Painting ID:: 62292
St John the Evangelist 1577 Black chalk with traces of white, on yellowish paper, 255 x 155 mm Biblioteca Nacional, Madrid The drawing is a study for St John the Evangelist, one of the six canvases that El Greco painted for the altarpiece on the High altar of Santo Domingo el Antiguo in Toledo The drawing, now considerably faded, served a practical purpose. The squaring of the sheet indicates that it was used to transfer the design on to the full-scale canvas. In many respects the painting follows the drawing very closely: the arrangements of the hands, feet and draperies are virtually identical new21/El Greco-596964.jpg
Painting ID:: 62293
Study for St John the Evangelist and an Angel 1596-99 Pen and pale-brown ink and wash on off-white paper, 337 x 210 mm J. Paul Getty Museum, Los Angeles This is one of he very few drawings universally accepted as by El Greco. It is a study for the Crucifixion in the Prado, Madrid. It shows the figure of St John the Evangelist, who in the painting is stationed at the foot of the cross on the right side looking up at the crucified Christ. The pose and the gestures are virtually identical. The principal difference is in the figure of the angel, who in the drawing is very close to the saint, whereas in the painting the figures do not overlap at all new21/El Greco-547657.jpg
Painting ID:: 62330
St John the Evangelist 90 x 77 cm Museo del Prado, Madrid There is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. Author: GRECO, El Title: St John the Evangelist , 1551-1600 , Spanish Form: painting , religious new21/GRECO, El-586896.jpg
Painting ID:: 62369
Saint John the Evangelist's Vision of Jerusalem 1636-37 Oil on canvas, 83 x 44 cm Wallace Collection, London This painting, contracted on 23 November 1635, was executed for the convent church of Santa Paula in Seville. It is evident that the artist had mastered an Italianate manner of painting; the figure of the angel alone is sufficient to corroborate this observation. The partly clad body, the complicated, foreshortened pose, and the mastery of anatomical drawing are unique elements in Sevillian painting of the time, as are the deep perspective of the landscape and the delicate, translucent colours. Cano's mastery of this facile, sophisticated style suggests that he had passed time in Italy, although there is not the slightest evidence that he left the city until his final departure in 1638 new21/Cano, Alonso-265684.jpg
Painting ID:: 62371
Ulysses and Circe - Oil on panel 51 x 81 cm Private collection The present painting depicts an episode from the Odyssey (Bk 10). On their journey home after the Trojan War, Ulysses and his companions came upon the island of the sorceress, Circe. With a magic potion, she transformed the men into swine; however Ulysses, having been forewarned by Mercury and having taken an antidote, was able to resist her magic. The present painting depicts the moment when Circe lifts her wand to touch Ulysses and activate the spell new21/BIJLERT, Jan van-743882.jpg
Painting ID:: 62372
Vanitas 52 x 44 cm Mus?e des Beaux-Arts, Marseille The artist specialized in complex 'Vanitas' pieces of dramatic clarity. The general influence on his art is Netherlandish, and it is likely that his unsigned pictures are still classified under the Northern schools. Most of his pictures are dominated by a grisly skull surrounded by numerous other indications of the brevity of life. He was received into the French Academy in 1663 as a portraitist new21/Renard Emile-668227.jpg
Painting ID:: 62416
Sir Thomas Gresham 1565-70 Oil on panel, 90 x 75,5 cm Rijksmuseum, Amsterdam From 1552 to 1567, the English merchant Thomas Gresham (1519-1579) lived and worked in Antwerp as financial agent of the English crown (`King's merchant'). This prominent social position explains why he had his portrait painted by Mor, who was court artist to Philip II. This Utrecht-born painter was noted for the accurate recording of detail in his portraits. He depicted Gresham as a strong, somewhat reserved personality. Mor also painted a portrait of Gresham's wife, which is likewise in the Rijksmuseum. Author: MOR VAN DASHORST, Anthonis Title: Sir Thomas Gresham , 1551-1600 , Flemish Form: painting , portrait new21/MOR VAN DASHORST, Anthonis-962993.jpg
Painting ID:: 62435
Virgin with the Blessing Child 1450-55 Metalpoint on white paper mounted on pink-coloured sheet, 216 x 133 mm Museum Boijmans Van Beuningen, Rotterdam The Virgin is seated between two columns which stand on a low wall, probably intended as walled loggia or hall with behind it in the middle an opening flanked by columns, as Van der Weyden painted in his St Luke painting the Virgin. The situation is strongly reminiscent of the configuration of nearly all of Memling's enthroned Virgins, so that one wonders whether this drawing might not reflect the ultimate prototype of Memling's formula. This conclusion is further enhanced by the position of the Child who, seated on one of his mother's hands and gently restrained with the other, is turning sideways in an attitude of blessing. This is also Memling's basic motif. The high finish of the modelling and draperies and the summary treatment of the architectural setting seem to suggest a copy drawn by the master himself of the main figure of one of his own paintings. The drawing would thus have been intended as a studio model which later ended up in Bruges workshops. It is impossible, however, to `reconstruct' Van der Weyden's lost painting from the derived versions, which are far too divergent; in some the Mother and Child are worshipped by one or two founders, in others they are surrounded by holy women or flanked by angels. The inscription 'Alberto Durer' at top left is a later addition from the 19th century new21/WEYDEN, Goossen van der-425657.jpg