Steve Art Gallery LLC
USA Oil Painting Reproduction

 
 


Painting ID::  3658
Bacchus
1638-40 The Hermitage, St.Petersburg

Peter Paul Rubens Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  28346
Bacchus
1868 watercolour 49.5 x 37 cm (19 1/2 x 14 5/8 in) Private collection (mk63)

Simeon Solomon Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  28444
Bacchus
1867 Oil on paper laid on to Canvas 50.8 x 37.5 cm (20 x 14 3/4 in) Birmingham City Museum and Art Gallery (mk63)

Simeon Solomon Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  29938
Bacchus
mk67 Oil on canvas 37 3/8x33 7/16in Uffizi,Gallery

Caravaggio Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  33251
Bacchus
mk83 1589-1596 oil on canvas 95x85cm

Caravaggio Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  33572
Bacchus
mk86 c.1598 Oil on canvas 98x85cm Florence,Galleria degli Uffizi

Caravaggio Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  34696
Bacchus
mk96 1597 95x85cm

Caravaggio Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  40401
Bacchus
mk156 c.1596 Oil on canvas 95x85cm

Caravaggio Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  41022
Bacchus
mk159 Oil on canvas transferred from panel 191x161.3cm

Peter Paul Rubens Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  54754
Bacchus
mk237 1628-1629 Oil on canvas 165x225cm

VELAZQUEZ, Diego Rodriguez de Silva y Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  63029
Bacchus
1497 Marble, height: 203 cm Museo Nazionale del Bargello, Florence At the age of 21 Michelangelo went to Rome for the first time. We still possess two of the works he created in this period (Bacchus and Piet?; others must have been lost for he spent five years there. The statue of Bacchus was commissioned by the banker Jacopo Galli for his garden and he wanted it fashioned after the models of the ancients. The body of this drunken and staggering god gives an impression of both youthfulness and of femininity. Vasari says that this strange blending of effects is the characteristic of the Greek god Dionysus. But in Michelangelo's experience, sensuality of such a divine nature has a drawback for man: in his left hand the god holds with indifference a lionsksin, the symbol of death, and a bunch of grapes, the symbol of life, from which a Faun is feeding. Thus we are brought to realize, in a sudden way, what significance this miracle of pure sensuality has for man: living only for a short while he will find himself in the position of the faun, caught in the grasp of death, the lionskin. The statue was transferred to Florence in 1572. Artist: MICHELANGELO Buonarroti Painting Title: Bacchus , 1501-1550 Painting Style: Italian , sculpture Type: mythological

Michelangelo Buonarroti Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  89392
Bacchus
between 1638(1638) and 1640(1640) Medium Oil on canvas cyf

Peter Paul Rubens Bacchus oil painting reproduction


   
 

 

 
   
      


Painting ID::  94722
Bacchus
1510-1515 Type Oil on walnut panel transferred to canvas Dimensions 177 cm x 115 cm (70 in x 45 in) cyf

Leonardo  Da Vinci Bacchus oil painting reproduction


   
 

 

 
   
      

Leonardo Da Vinci
Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.
Bacchus
1510-1515 Type Oil on walnut panel transferred to canvas Dimensions 177 cm x 115 cm (70 in x 45 in) cyf

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