the kings of France and the seat of the government for more than 100 years. The first scenes of the French Revolution were also enacted at the palace, whose gardens, the masterpiece of AndreLe Netre, have become part of the national heritage of France and one of the most visited historic sites in Europe. Although it was a place of entertainment, the grandiose palace was also well equipped as a centre of government. Of about 20,000 persons attached to the court, some 1,000 courtiers with 4,000 attendants lived in the palace itself. About 14,000 soldiers and servants were quartered in annexes and in the town, which was founded in 1671 and had 30,000 inhabitants when Louis XIV died in 1715. The palace of Versailles led to the French court style in interior decoration and furnishings. Versailles was intended to be the outward and visible expression of the glory of France, and of Louis XIV, then Europe's most powerful monarch. His finance minister, Colbert, set up a manufactory that made works of art of all kinds, from furniture to jewellery, for interior decoration. A large export trade took French styles to almost every corner of Europe, made France a centre for luxuries, and gave to Paris an influence that has lasted till the present day. The vast initial cost of Versailles has been more than recouped since its completion. Even Louis XIV's most violent enemies imitated the decoration of his palace at Versailles. In 1667 Charles Le Brun was appointed director of the Gobelins factory, which had been bought by the King, and Le Brun himself prepared designs for various objects, from the painted ceilings of the Galerie des Glaces (Hall of Mirrors) at Versailles to the metal hardware for a door lock. , Artist: MEULEN, Adam Frans van der , Construction of the Cheteau de Versailles , 1651-1700 , Flemish , painting , historical new21/MEULEN, Adam Frans van der-885684.jpg