Pintura Identificación:: 2261
Last Supper última Cena Museo de Arte de Cataluna, Barcelona Museo de Arte de Cataluna, Barcelona 1415-1492
French
Jaime Huguet Galleries
Pintura Identificación:: 10057
Last Supper la última Cena 1470
Wood,172x164cm
Museum Nacional
d'Art de Catalunya
Barcelona 1470 Madera,172x164cm Museo Nacional d-Art de Catalunya Barcelona 1440-1482
Flemish
Hugo van der Goes Galleries
Pintura Identificación:: 30390
Last Supper Dura Cena mk68
Tempera on wood
Siena
Opera del Duomo Museum
la Témpera mk68 en el Museo de del de Opera de madera Siena Duomo 1255-1318
Italian Duccio di Buoninsegna
Locations
Pintura Identificación:: 30394
Last Supper Dura Cena mk68
Fresco
8x10
Assisi
Church of San Francesco
la Iglesia de Fresco mk68 8x10 Asís de San Francesco Italian Byzantine Style Painter, ca.1280-1348
Pintura Identificación:: 30416
Last Supper Dura Cena mk68
Fresco,width of wall
Florence
Convent of Sant'Apollonia
1447
ltaly
el Fresco mk68, la anchura de Convento de pared Florencia de SantApollonia 1447 ltaly Italian
c1421-1457
Andrea del Castagno Location
Italian High Renaissance Painter and Inventor, 1452-1519
Pintura Identificación:: 30446
Last Supper Dura Cena mk68
Tempera
13'9x29'10"
Milan,Convent of Santa
Maria delle Grazie
la Témpera mk68 139x2910 Milán, el Convento de delle de Santa Maria Grazie Italian High Renaissance Painter and Inventor, 1452-1519
Pintura Identificación:: 30530
Last Supper Dura Cena mk68
Oil on canvas
12'x8'7"
Venice
Church of San Giorgio Maggiore
1592-1594
Italy
el Petróleo mk68 en la Iglesia de lona 12x87 Venecia de San Giorgio Maggiore 1592-1594 Italia 1518-1594
Pintura Identificación:: 32884
Last Supper Dura Cena mk84
1588-1603
Seville,Museo de Bellas Artes
mk84 1588-1603 Sevilla, Museo de las Artes de Bellas Spanish
?-1608
Pintura Identificación:: 33394
Last Supper Dura Cena mk86
1480
Fresco,total width 812cm
Florence,Convent of San Marco.Refectory
mk86 1480 Fresco, anchuratotal 812 cm Florencia, el Convento de San Marco.Refectorio Italian Early Renaissance Painter, 1449-1494
Pintura Identificación:: 33434
Last Supper Dura Cena mk86
1464-1467
Tempera on wood
180x150cm
Louvain,Sankt Peter
mk86 1464-1467 Témpera en la madera 180x150cm Louvain, Sankt Peter 1420-1475
Flemish
Dieric Bouts Locations
Pintura Identificación:: 33442
Last Supper Dura Cena mk86
after1450
Tempera on wood
162x170cm
Barcelona,Museu d'Art de Catalunya
la Témpera mk86 after1450 en la madera 162x170cm Barcelona, Museu de Catalunya Spanish Early Renaissance Painter, C.1415-1492
Pintura Identificación:: 33467
Last Supper Dura Cena mk86
1495-1498
Oil tempera on plaster
460x880cm
Milan,Santa Maria delle Grazie,
Refectory
mk86 1495-1498 témpera del Petróleo en el yeso 460x880cm Milán, delle de Santa Maria Grazie, el Refectorio
Italian High Renaissance Painter and Inventor, 1452-1519
Pintura Identificación:: 38513
Last Supper Dura Cena mk137
1495-1498 oil and Tempera on stone 460x880cm Santa Maria della grace Milan mk137 1495-1498 petróleo y la Témpera en Santa de la gracia de della de piedra 460x880cm Maria Milán Italian High Renaissance Painter and Inventor, 1452-1519
1626 - 1686) was a leading Russian graphic artist of the late 17th-century. Together with Fyodor Zubov and Fyodor Rozhnov, he is associated with the comprehensive reform of the Russian Orthodox Church undertaken by Patriarch Nikon.
We know almost nothing about the early years of Simon Ushakov. His birth date is deduced from his inscription on one of the icons: In the year 7166 painted this icon Simon Ushakov son, being 32 years of age.
At 22 he became a paid artist of the Silver Chamber, affiliated with the Armory Prikaz. The bright, fresh colours and exquisite, curving lines of his proto-baroque icons caught the eye of Patriarch Nikon, who introduced Simon to the tsar Alexei Mikhailovich. He became a great favourite with the royal family and was eventually (1664) assigned to the Kremlin Armoury, run by an educated boyar Bogdan Khitrovo.
Pintura Identificación:: 61241
Last Supper Last Supper 1685
1626 - 1686) was a leading Russian graphic artist of the late 17th-century. Together with Fyodor Zubov and Fyodor Rozhnov, he is associated with the comprehensive reform of the Russian Orthodox Church undertaken by Patriarch Nikon.
We know almost nothing about the early years of Simon Ushakov. His birth date is deduced from his inscription on one of the icons: In the year 7166 painted this icon Simon Ushakov son, being 32 years of age.
At 22 he became a paid artist of the Silver Chamber, affiliated with the Armory Prikaz. The bright, fresh colours and exquisite, curving lines of his proto-baroque icons caught the eye of Patriarch Nikon, who introduced Simon to the tsar Alexei Mikhailovich. He became a great favourite with the royal family and was eventually (1664) assigned to the Kremlin Armoury, run by an educated boyar Bogdan Khitrovo.
Spanish Mannerist Painter and Sculptor, ca.1488-1561
Pintura Identificación:: 62313
Last Supper 1588-1603 Oil on canvas Museo de Bellas Artes, Seville In addition to Italian influences, the impact of northern painters, such as Marten de Vos and Maerten van Heemskerck, on painters in Seville at the end of the 16th century was important. The resulting hybrid of Italian and Flemish elements became the dominant mode of expression until well into the seventeenth century and is first observable in the work of Alonso V?zquez, who worked in Seville from 1588 until his departure for Mexico in 1603. His Last Supper, painted for the Carthusians of Santa Maria de las Cuevas, is a pastiche of poses and motifs borrowed from prints by or after Heemskerck, de Vos and Cornelis Cort. In fact the stylistic correspondence to the paintings by these northern late Mannerists is close enough to suggest that V?zquez had been able to study their works, perhaps in the collections of the resident Flemish community Spanish Mannerist Painter and Sculptor, ca.1488-1561
(1523 - 30 January 1584) was a Dutch-born Flemish Renaissance painter.
Remi Ommejaghere and his three sons
Onze-Lieve-Vrouwekerk, Bruges, BelgiumPourbus was born in Gouda. He was known primarily for his religious and portrait painting and worked mainly in Bruges, where he had moved from Gouda by 1543. He died in Bruges. His son was the painter Frans Pourbus the Elder and his grandson was Frans Pourbus the younger
Pintura Identificación:: 85249
Last Supper Date 1548(1548)
Medium Oil on oak panel
Dimensions Height: 46.5 cm (18.3 in). Width: 63 cm (24.8 in).
cjr (1523 - 30 January 1584) was a Dutch-born Flemish Renaissance painter.
Remi Ommejaghere and his three sons
Onze-Lieve-Vrouwekerk, Bruges, BelgiumPourbus was born in Gouda. He was known primarily for his religious and portrait painting and worked mainly in Bruges, where he had moved from Gouda by 1543. He died in Bruges. His son was the painter Frans Pourbus the Elder and his grandson was Frans Pourbus the younger
(October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works.
Pintura Identificación:: 94780
Last Supper Das Abendmahl 1565
cyf (October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works.
Lucas Cranach the Younger (October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings.
He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop.
The style of their paintings can be so similar that there have been some difficulties in attribution of their works. Last Supper
