Painting ID:: 62814
Isaac van Amburgh and his Animals 1839 Oil on canvas Royal Collection, Windsor Van Amburgh reclines in the cage surrounded by a tiger, a lion, a lioness and two leopards. He wears a coat of mail, presumably not as a form of protection but perhaps, judging by the footwear, as a form of costume (part Roman and part medieval). There are scratches on the skin of his right forearm and on his neck. The sheen on the coats of the animals reveals Landseer's superb technique, as in the balance between the underpaint and the highlight on the lioness, or the spots visible beneath the top layer of paint on the two leopards. Artist: LANDSEER, Sir Edwin Henry Title: Isaac van Amburgh and his Animals (detail) , painting Date: 1801-1850 English : genre new21/Sir Edwin Landseer-249937.jpg
Painting ID:: 62975
Scenes from the Life of St John the Evangelist St John on Patmos (detail) 1320 Fresco, width of detail 89 cm Peruzzi Chapel, Santa Croce, Florence Artist: GIOTTO di Bondone Painting Title: Scenes from the Life of St John the Evangelist: 1. St John on Patmos (detail) , 1301-1350 Painting Style: Italian , , religious new21/GIOTTO di Bondone-487868.jpg
Painting ID:: 63065
Adoration of the Magi 1526-28 Oak, 251 x 185 cm Gem?ldegalerie, Dresden The painting, coming probably from a church in Genoa, was attributed to D?rer in the 16th century. Artist: CLEVE, Joos van Painting Title: Adoration of the Magi , 1501-1550 Painting Style: Flemish , , religious new21/CLEVE, Joos van-429892.jpg
Painting ID:: 63071
Self-portrait 1740s Oil on canvas, 65 x 50,2 cm Museum of Fine Arts, Budapest Meytens's earliest self-portrait, a young painter's portrait with a turban, in the painters' gallery of Florences's Uffizi, was made during his Italian residence in 1727. This was followed in 1735 by a half-figure self-portrait, which can be found in two versions, in Sibiu's Muzeul Brukenthal, and in Ludwigsburg Gallery. The Budapest self-portrait belongs to a later period, and shows a slightly changed, somewhat more corpulent man. His face is still youthfully smooth, but already fattish, and he wears an Allonge-wig. His pose refers to his courtly position and special honours. A gold chain on his breast holds the medal he got in 1730 from Frederic, King of Sweden during his activity in Stockholm, and he ostentatiously shows with his right hand the medallion portrait of Empress Maria Theresia. Another half-figure portrait, now kept in the Viennese Gem?ldegalerie der Akademie der bildenden K?nste, as well as a painting in a Stockholm private collection, show the master some years older and of even more authority. Compared to these portraits and to the one engraved by Johann Gottfried Haid in 1756, our painting can probably be ascribed to the 1740s. Artist: MEYTENS, Martin van Painting Title: Self-portrait , 1701-1750 Painting Style: Austrian , , portrait new21/MEYTENS, Martin van-749338.jpg
Painting ID:: 63072
Empress Maria Theresa Oil on canvas Town Hall, Ghent This portrait of the Empress is in the reception salon of the Ghent Town Hall. The dress of Flemish lace that she is wearing was a gift to her from the states of Flanders. The dress was made by Ghent orphans. Out of gratitude for this expensive present, Maria Theresa allowed her portrait to be painted by her court painter, Martin van Meytens, after which the completed work was handed over to the members of the states. Artist: MEYTENS, Martin van Painting Title: Empress Maria Theresa , 1701-1750 Painting Style: Austrian , , portrait new21/MEYTENS, Martin van-828237.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:: 63085
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin Annunciate is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious new21/EYCK, Jan van-646575.jpg
Painting ID:: 63086
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Virgin Annunciate is one of the wings of a small portable diptych. The other wing representing the Angel Annunciating is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious new21/EYCK, Jan van-577954.jpg
Painting ID:: 63099
Crucifixion with Mary and St John the Evangelist 1400-50 Tempera on wood The Hermitage, St. Petersburg Artist: ANTONIO DA FIRENZE Painting Title: Crucifixion with Mary and St John the Evangelist (detail) , 1401-1450 Painting Style: Italian , , religious new21/Antonio da Firenze-568759.jpg
Painting ID:: 63527
Portrait of a Young Man 1500 Oil on wood, 31 x 26 cm Galleria degli Uffizi, Florence This work, along with the Portrait of a Young Man conserved in the Galleria Capitolina, is recorded in the Inventories of 1753 as a self portrait, and as such it continues to be regarded, even though this supposition lacks any scientific foundation. The portrait is highly distinctive, the face having a mellow, moulded quality accentuated by its halo of soft curls and the round clouds which fill the sky in the background.Artist:BELLINI, Giovanni Title: Portrait of a Young Man Painted in 1451-1500 , Italian - - painting : portrait new21/Giovanni Bellini-787697.jpg
Painting ID:: 63622
Lucas van Leyden 1521 Chalk and charcoal, 368 x 255 mm British Museum, London The legend (below left), "effigies Lucae Leidensis," is not by D?rer. The "L [Lucas] 1525" above it shows that the drawing was once given out to be a work of the Dutch artist. If that was incorrect, it still cannot be denied that in its calm physiognomy the drawing is close to the Dutch manner. The hair falling in strands is not stylised in D?rer's fashion. The whole piece is in the severe manner of the late period, with a strongly emphasized contrast between the fundamental horizontal and vertical directions. The background is dark and uniform.Artist:D?RER, Albrecht Title: "Lucas van Leyden" Painted in 1501-1550 , German - - graphics : portrait new21/Albrecht Durer-496852.jpg
Painting ID:: 63759
Jupiter and Dana 1736 Oil on canvas Universitet Konsthistoriska Institutionen, StockholmArtist:TIEPOLO, Giovanni Battista Title: Jupiter and Dana? Painted in 1701-1750 , Italian - - painting : mythological new21/Giovanni Battista Tiepolo-752533.jpg
Painting ID:: 63761
Apollo and the Continents 1752-53 Fresco, 1900 x 3050 cm Stairwell of the Residenz, W?rzburg The picture shows an overall view of the ceiling, photographed from below. The perspectival distortion at the edges of the overall view of the ceiling fresco tell us that this was never intended as a vantage point for the visitor. Instead, the fresco was to open out to the viewer as he ascended the staircase. Apollo is portrayed in the centre of the heavens, Venus and Mars rest on a cloud below him, while the zodiac appears on a band behind them with the four seasons to the left. The Horae can be recognized by their butterfly wings. The upper part of the fresco is meant to be viewed from the opposite angle and shows Mercury and, a little below him, the gods Diana, Jupiter and Saturn. The composition of the ceiling fresco takes into account the many viewpoints available to the visitor, who changes direction several times during his climb up the stairs, and who cannot take in the whole fresco at a glance. Tiepolo's achievements in composing this fresco are twofold: he takes into consideration the way in which only parts of the fresco are visible to the viewer as he climbs, and he presents independent pieces which nevertheless fuse into a harmonic whole. From the foot of the stairs the viewer first sees the continent of America, whose personification points with outstretched arm to a banner showing the mythical creature the griffin, a first allusion to the client. On entering the stairwell, a wider picture is revealed, giving a view of the dramatic cloud formations which push open the skies, and of the figure of Apollo, bathed in radiant light. Halfway up the first flight of stairs, more of the long sides of the fresco are revealed, with Africa on the right and Asia on the left. The groups of figures await the visitor almost like a court society. After this first flight, the viewer must change direction and now sees the portrayal of Europe for the first time on the short side opposite. The flourishing arts are symbolized here, partly personified by the artists involved in the construction of the Residence. Above them, the Prince-Bishop's portrait medallion is borne aloft through the heavens by geni and allegorical figures. Like Apollo, who cannot be seen from here, it too lets its light shine forth over the world. In comparison to the other Continents, the Europa fresco is statically conceived. This, and the sometimes frontal arrangement of its figures, causes the viewer to pause and so constitutes a first high point on the way to the Imperial Hall. The fresco was, therefore, never laid out with an overall view in mind, and the criticisms of the largely empty areas of sky at its centre which were later to be frequently voiced, are thus unfounded. Instead we are captivated by the harmonic perfection through which both architecture and painted decoration serve the same purpose: the magnificent staging of the ceremonial path through the Residence.Artist:TIEPOLO, Giovanni Battista Title: Apollo and the Continents Painted in 1701-1750 , Italian - - painting : mythological new21/Giovanni Battista Tiepolo-635843.jpg
Painting ID:: 63762
Portrait of Philip the Good 1520 Oil on oak panel, 29 x 21 cm Staatliche Museen, Berlin This panel is one of the many copies of a portrait of the duke painted by Rogier van der Weyden probably around 1450, or soon after. The duke, who was just over 50 at the time, wears the chain of the Order of the Golden Fleece, its links representing the flints and steels used to make fire.Artist:WEYDEN, Rogier van der Title: Portrait of Philip the Good Painted in 1401-1450 , Flemish - - painting : portrait new21/WEYDEN, Rogier van der-628252.jpg
Painting ID:: 63764
Education of the Virgin 1732 Oil on canvas S. Maria della Consolazione (Fava), Venice The figures in this altarpiece are portrayed more as the heroines of noble dramas than as saints. They combine true pathos with elegant sensuality, as if they were creatures of some higher human species. At the same time, however, they are firmly linked to our sense of everyday life through the descriptive details which are so naturalistic as to border on trompe-l'oeil. In the centre of the representation, in front of a magnificent architectural backdrop, stands Mary as a young girl, reading from an open book, and instructed by her mother, who sits next to her. Her father, standing to her right, is deep in prayer and has his eyes raised towards Heaven. What is striking about the composition, is the diagonal line which runs from the three angels' heads beneath the book to the three large angels above Mary, and which symbolizes the way to the Kingdom of Heaven.Artist:TIEPOLO, Giovanni Battista Title: Education of the Virgin Painted in 1701-1750 , Italian - - painting : religious new21/Giovanni Battista Tiepolo-922569.jpg
Painting ID:: 63765
John the Baptist Preaching 1732-33 Fresco, 350 x 300 cm Cappella Colleoni, Bergamo The impressive figure of John the Baptist, delivering his sermon with raised forefinger from the top of a rock in the landscape, dominates the right-hand side of the picture. His cross staff and the lamb at his feet refer to the fate of Christ. The left-hand side of the picture is almost completely taken up by men, women and children, who listen spellbound to the sermon. The young woman placed in the very centre of the picture breast-feeding her child, who thus conforms to the standardized portrayal of the Madonna and Child, can be understood as an allusion to the birth of Christ, which is the subject of John's sermon.Artist:TIEPOLO, Giovanni Battista Title: John the Baptist Preaching Painted in 1701-1750 , Italian - - painting : religious new21/Giovanni Battista Tiepolo-446647.jpg
Painting ID:: 63766
The Scourge of the Serpents The Scourge of the Serpents (detail) 1732-35 Oil on canvas, 164 x 1356 cm (complete frieze) Gallerie dell'Accademia, Venice During the 1720s Giambattista Tiepolo developed a new colouristic style of painting derived in principle from the dazzling palette of Veronese and the no less brilliant one of Sebastiano Ricci. Rejecting the tenebrous colour of Piazzetta, we witness in Tiepolo the triumph of colour with a richness of resonance and counterpoint elaborated within the ordered and monumental composition. The great frieze, originally below the choir of the Venetian church of SS. Cosma and Damiani on the Giudecca (Zanetti 1771), is a fine example of Tiepolo's work of the 1730s. The painting in its ornate stucco frame decorated with fruit, flowers and leaves is over 13 metres long. Three episodes are depicted with a decorative illusionism contrasting with the declared realist-narrative intent, rendering the painting somewhat melodramatic effect.Artist:TIEPOLO, Giovanni Battista Title: The Scourge of the Serpents (detail) Painted in 1701-1750 , Italian - - painting : religious new21/Giovanni Battista Tiepolo-697997.jpg
Painting ID:: 63767
Christ Carrying the Cross 1737-38 Oil on canvas, 450 x 517 cm Sant'Alvise, Venice The subject of the painting is Christ's carrying of the cross to the hill of Golgotha, which rises up in the centre of the picture as a tall rock, the crosses already erected upon it. Directly beneath it in the foreground we see Christ in a flame red robe. He has collapsed under the heavy weight of the cross. To the right, Veronica, holding the sudarium, turns away from the dramatic scene, visibly moved. To the left, the two thieves likewise condemned to crucifixion are being led forward. In the exact centre of the picture, between Christ's cross and the hill of Golgotha, and directly facing the viewer, are the figures of Jesus' disciples, together with Mary and Mary Magdalene. Brightly illuminated, they stand out symbolically from the other figures.Artist:TIEPOLO, Giovanni Battista Title: Christ Carrying the Cross Painted in 1701-1750 , Italian - - painting : religious new21/Giovanni Battista Tiepolo-594436.jpg
Painting ID:: 63769
The Three Angels Appearing to Abraham 1726-1729 Fresco, 4000 x 2000 cm Palazzo Patriarcale, Udine Abraham kneels in prayer, awed by the appearance of the three angels, who float on a very solid-looking white cloud. The scene illustrates both the promise to make Abraham "a father of many nations" and the favour shown by God towards him, as described in the book of Genesis. Although the divine origin of the angels is made clear by their being placed in the upper portion of the picture, Tiepolo has portrayed them with very human features.Artist:TIEPOLO, Giovanni Battista Title: The Three Angels Appearing to Abraham Painted in 1701-1750 , Italian - - painting : religious new21/Giovanni Battista Tiepolo-866484.jpg