Oil On Canvas, Real Flavor of Old Masters

All PALMA GIOVANE 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
 A Sibyl ag   c. 1520 Oil on poplar panel, 74 x 55,1 cm Royal Collection, Windsor
Apollo and Marsyas (1) ag, PALMA GIOVANE
 Apollo and Marsyas (1) ag   Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig
Apollo and Marsyas (1)a sg, PALMA GIOVANE
 Apollo and Marsyas (1)a sg   Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig
Bimba a mezzo busto, PALMA GIOVANE
 Bimba a mezzo busto   Oil on cardboard Dimensions Italiano: 38 x 28 cm cyf
Christ supported by two cherubs supporting a Cero, PALMA GIOVANE
 Christ supported by two cherubs supporting a Cero   Info from source: Jacopo Negretti, called " PALMA IL GIOVANE " (1548 Venice 1628), Christ supported by two putti each supporting a Cero, oil on slate, 31 x 25.5 cm author died 1628 cjr
Mars and Venus, PALMA GIOVANE
 Mars and Venus   nn07 probably 1585-90
Mars,Venus and Cupid, PALMA GIOVANE
 Mars,Venus and Cupid   mk170-1585-1590 Oil on canvas 130.9x165.6cm
 PALMA GIOVANE   oil on slate, 31 x 25.5 cm Date Unknown; author died 1628 cyf
Portrait of a Man atgy, PALMA GIOVANE
 Portrait of a Man atgy   1512-15 Oil on canvas, 93,5 x 72 cm The Hermitage, St. Petersburg
Portrait of a Sculptor, PALMA GIOVANE
 Portrait of a Sculptor   mk150 c.1600 Canvas 62x48.5cm
Recreation by our Gallery, PALMA GIOVANE
 Recreation by our Gallery   mk79 About 1580
Recreation by our Gallery, PALMA GIOVANE
 Recreation by our Gallery   mk79 1610-1615
San Giacomo Minore, PALMA GIOVANE
 San Giacomo Minore   oil on canvas Dimensions 158 X 115 cm cyf
Self-Portrait Painting the Resurrection of Christ, PALMA GIOVANE
 Self-Portrait Painting the Resurrection of Christ   1590S Oil on canvas 126x96cm Brera,Milan
 The Pool   1592 Oil on canvas Collezione Molinari Pradelli, Castenaso St John's version (John 5:1-15) of the miracle of the healing of the paralytic lays the scene in Jerusalem at the pool of Bethesda. (According to Matthew, Mark and Luke it took place at Kapernaum.) The place was a resort of the sick since the waters were believed to have miraculous curative powers. It was said that from time to time an angel, traditionally the archangel Gabriel, came and disturbed the water and that the first person to enter it afterwards was healed. But the paralytic had never succeeded in being first. Christ came there and found him. He was ordered to take up his bed and walk and immediately found himself cured. John described it as 'a place with five colonnades', and therefore represented with some such architectural feature. Christ addressing the paralytic who lies at the edge of the pool. Others, sick and infirm crowd the scene. Palma's painting was clearly inspired by the great examples of sixteenth-century Venetian art and in particular by the works of Tintoretto. The composition is typical of Palma the Younger's mature style. Compositional flair, the employment of diagonal perspectives and rich colours almost obliterated by heavy shadow as well as the theatrical eloquence of the gestures and use of foreshortening are all typical characteristics of Palma the Younger's style of painting. When he managed to control all of them, as in this splendid example, he took post-Renaissance Venetian painting, generally considered a dismal period in art, to its highest degree of effectiveness and expression. When, on the other hand, the effects he used degenerated into repetitive formulas, seventeenth-century Venetian art very quickly became monotonous. This painting is a part of the Collezione Molinari Pradelli, the most extensive private collection of seventeenth- and eighteenth-century art in Italy.Artist:PALMA GIOVANE Title: The Pool Painted in 1551-1600 , Italian - - painting : religious

Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works

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