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Andrea della Verrocchio David oil painting reproduction


Andrea della Verrocchio

David
1435-1488 Italian Andrea della Verrocchio Gallery
mk176 c.1470 Bronze
Painting ID::  44853
 

 

Caravaggio David oil painting reproduction


Caravaggio

David
Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.
110 x 91 cm Museo del Prado, Madrid This painting addresses the subject of David and Goliath, which the artist repeatedly dealt with later in his career, with a perfect linearity of means and intelligence of iconographic invention. As in the early Renaissance, David is shown as the adolescent who triumphs not by his strength, but by his power of character and his faith. The oblique pose of the figure (David stands partly parallel to the picture plane) is constructed with admirable skill. Caravaggio has a particular importance for Spain, for he originated the realist and 'tenebrist' style of painting that enjoyed such development and popularity there in the work of such artists as Ribera and Zurbar?n. This mature work demonstrates the fundamentals of his art: an emphatic solidity created by a harsh contrast of light and shade; the immediacy created by staging the action right in the foreground, and eliminating all superfluous space around it (conventionally, David would have been given room to stand up, so to speak); the elimination of decoration, such as colour or elegant posture, in order to concentrate on the drama alone
Painting ID::  62390
 

 

Francisco de Zurbaran david oil painting reproduction


Francisco de Zurbaran

david
1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..
1641-1658 oiln on canvas private collection, madrid se
Painting ID::  65730
 

 

Pedro Berruguete David oil painting reproduction


Pedro Berruguete

David
(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
ca. 1500(1500) Medium Oil on wood cyf
Painting ID::  78657
 

 

Pedro Berruguete David oil painting reproduction


Pedro Berruguete

David
(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
. 1500(1500) Medium Oil on wood cyf
Painting ID::  79327
 

 

BERRUGUETE, Pedro David oil painting reproduction


BERRUGUETE, Pedro

David
Spanish Early Renaissance Painter, ca.1450-1504 Pedro Berruguete (c. 1450 ?C 1504) was a Spanish painter, his art is regarded as a transitional style between gothic and renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino. He came back Spain 1482 and painted in several cities as Sevilla, Toledo and Ávila. He was father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
Date ca. 1500(1500) Medium Oil on wood cyf
Painting ID::  79697
 

 

Caravaggio David oil painting reproduction


Caravaggio

David
Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.
between 1606(1606) and 1607(1607) Medium Oil on wood Dimensions Height: 90.5 cm (35.6 in). Width: 116 cm (45.7 in). cjr
Painting ID::  88422
 

 

Domenico Fetti David oil painting reproduction


Domenico Fetti

David
Italian painter , Rome 1589 - Venice 1623 was an Italian Baroque painter active mainly in Rome, Mantua and Venice. Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604-1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron's studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions. In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s?C30s, three "foreigners"??Fetti and his younger contemporaries Bernardo Strozzi and Jan Lys??breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to Caravaggio-influenced realism and monumentality. In Venice where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalised painting style became more painterly and colourful.
circa 1620(1620) Medium oil on canvas cyf
Painting ID::  95769
 

 

Domenico Fetti David oil painting reproduction


Domenico Fetti

David
Italian painter , Rome 1589 - Venice 1623 was an Italian Baroque painter active mainly in Rome, Mantua and Venice. Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604-1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron's studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions. In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s?C30s, three "foreigners"??Fetti and his younger contemporaries Bernardo Strozzi and Jan Lys??breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to Caravaggio-influenced realism and monumentality. In Venice where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalised painting style became more painterly and colourful.
circa 1620(1620) Medium oil on canvas cyf
Painting ID::  95772
 

 

Stefano Magnasco David oil painting reproduction


Stefano Magnasco

David
Italian, born circa Genoa 1635-1665
1862(1862) Medium oil on panel Dimensions 74 X 48 cm cyf
Painting ID::  96823
 

 

Stefano Magnasco
Italian, born circa Genoa 1635-1665
David
1862(1862) Medium oil on panel Dimensions 74 X 48 cm cyf

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