mk72
1887
First version Sketch for an unrealized wall-painting in St.Vladimir's Cathedral,Kiev Watercolor and graphite on paper
43.4x59.2cm
Museum of Russian Art,Kiev
Painting ID:: 31182
1522 Silverpoint, 293 x 416 mm Kunsthalle, Bremen The corpse is leaning against the knee of the Magdalen, who is seated on the ground. The Virgin is raising Christ's head and holding his left arm on her lap. St John and Joseph of Arimathea are visible in half length. This is an extremely significant sketch for a painting in the late style, in which form is entirely saturated with expression.Artist:D?RER, Albrecht Title: The Lamentation Painted in 1501-1550 , German - - graphics : religious
Painting ID:: 63633
Peter Paul Rubens 1614(1614)
Medium oil on panel
cyf The Lamentation Flemish Baroque Era Painter, 1577-1640
Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England.
Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635.
His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.
His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.
