Steve Art Gallery LLC
USA Oil Painting Reproduction

 
 


Painting ID::  27521
The flagellation
mk56 a pair,both oil on panel

unknow artist The flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  37442
The Flagellation
mk126

James Ensor The Flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  64943
the flagellation
urbino, gallery nazionale delle marche oil and tempera on panel 58.4 by 81.5cm se

Piero della Francesca the flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  64980
the flagellation
detail, urbino galleria nazionale se

Piero della Francesca the flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  86843
The Flagellation
Date c. 1455(1455) Medium Oil and tempera on panel Dimensions Height: 59 cm (23.2 in). Width: 82 cm (32.3 in). cjr

Piero della Francesca The Flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  88874
The Flagellation
1590(1590) Medium Oil on canvas cyf

Domenico Tintoretto The Flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  91670
The Flagellation
1455(1455) Medium oil and tempera on panel Dimensions Height: 59 cm (23.2 in). Width: 82 cm (32.3 in). cyf

Piero della Francesca The Flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  96864
The Flagellation
circa 1590(1590) Medium oil on canvas cyf

Domenico Tintoretto The Flagellation oil painting reproduction


   
 

 

 
   
      


Painting ID::  98302
The Flagellation
circa 1455(1455) Medium oil and tempera on panel cyf

Piero della Francesca The Flagellation oil painting reproduction


   
 

 

 
   
      

Piero della Francesca
Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.
The Flagellation
circa 1455(1455) Medium oil and tempera on panel cyf

Related Paintings::.
| Pilgrimage to the Church of San Isidro | A Group of Sioux, detail | Trials of Moses (mk36) |


        
 
   
 

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