All MIGNON, Abraham 's Paintings
The Painting Names Are Sorted From A to Z
Oil On Canvas, Real Flavor of Old Masters
Choice ID Image  Painting (From A to Z)       Details 
8224 Flowers sye  Flowers sye   Oil on canvas Gemäldegalerie, Dresden
28382 Fruit  Fruit   mk60 Oil on canvas 35x27 1/2"
8221 Fruit Still-Life with Squirrel and Goldfinch g  Fruit Still-Life with Squirrel and Goldfinch g   Oil on canvas, 80,5 x 99,5 cm Staatliche Museen, Kassel
77383 Nature as a Symbol of Vanitas  Nature as a Symbol of Vanitas   Date between 1665(1665) and 1679(1679) Medium Oil on canvas cyf
19434 Still Life  Still Life   Undated Oil on canvas Wallraf-Richartz-Museum, Cologne.
8219 Still-Life ei57  Still-Life ei57   after 1672 Oil on canvas, 92 x 72,7 cm Wallraf-Richartz Museum, Cologne
8222 Still-Life with Fishes and Bird Nest sg  Still-Life with Fishes and Bird Nest sg   c. 1670 Oil on canvas, 89 x 71,5 cm Museum of Fine Arts, Budapest
8220 Still-Life with Fruits sg  Still-Life with Fruits sg   1660s Oil on wood, 40 x 32,5 cm Staatliche Kunsthalle, Karlsruhe
8223 The Nature as a Symbol of Vanitas ag  The Nature as a Symbol of Vanitas ag   1665-79 Oil on canvas, 78,7 x 99 cm Hessisches Landesmuseum, Darmstadt
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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