b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Pintura Identificación:: 3270
Summer Verano 1573
Musee du Louvre, Paris 1573 Musee du Louvre, Paris b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828
Pintura Identificación:: 10355
Summer Verano 1786.
Oil on canvas,
34 x 76 cm.
Fundacion Lazaro
Galdiano, Madrid 1786. Óleo en lona, 34 x 76 cm. Fundacion Lazaro Galdiano, Madrid Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828
1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Pintura Identificación:: 10940
Summer Verano Salon of 1873.
11' 5 3/4" x 16 7 1/2" ( 350 x 507 cm ). Salon de 1873. 11- 5 3-4 x 16 7 1-2 - 350 x 507 cm -. 1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Pintura Identificación:: 19180
Summer el Verano 1717
Oil on canvas
National Gallery of Art, Washington D.C. 1717 Petróleo en la lona la Galería Nacional del Arte, Washington D.C. (1684?C1721).
Pintura Identificación:: 27724
Summer el Verano mk62
c.1860-1862
Oil on canvas
314x109cm
Paris,Musee de la ville de Paris,
Petit Palais
el Petróleo mk62 c.1860-1862 en la lona314x109cm París, Musee de ville de la de París, Palacio de Petit French Post-Impressionist Painter, 1839-1906
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Pintura Identificación:: 30519
Summer el Verano mk68
Oil on canvas
30"x25"
Paris.Louvre
1573
Italy
el Petróleo mk68 en elParís.Louvre de lona 30x25 1573 Italia b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Pintura Identificación:: 31799
Summer el Verano mk76
Dated 175
Oil on canvas
22 1/2x28 3/4in
mk76 Fechó 175 Petróleo en la lona 22 1/2x28 3/4in French Rococo Era Painter, 1703-1770
Pintura Identificación:: 37237
Summer el Verano mk121
1895
Oil on canvas
64.3x46.3cm
mk121 1895 Engrasan en la lona 64.3x46.3cm 1861-1932
Russian Konstantin Korovin Galleries
Pintura Identificación:: 38278
Summer Verano mk132
1786-87
Oil on canvas
276x641cm
Museo del Prado,
Madrid
mk132 1786-87 Engrasa en lona del Museo 276x641cm Prado, Madrid 1746-1828
Pintura Identificación:: 38626
Summer el Verano mk138
1874
Oil on canvas
57x80cm
mk138 1874Engrasan en la lona 57x80cm French Impressionist Painter, 1840-1926
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Pintura Identificación:: 40392
Summer elVerano mk156
1573
Oil on canvas
196x216cm
mk156 1573 Engrasan en la lona 196x216cm b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
Pintura Identificación:: 56029
summer 1573 ,oil on canvas,30x25 in,76x63.5 cm,louvre,paris,france b.c. 1527, Milan,
d.1593, Milan Italian Giuseppe Arcimboldo Galleries
(May 4, 1851 C November 5, 1938) was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world.
He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing.
Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so.
Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897.
Pintura Identificación:: 58678
Summer Summer (1890, ', ', ', ', ', ', ', '), Smithsonian American Art Museum (May 4, 1851 C November 5, 1938) was an American painter working at the turn of the 20th century. He was born in Newton Lower Falls, Massachusetts. He studied at the Acad??mie Julian in Paris, and later settled into a studio in New York City. He married Maria Oakey Dewing, an accomplished painter with extensive formal art training and familial links with the art world.
He is best known for his tonalist paintings, a sub-genre of American art that was rooted in English Aestheticism. Dewing's preferred vehicle of artistic expression is the female figure. Often seated playing instruments, writing letters, or engaged in other impassive actions and situated in gauzy, dreamy interiors, the figures remain remote and distant to the viewer. These scenes are infused with a color that pervades the entire picture, setting tone and mood. The ethereal delicacy and subtle color harmonies of Dewing's paintings have not met with universal approval: some feminist critics have lambasted Dewing's work as being misogynistic; he rarely painted anything other than the female figure, vacant of expression, languishing in sumptuous clothing.
Tonalism quickly came to be considered outdated with the advent of modernism and abstraction in art, though Dewing was successful in his own day. His art was considered extremely elegant, and has undergone a subtle revival in the last 10 years or so.
Dewing was a member of the Ten American Painters, a group of American Impressionists who seceded from the Society of American Artists in 1897.
Italian Baroque Era Painter, 1578-1660
Albani's students included Pier Francesco Mola and Andrea Sacchi
Pintura Identificación:: 62432
Summer 1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Summer , 1601-1650 , Italian Form: painting , mythological Italian Baroque Era Painter, 1578-1660
Albani's students included Pier Francesco Mola and Andrea Sacchi
Pintura Identificación:: 63045
Summer 142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape Flemish Baroque Era Painter, 1577-1640
Pintura Identificación:: 91357
Summer 1874(1874)
Medium oil on canvas
Dimensions Height: 57 cm (22.4 in). Width: 80 cm (31.5 in).
cjr French Impressionist Painter, 1840-1926
Ivana Kobilca (20 December 1861 - 4 December 1926) was a Slovene realist painter who lived, worked and studied in various European cities including Vienna, Sarajevo, Berlin, Paris and Munich. She was a member of Societe Nationale des Beaux Arts in Paris. Many of her paintings are still lifes, portraits or country settings. She later tended toward impressionism.
Her best known paintings are Kofetarica (Coffeemadam), 1888; Citrarica (The Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (A Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889.
Pintura Identificación:: 92745
Summer 1889(1889) and 1890(1890)
Medium oil on canvas
Dimensions 180 X 140 cm (70.9 X 55.1 in)
cjr Ivana Kobilca (20 December 1861 - 4 December 1926) was a Slovene realist painter who lived, worked and studied in various European cities including Vienna, Sarajevo, Berlin, Paris and Munich. She was a member of Societe Nationale des Beaux Arts in Paris. Many of her paintings are still lifes, portraits or country settings. She later tended toward impressionism.
Her best known paintings are Kofetarica (Coffeemadam), 1888; Citrarica (The Zitherist), Likarice (Women Ironers), 1891; Holandsko dekle (A Dutch Girl), Portret sestre Fani (Portrait of Sister Fani), 1889; and Poletje (Summer), 1889.
Pintura Identificación:: 96129
Summer 1660-1664
Medium oil on canvas
Dimensions 1.18 X 1.6 m (1.3 X 1.7 yd)
cyf French 1594-1665 Nicolas Poussin Galleries
Pintura Identificación:: 98390
Summer second half of 16th century
Medium oil on canvas
Dimensions Height: 97 cm (38.2 in). Width: 127 cm (50 in).
Bassano 1549-Venice 1592
