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MIGNON, Abraham Still-Life ei57 oil painting


Still-Life ei57
Painting ID::  8219
MIGNON, Abraham
Still-Life ei57
after 1672 Oil on canvas, 92 x 72,7 cm Wallraf-Richartz Museum, Cologne

   
   
     

MIGNON, Abraham Still-Life with Fruits sg oil painting


Still-Life with Fruits sg
Painting ID::  8220
MIGNON, Abraham
Still-Life with Fruits sg
1660s Oil on wood, 40 x 32,5 cm Staatliche Kunsthalle, Karlsruhe

   
   
     

MIGNON, Abraham Fruit Still-Life with Squirrel and Goldfinch g oil painting


Fruit Still-Life with Squirrel and Goldfinch g
Painting ID::  8221
MIGNON, Abraham
Fruit Still-Life with Squirrel and Goldfinch g
Oil on canvas, 80,5 x 99,5 cm Staatliche Museen, Kassel

   
   
     

MIGNON, Abraham Still-Life with Fishes and Bird Nest sg oil painting


Still-Life with Fishes and Bird Nest sg
Painting ID::  8222
MIGNON, Abraham
Still-Life with Fishes and Bird Nest sg
c. 1670 Oil on canvas, 89 x 71,5 cm Museum of Fine Arts, Budapest

   
   
     

MIGNON, Abraham The Nature as a Symbol of Vanitas ag oil painting


The Nature as a Symbol of Vanitas ag
Painting ID::  8223
MIGNON, Abraham
The Nature as a Symbol of Vanitas ag
1665-79 Oil on canvas, 78,7 x 99 cm Hessisches Landesmuseum, Darmstadt

   
   
     

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     MIGNON, Abraham
     Dutch Baroque Era Painter, 1640-1679 Dutch painter, was born at Frankfurt. His father, a merchant, placed him under the still-life painter Jacob Marrel, by whom he was taken to the Netherlands about 1660. He then worked under Jan Davidszoon de Heem at Utrecht, where in 1675 he married the daughter of the painter Cornelis Willaerts. Sibylle Merian (1647-1717), daughter of the engraver Matthew Merian, became his pupil and achieved distinction as a flower painter. He died at Utrecht. Mignon devoted himself almost exclusively to flowers, fruit, birds and other still-life, though at times he also attempted portraiture. His flower pieces are marked by careful finish and delicate handling. His favourite scheme was to introduce red or white roses in the centre of the canvas and to set the whole group of flowers against a dark background. Nowhere can his work be seen to better advantage than at the Dresden Gallery, which contains fifteen of his paintings, twelve of which are signed. Six of his pictures are at the Louvre, four at the Hermitage, and other examples are to be found at the museums of Amsterdam,

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     | GOZZOLI, Benozzo | Paolo Emilio Besenzi | Matthias Stomer |


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