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Tableau:: nude

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Artiste: Joaquin Sorolla

Joaquin Sorolla The Bacchae oil painting picture wholesale

ID de tableau:: 61675
The Bacchae
mk275 1886 Oil on canvas 60 x 75 cm Museum of Art of Puerto Rico Pons

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Artiste: Agnolo Bronzino

Agnolo Bronzino Venus and Cupid oil painting picture wholesale

ID de tableau:: 62079
Venus and Cupid
mk276 1540 Oil on canvas 147 x 117cm National Gallery, London

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Artiste: unknow artist

unknow artist Venus and Cupid oil painting picture wholesale

ID de tableau:: 62080
Venus and Cupid
mk276 Oil on canvas

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Artiste: Cesare da Sesto

Cesare da Sesto Leda and the Swan oil painting picture wholesale

ID de tableau:: 62288
Leda and the Swan
1505-10 Oil on panel, 69,5 x 73,7 cm Wilton House, Salisbury This is a copy after the lost painting by Leonardo da Vinci

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Artiste: El Greco

El Greco Epimetheus and Pandora oil painting picture wholesale

ID de tableau:: 62295
Epimetheus and Pandora
1600s Polychromed wood, height: 43 cm Conde de la Infantas Collection, Granada A few sculptures, including these two strange nudes, have been attributed to El Greco. This attribution is doubtful, however. It is based on the testimony of Pacheco, who saw in El Greco's studio a series of figurines of wax, stucco, and wood, but these may have been merely models, like those used in the Italian workshops where El Greco was trained. The figures illustrated recall certain nudes in paintings by El Greco in their elongated proportions, their supple postures, and their opposition in contrapposto. Nevertheless, they also evoke certain Florentine mannerists, Sansovino or Cellini, and their naturalism and the accentuated musculature of the male figure are surprising for El Greco. The identification of the statuettes is also problematical. Originally thought to represent Adam and Eve or even Vulcan and Venus, they were correctly identified as representing Epimetheus and Pandora in 1961. According to the Greek poet Hesiod, Pandora was the first woman, created from the earth and water. She was brought to life with heavenly fire and married Epimetheus, the brother of Prometheus. Zeus gave her a beautiful box containing all manner of evils and calamities and Pandora or according to some versions of the myth, Epimetheus, opened it, releasing them into the world. These small statuettes are carved in wood and painted in oils, the traditional materials of Spanish polychrome sculpture. They are undocumented works but the attribution to the artist is generally accepted

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Artiste: GIuseppe Cesari Called Cavaliere arpino

GIuseppe Cesari Called Cavaliere arpino Diana and Actaeon oil painting picture wholesale

ID de tableau:: 62379
Diana and Actaeon
1603-06 Oil on copper Museum of Fine Arts, Budapest Author: CESARI, Giuseppe Title: Diana and Actaeon (detail) , 1601-1650 , Italian Form: painting , mythological

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Artiste: Francois Boucher

Francois Boucher Diana Resting after her Bath oil painting picture wholesale

ID de tableau:: 62419
Diana Resting after her Bath
1742 Oil on canvas Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: Diana Resting after her Bath (detail) , 1701-1750 , French Form: painting , mythological

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Artiste: Francois Boucher

Francois Boucher The Odalisk oil painting picture wholesale

ID de tableau:: 62422
The Odalisk
53,5 x 64,5 cm Mus?e du Louvre, Paris Author: BOUCHER, Fran?ois Title: The Odalisk , 1701-1750 , French Form: painting , other

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Artiste: LEICHER, Felix Ivo

LEICHER, Felix Ivo The Morning oil painting picture wholesale

ID de tableau:: 62443
The Morning
34 x 26 cm Museum of Fine Arts, Budapest The companion-piece of the painting, The Evening, is also in the Budapest museum. Author: LEICHER, Felix Ivo Title: The Morning , 1751-1800 , Austrian Form: painting , genre

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Artiste: Hippolyte Flandrin

Hippolyte Flandrin Young Man by the Sea oil painting picture wholesale

ID de tableau:: 62866
Young Man by the Sea
1837 Oil on canvas, 98 x 124 cm Musee du Louvre, Paris This is Flandrin's most popular and recognizable work. Typical of Flandrin, this work uses the nude male figure as a showcase for the stylistic purity of line, modeling, chiaroscuro, and colour. These features are underscored by a mysterious, meditative calm provoked by a moonlit seascape. The youth's body and the environment work together to evoke an aura of poetic lyricism. Artist: FLANDRIN, Hippolyte Title: Young Man by the Sea , painting Date: 1801-1850 French : landscape

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Artiste: Jacques-Louis David

Jacques-Louis David Hector oil painting picture wholesale

ID de tableau:: 62870
Hector
Oil on canvas, 123 x 172 cm Musee Fabre, Montpellier David discovered the dramatically lit and forceful canvases of Caravaggio and his followers, and his full-length male nude and semi-nude studies such as Hector of 1778 and Patroclus of 1780 show how he had begun to use light and shadow to give weight and density to his figures. Artist: DAVID, Jacques-Louis Title: Hector , painting Date: 1801-1850 French : other

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Artiste: Eugene Delacroix

Eugene Delacroix Woman with a Parrot oil painting picture wholesale

ID de tableau:: 62873
Woman with a Parrot
1827 Oil on canvas, 24,5 x 32,5 cm Musee des Beaux-Arts, Lyons Delacroix painted the Recumbent Odalisque, also known as Woman with a Parrot, on his return from England. Representing one of Delacroix's favourite models, Laure, it forms one of a series of nudes, which includes the Female Nude Reclining on a Divan in the Louvre and the Odalisque of the Fitzwilliam Museum, Cambridge. In their tonal refinement they emphasise the connections between Delacroix and Bonington. Artist: DELACROIX, Eugene Title: Woman with a Parrot , painting Date: 1801-1850 French : genre

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Artiste: GOSSAERT, Jan (Mabuse)

GOSSAERT, Jan (Mabuse) Adam and Eve oil painting picture wholesale

ID de tableau:: 63046
Adam and Eve
1520 Oil on panel, 168,9 x 111,4 cm Royal Collection, Windsor This theme occurs at least nine times in Mabuse's painted and graphic oeuvre, but none of these renderings is dated. On grounds of style, however, the present painting would seem to have been undertaken after the Neptune and Amphitrite of 1516 (Berlin, Staatliche Museen) or the Hercules and Deinara of 1517 (Birmingham, Barber Institute of Fine Arts), and to have preceded the Adam and Eve dating from around 1525 (Berlin, Staatliche Museen). In general terms, as his career developed, Mabuse evolved compositions of greater complexity characterised by a repertoire of contorted poses with exaggerated anatomy and a vivid treatment of chiaroscuro. At the same time his technique became altogether freer. The Adam and Eve in the Royal Collection may date from around 1520. Mabuse refers to a number of prints for the poses of Adam and Eve: D?rer's Adam and Eve of 1504, Jacopo de' Barbari's Mars and Venus and Marcantonio Raimondi's Adam and Eve after Raphael. The pose of Eve is perhaps more specifically related to D?rer's engraving known as The Dream of the Doctor, particularly the upper part of the body. Mabuse had visited Italy in 1508-9 and became a prime exponent of Northern Mannerism, a style that evolved principally from the cross-fertilisation of German and Italian art. Quite apart from the large scale of the painting, the prominence of the foreground figures is still further enhanced by the sudden drop down to the middle-ground, dominated by a fountain set in the Garden of Eden. Fanciful architecture of this kind is frequently found in Mabuse's work. He was also a remarkably fine painter of the nude. The treatment of the musculature may not be to modern taste, but it was undoubtedly inspired by classical sculpture. The handling of the hair, especially Eve's long tresses, which may have influenced Milton, was a speciality of the artist. Supplementing the narrative of The Fall as recounted in the second and third chapters of Genesis is a certain amount of symbolism, which is illustrated in Mabuse's work: the two trees represent the Tree of Life and the Tree of Good and Evil, while the plants in the immediate foreground (columbine and sea holly) probably symbolise the contrasting emotions of the fear of God and the lust experienced by Adam and Eve in the Garden of Eden. Adam wears an apron of leaves, but Eve is still technically naked. Mabuse was concerned to paint an epitome of the theme and was therefore disposed to take liberties with the biblical text. This painting was presented by the States-General of Holland to Charles I in 1636. It was sold in 1650 after the death of Charles I, but was recovered at the time of the Restoration. It has been suggested that John Milton, who was appointed Latin Secretary to Cromwell's Council of State in 1649, may have seen the work before it was sold, since the description of Adam and Eve in Paradise Lost (Book 4, lines 300-18) is fairly close. Artist: GOSSAERT, Jan (Mabuse) Painting Title: Adam and Eve , 1501-1550 Painting Style: Flemish , , religious

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Artiste: HEINTZ, Joseph the Elder

HEINTZ, Joseph the Elder Adonis Parting from Venus - Copperplate oil painting picture wholesale

ID de tableau:: 63047
Adonis Parting from Venus - Copperplate
40 x 31 cm Kunsthistorisches Museum, Vienna At the end of the 16th century the court of Emperor Rudolph II in Prague was one of the most important art and cultural centre of Europe. The Emperor gathered together important artists: painters, sculptors, goldsmiths, who developed a characteristic style as important as that of the Fontainebleau school flowered at the same period in France. One component of the Rudolphean style was the painting of the Flemish Spranger, another the German Hans von Aachen and the third the Swiss Joseph Heintz. Heintz was in Rome between 1583 and 1587 and was a pupil of Hans von Aachen whom he followed to Prague. He was perhaps the best colorist in Prague and he exerted an influence on the older painter in the Empereor's court. Artist: HEINTZ, Joseph the Elder Painting Title: Adonis Parting from Venus , 1551-1600 Painting Style: Swiss , , mythological

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Artiste: Albrecht Durer

Albrecht Durer Adam and Eve oil painting picture wholesale

ID de tableau:: 63661
Adam and Eve
1504 Pen drawing with watercolours, 242 x 201 mm The Pierpont Morgan Library, New York D?rer prepared his masterly engraving of Adam and Eve in numerous individual studies. This pen drawing was created immediately before the copper engraving and concentrates entirely on the depiction and three-dimensional structure of the male and female nudes. The body posture of the two figures shown here is already identical down to the last detail with that of the copper engraving.Artist:D?RER, Albrecht Title: Adam and Eve Painted in 1501-1550 , German - - graphics : study

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Artiste: RAFFAELLO Sanzio

RAFFAELLO Sanzio Portrait of a Young Woman oil painting picture wholesale

ID de tableau:: 63786
Portrait of a Young Woman
1518-19 Oil on wood, 85 x 60 cm Galleria Nazionale d'Arte Antica, Rome Much of Raphael's energy during his last years was directed toward public activity, or at least toward commissioners who were influential in city life and life within the Papal States (he designed a villa, known as the Villa Madama, for Cardinal Giulio de' Medici). Furthermore, many critics attribute to him a series of compositions of the Holy Family and of Saints which were then executed by his followers. The famous portrait of a young woman, called La Fornarina, must also be viewed in this perspective, although it is signed, in Latin, "Raphael from Urbino". The signature is engraved on the thin ribbon that the girl wears just under her left shoulder. Tradition identifies her with Margherita Luti, a Sienese woman whom Raphael loved, the daughter of a baker from the Roman district of Santa Dorotea. The stiffness of her features and the heavy chiaroscuro effect make La Fornarina an almost certain workshop piece with the contribution of Raphael, for Raphael's own work from this period is far more delicate. There are several old copies of this painting, the most famous in the Galleria Borghese.Artist:RAFFAELLO Sanzio Title: Portrait of a Young Woman (La Fornarina) Painted in 1501-1550 , Italian - - painting : portrait

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Artiste: RAFFAELLO Sanzio

RAFFAELLO Sanzio Cupid and the Three Graces oil painting picture wholesale

ID de tableau:: 63787
Cupid and the Three Graces
1517 Fresco Villa Farnesina, Rome It was said that only in the presence of the Three Graces could a young man recognize the charms of his beloved. Cupid is looking at the Graces and pointing with his left hand, not at Psyche, but at the loggia itself, the Chigis own world. This is no doubt meant to refer to the lady of the house. Pope Leo X liked Giovanni da Udine's garlands so much that he commissioned the painter to decorate the first floor of the loggia in the Vatican with similar floral motifs.Artist:RAFFAELLO Sanzio Title: Cupid and the Three Graces Painted in 1501-1550 , Italian - - painting : mythological

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Artiste: RAFFAELLO Sanzio

RAFFAELLO Sanzio Apollo and Marsyas oil painting picture wholesale

ID de tableau:: 63802
Apollo and Marsyas
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The shepherd Marsyas had challenged the god Apollo to a musical contest. Marsyas lost and as a punishment for daring to challenge a god he was flayed alive. The scene is an allegory of divine harmony triumphing over earthly passion. With its unrhythmical composition and its elongated figures, this scene is probably by an unknown hand, and not by Raphael.Artist:RAFFAELLO Sanzio Title: Apollo and Marsyas (ceiling panel) Painted in 1501-1550 , Italian - - painting : mythological

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Artiste: RAFFAELLO Sanzio

RAFFAELLO Sanzio Adam and Eve oil painting picture wholesale

ID de tableau:: 63804
Adam and Eve
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This portrayal of the Fall is generally attributed to Raphael. Standing in a distinct contrapposto pose, Eve recalls the figure of Leda in a study by Leonardo da Vinci - Raphael made a drawing of this while he was in Florence.Artist:RAFFAELLO Sanzio Title: Adam and Eve (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious

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Artiste: POUSSIN, Nicolas

POUSSIN, Nicolas The Nurture of Bacchus oil painting picture wholesale

ID de tableau:: 63817
The Nurture of Bacchus
1630-35 Oil on canvas, 97 x 136 cm Mus?e du Louvre, Paris This painting is also called The Childhood of Bacchus or The Small Bacchanal.Artist:POUSSIN, Nicolas Title: The Nurture of Bacchus Painted in 1601-1650 , French - - painting : mythological

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