Painting ID:: 56509
liknelsen om de binda mk248 en detalj fran bruegels sista stora verk syftar pa ett citat ur matteus evangeliet om en blind leder en blinb faller bada i gropen i denna allvarliga allegori over manniskans situation satter de olyvkliga manniskorna som blint k langer sig fast vid sin nasta sin egen fralsning pa spel i stallet for att sjava arneta for uppna den. new20/BRUEGEL, Pieter the Elder-979498.jpg
Painting ID:: 56689
landscape with the fall of lcarus c.1558,oil on wood,29x44 in,74x112 cm,musees royaux des beaux-arts,brussels,belgium new20/BRUEGEL, Pieter the Elder-433527.jpg
Painting ID:: 56701
the judgment of paris mk247
c.1528,oil wood,39.75x28 in,102x71 cm,metropolitan museum of art,new york,usa new20/CRANACH, Lucas the Elder-742556.jpg
Painting ID:: 56773
orpheus in the underworld mk247
1594 to 1600,oil on copper,10x14 in,26x35 cm,palazzo pitti,galeria palatina,florence,ltaly new20/Jan Brueghel The Elder-634948.jpg
Painting ID:: 58286
The Entry of the Animals Into Noah Ark The Entry of the Animals Into Noah's Ark, painted 1613. new20/Jan Brueghel The Elder-949729.jpg
Painting ID:: 59020
Susanna and the Elders, Schonborn Collection, Pommersfelden Susanna and the Elders, Schönborn Collection, Pommersfelden new21/Artemisia gentileschi-854723.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:: 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