|
Matthias Stomer
|
||||
|
|
||||
| Amersfoort ca.1600-Sicily after 1650 | ||||
|
|
||||
|
Christ in Emmaus new17/Matthias Stomer-565678.jpg Painting ID:: 45479 |
mk186 around 1633-39 Madrid, Museo Thyssen-Bornemisza | ||
|
|
||||
|
unknow artist
|
||||
|
|
||||
|
|
||||
|
Christ in Emmaus new17/unknow artist-259244.jpg Painting ID:: 45502 |
mk186 around 1626-29 Cento, Pinacoteca Civica | ||
|
|
||||
|
Rembrandt van rijn
|
||||
|
|
||||
| 1606-1669 Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology. | ||||
|
|
||||
|
Christ in Emmaus new17/Rembrandt van rijn-447663.jpg Painting ID:: 45528 |
nj186 1648 Paris muse you Louvre | ||
|
|
||||
|
Jacopo Bassano
|
||||
|
|
||||
| Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique. | ||||
|
|
||||
|
Christ in Emmaus new17/Jacopo Bassano-286896.jpg Painting ID:: 45564 |
mk186 around 1538 forts Worth Kimbell type museum | ||
|
|
||||
|
Also Buy::. For Following Paintings / Artists / Products, Please Use Our Search Online: |