Las Reproducciones del Oleo de Europa España no Mínimo

 
 

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Aert van der Neer

1603-1677 Dutch

Pintura Identificación::  1038
Winter Landscape
Paisaje de Invierno
Pinakothek, Munich
Pinakothek, Munich
1603-1677 Dutch

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  3273
Winter Landscape
Invierno
Rijksmuseum, Amsterdam
RijksMuseo, Amsterdam
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Jan van de Capelle

seascape master Dutch Baroque Era Painter, C.1624-1679

Pintura Identificación::  10214
Winter Landscape
Invierno
1650Oil on wood Rijksmuseum Twenthe,Enschede
1650Óleo en Madera RijksMuseo Twenthe,Enschede
seascape master Dutch Baroque Era Painter, C.1624-1679

   
 

 

 
   
      

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Jacob van Ruisdael

Dutch Baroque Era Painter, ca.1628-1682

Pintura Identificación::  10244
Winter Landscape
Invierno
1670 Oil on canvas 42 x 49,7 cm Rijksmuseum, Amsterdam
1670 Óleo en lona 42 x 49,7 cm RijksMuseo, Amsterdam
Dutch Baroque Era Painter, ca.1628-1682

   
 

 

 
   
      

This artist (Mashkov, Ilya) is not available now.

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Michau, Theobald

Flemish Painter, 1676-1765

Pintura Identificación::  19421
Winter Landscape
el Paisaje de Invierno
Galerie J.O. Leegenhoek, Paris.
Galerie J.O. Leegenhoek, París.
Flemish Painter, 1676-1765

   
 

 

 
   
      

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OSTADE, Isaack van

Dutch Baroque Era Painter, 1621-1649

Pintura Identificación::  32438
Winter Landscape
el Paisaje de Invierno
c. 1643 Oil on wood, 71,5 x 113,5 cm
C. 1643 Petróleoen la madera, 71.5 X 113.5 cm
Dutch Baroque Era Painter, 1621-1649

   
 

 

 
   
      

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Joos de Momper

Flemish Baroque Era Painter, 1564-1635

Pintura Identificación::  33660
Winter Landscape
el Paisaje de Invierno
mk86 c.1620 Oil on panel 49.5x82.5cm
mk86 C. 1620 Petróleo enpone panel 49.5x82.5cm
Flemish Baroque Era Painter, 1564-1635

   
 

 

 
   
      

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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669

Pintura Identificación::  34479
Winter Landscape
el Paisaje de Invierno
mk93 1646 Oil on panel 6 5/8x9in Gemaldegalerie,Kassel
mk93 1646 Engrasanen el entrepaño 6 Gemaldegalerie 5/8x9in, Kassel
Born 1606, Died 1669

   
 

 

 
   
      

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Jacob van Ruisdael

Dutch Baroque Era Painter, ca.1628-1682

Pintura Identificación::  50075
Winter Landscape
mk207 Signed,lower right Late 1660s Canvas 5.2x68.6cm
Dutch Baroque Era Painter, ca.1628-1682

   
 

 

 
   
      

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Caspar David Friedrich

1774-1840 Caspar David Friedrich Locations

Pintura Identificación::  52599
Winter Landscape
1811 Oil on canvas, 33 x 46 cm
1774-1840 Caspar David Friedrich Locations

   
 

 

 
   
      

This artist (Wassily Kandinsky) is not available now.

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Cornelius Krieghoff

Dutch-born Canadian Painter, 1815-1872

Pintura Identificación::  65387
Winter Landscape
oil on canvas painting by Cornelius Krieghoff, 1849, National Gallery of Canada
Dutch-born Canadian Painter, 1815-1872

   
 

 

 
   
      

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Cornelius Krieghoff

Dutch-born Canadian Painter, 1815-1872

Pintura Identificación::  69641
Winter Landscape
oil on canvas painting by Cornelius Krieghoff, , National Gallery of Canada
Dutch-born Canadian Painter, 1815-1872

   
 

 

 
   
      

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Rembrandt Peale

1778-1860 Rembrandt Peale Galleries

Pintura Identificación::  70692
Winter landscape
Medium Oil on oak panel Dimensions Expression error: Missing operand for *17 ?? 23 cm
1778-1860 Rembrandt Peale Galleries

   
 

 

 
   
      

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Alexander Theobald Van Laer

Alexander Theobald Van Laer (1857-1920) was an American painter, born at Auburn, New York. He studied at the Art Students League of New York

Pintura Identificación::  71433
Winter Landscape
ca. 1907(1907) Oil on canvas 81.8 x 71 cm (32.2 x 27.95 in)
Alexander Theobald Van Laer (1857-1920) was an American painter, born at Auburn, New York. He studied at the Art Students League of New York

   
 

 

 
   
      

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Alexander Theobald Van Laer

Alexander Theobald Van Laer (1857-1920) was an American painter, born at Auburn, New York. He studied at the Art Students League of New York

Pintura Identificación::  72568
Winter Landscape
Date ca. 1907(1907) Medium Oil on canvas Dimensions 81.8 X 71 cm (32.2 X 27.95 in) cyf
Alexander Theobald Van Laer (1857-1920) was an American painter, born at Auburn, New York. He studied at the Art Students League of New York

   
 

 

 
   
      

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Caspar David Friedrich

1774-1840 Caspar David Friedrich Locations

Pintura Identificación::  73868
Winter Landscape
Winter Landscape 1811 cjr
1774-1840 Caspar David Friedrich Locations

   
 

 

 
   
      

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Denys Van Alsloot

Malines 1570-Brussels 1628

Pintura Identificación::  76451
Winter Landscape
Date 1610(1610) Medium Oil on wood cyf
Malines 1570-Brussels 1628

   
 

 

 
   
      

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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669

Pintura Identificación::  80813
Winter Landscape
Date 1646(1646) Medium Oil on oak Dimensions Height: 17 cm (6.7 in). Width: 23 cm (9.1 in). cjr
Born 1606, Died 1669

   
 

 

 
   
      

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Camille Pissarro

Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903

Pintura Identificación::  82141
Winter Landscape
Date 1873(1873) Medium Oil on canvas Dimensions 52 x 81 cm (20.5 x 31.9 in) cjr
Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903

   
 

 

 
   
      

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Isaac van Ostade

(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

Pintura Identificación::  83959
Winter Landscape
Date ca. 1643(1643) Medium Oil on wood cjr
(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

   
 

 

 
   
      

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Georges Buysse

painted Winter Landscape in 19th century

Pintura Identificación::  84254
Winter Landscape
Date 19th century Medium Oil on panel Dimensions 26.5 x 36.5 cm (10.4 x 14.4 in) cjr
painted Winter Landscape in 19th century

   
 

 

 
   
      

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Rembrandt Peale

1778-1860 Rembrandt Peale Galleries

Pintura Identificación::  84989
Winter Landscape
1646(1646) Medium Oil on oak cyf
1778-1860 Rembrandt Peale Galleries

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  85482
Winter landscape
Oil on wood Dimensions ∅18,2 cm cjr
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Esaias Van de Velde

1591-1630 Dutch Esaias Van de Velde Gallery

Pintura Identificación::  85583
Winter Landscape
Date 1623(1623) Medium Oil on wood Dimensions Height: 25.9 cm (10.2 in). Width: 30.4 cm (12 in). cjr
1591-1630 Dutch Esaias Van de Velde Gallery

   
 

 

 
   
      

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Jan van de Cappelle

1624-1679 Dutch Jan van de Cappelle Locations

Pintura Identificación::  85799
Winter Landscape
Date 1650s Medium Oil on wood cjr
1624-1679 Dutch Jan van de Cappelle Locations

   
 

 

 
   
      

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Gijsbrecht Leytens

(1586-1643 or 1656), also known as The Master of the Winter Landscapes, was a Flemish Baroque painter who specialized in winter landscapes influenced by Jan Brueghel the Elder and Gillis van Coninxloo. He became a master in Antwerp's guild of St. Luke in 1611, but little else is known of his career. Like his contemporaries in Antwerp, Abraham Govaerts and Alexander Keirincx, Leytens painted wooded landscapes populated with small figures, bracketed by strong repoussoir trees. His paintings, however, were generally winter scenes, a recognized specialty known as a Winterken ("little winter").

Pintura Identificación::  86369
Winter Landscape
Date first half of 17th century Medium Oil on oak panel Dimensions Height: 42 cm (16.5 in). Width: 64 cm (25.2 in). cjr
(1586-1643 or 1656), also known as The Master of the Winter Landscapes, was a Flemish Baroque painter who specialized in winter landscapes influenced by Jan Brueghel the Elder and Gillis van Coninxloo. He became a master in Antwerp's guild of St. Luke in 1611, but little else is known of his career. Like his contemporaries in Antwerp, Abraham Govaerts and Alexander Keirincx, Leytens painted wooded landscapes populated with small figures, bracketed by strong repoussoir trees. His paintings, however, were generally winter scenes, a recognized specialty known as a Winterken ("little winter").

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  86939
Winter Landscape
between 1605(1605) and 1610(1610) Medium Oil on oak cyf
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  86940
Winter Landscape
first half of 17th century Medium Oil on wood cyf
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Isaac van Ostade

(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

Pintura Identificación::  87811
Winter Landscape
1643(1643) Medium Oil on wood cyf
(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

   
 

 

 
   
      


Pintura Identificación::  88505
Winter Landscape
1889(1889) Medium English: oil on canvas Dimensions Deutsch: 46.4 x 55.9 cm cjr
1852-1896

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  89597
Winter landscape
Oil on wood Dimensions ∅18,2 cm cyf
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Esaias Van de Velde

1591-1630 Dutch Esaias Van de Velde Gallery

Pintura Identificación::  89670
Winter Landscape
1623(1623) Medium oil on panel cyf
1591-1630 Dutch Esaias Van de Velde Gallery

   
 

 

 
   
      

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Jan van de Cappelle

1624-1679 Dutch Jan van de Cappelle Locations

Pintura Identificación::  89985
Winter Landscape
1650s Medium oil on panel cyf
1624-1679 Dutch Jan van de Cappelle Locations

   
 

 

 
   
      

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John Henry Twachtman

American Impressionist Painter, 1853-1902

Pintura Identificación::  90746
Winter Landscape
1890-1900 Medium oil on canvas Dimensions Français : 76.5 x 76.5 cm cjr
American Impressionist Painter, 1853-1902

   
 

 

 
   
      

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Klaes Molenaer

(1630, Haarlem - 1676, Haarlem), was a Dutch Golden Age painter. According to the RKD he was the brother of the painters Bartholomeus and Jan Miense Molenaer. He became a member of the Haarlem Guild of St. Luke in 1651 and paid dues yearly until 1676.He was a landscape painter influenced by Jacob van Ruisdael.

Pintura Identificación::  91865
Winter landscape
17th century Medium oil on canvas cyf
(1630, Haarlem - 1676, Haarlem), was a Dutch Golden Age painter. According to the RKD he was the brother of the painters Bartholomeus and Jan Miense Molenaer. He became a member of the Haarlem Guild of St. Luke in 1651 and paid dues yearly until 1676.He was a landscape painter influenced by Jacob van Ruisdael.

   
 

 

 
   
      

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Isaac van Ostade

(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

Pintura Identificación::  96665
Winter Landscape
circa 1643(1643) Medium oil on panel cyf
(bapt. June 2, 1621, Haarlem - buried October 16, 1649, Haarlem) was a Dutch genre and landscape painter. Van Ostade began his studies under his brother, Adriaen, with whom he remained till 1641, when he started his own practice. At an early period he felt the influence of Rembrandt, and this is apparent in a Slaughtered Pig of 1639, in the gallery of Augsburg. He soon found a style more suited to his own inclinations. He produced pictures in 1641-1642 on the lines of his brother - amongst these, the Five Senses, which Adrian afterwards represented by a Man reading a Paper, a Peasant tasting Beer, a Rustic smearing his Sores with Ointment and a Countryman sniffing at a Snuff-box. A specimen of Isaac's work at this period may be seen in the Laughing Boor with a Pot of Beer, in the museum of Amsterdam; the cottage interior, with two peasants and three children near a fire, in the Berlin museum; a Concert, with people listening to singers accompanied by a piper and flute player, and a Boor stealing a Kiss from a Woman, in the Lacaze collection at the Louvre. The interior at Berlin is lighted from a casement in the same Rembrandtesque style as Adrian's interior of 1643 at the Louvre. He received low prices for this kind of painting, in which he could only remain subordinate to his brother. Gradually he abandoned Adrian's cottage subjects for landscapes in the fashion of Esaias van de Velde and Salomon van Ruysdael. Once only, in 1645, he reverted to the earlier mode, when he produced the Slaughtered Pig, with a boy puffing out a bladder, in the museum of Lille. Isaac's progress in his new path was greatly facilitated by his previous experience as a figure painter; and, although he now selected his subjects either from village high streets or frozen canals, he gave fresh life to the scenes by depicting animated groups of people with a refined and searching study of picturesque contrasts. He did not live long enough to bring his art to the highest perfection. He died on 16 October 1649 having painted about 400 pictures (see H de Groot, 1910). The first manifestation of Isaac's surrender of Adrian's style is apparent in 1644 when the skating and sledging scenes were executed which we see in the Lacaze collection and the galleries of the Hermitage, Antwerp and Lille. Three of these examples bear the artists name, spelled Isack van Ostade, and the dates of 1644 and 1645. The roadside inns, with halts of travellers, form a compact series from 1646 to 1649. This is the last form of Isaac's art and has very distinct peculiarities. The air which pervades his composition is warm and sunny, yet mellow and hazy, as if the sky were veiled with a vapour coloured by moor smoke. The trees are rubbings of umber, in which the prominent foliage is tipped with touches hardened in a liquid state by amber varnish mediums. The same principle applied to details such asglazed bricks or rents in the mud lining of cottages gives an unreal and conventional stamp to them. These quirks are overcome by his broad contrasts of light and shade and the masterly figures of horses, riders, travellers, rustics, quarrelling children, dogs, poultry and cattle. A favorite place is always given to the white horse, which seems as invariable an accompaniment as the grey in the skirmishes and fairs of Philip Wouwerman. Isaac displays the best qualities in winter scenes. The absence of foliage, the crisp atmosphere and the calm air of cold January days, unsullied by smoke or vapour, preclude the use of the brown tinge, and leave the painter no choice but to ring the changes with a great variety of opal tints. Then the figures emerge with masterly effect on the light background. Amongst the roadside inns it is worth noting those in the collections of Buckingham Palace, the National Gallery, London, the Wallace Collection and Holford collections in England, the Louvre, Berlin, Hermitage and Rotterdam museums and the Rothschild collection at Vienna. The finest of the ice scenes is the famous one at the Louvre.

   
 

 

 
   
      

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Caspar David Friedrich

1774-1840 Caspar David Friedrich Locations

Pintura Identificación::  96869
Winter Landscape
oil on canvas Dimensions 32.5 X 45 cm cyf
1774-1840 Caspar David Friedrich Locations

   
 

 

 
   
      

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Hendrick Avercamp

1585-1634 Dutch Hendrick Avercamp Galleries

Pintura Identificación::  97091
Winter Landscape
first half of 17th century Medium oil on panel cyf
1585-1634 Dutch Hendrick Avercamp Galleries

   
 

 

 
   
      

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Esaias Van de Velde

1591-1630 Dutch Esaias Van de Velde Gallery

Pintura Identificación::  97761
Winter Landscape
1623(1623) Medium oil on panel cyf
1591-1630 Dutch Esaias Van de Velde Gallery

   
 

 

 
   
      

Esaias Van de Velde
1591-1630 Dutch Esaias Van de Velde Gallery
Winter Landscape

        
 
   
 

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