Painting ID:: 63933
Crucifixion Triptych 1445 Oil on oak panel, 101 x 35 Kunsthistorisches Museum, Vienna The right wing represents St Veronica.Artist:WEYDEN, Rogier van der Title: Crucifixion Triptych (right wing) Painted in 1401-1450 , Flemish - - painting : religious new21/WEYDEN, Rogier van der-442659.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:: 63939
The Birth of the Virgin 1365 Fresco Rinuccini Chapel, Santa Croce, Florence Agnolo Gaddi, Giovanni da Milano, and Altichiero da Zevio competed in the development of Giotto's figurative space. The plane of the wall as the foremost level of fictive space, combined with perspective in depth, remains. But the paintings of the Rinuccini Chapel in Santa Croce in Florence in 1365 by Giovanni da Milano points up the further possibilities of pictorial architecture in its ornamental framing. The compressed space loses its importance as architectural space and gains in decorative elegance, though even here the figures in the story of the Virgin act within an architectural stageset. The poetry of their movements reflects the refined patterns painted on the frame.Artist:GIOVANNI DA MILANO Title: The Birth of the Virgin Painted in 1301-1350 , Italian - - painting : religious new21/GIOVANNI DA MILANO-733885.jpg
Painting ID:: 63956
The Three Crosses 1653 Drypoint and burin printed on vellum, 381 x 438 mm Metropolitan Museum of Art, New York Rembrandt's romance with drypoint in the 1650s and 1660s is one of the important milestones in the history of printmaking. His inventiveness in this medium led to the creation of compositions that offered more complex visual information and variety of drama than previously had been imagined, and whereas earlier intaglio prints had been translucent and in general rather bodiless, Rembrandt's had a structure and richness of surface that approximate many of his great oil paintings. Moreover, they are illumined by an expressive power that never fails to pierce to the heart of things, whether the subject be, as it is here, a momentous scene from Scripture or the simplest study of still life. , Artist: REMBRANDT Harmenszoon van Rijn , The Three Crosses (second state) , 1601-1650 , Dutch , graphics , religious new21/REMBRANDT Harmenszoon van Rijn-253584.jpg
Painting ID:: 63957
Man with Wide 1632-39 Ink on light-brown paper, 160 x 98 mm Musees Royaux des Beaux-Arts, Brussels Rembrandt van Rijn, the greatest Dutch painter of the 17th century, was also a highly versatile draughtsman and engraver. Most of his more than 1500 drawings were done as exercises in order to examine his subject more closely. These were possibly not intended for sale; Rembrandt kept them in portfolios, classified by subject, as part of his extensive art collection. Later they served as examples for his apprentices or as sources of inspiration for the master himself. Rarer are the autonomous drawings and studies that are directly connected with the production of paintings and engravings. Rembrandt developed the stimuli that he had gained from his teachers Jacob Isaac van Swanenburg and Pieter Lastman into a very personal and original style, as is illustrated by the present drawing. It shows a man, drawn full length and wrapped in a long, wide coat, like the one we also see in Rembrandt's drawings of Pantalone, one example of which is preserved in Hamburg, where he also wears a floppy, broad-rimmed hat with ear-muffs. Rembrandt probably studied the figure of Pantalone, the merchant in the Italian Commedia dell'arte during stage performances at the Amsterdam annual fairs. For his drawings of the actor he also worked from earlier sources such as the engravings of Jacques Callot. The Brussels sketch dates from 1632-39 and belongs to a fairly extensive group of studies of individual figures, without any decor or landscape, produced with gallnut ink on light-brown tinted paper. These are picturesquely apparelled personages such as farmers, beggars, actors and orientals with eye-catching head-dresses. Typical of these rapid sketches is the accuracy with which Rembrandt is able to capture the essence of a movement or an attitude in a few strongly posed strokes and accents. With thin, almost scratchy pen-strokes certain details are expressed in at times considerable detail - the man's eyebrows and cheekbones - whilst other parts, like his coat, are indicated in a highly summary fashion with broad lines, their effect heightened by the way in which the gallnut ink, which contained iron, has soaked into the paper. The suggestive power of these drawings, built up with fluid but carefully placed lines to form a strongly structured pattern, remains unequalled. , Artist: REMBRANDT Harmenszoon van Rijn , Man with Wide-Brimmed Hat , 1601-1650 , Dutch , graphics , study new21/REMBRANDT Harmenszoon van Rijn-666975.jpg
Painting ID:: 64038
Evangeliarum from Saint 1180-1200 Illumination on parchment, 251 x 186 mm Museum Mayer van den Bergh, Antwerp , Artist: MINIATURIST, French , Evangeliarum from Saint-Amand Abbey , 1151-1200 , French , illumination , religious new21/unknow artist-258855.jpg
Painting ID:: 64137
Folio from the Mayer van den Bergh Breviary 1510-15 Illumination on parchment,224 x 160 mm Museum Mayer van den Bergh, Antwerp All the features that earned the Ghent-Bruges workshop its success and fame are present in the Mayer van den Bergh Breviary's miniatures. They include the margin decoration, painted in tromp-l'oeil, often with a strewn flower motif. This new brilliantly detailed observation of nature and representation of the human figure anticipates the Renaissance approach. , Artist: MINIATURIST, Flemish , Folio from the Mayer van den Bergh Breviary , 1501-1550 , Flemish , illumination , religious new21/unknow artist-683969.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
Painting ID:: 64257
Triptych of Virtue of Patience 1521 Oil on oak, 174 x 80 cm (each wing) Musees Royaux des Beaux-Arts, Brussels The triptych, which was very likely commissioned by Margaret of Austria, the governor of the Low Countries, depicts two biblical episodes illustrating the virtues of patience: the Book of Job and the parable of Lazarus the beggar and the rich man. Since the Middle Ages it had been common practice to draw a parallel between the resignation of Job and of Lazarus in the face of misfortune and the constancy of their faith in God. When closed, the triptych depicts the parable of Lazarus. At the bottom of the wings, divided into three symmetrical registers, Lazarus is dying at the rich man's gate, whilst the latter suffers eternal torment. The Italianate pose, and the monumentality and beauty of the nude are inspired by Raphael. In the centre, the rich man's feast, followed by his agony, take place in a sumptuous mansion. His wife, bringing him communion, and the physician, examining his urine, are looking after him whilst, in hell, two demons are torturing him, presenting him with a chalice writhing with serpents and a bowl filled with an infernal liquid. At the top, Lazarus' soul rises up to heaven in the form of a child, first held up by two angels in a transparent bubble, then in the bosom of Abraham. Van Orley creates his masterpiece by marrying the Flemish tradition with the new directions of Italian art and his own inventiveness. The result is a veritable profession of faith in the Renaissance, underlined by the artist's motto, "Elx syne tyt" (each in his time) inscribed on the pillar to the left of the central panel. , Artist: ORLEY, Bernaert van , Triptych of Virtue of Patience (closed) , 1501-1550 , Flemish , painting , religious new21/Bernaert Van Orley-649363.jpg