Pintura Identificación:: 19051
Self-Portrait Autorretrato oil on canvas, The Hermitage, St. Petersburg Óleo en lona, Ermita, St. Petersburg French Neoclassical Painter, 1767-1824
Dutch Baroque Era Painter, 1627-ca.1683
Studied under Otto Marseus van Schrieck.
Students included Rachel Ruysch.
Pintura Identificación:: 10717
Self-Portrait Autorretrato 1803, oil on canvas, National Gallery of Ireland at Dublin 1803, Óleo en lona, Galería Nacional of Ireland at Dublin Dutch Baroque Era Painter, 1627-ca.1683
Studied under Otto Marseus van Schrieck.
Students included Rachel Ruysch.
Pintura Identificación:: 7222
Self-Portrait Autorretrato 1770
Oil on canvas
Baltimore Museum of Art, Baltimore 1770 Óleo en lona Baltimore Museo de Arte, Baltimore American Neoclassical Painter, 1738-1820
Pintura Identificación:: 18995
Self-Portrait Autorretrato 1635-38
Oil on panel
Cheltenham Art Gallery and Museums.
1635-38 Petróleo en pone panel Galería de arte de Cheltenham y Museos. Dutch Baroque Era Painter, 1613-1675
Pintura Identificación:: 19018
Self-Portrait Autorretrato Approx. 1622
oil on canvas
The Hermitage, St. Petersburg Aprox. 1622 petróleo en la lona La Ermita, S. Petersburg Flemish Baroque Era Painter, 1599-1641
Pintura Identificación:: 19088
Self-Portrait Autorretrato oil on canvas, The Hermitage, St. Petersburg engrasa en la lona, La Ermita, S. Petersburg Dutch Baroque Era Painter, 1627-1678
Pintura Identificación:: 19090
Self-Portrait Autorretrato 1850-51
Oil on board
National Portrait Gallery.
1850-51 Petróleo Galería iconográfica a bordo Nacional. 1712-1787
English
Pintura Identificación:: 19299
Self-Portrait Autorretrato 1884
Oil on canvas
Museo del Prado, Madrid. 1884 Petróleo en el del de lona Museo Prado, Madrid. Spanish, 1842-1920
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 11332
Self-Portrait Autorretrato ca.1855
1' 8 3/4'' x 1' 4 1/4''(53 x 41 cm)
Gift of Societe des Amis du Louvre,1932 ca. 1855 1 ~ 8 3/4 ~ ~ X 1 ~ 4 1/4 ~ ~ (53 X 41 cm) Regalo de du de Societe D Amis Louvre, 1932 French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 11404
Self-Portrait Autorretrato 7 1/2 '' x 5 1/2''(19 x 14 cm)Gift of Daniel Guerin,1952 7 1/2 ~ ~ X 5 1/2 ~ ~ (19 X 14 cm) Regalo de DanielGuerin, 1952
Pintura Identificación:: 11465
Self-Portrait Autorretrato ca.1873-1876
2' 1 1/4'' x 1' 8 3/4''(64 x 53 cm)
Gift of Jacques Laroche,1947 ca.1873-18762 ~ 1 1/4 ~ ~ X 1 ~ 8 3/4 ~ ~ (64 X 53 cm) Regalo de Jacques Laroche, 1947 French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 11616
Self-Portrait Autorretrato 1889
2' 1 1/2'' x 1' 5 3/4''(65 x 45 cm)Gift of Paul and Marguerite Gachet,1949 1889 2 ~ 1 1/2 ~ ~ X 1 ~ 5 3/4 ~ ~ (65 X 45 cm) Regalo de Paul y Margarita Gachet,1949 Dutch Post-Impressionist Painter, 1853-1890
Pintura Identificación:: 11645
Self-Portrait Autorretrato 1' 4'' x 1' 1''(40.5 x 32 cm)Gift of Mrs.Huc de Monfreid,1951 1 ~ 4 ~ ~ X 1 ~ 1 ~ ~ (40,5 X 32 cm) Regalo de Sra.Huc de Monfreid, 1951 French
1848-1903
Paul Gauguin Art Locations
(1862-1894) was a French painter born March 17, 1862 in Paris and who died April 27, 1894. He is associated with the Synthetic movement and Pont-Aven School, and he was a contemporary and friend of Paul Gauguin and Vincent van Gogh. Gauguin created a portrait of him in 1886 looking at one of Gauguin's Ceramic sculptures, entitled "Still Life with Profile of Laval".
Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends. In search of an exoticism that could provide the key to art, Gauguin and Laval went to Panama in 1887. To gain some subsidies, Laval performs academic portraits (all lost), using his experience received from Leon Bonnat. A series of mishaps caused Laval and Gauguin to leave the Central America for the island of Martinique.
Pintura Identificación:: 11667
self-Portrait autorretrato 1889
1' 6 1/4'' x 1' 3''(46.5 x 38 cm)Gift of Emile Bernard,1932 1889 1 ~ 6 1/4 ~ ~ X 1 ~ 3 ~ ~ (46,5 X 38 cm) Regalo de EmileBernard, 1932 (1862-1894) was a French painter born March 17, 1862 in Paris and who died April 27, 1894. He is associated with the Synthetic movement and Pont-Aven School, and he was a contemporary and friend of Paul Gauguin and Vincent van Gogh. Gauguin created a portrait of him in 1886 looking at one of Gauguin's Ceramic sculptures, entitled "Still Life with Profile of Laval".
Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends. In search of an exoticism that could provide the key to art, Gauguin and Laval went to Panama in 1887. To gain some subsidies, Laval performs academic portraits (all lost), using his experience received from Leon Bonnat. A series of mishaps caused Laval and Gauguin to leave the Central America for the island of Martinique.
Pintura Identificación:: 29628
Self-Portrait Autorretrato 1650
Oil on canvas, 78 x 94 cm 1650 Petróleo en la lona, 78 X 94 cm French Baroque Era Painter, 1594-1665
Pintura Identificación:: 26700
Self-Portrait Autorretrato mk52
c.1380
Tempera on wood
47x89cm
Uffizi,Florence
mk52 C. 1380 Témpera en la madera 47x89cm Uffizi, Florencia Italian Early Renaissance Painter, ca.1345-1396
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Pintura Identificación:: 26718
Self-Portrait Autorretrato mk52
1500
Oil on wood
67x49cm
Alte Pinakothek,Munich
mk521500 Engrasan en la madera 67x49cm Alte Pinakothek, Múnich b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Pintura Identificación:: 26721
Self-Portrait Autorretrato mk52
c.1485
Fresco on ceramic tile,dimensions of whole
50x31cm
Uffizi,Florence
mk52 C. 1485 Fresco en el mosaico cerámico, las dimensiones de Uffizi 50x31cm entero, Florencia Italian
1457-1504
Filippino Lippi Galleries
Pintura Identificación:: 26722
Self-Portrait Autorretrato mk52
1488
Oil on wood transferred to canvas
46x32.5cm
National Gallery of Art,Washingto DC.
mk52 1488 Engrasan en la madera transferida a la lona 46x32.5cm la Galería Nacional del Arte, Washingto DC. Italian High Renaissance Painter, ca.1458-1537
Pintura Identificación:: 26724
Self-Portrait Autorretrato mk52
1496
Trompe l oeil pilaster,detail from a fresco scheme
mk52 1496 pilastra de oeil de Trompe L, detalla de un esquema de fresco Italian
1450-1523
Pietro Perugino Galleries
Pintura Identificación:: 26725
Self-Portrait Autorretrato mk52
1502
Trompe i oeil detail from an Annunciation fresco Santa Maria Maggior,Spello
mk52 1502 Trompe yo detalle de oeil de un fresco de la Anunciación Santa Maria Maggior, Spello c.1452-1513
Pintura Identificación:: 26728
Self-Portrait Autorretrato mk52
c.1500
Oil on canvas
52x43cm
Herzog Anton-Ulrich Museum,Braunschweig
mk52 C. 1500 Petróleo en el Museo de Anton-Ulrich de lona 52x43cm Herzog, Braunschweig Italian
1476-1510
Giorgione Galleries
Pintura Identificación:: 26732
Self-Portrait Autorretrato mk52
c.1519
Oil on wood
38x27cm
Museo Thyssen-Bornemisza,Madrid
mk52 C. 1519 Petróleo en la madera 38x27cm Museo Thyssen Bornemisza, Madrid Flemish Northern Renaissance Painter, ca.1485-1540
Pintura Identificación:: 26733
Self-Portrait Autorretrato mk52
c.1540-3
Coloured chalks on paper
32x26cm
Uffizi,Florence
mk52 c.1540-3 Coloró tizas en el papel32x26cm Uffizi, Florencia b. 1497, Augsburg, d. 1543, London
Pintura Identificación:: 26734
Self-Portrait Autorretrato mk52
1523
Oil on wood,diameter
24.4cm
Kunsthistorisches Museum,Vienna
mk52 1523 Engrasan en la madera, Museo de diámetro 24.4cm Kunsthistorisches, Viena Italian Mannerist Painter, 1503-1540
Pintura Identificación:: 26737
Self-Portrait Autorretrato mk52
c.1545-50
Oil on canvas
45.7x38cm
Philadelphia Museum of Art
el Petróleo mk52 c.1545-50 en el Museo de lona 45.7x38cm Filadelfia del Arte 1518-1594
Pintura Identificación:: 26756
Self-Portrait Autorretrato mk52
c.1566
Oil on wood
78x64cm
Musee de I art Wallon de la Ville de Liege
mk52 C. 1566 Petróleo en la madera 78x64cm Musee de yo arte Wallon de la Ville de Señor feudal Flemish Northern Renaissance Painter, 1505-1566
Pintura Identificación:: 26762
Self-Portrait Autorretrato mk52
C.1590-5
Watecolour on vellum laid on card
6.2x5cm
National Portrait Gallery,London
5 mk52 C.1590- Watecolour en la vitela colocada en la tarjeta 6.2x5cm Galería iconográfica Nacional, Londres French-born English Miniaturist, ca.1560-1617
Italian Mannerist/Baroque Era Painter, ca.1535-1612
Pintura Identificación:: 26763
Self-Portrait Autorretrato c.1600
Oil on canvas
42.2x33.1cm
Uffizi,Florence
C. 1600Petróleo en la lona 42.2x33.1cm Uffizi, Florencia Italian Mannerist/Baroque Era Painter, ca.1535-1612
Pintura Identificación:: 26769
Self-Portrait Autorretrato mk52
c.1600
Oil on canvas
708x77.2cm
Museum of Art,Rhode Island School of Design,Providence
mk52 C. 1600 Petróleo en el Museo de lona 708x77.2cm del Arte, la Escuela de Rhode Island del Diseño, la Providencia Flemish Baroque Era Painter, ca.1554-1626
Pintura Identificación:: 26770
Self-Portrait Autorretrato mk52
1601
Oil on wood
98x74cm
Centraal Museum,Utrecht
mk52 1601 Engrasan en el Museo de madera 98x74cm Centraal, Utrecht 1566-1638 Flemish Joachim Wtewael Galleries
Pintura Identificación:: 26771
Self-Portrait Autorretrato mk52
c.1615
Oil on canvas
95x71cm
Pardo,Madrid
mk52 C. 1615 Petróleo en la lona 95x71cm Pardo, Madrid Italian Baroque Era Painter, 1578-1616
Pintura Identificación:: 26772
Self-Portrait Autorretrato mk52
c.1604
Oil on canva
70.5x54cm
Hispanic Society of America,New York
mk52 C. 1604 Petróleo en el canva 70.5x54cm la Sociedad hispana de América, Nueva York Greek-born Spanish Mannerist Painter, 1541-1614
Pintura Identificación:: 26781
Self-Portrait Autorretrato mk52
c.1619-20
Oil on canvas
116.5x93.5cm
Hermitage,St Petersburg
el Petróleo mk52 c.1619-20 en la Ermita de lona 116.5x93.5cm, San Petersburg Dutch
1599-1641
Anthony Van Dyck Locations
Pintura Identificación:: 26785
Self-Portrait Autorretrato 1640
Oil on canvas
93x80cm
National Gallery,London
1640Petróleo en la lona 93x80cm la Galería Nacional, Londres 1606-1669
Pintura Identificación:: 26787
Self-Portrait Autorretrato 1659
Oil on canvas
84.5x66cm
National Gallery of Art,Washington DC
1659 Petróleo en la lona84.5x66cm la Galería Nacional del Arte, Washington DC 1606-1669
Pintura Identificación:: 26792
Self-Portrait Autorretrato mk52
1650
Oil on canvas
98x74cm
Louvre,Paris
mk52 1650 Engrasan en la lona 98x74cm Louvre, París French 1594-1665 Nicolas Poussin Galleries
Dutch painter (b. 1622, Middenbeemster, d. 1654, Delft
Pintura Identificación:: 26799
Self-Portrait Autorretrato mk52
1645
Oil on canvs
65x49cm
Museum Boymans-Van Beuningen,Rotterdam
mk52 1645 Engrasan en la Boymans-Camioneta de Museo de canvs 65x49cm Beuningen, Rotterdam Dutch painter (b. 1622, Middenbeemster, d. 1654, Delft
Pintura Identificación:: 26801
Self-Portrait Autorretrato mk52
c.1650
oil on canva
38x32.5cm
Uffizi,Florence
mk52 C. 1650 petróleo en el canva 38x32.5cm Uffizi, Florencia Italian Baroque Era Painter, 1609-1685
Pintura Identificación:: 26803
Self-Portrait Autorretrato mk52
1646
Oil on canvas,diameter 89cm
Uffizi,Florence
mk52 1646 Engrasan en la lona, el diámetro 89 cm Uffizi, Florencia 1626-after1646
Pintura Identificación:: 26812
Self-Portrait Autorretrato mk52
c.1660-5
Pastel on paper
52x41cm
Uffizi,Florence
5 mk52 c.1660- Pintura a pastel en el papel 52x41cm Uffizi, Florencia 1623-78
Pintura Identificación:: 26840
Self-Portrait Autorretrato mk52
c.1662
Oil on canvas
72x64cm
mk52 C. 1662 Petróleo en la lona 72x64cm Dutch Baroque Era Painter, ca.1630-1680
1613-1670
Dutch
Bartholomeus Van Der Helst Galleries
Pintura Identificación:: 26850
Self-Portrait Autorretrato mk52
1662
Oil on canvas
132.5x112cm
Kunsthalle,Hamburg
mk52 1662 Engrasan en la lona 132.5x112cm Kunsthalle, Hamburgo 1613-1670
Dutch
Bartholomeus Van Der Helst Galleries
Italian painter, Milanese school (b. ca. 1453, Fossano, d.1523).
Pintura Identificación:: 30052
Self-Portrait Autorretrato mk67
Oil on canvas
32 11/16x26in
Uffizi,
el Petróleo mk67 en la lona 32 Uffizi 11/16x26in, Italian painter, Milanese school (b. ca. 1453, Fossano, d.1523).
Pintura Identificación:: 26909
Self-Portrait Autorretrato mk52
c.1735
Pastel on paper
61.5x50.5cm
Uffizi,Florence
mk52 C. 1735 a pastel en el papel 61.5x50.5cm Uffizi, Florencia 1704-88
Pintura Identificación:: 26916
Self-Portrait Autorretrato mk52
1744-5
Pastel on paper
60.5x46.5cm
Gemaldegalerie,Dresden
mk52 1744-5 a pastel en el papel 60.5x46.5cm Gemaldegalerie, Dresde 1702-1789
Swiss
Jean Etienne Liotard Gallery
Pintura Identificación:: 26917
Self-Portrait Autorretrato mk52
c.1745
Oil on canvas
45.5x36.5cm
Louvre,Paris
mk52 C. 1745 Petróleo en la lona 45.5x36.5cm Louvre, París 1690/7-1768
Pintura Identificación:: 26930
Self-Portrait Autorretrato mk52
c.1748-9
Oil on canvas
63x74cm
National Portrait Gallery,London
el Petróleo mk52 c.1748-9 en la lona 63x74cm Galería iconográfica Nacional, Londres British
1723-1792
Sir Joshua Reynolds Locations
Pintura Identificación:: 26932
Self-Portrait Autorretrato mk52
C.1759
Oil on canvas
76.2x63.5cm
Natinal Portrait Gallery,London
mk52 C. 1759 Petróleo en la Galería iconográfica de lona 76.2x63.5cm Natinal, Londres 1727-1788
British
Thomas Gainsborough Locations
Pintura Identificación:: 26942
Self-Portrait Autorretrato mk52
c.1770-6
Oil on canvas
76.8x63.8cm
Baltimore Museum of Art
el Petróleo mk52 c.1770-6 en el Museo de lona 76.8x63.8cm Baltimore del Arte 1738-1820
Benjamin West Locations
Pintura Identificación:: 26943
Self-Portrait Autorretrato mk52
1778
Oil on canvs
42.5x32.3cm
Redwood Library and Athenaeum,Newport Rhode Island
mk52 1778 Engrasan en la Biblioteca de la Secoyade canvs 42.5x32.3cm y Athenaeum, Rhode Island de Newport 1755-1828
Pintura Identificación:: 26946
Self-Portrait Autorretrato mk52
1771
Pastel on paper
46x37.5cm
Cabinet des Dessins,Louvre,Paris
mk52 1771 a pastel en el Gabinete D de papel 46x37.5cm Dessins, Louvre, París 1699-1779
Pintura Identificación:: 26950
Self-Portrait Autorretrato mk52
1780-4
Oil on canvas,diameter 45.1cm
National Portrait Gallery,Washington DC
mk52 1780-4 Engrasan en la lona, el diámetro 45.1cm Galería iconográfica Nacional, Washington DC American Colonial Era Painter, 1738-1815
Pintura Identificación:: 26971
Self-Portrait Autorretrato mk52
c.1815
Oil on canvas
46x35cm
Prado,Madrid
mk52 C. 1815 Petróleo en la lona 46x35cm Prado, Madrid 1746-1828
Pintura Identificación:: 26988
Self-Portrait Autorretrato mk52
1805
Oil on canvas
80.3x67.3cm
Museum of Fine Arts,Boston
mk52 1805 Engrasan en el Museo de lona 80.3x67.3cm de bellas artes, Boston 1779-1843
Washington Allston Gallery
Pintura Identificación:: 26991
Self-Portrait Autorretrato mk52
c.1805
Black and white chalk on paper
55.5x43.5cm
Kunsthalle,Hamburg
mk52 C. 1805 tizablanquinegra en el papel 55.5x43.5cm Kunsthalle, Hamburgo German Romantic Painter, 1777-1810
Pintura Identificación:: 26994
Self-Portrait Autorretrato mk52
c.1826
Black chalk heightened with white on buff paper
29.2x22.8cm
Ashmolean Museum,Oxford
mk52 C. 1826 tiza Negra elevó con blanco en da brillo Museo de papel 29.2x22.8cm Ashmolean, Oxford 1805-1881
British
Samuel Palmer Galleries
Pintura Identificación:: 27001
Self-Portrait Autorretrato mk52
c.1829
Oil on paper on canvas
56.6x32.7cm
Kunsthalle,Hamburg
mk52 C. 1829 Petróleo en el papel en la lona 56.6x32.7cm Kunsthalle, Hamburgo 1807-45
Pintura Identificación:: 27007
Self-Portrait Autorretrato mk52
1834-5
Oil on canvas
71x57.1cm
St Louis Art Museum
mk52 1834-5 Engrasan en la lona 71x57.1cm San Museo de Arte de Louis 1811-1879
George Caleb Bingham Gallery
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 27017
Self-Portrait Autorretrato mk52
1857
Oil on canvas
26x19cm
Sterling and Francine Clark Art Institute,Williamstown,MA.
mk52 1857 Engrasan en la lona 26x19cm Esterlina y el Instituto del Arte de Francine Clark, Williamstown, MA. French Realist/Impressionist Painter and Sculptor, 1834-1917
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 27018
Self-Portrait Autorretrato mk52
c.1895-1900
Pastel on paper
47.5x32.5cm
la Pintura a pastel mk52 c.1895-1900 en elpapel 47.5x32.5cm French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 27019
Self-Portrait Autorretrato mk52
1858
Oil on canvas
102.5x71.5cm
Alte Nationalgalerie,Berlin
mk52 1858 Engrasan en la lona 102.5x71.5cm Alte Nationalgalerie, Berlín French 1836-1904
Henri Fantin Latour Locations
Pintura Identificación:: 27020
Self-Portrait Autorretrato mk52
c.1865
Oil on wood
49.8x30.2cm
M H de Young Memorial Museum,San Francisco
mk52 C. 1865 Petróleo en la madera 49.8x30.2cmM H de Joven Museo Conmemorativo, San Francisco French Painter, 1836-1902
Pintura Identificación:: 27025
Self-Portrait Autorretrato mk52
1876
Oil on canvas
73x56cm
Fogg Art Museum,Cambridge,MA
mk52 1876 Engrasan en el Museode Arte de lona 73x56cm Fogg, Cambridge, MA 1848-94
Pintura Identificación:: 27050
Self-Portrait Autorretrato mk52
1875-7
Oil on canvas
55.5x46cm
Neue Pinakothek,Munich
mk52 1875-7 Engrasan en la lona 55.5x46cm Neue Pinakothek, Múnich French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 27054
Self-Portrait Autorretrato mk52
1880-1
Oil on canvas
336.x26cm
National Gallery,London
mk52 1880-1 Engrasan en la lona 336.x26cm la Galería Nacional, Londres French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 27066
Self-Portrait Autorretrato mk52
c.1884
Oil on canvas
52x48cm
Musee Marmottan,Paris
mk52 C. 1884 Petróleo en la lona 52x48cm Musee Marmottan, París French Impressionist Painter, 1840-1926
Pintura Identificación:: 27067
Self-Portrait Autorretrato mk52
1880
Watercolour on paper
33x24.4cm
National Portrait Gallery,Washington DC
mk52 1880 Acuarela en el papel 33x24.4cm Galería iconográfica Nacional, WashingtonDC 1844-1926
Mary Cassatt Galleries
Pintura Identificación:: 27069
Self-Portrait Autorretrato 1885
Oil on canvas
72.4x99.1cm
Museum of Fine Arts,Boston
1885 Petróleo en el Museo de lona 72.4x99.1cm de bellas artes,Boston 1855-1940
Pintura Identificación:: 27071
Self-Portrait Autorretrato mk52
1888
Oil on canvas
59.5x48.3cm
Fogg Art Museum,Cambridge,MA
mk52 1888 Engrasan en el Museode Arte de lona 59.5x48.3cm Fogg, Cambridge, MA Dutch Post-Impressionist Painter, 1853-1890
Pintura Identificación:: 27073
Self-Portrait Autorretrato mk52
1889
Oil on canvas
65x54cm
Musee d Orsay,Paris
mk52 1889 Engrasan en la lona 65x54cm Musee D Orsay, París Dutch Post-Impressionist Painter, 1853-1890
Lyons 1815 - Paris 1891.
French Academic Painter, 1815-1891.
Pintura Identificación:: 27079
Self-Portrait Autorretrato mk52
1889
Oil on canvas
52x61cm
Musee d Orsay,Paris
mk52 1889 Engrasan en la lona 52x61cm Musee D Orsay, París Lyons 1815 - Paris 1891.
French Academic Painter, 1815-1891.
Pintura Identificación:: 27082
Self-Portrait Autorretrato mk52
1890
Oil on canvas
143x110cm
National Gallery,Prague
mk52 1890 Engrasan en la lona 143x110cm la Galería Nacional, Praga French
1844-1910
Henri Rousseau Locations
Pintura Identificación:: 27084
Self-Portrait Autorretrato mk52
1891
Oil on wood
28.8x22.8cm
Musee d Art et d Histoire,Geneva
mk52 1891 Engrasan en el Arte de madera 28.8x22.8cm Musee D et Histoire D, Ginebra 1853-1918
Swiss Ferdinand Hodler Galleries
Pintura Identificación:: 27085
Self-Portrait Autorretrato mk52
c.1892
Oil on canvas
38.4x46.2cm
mk52 C. 1892 Petróleo en la lona 38.4x46.2cm 1868-1940
French
Edouard Vuillard Galleries
Pintura Identificación:: 27096
Self-Portrait Autorretrato mk52
1902
Oil on canvas on board
76.2x63.5cm
National Academy of Design,New York
mk52 1902 Engrasan en la lona en la tabla 76.2x63.5cmAcademia Nacional del Diseño, Nueva York American Realist Painter, 1844-1916.
Pintura Identificación:: 27097
Self-Portrait Autorretrato mk52
1900
Oil on canvas
45.6x36.4cm
Museu Nacional de Soares dos Reis,Oporto
mk52 1900 Engrasan en la lona 45.6x36.4cm Museu Nacional de se Eleva Dos Reis, Oporto 1869-1922
Pintura Identificación:: 27101
Self-Portrait Autorretrato mk52
1902
Pastel on paper
38x38cm
Natinnal Museum,Warsaw mk52 1902 a pastel en el Museo de papel 38x38cm Natinnal,Varsovia 1869-1907
Pintura Identificación:: 27105
Self-Portrait Autorretrato mk52
1907
Watercolour and pastel on paper
75.3x60cm
mk52 1907 Acuarela y la pintura apastel en el papel 75.3x60cm German
1860-1942
Walter Sickert Gallery
Pintura Identificación:: 27107
Self-Portrait Autorretrato mk52
1908
Gouachon on paper
27x26.8cm
Tret yakov Gallery,Moscow
mk52 1908 Gouachon en laGalería de yakov de papel 27x26.8cm Tret, Moscú 1878-1935
Pintura Identificación:: 27108
Self-Portrait Autorretrato mk52
1908
Watercolour and gouache on paper
78.7x54.3cm
Toledo Museum of Ar,Ohio
mk52 1908 Acuarela y el guache en el Museo de papel 78.7x54.3cm Toledo de Ar, Ohio 1824-1911
Pintura Identificación:: 27109
Self-Portrait Autorretrato mk52
1915
Oil on canvas
125x94cm
National Gallery,Prague
mk52 1915 Engrasan en la lona 125x94cm la Galería Nacional, Praga 1844-1930
Pintura Identificación:: 27117
Self-Portrait Autorretrato mk52
1912
Oil on canvas
91x68.5cm
Uffizi,Florence
mk52 1912 Engrasan en la lona 91x68.5cm Uffizi, Florencia English Golden Age Illustrator, 1845-1915
Pintura Identificación:: 27118
Self-Portrait Autorretrato mk52
1916
Oil on canvas
134.5x159.8cm
Richmond Art Museum,Indiana
mk52 1916 Engrasan en el Museo de Arte de lona 134.5x159.8cm Richmond, Indiana American Impressionist Painter, 1849-1916
Pintura Identificación:: 27120
Self-Portrait Autorretrato mk52
1918
Pastel on paper
64x41cm
Uffizi,Florence
mk52 1918 a pastel en el papel 64x41cm Uffizi, Florencia 1858-1921
Belgian
Fernand Khnopff Gallery
Italian Expressionist Painter and Sculptor, 1884-1920
Pintura Identificación:: 27122
Self-Portrait Autorretrato mk52
1919
Oil on canvas
100x65cm
Museum of Contemporary Art,University of Sao Paulo,Brazil
mk52 1919 Engrasan en el Museo de lona 100x65cm del Arte Contemporánea, la Universidad de Sao Paulo, Brasil Italian Expressionist Painter and Sculptor, 1884-1920
Pintura Identificación:: 27128
Self-Portrait Autorretrato mk52
1921
Watercolour on canvas
71x54.7cm
Staatsgalerie in der Kunsthalle,Augsburg
mk52 1921 Acuarela en la lona 71x54.7cm Staatsgalerie en el der Kunsthalle, Augsburg 1874-1930
Pintura Identificación:: 27151
Self-Portrait Autorretrato mk52
1927
Oil on canvas
130x97cm
Kettle s Yard,Cambridge mk52 1927 Engrasan en la Yarda de s de Hervidor de lona130x97cm, Cambridge 1901-30
Pintura Identificación:: 27154
Self-Portrait Autorretrato mk52
1929
Oil on canvas on board
91.8x68.9cm
Museum of Modern Art,New York
mk52 1929 Engrasan en la lona en el Museo de la tabla 91.8x68.9cm del Arte moderno, Nueva York 1860-1934
Pintura Identificación:: 28023
Self-Portrait Autorretrato 1873
Watercolour 35.3 x 25.3 cm (13 7/8 x 10 in) Pierpont Morgan Library,New York (mk63) 1873 Acuarela 35,3 X 25,3 cm (13 7/8 X 10 en) la Biblioteca de Pierpont Morgan,Nueva York (mk63) English Romantic Writer and Painter, 1819-1900
Pintura Identificación:: 28354
Self-Portrait Autorretrato 1902
Oil on canvas 44.8 x 34.9 cm
(mk63) 1902 Petróleo en lalona 44,8 X 34,9 cm (mk63) Welsh
1876-1939
Pintura Identificación:: 28614
Self-Portrait Autorretrato c 1875
Oil on canvas 39.1 x 31.7 cm
Williamstown Massachusetts Sterling and Francine Clark Art Institute (mk64) C 1875 Engrasan en la lona 39,1 X 31,7 cm Williamstown Massachusetts Esterlina y el Instituto del Arte de Francine Clark (mk64) French Impressionist Painter, 1841-1919
Pintura Identificación:: 28647
Self-Portrait Autorretrato c 1893-1894
Oil on canvas 46 x 38 cm Paris Musee d'Orsay (mk64) C 1893-1894 Engrasan en la lona 46 X 38 cm ParísMusee (mk64) French
1848-1903
Paul Gauguin Art Locations
Pintura Identificación:: 28648
Self-Portrait Autorretrato 1875-1876
Oil on canvas 64 x 53 cm Paris Musee d'Orsay (mk64) 1875-1876 Petróleo en la lona 64 X 53 cm París Musee (mk64) French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 28659
Self-Portrait Autorretrato 1910
Oil on canvas 42 x 33 cm
Private collection (mk64) 1910 Petróleo en la lona 42 X 33 cm colección Privada (mk64) French Impressionist Painter, 1841-1919
Italian Baroque Era Painter, 1639-1709
Baciccia
Giovanni Battista Gaulli
Pintura Identificación:: 28883
Self-Portrait Autorretrato mk64
Oil on canvas
26 3/8x20 1/16in
el Petróleo mk64 en la lona 26 3/8x20 1/16in Italian Baroque Era Painter, 1639-1709
Baciccia
Giovanni Battista Gaulli
Pintura Identificación:: 28993
Self-portrait Autorretrato mk65
Pastel on paper
13 11/16x9 13/16in
Uffizi,Cabinet of Drawings and Prints
la Pintura a pastel mk65 enel papel 13 Uffizi 11/16x9 13/16in, el Gabinete de Dibujos e Imprime Italian Baroque Era Painter, 1612-1666
Pintura Identificación:: 28994
Self-Portrait Autorretrato mk65
Oil on canvas
28 9/16x23in
Uffizi,
el Petróleo mk65 en la lona 28 Uffizi 9/16x23in, Italian Baroque Era Painter, 1625-1713
Pintura Identificación:: 28995
Self-Portrait Autorretrato mk65
Oil on canvas
23x17 5/16in
Uffizi,Vasari Corridor
el Petróleo mk65 en la lona 23x17 5/16in Uffizi, Pasillo deVasari Italian Baroque Era Painter ,
1559-1613
Pintura Identificación:: 29285
Self-Portrait Autorretrato mk65
Oil on canvas
40x31'
el Petróleo mk65 en la lona 40x31 Dutch Baroque Era Painter, 1627-1678
Pintura Identificación:: 29286
Self-Portrait Autorretrato mk65
Oil on canvas
24x19 1/2"
el Petróleo mk65 en la lona 24x19 1/2 Italian Baroque Era Painter, 1665-1747
Pintura Identificación:: 29627
Self-Portrait Autorretrato Oil on canvas, 63 x 52 cm Engrasa en la lona, 63 X 52 cm French painter ,
b. 1597, Troyes, d. 1661, Troyes
Pintura Identificación:: 29638
Self-Portrait Autorretrato 1744
Pastel on paper, 55,5 x 42,5 cm 1744 a pastel en el papel, 55.5X 42.5 cm German Neoclassical Painter, 1728-1779
Pintura Identificación:: 30055
Self-Portrait Autorretrato mk67
Oil on canvas
28 3/8x22 1/16in
el Petróleo mk67 en la lona 28 3/8x22 1/16in French
1679-1752
Jean-Francois
De Troy Gallery
Pintura Identificación:: 30057
Self-Portrait Autorretrato mk67
Oil on canvas
28 1/8x22 13/16in
Uffizi,
el Petróleo mk67 en la lona 28 Uffizi 1/8x22 13/16in, British
1723-1792
Sir Joshua Reynolds Locations
Pintura Identificación:: 30061
Self-Portrait Autorretrato mk67
Oil on canvas
24 3/8x20 1/16in
el Petróleo mk67 en la lona 24 3/8x20 1/16in French Neoclassical Painter, 1780-1867
British
1830-1896
Lord Frederic Leighton Locations
Pintura Identificación:: 30063
Self-Portrait Autorretrato mk67
Oil on canvas
30 1/8x25 3/16in
el Petróleo mk67 en la lona 30 25 1/8x 3/16in British
1830-1896
Lord Frederic Leighton Locations
Pintura Identificación:: 30065
Self-Portrait Autorretrato mk67
Oil on canvas
21 1/4x17 5/16in
Uffizi,
el Petróleo mk67 en la lona 21 Uffizi 1/4x17 5/16in, French 1836-1904
Henri Fantin Latour Locations
Pintura Identificación:: 30099
Self-Portrait Autorretrato mk64
1888
Oil on canvas
62x52cm
Cambridge,Harvard Univerity Art Museum
mk64 1888 Engrasan en la lona 62x52cmCambridge, Museo de Arte de Harvard Univerity Dutch Post-Impressionist Painter, 1853-1890
Pintura Identificación:: 30124
Self-Portrait Autorretrato mk67
1910
Oil on canvas
45.7x38.1cm
Paris
mk67 1910 Engrasan en la lona 45.7x38.1cm París French Impressionist Painter, 1841-1919
Pintura Identificación:: 30441
Self-Portrait Autorretrato mk68
Oil on canvas
14x9 1/2
Madrid
Lazaro Galdiano Museum
el Petróleo mk68 en la lona 14x9 1/2 Museo de Madrid Lazaro Galdiano Spanish Early Renaissance Painter, ca.1450-1504
Pintura Identificación:: 30523
Self-Portrait Autorretrato mk68
Oil on wood
10 3/4x9 3/4"
el Petróleo mk68 en la madera 10 3/4x9 3/4 Italian Painter, 1552-1614
Pintura Identificación:: 30636
Self-Portrait Autorretrato mk68
Oil on canvas
Florence,Uffizi,
1775
Britain
el Petróleo mk68 en la lona Florencia, Uffizi, 1775 Gran Bretaña British
1723-1792
Sir Joshua Reynolds Locations
Pintura Identificación:: 30645
Self-Portrait Autorretrato mk68
Oil on canvas
Florence,Uffizi,
1787
Swizerland
el Petróleo mk68 en la lona Florencia, Uffizi, 1787Swizerland Swiss(Resident in England)
1741-1807
Pintura Identificación:: 30649
Self-Portrait Autorretrato mk68
Oil on canvas
Florence,Uffizi,
1790
France
el Petróleo mk68 en la lona Florencia, Uffizi, 1790 Francia 1755-1842
(1755-1842)
French Elisabeth Louise Vigee Lebrun Galleries
Pintura Identificación:: 30663
Self-Portrait Autorretrato mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
1800
France el Petróleo mk68 en el Santo de lona Petersburg, Indica Museo de Ermita 1800 Francia (1755-1842)
French Elisabeth Louise Vigee Lebrun Galleries
Pintura Identificación:: 30693
Self-Portrait Autorretrato mk68
Oil on canvas
Florence,Uffizi,
c.1835
France
el Petróleo mk68 en la lona Florencia, Uffizi, C. 1835 Francia 1796-1875
Corot Locations
Pintura Identificación:: 30772
Self-Portrait Autorretrato nn06
1888
Oil on canvas
35x23.8cm
Museum of Art
Bucharest
nn06 1888 Engrasan en el Museo de lona 35x23.8cm de la Arte Bucarest Romanian Painter, 1838-1907
Pintura Identificación:: 30834
Self-Portrait Autorretrato mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
1879-1882
France
el Petróleo mk68 en el Santo de lona Petersburg, Indica Museo de Ermita 1879-1882 Francia French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 30893
Self-Portrait Autorretrato mk68
Oil on canvas
Florence,Uffizi.
1906
Sweden
el Petróleo mk68 en la lona Florencia, Uffizi. 1906 Suecia Swedish Realist Painter, 1853-1919
Pintura Identificación:: 30909
Self-Portrait Autorretrato mk68
Oil on canvas over composition board
New York
Museum of Modern Art
1929
USA
el Petróleo mk68 en la lona sobre Museo de tabla de composición Nueva York del Arte moderno 1929 EEUU 1860-1934
Pintura Identificación:: 31145
Self-Portrait Autorretrato mk72
Charcoal and red chalk on paper pasted on cardboard
35.5x29.5cm
Tretyakov Gallery,
Moscow
el Carbón mk72 y tiza roja en el papel pegado en la Galería de cartón 35.5x29.5cm Tretyakov, Moscú Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31151
Self-Portrait Autorretrato mk72
1882
Watercolor on paper
12.4x7.4cm
Russian Museum,St.Petersburg
mk72 1882 Acuarela en el papel 12.4x7.4cm Museo ruso, San. Petersburg Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31156
Self-Portrait Autorretrato mk72
1883
Study for the 1883 watercolor Hamlet and Ophelia,now in the Russian Museum.
Black crayon on paper
31.8x21.3cm
Russian Msueum,St.Petersburg
mk72 1883 Estudian para la 1883 Aldea de la acuarela y Ofelia, ahora en el Museo ruso. El carboncillo negro en el papel 31.8x21.3cm Msueum ruso, San. Petersburg Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31170
Self-Portrait Autorretrato mk72
1885
Graphite on paper
13.3x9cm
Museum of Russian Art,Kiev
mk72 1885 Grafito en el Museo de papel 13.3x9cm del Arte rusa, Kiev Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31251
Self-Portrait Autorretrato mk72
1905
Graphite on paper
27.3x15.4cm
Russian Museum St.Petersburg
mk72 1905 Grafito en elpapel 27.3x15.4cm San.Petersburg ruso de Museo Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31256
Self-Portrait Autorretrato mk72
1905
Unfinished
Black crayon,Charcoal,and white chalk on paper
40x32.5cm
Russian Museum,St.Petersburg mk72 1905 carboncillo Negro Inacabado,el Carbón, y tiza blanca en el papel 40x32.5cm Museo ruso, San. Petersburg Russian Symbolist Painter, 1856-1910
Pintura Identificación:: 31354
Self-Portrait Autorretrato nn07
Oil on canvas
99 x 82 cm.
Paris, Mus??e du Louvre el Petróleo nn07 en la lona 99 X 82 cm. París, du de Musee Louvre 1716-1780. a Spanish painter
Pintura Identificación:: 31957
Self-Portrait Autorretrato mk77
1929
Oil on canvas over composition board
36 1/8x27 1/8in
mk77 1929 Engrasan en la lona sobre la tablade la composición 36 1/8x27 1/8in 1860-1934
Pintura Identificación:: 32020
Self-Portrait Autorretrato mk77
c.1680
Oil on canvas
26 3/4x23 3/4in
mk77 C. 1680 Petróleo en la lona 263/4x23 3/4in American Colonial Era Painter, ca.
1650-1691
Pintura Identificación:: 33293
Self-Portrait Autorretrato mk83
c.1475
Tempera on wood
Galleria Degli Uffizi,
Florence
mk83 C. 1475 Témpera en la Galería de maderaDegli Uffizi, Florencia Italian Early Renaissance Painter, 1445-1510
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Pintura Identificación:: 33508
Self-Portrait Autorretrato mk86
1498
Oil on wood
52x41cm
Oil on wood
52x41cm
Madrid,Museo del Prado
mk86 1498 Engrasan en el Petróleo de madera 52x41cm en la madera 52x41cm Madrid, del deMuseo Prado b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Pintura Identificación:: 33649
Self-Portrait Autorretrato mk86
1658
Oil on canvas
133.5x104cm
New York
mk86 1658 Engrasan en la lona 133.5x104cmNueva York Born 1606, Died 1669
Pintura Identificación:: 33706
Self-Portrait Autorretrato mk83
1669
Oil on canvas
86x70.5cm
London,Nationa Gallery
mk83 1669 Engrasan en la lona 86x70.5cm Londres, la Galería de Nationa Born 1606, Died 1669
Pintura Identificación:: 33808
Self-Portrait Autorretrato mk86
1745
Oil on canvas
90.2x69.8cm
London,Tate Gallery
mk86 1745 Engrasan en la lona 90.2x69.8cm Londres, laGalería de Tate British
1697-1764
William Hogarth Galleries
Pintura Identificación:: 34391
Self-Portrait Autorretrato mk93
1633
Oil on panel
Louvre,
Paris
mk93 1633 Engrasan en el entrepaño Louvre, París Born 1606, Died 1669
Pintura Identificación:: 34533
Self-Portrait Autorretrato mk93
1669
Oil on canvas
25x22 3/4in
Mauritshuis,
The Hague
mk93 1669 Engrasan en la lona 25x22 3/4in Mauritshuis, La Haya Born 1606, Died 1669
Pintura Identificación:: 34569
Self-Portrait Autorretrato mk93
1629
Oil on panel
15.5x12.7cm
Munich,Alte Pinakothek
mk93 1629 Engrasan en el entrepaño 15.5x12.7cm Múnich, Alte Pinakothek Born 1606, Died 1669
Pintura Identificación:: 35312
Self-Portrait Autorretrato mk101
Oil on canvas
73x62cm
Rijksmuseum,Amsterdam.
el Petróleo mk101 en la lona 73x62cm Rijksmuseum,Amsterdam. Dutch Baroque Era Painter, ca.1625-1679
an important Russian artist and stage designer who designed sets for many productions by Sergei Diaghilev,1863-1930
Pintura Identificación:: 37291
Self-Portrait Autorretrato mk122
1912
88.6x68.9cm
mk122 1912 88.6x68.9cm an important Russian artist and stage designer who designed sets for many productions by Sergei Diaghilev,1863-1930
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 37705
Self-Portrait Autorretrato mk128
Oil on canvas
81x64cm
1854-1855
el Petróleomk128 en la lona 81x64cm 1854-1855 French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 38135
Self-Portrait Autorretrato mk131
It painted immediately before its trip to ltalia to peticion of its famila, that queria to conserve a memory during the long absence. mk131 que Lo pintó inmediatamente antes de su viaje al ltalia al peticion de su famila, ese queria para conservar una memoria durante la ausencia larga. French Realist Painter ,
1796-1875
Pintura Identificación:: 38544
Self-Portrait Autorretrato mk138
c.1773/74
Oil on wood
90.5x74.5cm
el Petróleo mk138 c.1773/74 en la madera 90.5x74.5cm 1728-1779
Dutch
Anton Raphael Mengs Gallery
Pintura Identificación:: 39312
Self-Portrait Autorretrato mk147
c.190
Scottish National Gallery of Modern Art.
mk147 C. 190 Galería Nacional escocesa del Arte moderno Scottish Painter, 1871-1935
Pintura Identificación:: 39313
Self-Portrait Autorretrato mk147
c.1914
on loan to the Scottish National Portrait Gallery.
mk147 C. 1914 en el préstamo a laGalería iconográfica Nacional escocesa. Scottish, 1883-1937
Pintura Identificación:: 39484
Self-Portrait Autorretrato mk149
Late 1620s-Early 1630s
mk149 Tarde 1620 1630 Tempranos Dutch
1599-1641
Anthony Van Dyck Locations
Pintura Identificación:: 39577
Self-Portrait Autorretrato mk149
1833-35
Sepia on paer,Heightened with white
16.7x15.2cm
mk149 1833-35 Sepia en el paer, Elevado con blanco 16.7x15.2cm Russian Neoclassical/Romantic Painter, 1799-1852
Pintura Identificación:: 40425
Self-Portrait Autorretrato mk156
c.1622
Oil on canvas
117x94cm
mk156 C. 1622 Petróleo en la lona 117x94cm Dutch
1599-1641
Anthony Van Dyck Locations
Pintura Identificación:: 40489
Self-Portrait Autorretrato mk156
1650-66
Pastel on paper
34.7x24.9cm
mk156 1650-66 apastel en el papel 34.7x24.9cm Italian Baroque Era Painter, 1612-1666
Pintura Identificación:: 40601
Self-Portrait Autorretrato MK156
1775
Oil on canvas
71.5X58 MK156 1775 Engrasan en la lona 71.5X58 British
1723-1792
Sir Joshua Reynolds Locations
Pintura Identificación:: 40621
Self-Portrait Autorretrato mk156
1790
Oil on canvas
100x81cm
mk156 1790Engrasan en la lona 100x81cm 1727-1788
British
Thomas Gainsborough Locations
Pintura Identificación:: 41176
Self-Portrait Autorretrato mk157
before 1744
Pastel on paper
31x25cm
mk157 antes de 1744 a pastel en el papel 31x25cm Italian Rococo Era Painter, 1675-1757
Pintura Identificación:: 41468
Self-Portrait Autorretrato mk162
1900
Watercolor on paper
12x7
mk162 1900 Acuarela en el papel 12x7 American Painter, 1864-1926
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Pintura Identificación:: 42214
Self-Portrait Autorretrato mk167
276x202mm
New York
Nueva York mk167 276x202mm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 49203
Self-Portrait mk194
c.1857-58
Oil on paper mounted on canvas
26x19cm
French Realist/Impressionist Painter and Sculptor, 1834-1917
Pintura Identificación:: 56874
Self-portrait mk250 A.D. 1659-1660 years. On cloth oil painting, approximately 112 x 94 centimeters. London is willing the Warder family to collect. 1778-1860
Rembrandt Peale Galleries
Pintura Identificación:: 62315
Self-Portrait 122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art. Spanish
1618-1682
Bartolome Esteban Murillo Galleries
Pintura Identificación:: 62448
Self-Portrait 1825 Black chalk heightened with white on buff paper, 291 x 229 mm Ashmolean Museum, Oxford This extraordinary self-portrait the artist drew around 1825, with hollow and haunted eyes, seems an attempt to understand the processes at work within him and projected on to the pages of his sketchbooks. Author: PALMER, Samuel Title: Self-Portrait Form: graphics , 1801-1850 , English , portrait 1805-1881
British
Samuel Palmer Galleries
Pintura Identificación:: 62506
Self-Portrait 420 x 276 mm Statens Museum for Kunst, Copenhagen Author: FRIEDRICH, Caspar David Title: Self-Portrait Form: graphics , 1801-1850 , German , portrait 1774-1840
Caspar David Friedrich Locations
Pintura Identificación:: 62825
Self-Portrait 1806 Oil on canvas Galleria Borghese, Rome The self-portrait of the artist and its companion pice, the portrait of Canova celebrates the friendship between the painter and the sculptor by capturing their appearence in 1806 for posterity. Artist: LANDI, Gaspare Title: Self-Portrait , painting Date: 1801-1850 Italian : portrait Italian Baroque Era Painter, 1655-1743
b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828,
Pintura Identificación:: 62848
Self-Portrait 1771-75 Oil on canvas, 58 x 44 cm Private collection The painting shows an ambitious young man at the start of his career. He comes from the provinces, from humble circumstances, and is looking for commissions. Artist: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait , painting Date: 1801-1850 Spanish : portrait b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828,
Dutch painter (b. 1695, Stockholm, d. 1770, Vienna).
Pintura Identificación:: 63071
Self-portrait 1740s Oil on canvas, 65 x 50,2 cm Museum of Fine Arts, Budapest Meytens's earliest self-portrait, a young painter's portrait with a turban, in the painters' gallery of Florences's Uffizi, was made during his Italian residence in 1727. This was followed in 1735 by a half-figure self-portrait, which can be found in two versions, in Sibiu's Muzeul Brukenthal, and in Ludwigsburg Gallery. The Budapest self-portrait belongs to a later period, and shows a slightly changed, somewhat more corpulent man. His face is still youthfully smooth, but already fattish, and he wears an Allonge-wig. His pose refers to his courtly position and special honours. A gold chain on his breast holds the medal he got in 1730 from Frederic, King of Sweden during his activity in Stockholm, and he ostentatiously shows with his right hand the medallion portrait of Empress Maria Theresia. Another half-figure portrait, now kept in the Viennese Gem?ldegalerie der Akademie der bildenden K?nste, as well as a painting in a Stockholm private collection, show the master some years older and of even more authority. Compared to these portraits and to the one engraved by Johann Gottfried Haid in 1756, our painting can probably be ascribed to the 1740s. Artist: MEYTENS, Martin van Painting Title: Self-portrait , 1701-1750 Painting Style: Austrian , , portrait Dutch painter (b. 1695, Stockholm, d. 1770, Vienna).
Pintura Identificación:: 64070
self-portrait painted 1584-1604
23x18
the metropolitan museum of art, new york Greek-born Spanish Mannerist Painter, 1541-1614
Pintura Identificación:: 64609
Self-portrait 109,5 x 85 cm Kunsthistorisches Museum, Vienna This is the last of Rubens's four self-portrait, executed shortly before his death. Artist:RUBENS, Pieter Pauwel Title: Self-portrait, 1601-1650, Flemish , painting , portrait Flemish Baroque Era Painter, 1577-1640
Pintura Identificación:: 64695
Self-Portrait 1751 Pastel on paper Mus?e de Picardie, Amiens Artist:LA TOUR, Maurice Quentin de Title: Self-Portrait, 1701-1750, French , painting , portrait French Rococo Era Painter, 1704-1788
Pintura Identificación:: 71299
Self-portrait Portrait with the side-curls that were most common as part of 1840s women's hairstyles. Swedish, 1808-1862
(7 August 1775, Paris - 1 April 1854) was a popular portraitist in Paris at the beginning of Romanticism.
She lived with the French diplomat and philhellene writer Francois Pouqueville (1770-1838).
student of the history painter Jean-Baptiste Regnault, she soon exhibited fine portraits and genre paintings at the Paris' Salons from 1800 to 1806 and from 1810 to 1814.
In 1805 Princess Caroline Murat-Bonaparte, a sister of the Emperor, purchased "La Chevre Nourriciere" a painting exhibited at the 1804 Salon and in 1806 Henriette Lorimier was awarded a First Class Medal for her painting of "Jeanne de Navarre" which was then purchased by the Empress Josephine de Beauharnais, consort of the Emperor Napoleon Ier.
Pintura Identificación:: 72424
Self-portrait 1801(1801)
Oil
cjr
(7 August 1775, Paris - 1 April 1854) was a popular portraitist in Paris at the beginning of Romanticism.
She lived with the French diplomat and philhellene writer Francois Pouqueville (1770-1838).
student of the history painter Jean-Baptiste Regnault, she soon exhibited fine portraits and genre paintings at the Paris' Salons from 1800 to 1806 and from 1810 to 1814.
In 1805 Princess Caroline Murat-Bonaparte, a sister of the Emperor, purchased "La Chevre Nourriciere" a painting exhibited at the 1804 Salon and in 1806 Henriette Lorimier was awarded a First Class Medal for her painting of "Jeanne de Navarre" which was then purchased by the Empress Josephine de Beauharnais, consort of the Emperor Napoleon Ier.
Pintura Identificación:: 73000
Self-Portrait "Self-Portrait," oil on canvas, by the American painter John Trumbull. 29 3/4 in. x 24 9/16 in. Yale University Art Gallery, gift of Marshall H. Clyde, Jr. Courtesy of Yale University, New Haven, Conn.
cjr 1756-1843
John Trumbull Gallery
Pintura Identificación:: 74570
Self-Portrait c. 1875 - c.1877
Oil on canvas
46.67 X 38.42 cm (18.37 X 15.13 in)
cjr French
1848-1903
Paul Gauguin Art Locations
(November 7, 1849 - April 6, 1914) was a Polish painter.
Chełmoski was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, he studied in Warsaw Drawing Class (1867-1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoski lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. He also had studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoski visited the Polish territories. Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoski went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoski visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in Kuklewka Zarzeczna village. Contact with his homeland and nature revealed quality in his artworks. From that time are the best liked Chełmoski's paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Pintura Identificación:: 74584
Self-portrait oil on canvas, 51 x 40 cm.
1902
cjr (November 7, 1849 - April 6, 1914) was a Polish painter.
Chełmoski was born in the village of Boczki near Łowicz in central Congress Poland, Russian Empire. His first drawing teacher was his father (a small leaseholder and administrator of Boczki village). After finishing high school in Warsaw, he studied in Warsaw Drawing Class (1867-1871) and took private lessons from Wojciech Gerson. From 1871 to 1874 Chełmoski lived in Munich. He worked with Polish painters assembled around Jozef Brandt and Maksymilian Gierymski. He also had studied for a few months at the academy of H. Anschutz and A. Strahuber. In 1872 and 1874 Chełmoski visited the Polish territories. Tatra Mountains and Ukraine.
His first paintings were done under the influence of Gerson. The works that followed were landscapes and villages. In 1875 Chełmoski went to Paris, where he had many important exhibitions and became known to the art scene. With many orders, the artistic level of his paintings decreased.
From 1878 to 1887 Chełmoski visited Poland, Vienna and Venice. In 1887 he returned to Poland and in 1889 settled in Kuklewka Zarzeczna village. Contact with his homeland and nature revealed quality in his artworks. From that time are the best liked Chełmoski's paintings such as Partridge on the Snow, The Storks or Before Thunderstorm.
Pintura Identificación:: 74925
Self-portrait Hogarth Painting the Comic Muse
Date ca. 1757(1757)
Medium Oil on canvas
Dimensions 45.1 X 42.5 cm (17.76 X 16.73 in)
cjr British
1697-1764
William Hogarth Galleries
Pintura Identificación:: 74927
Self-portrait Hogarth Painting the Comic Muse
Date ca. 1757(1757)
Medium Oil on canvas
Dimensions 45.1 X 42.5 cm (17.76 X 16.73 in)
cjr British
1697-1764
William Hogarth Galleries
Pintura Identificación:: 75356
Self-portrait Self-portrait (1924, oil on canvas, 61.2 x 51.0 cm) by Tom Roberts (1856-1931).
cjr British-born Australian Painter, 1856-1931
Pintura Identificación:: 75855
Self-portrait 1707(1707)
Oil on canvas
92.7 x 73 cm (36.5 x 28.7 in)
cjr 1656-1746
French
Nicolas de Largilliere Gallery
Pintura Identificación:: 76220
Self-portrait from 1780(1780) until 1785(1785)
Oil on canvas
77 x 63 cm (30.3 x 24.8 in)
cjr Swiss(Resident in England)
1741-1807
Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
Pintura Identificación:: 76426
Self-portrait after 1782(1782)
Oil on canvas
97.8 x 70.5 cm (38.5 x 27.8 in)
cjr Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
Pintura Identificación:: 76671
Self-portrait Copy of the self-portrait of the Artist in the Uffizi, Florence
Date after 1775(1775)
Medium Oil on canvas
Dimensions 97.2 x 73 cm (38.3 x 28.7 in)
cjr
Pintura Identificación:: 76961
Self-portrait ca. between 1730(1730) and 1735(1735)
Oil on panel
27 x 22 cm (10.6 x 8.7 in)
cjr French Rococo Era Painter, 1703-1770
Antoine Pesne, född 23 maj 1683 i Paris, Frankrike, död 5 augusti 1757 i Berlin, Preussen, var en fransk målare under rokokon.
Pesne gick i lära hos sin far, målaren Thomas Pesne, samt hos Charles de la Fosse i Paris. Under åren 1705?C1710 företog han en resa i Italien och vistades huvudsakligen i Venedig, där han anslöt sig till Andrea Celesti, vars måleri tydligt påverkade Pesnes tidiga verk.
1710 kallades han av kung Fredrik I av Preussen till Berlin som hovmålare. Därefter företog han under de följande åren kortare resor till hoven i Dessau (1715), Dresden (1718), London (1723) och Paris (1724). 1733 utnämndes Pesne till ledare för konstakademin i Berlin. Han anses vara en viktig förmedlare av den franska konsten till Brandenburg-Preussen. Pesne var i huvudsak verksam som porträttmålare, men han utförde även talrika vägg- och takmålningar för Fredrik den store i de kungliga slotten.
Ett av Pesnes mest berömda konstverk är Dansösen Barbara Campanini (cirka 1745). Detta porträtt med sin lätta och schvungfulla formgivning, det spontana penseldraget och de ljusa, pastelliknande färgerna är karakteristiskt för Pesnes arbeten och för rokokon i allmänhet. På ett virtuost sätt framställer Pesne den med tygblommor dekorerade sidenklänningen. Fredrik den store uppskattade sin hovmålares berömda plein-air-porträtt och lät hänga det på en framträdande plats i sitt arbetsrum i slottet i Berlin.
Pintura Identificación:: 77290
Self-portrait 1754(1754)
Oil on canvas
167 x 150 cm (65.7 x 59.1 in)
cjr Antoine Pesne, född 23 maj 1683 i Paris, Frankrike, död 5 augusti 1757 i Berlin, Preussen, var en fransk målare under rokokon.
Pesne gick i lära hos sin far, målaren Thomas Pesne, samt hos Charles de la Fosse i Paris. Under åren 1705?C1710 företog han en resa i Italien och vistades huvudsakligen i Venedig, där han anslöt sig till Andrea Celesti, vars måleri tydligt påverkade Pesnes tidiga verk.
1710 kallades han av kung Fredrik I av Preussen till Berlin som hovmålare. Därefter företog han under de följande åren kortare resor till hoven i Dessau (1715), Dresden (1718), London (1723) och Paris (1724). 1733 utnämndes Pesne till ledare för konstakademin i Berlin. Han anses vara en viktig förmedlare av den franska konsten till Brandenburg-Preussen. Pesne var i huvudsak verksam som porträttmålare, men han utförde även talrika vägg- och takmålningar för Fredrik den store i de kungliga slotten.
Ett av Pesnes mest berömda konstverk är Dansösen Barbara Campanini (cirka 1745). Detta porträtt med sin lätta och schvungfulla formgivning, det spontana penseldraget och de ljusa, pastelliknande färgerna är karakteristiskt för Pesnes arbeten och för rokokon i allmänhet. På ett virtuost sätt framställer Pesne den med tygblommor dekorerade sidenklänningen. Fredrik den store uppskattade sin hovmålares berömda plein-air-porträtt och lät hänga det på en framträdande plats i sitt arbetsrum i slottet i Berlin.
16 February 1731 - 5 January 1818) was an Italian painter of the late-baroque and Neoclassic periods.
He studied in Rome under Marco Benefial. In 1750 he was called to Dresden, Saxony, where he was employed by Elected King Augustus III of Poland; after whose death he went to Vienna, and thence to Warsaw. There he met and worked by the side of Italian painter in Dresden, Vienna and Warszawa , Bernardo Bellotto. He was the Director there of the new set up Academy of Arts of Warsaw.He painted a set of the Polish kings, from Boleslaus Chrobry downwards. That of Stanislaus II, Stanisław August Poniatowski has been engraved by A. de Marcenay de Ghuy, Kestner, and A. Fogg. Bacciarelli also painted scenes from the History of Poland. He died at Warsaw.
A number of his paintings were painted for King Stanisław August Poniatowski of Poland and are in the Royal Castle in Warsaw.
Pintura Identificación:: 78096
Self-portrait 1793(1793)
Oil on canvas
70.5 x 57.5 cm (27.8 x 22.6 in)
cjr 16 February 1731 - 5 January 1818) was an Italian painter of the late-baroque and Neoclassic periods.
He studied in Rome under Marco Benefial. In 1750 he was called to Dresden, Saxony, where he was employed by Elected King Augustus III of Poland; after whose death he went to Vienna, and thence to Warsaw. There he met and worked by the side of Italian painter in Dresden, Vienna and Warszawa , Bernardo Bellotto. He was the Director there of the new set up Academy of Arts of Warsaw.He painted a set of the Polish kings, from Boleslaus Chrobry downwards. That of Stanislaus II, Stanisław August Poniatowski has been engraved by A. de Marcenay de Ghuy, Kestner, and A. Fogg. Bacciarelli also painted scenes from the History of Poland. He died at Warsaw.
A number of his paintings were painted for King Stanisław August Poniatowski of Poland and are in the Royal Castle in Warsaw.
(c. 1607, Gorinchem - 1 June 1681, Rotterdam) was a Dutch Golden Age painter
He was born into a family of artists, and learned to paint from his father Herman, along with his brothers Abraham and Herman Saftleven the Younger. He lived for a time in Utrecht with his brother.
Saftleven's subject matter covered various subjects, including genre works, portraits, beach scenes, and biblical and mythological themes. Some consider his images of Hell to be his most individual contribution to Dutch painting
Pintura Identificación:: 78106
Self-portrait ca. 1629(1629)
Oil on panel
31 x 23 cm (12.2 x 9.1 in)
cjr (c. 1607, Gorinchem - 1 June 1681, Rotterdam) was a Dutch Golden Age painter
He was born into a family of artists, and learned to paint from his father Herman, along with his brothers Abraham and Herman Saftleven the Younger. He lived for a time in Utrecht with his brother.
Saftleven's subject matter covered various subjects, including genre works, portraits, beach scenes, and biblical and mythological themes. Some consider his images of Hell to be his most individual contribution to Dutch painting
Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
Pintura Identificación:: 78115
Self-portrait 1800
cjr Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
(Russian: 25 March [O.S. 14 March] 1716 - 23 June [O.S. 12 June] 1795) was a Russian barocco painter active primarily in St. Petersburg, where he was born and died. He also worked in Moscow and frescoed churches in Kiev. His preferred medium was oil, but he also painted miniatures and icons.
Alexei was born to a family of government official working in Armory and in the Department of Building (kantselyatiya stroeniy). Since 1732 Alexei also working at the same department under his relative A. Matveyev, since 1739 he is a member of the painting team (zhivopisnaja komanda) of the Department under Ivan Vishnyakov. As the member of the team Alexei took part in fresoeing of Summer Palace, Winter Palace, Anichkov Palace and other buildings of Saint Petersburg. He also studied portrait art from the court painter Louis Caravaque of France. In 1749 Alexei received the rank of the Painter's apprentice (zhivopisniy podmasterye) and in the end of 1750ies the rank of the Master Painter (zhivopisniy master).
In 1752-1755 he worked on the interiors of the St Andrew's Church of Kiev. He supervised the installation of the iconostasis, frescoed cupolas and walls. The most prominent of his frescoes in the church is the Last Supper in the altar.
He started to paint portraits before his Kiev period. The earliest known portraits of his are portraits of Elizabeth of Russia. He did not met his model but based the paintings on the works of his teacher, Louis Caravaque.
Unknown lady, 1760iesIn 1755-1757 he worked in Moscow frescoeing the Golovkin palace. Here he met prince Ivan Shuvalov who supported Antropov's works for the rest of his life.
In 1757 - 1759 Antropov returned to Saint-Petersburg and learned art from court painter Pietro Rotari of Italy. Historians consider his portrait of A.M. Izmaylova to be a sort of a graduation work. The 1760ies were probably the most productive period of the artist. He painted many good portraits among the Portrait of Ataman Krasnoschekov, Portrait of Rumyantseva. Ivan Shuvalov planned to move him to Moscow, so Antropov could teach art the Moscow University. For some reason this plan was canceled and Antropov instead got the job at the Synod of the Russian Orthodox Church, there he supervised icon painting, decorating of the churches, drew the portraits of church hierarchs and supervised art students. Among his apprentices was Dmitry Levitzky, who actually lived in the house of his teacher.
In 1762 Peter III of Russia became the new Emperor. Antropov soon became his favorite painter. For the six month of Peter III rule Antropov painted at least four of his portraits. After the palace revolt the new Emperess, Catherine II was of much lower opinion of the talents of Antropov. At that time the artists appreciated the soft combinations of colors and some sort of a fine flattering on the ceremonial portraits.
Pintura Identificación:: 78356
Self-portrait 1784(1784)
Oil on canvas
cjr (Russian: 25 March [O.S. 14 March] 1716 - 23 June [O.S. 12 June] 1795) was a Russian barocco painter active primarily in St. Petersburg, where he was born and died. He also worked in Moscow and frescoed churches in Kiev. His preferred medium was oil, but he also painted miniatures and icons.
Alexei was born to a family of government official working in Armory and in the Department of Building (kantselyatiya stroeniy). Since 1732 Alexei also working at the same department under his relative A. Matveyev, since 1739 he is a member of the painting team (zhivopisnaja komanda) of the Department under Ivan Vishnyakov. As the member of the team Alexei took part in fresoeing of Summer Palace, Winter Palace, Anichkov Palace and other buildings of Saint Petersburg. He also studied portrait art from the court painter Louis Caravaque of France. In 1749 Alexei received the rank of the Painter's apprentice (zhivopisniy podmasterye) and in the end of 1750ies the rank of the Master Painter (zhivopisniy master).
In 1752-1755 he worked on the interiors of the St Andrew's Church of Kiev. He supervised the installation of the iconostasis, frescoed cupolas and walls. The most prominent of his frescoes in the church is the Last Supper in the altar.
He started to paint portraits before his Kiev period. The earliest known portraits of his are portraits of Elizabeth of Russia. He did not met his model but based the paintings on the works of his teacher, Louis Caravaque.
Unknown lady, 1760iesIn 1755-1757 he worked in Moscow frescoeing the Golovkin palace. Here he met prince Ivan Shuvalov who supported Antropov's works for the rest of his life.
In 1757 - 1759 Antropov returned to Saint-Petersburg and learned art from court painter Pietro Rotari of Italy. Historians consider his portrait of A.M. Izmaylova to be a sort of a graduation work. The 1760ies were probably the most productive period of the artist. He painted many good portraits among the Portrait of Ataman Krasnoschekov, Portrait of Rumyantseva. Ivan Shuvalov planned to move him to Moscow, so Antropov could teach art the Moscow University. For some reason this plan was canceled and Antropov instead got the job at the Synod of the Russian Orthodox Church, there he supervised icon painting, decorating of the churches, drew the portraits of church hierarchs and supervised art students. Among his apprentices was Dmitry Levitzky, who actually lived in the house of his teacher.
In 1762 Peter III of Russia became the new Emperor. Antropov soon became his favorite painter. For the six month of Peter III rule Antropov painted at least four of his portraits. After the palace revolt the new Emperess, Catherine II was of much lower opinion of the talents of Antropov. At that time the artists appreciated the soft combinations of colors and some sort of a fine flattering on the ceremonial portraits.
(7 August 1775, Paris - 1 April 1854) was a popular portraitist in Paris at the beginning of Romanticism.
She lived with the French diplomat and philhellene writer Francois Pouqueville (1770-1838).
student of the history painter Jean-Baptiste Regnault, she soon exhibited fine portraits and genre paintings at the Paris' Salons from 1800 to 1806 and from 1810 to 1814.
In 1805 Princess Caroline Murat-Bonaparte, a sister of the Emperor, purchased "La Chevre Nourriciere" a painting exhibited at the 1804 Salon and in 1806 Henriette Lorimier was awarded a First Class Medal for her painting of "Jeanne de Navarre" which was then purchased by the Empress Josephine de Beauharnais, consort of the Emperor Napoleon Ier.
Pintura Identificación:: 78490
Self-portrait 1801
cjr (7 August 1775, Paris - 1 April 1854) was a popular portraitist in Paris at the beginning of Romanticism.
She lived with the French diplomat and philhellene writer Francois Pouqueville (1770-1838).
student of the history painter Jean-Baptiste Regnault, she soon exhibited fine portraits and genre paintings at the Paris' Salons from 1800 to 1806 and from 1810 to 1814.
In 1805 Princess Caroline Murat-Bonaparte, a sister of the Emperor, purchased "La Chevre Nourriciere" a painting exhibited at the 1804 Salon and in 1806 Henriette Lorimier was awarded a First Class Medal for her painting of "Jeanne de Navarre" which was then purchased by the Empress Josephine de Beauharnais, consort of the Emperor Napoleon Ier.
Anna Marie Ellenrieder (March 20, 1791 - June 5, 1863, Konstanz) was a German painter.
She was born in Konstanz, Germany, the daughter of Konrad and Anna Maria Herrmann, and the granddaughter of Franz Ludwig Herrmann.
She studied under the miniature painter Joseph Einsle. Her portraits, similar in style to the ones of Angelica Kauffmann, made her the first woman to enter the Academy of Fine Arts Munich.
She spent the time between 1822 and 1824 in Rome, where she became a disciple of Friedrich Johann Overbeck. After this journey, she started painting religious topics such as "Christ Blessing Little Children" and "Mary and the Infant Jesus." Her two paintings "Der 12 jährige Jesus im Tempel / The 12 year old Jesus in the Temple", 1849 (oil on canvas, 203,2 x 139,7 cm) and "Hl Felicitas und ihre sieben Söhne / Holy Felicitas and her Seven Sons", 1847 (oil on canvas, 127 x 177,8 cm) were acquired by Queen Victoria who had been introduced to her work by the Prince Consort, who in turn had encountered the artist on his travels to Rome. They are now part of the Royal Collection in Osborne House.
She died in her home town of Konstanz.
Pintura Identificación:: 78492
Self-portrait 1819
cjr Anna Marie Ellenrieder (March 20, 1791 - June 5, 1863, Konstanz) was a German painter.
She was born in Konstanz, Germany, the daughter of Konrad and Anna Maria Herrmann, and the granddaughter of Franz Ludwig Herrmann.
She studied under the miniature painter Joseph Einsle. Her portraits, similar in style to the ones of Angelica Kauffmann, made her the first woman to enter the Academy of Fine Arts Munich.
She spent the time between 1822 and 1824 in Rome, where she became a disciple of Friedrich Johann Overbeck. After this journey, she started painting religious topics such as "Christ Blessing Little Children" and "Mary and the Infant Jesus." Her two paintings "Der 12 jährige Jesus im Tempel / The 12 year old Jesus in the Temple", 1849 (oil on canvas, 203,2 x 139,7 cm) and "Hl Felicitas und ihre sieben Söhne / Holy Felicitas and her Seven Sons", 1847 (oil on canvas, 127 x 177,8 cm) were acquired by Queen Victoria who had been introduced to her work by the Prince Consort, who in turn had encountered the artist on his travels to Rome. They are now part of the Royal Collection in Osborne House.
She died in her home town of Konstanz.
1649-1723
Dutch (Resident in UK)
Sir Godfrey Kneller Galleries
Pintura Identificación:: 78510
Self-portrait 1685(1685)
Oil on canvas
75.6 x 62.9 cm (29.8 x 24.8 in)
cjr 1649-1723
Dutch (Resident in UK)
Sir Godfrey Kneller Galleries
Pintura Identificación:: 78678
Self-portrait ca. 1700(1700)
Oil on canvas
60 x 50 cm (23.6 x 19.7 in)
cjr 1665-1747
Italian
Giuseppe Maria Crespi Locations
(Philadelphia, Pennsylvania, May 19, 1800 - February 4, 1885, Philadelphia) was an American portrait painter, one of the notable family of artists descended from the miniaturist and still-life painter James Peale, who was her father. She is noted as a portrait painter, mainly of politicians and military figures. Lafayette sat for her four times.
Sarah was James Peale's youngest daughter and was trained by her father, and uncle Charles Willson Peale. She served as a studio assistant to her father. Her first public works date from 1816 with subjects such as flowers and still-life but soon turned to portraiture, In 1818, she spent three months with Rembrandt Peale, her cousin, in Baltimore, and again in 1820 and 1822. He influenced her painting style and subject matter. For 25 years, she painted in Baltimore (1822-47) and, intermittently, in Washington, D.C.
She was accepted to the Pennsylvania Academy of Fine Arts in 1824 along with her sister Anna Claypoole Peale, the first women to achieve this distinction. Over 100 commissioned portrait paintings are known from her time in Baltimore and she was the most prolific artist in the city during that era. Her subjects were wealthy Baltimore residents and politicians from Washington DC.
Pintura Identificación:: 78759
Self-portrait 1818
cjr (Philadelphia, Pennsylvania, May 19, 1800 - February 4, 1885, Philadelphia) was an American portrait painter, one of the notable family of artists descended from the miniaturist and still-life painter James Peale, who was her father. She is noted as a portrait painter, mainly of politicians and military figures. Lafayette sat for her four times.
Sarah was James Peale's youngest daughter and was trained by her father, and uncle Charles Willson Peale. She served as a studio assistant to her father. Her first public works date from 1816 with subjects such as flowers and still-life but soon turned to portraiture, In 1818, she spent three months with Rembrandt Peale, her cousin, in Baltimore, and again in 1820 and 1822. He influenced her painting style and subject matter. For 25 years, she painted in Baltimore (1822-47) and, intermittently, in Washington, D.C.
She was accepted to the Pennsylvania Academy of Fine Arts in 1824 along with her sister Anna Claypoole Peale, the first women to achieve this distinction. Over 100 commissioned portrait paintings are known from her time in Baltimore and she was the most prolific artist in the city during that era. Her subjects were wealthy Baltimore residents and politicians from Washington DC.
13 February 1744 C 6 August 1796) was a Scottish painter, best known for historical subjects.
He was born at Alloa in central Scotland. On leaving Foulis's academy of painting at Glasgow (1762), after seven years' successful study, he obtained the patronage of Lord Cathcart and of Erskine of Mar, on whose estate he had been born. Erskine made it possible for him to travel to Rome (1764), where he remained for several years engaged principally in copying the old masters.
Among the original works which he then painted was the "Origin of Portraiture", now in the National Gallery at Edinburgh--representing a Corinthian maid drawing her lover's shadow--well known through Domenico Cunego's excellent engraving. This won him the gold medal given by the Academy of St Luke in the year 1773 for the best specimen of historical composition.
Pintura Identificación:: 78801
Self-portrait 1770(1770)
Oil on canvas
cjr 13 February 1744 C 6 August 1796) was a Scottish painter, best known for historical subjects.
He was born at Alloa in central Scotland. On leaving Foulis's academy of painting at Glasgow (1762), after seven years' successful study, he obtained the patronage of Lord Cathcart and of Erskine of Mar, on whose estate he had been born. Erskine made it possible for him to travel to Rome (1764), where he remained for several years engaged principally in copying the old masters.
Among the original works which he then painted was the "Origin of Portraiture", now in the National Gallery at Edinburgh--representing a Corinthian maid drawing her lover's shadow--well known through Domenico Cunego's excellent engraving. This won him the gold medal given by the Academy of St Luke in the year 1773 for the best specimen of historical composition.
(also given as Anne-Louis Girodet de Roucy-Triosson, Anne-Louis Girodet-Trioson) January 5, 1767 - December 9, 1824), was a French painter and pupil of Jacques-Louis David, who was part of the beginning of the Romantic movement by adding elements of eroticism through his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family.
Pintura Identificación:: 78805
Self-portrait ca. 1790
cjr (also given as Anne-Louis Girodet de Roucy-Triosson, Anne-Louis Girodet-Trioson) January 5, 1767 - December 9, 1824), was a French painter and pupil of Jacques-Louis David, who was part of the beginning of the Romantic movement by adding elements of eroticism through his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family.
Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
Pintura Identificación:: 78827
Self-portrait 1790(1790)
Oil on canvas
cjr Élisabeth-Louise Vigee-Le Brun, född 16 april 1755 i Paris, död 30 mars 1842 i Louveciennes, 20 kilometer väster om Paris, var en fransk målare som i huvudsak målade porträtt.
Vigee-Lebrun utförde tilldragande, idealiserande porträtt och var för en tid hovmålare hos drottning Marie Antoinette. Vigee-Lebrun var tvungen att lämna Frankrike pågrund av den franska revolutionen 1789 och efter det var hon verksam i Ryssland, Italien och Storbritannien. Efter att Napoleons kommit till makten återvände hon till Frankrike. Hon besökte Schweiz 1807 där hon i Geneve blev invald som hedersmedlem i Societe pour l'Avancement des Beaux-Arts.
Vigee-Le Brun lämnade ett arv av 660 porträttmålningar och 200 landskapsmålningar. Dessa finns i privata samlingar i Europa och USA men även i stora museer som Eremitaget, National Gallery i London, Metropolitan Museum of Art i New York och National Gallery of Art i Washington, D.C..
Pintura Identificación:: 78947
Self-portrait . 1757(1757)
Medium Oil on canvas
Dimensions 45.1 x 42.5 cm (17.8 x 16.7 in)
cyf British
1697-1764
William Hogarth Galleries
Bernhard Rode (25 July 1725 - died 28 June 1797) was a Prussian artist and engraver well-known for portraying historical scenes and allegorical works. He knew most of the central figures in the Berlin Enlightenment as Friedrich Nicolai and Gotthold Lessing, and the philosophical and political discussions of the Berlin Philosophs informed much of the subject matter of his artistic work. His paintings include several works depicting, in various guises, the King of Prussia Frederick the Great, who ruled the Prussia during much of Rode's lifetime. Rode was director of the Berlin Academy of the Arts from 1783 until his death in 1797.
Rode was the son of a goldsmith Christian Bernhard Rode and his wife, Anna Sophie. The copper engraver Johann Heinrich Rode and the sculptor Philipp Rode were his brothers. He received his earliest artistic training from his father and his earliest training in drawing from a painter, N. Meller. His four-year education at the studio of the court painter Antoine Pesne, an influential painter in Berlin and Brandenburg, was important to his professional development. During his apprenticeship, he learned to paint portraits. In 1748, Rode began a study trip of several years. He spent 18 months in the studio of Jean Restout and Charles Andre van Loo (sometimes known as Carle van Loo or Vanloo). He became acquainted with Jean-Baptiste Deshayes and developed his talent and interest in the medium of history painting. In Venice and Rome, he studied the old masters. In 1755 or 1756, he returned to Berlin, and he married Sophie Luise, but the earliest years of their marriage remained childless.
Pintura Identificación:: 79072
Self-portrait 1786(1786)
Oil on canvas
46.8 x 36.8 cm (18.4 x 14.5 in)
cjr Bernhard Rode (25 July 1725 - died 28 June 1797) was a Prussian artist and engraver well-known for portraying historical scenes and allegorical works. He knew most of the central figures in the Berlin Enlightenment as Friedrich Nicolai and Gotthold Lessing, and the philosophical and political discussions of the Berlin Philosophs informed much of the subject matter of his artistic work. His paintings include several works depicting, in various guises, the King of Prussia Frederick the Great, who ruled the Prussia during much of Rode's lifetime. Rode was director of the Berlin Academy of the Arts from 1783 until his death in 1797.
Rode was the son of a goldsmith Christian Bernhard Rode and his wife, Anna Sophie. The copper engraver Johann Heinrich Rode and the sculptor Philipp Rode were his brothers. He received his earliest artistic training from his father and his earliest training in drawing from a painter, N. Meller. His four-year education at the studio of the court painter Antoine Pesne, an influential painter in Berlin and Brandenburg, was important to his professional development. During his apprenticeship, he learned to paint portraits. In 1748, Rode began a study trip of several years. He spent 18 months in the studio of Jean Restout and Charles Andre van Loo (sometimes known as Carle van Loo or Vanloo). He became acquainted with Jean-Baptiste Deshayes and developed his talent and interest in the medium of history painting. In Venice and Rome, he studied the old masters. In 1755 or 1756, he returned to Berlin, and he married Sophie Luise, but the earliest years of their marriage remained childless.
Pintura Identificación:: 79738
Self-portrait 1745(1745)
Oil on canvas
90 x 70 cm (35.4 x 27.6 in) (full painting)
cjr British
1697-1764
William Hogarth Galleries
Pintura Identificación:: 80568
Self-portrait . 1668 (1666-1670)
Medium Oil on canvas
Dimensions 62.7 x 43.7 cm (24.7 x 17.2 in)
cyf Flemish Baroque Era Painter, ca.1561-1636
Pintura Identificación:: 80809
Self-portrait Date 1627(1627)
Medium Oil on wood
Dimensions Height: 23.5 cm (9.3 in). Width: 17 cm (6.7 in).
cjr Born 1606, Died 1669
Pehr Hilleström (1732-1816) var en svensk målare och vävare, professor vid Konstakademiens läroverk från 1794 och dess direktör från 1810. I unga år var han en av Sveriges främsta gobelängvävare men övergick sedan till måleri. Han är mest känd för sina vardagsskildringar av sin tids levnadssätt. Han målade pigor och tjänstefolk som arbetar, överklassen i de fina salarna, enkelt folk i stugorna och bilder från olika bruksmiljöer. Genom det räknas han som den största skildraren av den gustavianska samtiden.
Pehr Hilleström är far till konstnären Carl Petter Hilleström och farfars farfars far till Gustaf Hilleström.
Pehr Hilleström föddes i 1732 Väddö, Roslagen, troligtvis den 18 november. Han växte upp under fattiga omständigheter på Väddö prästgård vid sin farbror som var kyrkoherde där. Han var son till en militär och äldst i en syskonskara på 12 barn. Hans far råkade redan 1719 i rysk fångenskap men hade 1723 lyckats återvända till Sverige och då tagit sin tillflykt till brodern på Väddö.
1743 flyttade familjen Hilleström från Roslagen till Stockholm, där Pehr, 10 år gammal, sattes i lära hos tapet- och landskapsmålaren Johan Philip Korn (1727-1796) samt mellan åren 1744-1747 även hos den invandrade tyske solfjädermålaren Christian Fehmer. Utöver detta fick han även undervisning vid kungliga ritareakademin där Guillaume Thomas Taraval (1701-1750) och Jean Eric Rehn (1717-1793) var läromästare.
Efter inrådan från Carl Hårleman sattes Hilleström 1745 i lära hos Jean Louis Duru (-1753). Duru var hautelissevävare och hade kallats till Sverige för att göra textila utsmyckningen av Stockholms slott. Tanken var att Hilleström skulle utbildas till Durus medhjälpare. 1749 visade Hilleström upp ett första läroprov som visades upp för deputationen som gillade det så mycket så att han fick en belöning på 180 daler kopparmynt. När Duru dog i slutet av 1753 så fick Hilleström fullborda den påbörjade kappan för tronhimmelen i det kungliga audiensrummet. Han var då så skicklig att det knappt kunde märkas någon skillnad mellan hans och hans lärares arbete. Lönen var blygsam men vid 1756 års riksdag fick han samma årslön som Duru hade haft, och han fick en beställning på ett vävt porträtt av Hårleman utfört i hautelisse.
Åren 1757-58 var Hilleström på en längre och för tidens konstnärer sedvanlig studieresa till utlandet. Färden gick till Paris, Belgien och Holland, bland annat med en vidareutbildning i gobelängteknikerna som mål. I Paris blir Hilleström erbjuden att studera måleri i François Bouchers atelj??, men störst intryck tog han där av genre- och stillebenmålaren Jean-Baptiste-Sim??on Chardin, som undervisade honom vid franska målarakademien. Väl hemma i Stockholm fortsatte han visserligen att göra tapeter, mattor, stolsöverdrag och dylikt för hovet. Men så småningom fylldes slottet behov av vävnader samtidigt som Hilleström fortsatte studera måleri.
Pintura Identificación:: 80823
Self-portrait Date 18th century ca. 1760(1760) from 1794(1794) until 1797(1797)
Medium Oil on canvas
Dimensions 53 x 42 cm (20.9 x 16.5 in)
cjr Pehr Hilleström (1732-1816) var en svensk målare och vävare, professor vid Konstakademiens läroverk från 1794 och dess direktör från 1810. I unga år var han en av Sveriges främsta gobelängvävare men övergick sedan till måleri. Han är mest känd för sina vardagsskildringar av sin tids levnadssätt. Han målade pigor och tjänstefolk som arbetar, överklassen i de fina salarna, enkelt folk i stugorna och bilder från olika bruksmiljöer. Genom det räknas han som den största skildraren av den gustavianska samtiden.
Pehr Hilleström är far till konstnären Carl Petter Hilleström och farfars farfars far till Gustaf Hilleström.
Pehr Hilleström föddes i 1732 Väddö, Roslagen, troligtvis den 18 november. Han växte upp under fattiga omständigheter på Väddö prästgård vid sin farbror som var kyrkoherde där. Han var son till en militär och äldst i en syskonskara på 12 barn. Hans far råkade redan 1719 i rysk fångenskap men hade 1723 lyckats återvända till Sverige och då tagit sin tillflykt till brodern på Väddö.
1743 flyttade familjen Hilleström från Roslagen till Stockholm, där Pehr, 10 år gammal, sattes i lära hos tapet- och landskapsmålaren Johan Philip Korn (1727-1796) samt mellan åren 1744-1747 även hos den invandrade tyske solfjädermålaren Christian Fehmer. Utöver detta fick han även undervisning vid kungliga ritareakademin där Guillaume Thomas Taraval (1701-1750) och Jean Eric Rehn (1717-1793) var läromästare.
Efter inrådan från Carl Hårleman sattes Hilleström 1745 i lära hos Jean Louis Duru (-1753). Duru var hautelissevävare och hade kallats till Sverige för att göra textila utsmyckningen av Stockholms slott. Tanken var att Hilleström skulle utbildas till Durus medhjälpare. 1749 visade Hilleström upp ett första läroprov som visades upp för deputationen som gillade det så mycket så att han fick en belöning på 180 daler kopparmynt. När Duru dog i slutet av 1753 så fick Hilleström fullborda den påbörjade kappan för tronhimmelen i det kungliga audiensrummet. Han var då så skicklig att det knappt kunde märkas någon skillnad mellan hans och hans lärares arbete. Lönen var blygsam men vid 1756 års riksdag fick han samma årslön som Duru hade haft, och han fick en beställning på ett vävt porträtt av Hårleman utfört i hautelisse.
Åren 1757-58 var Hilleström på en längre och för tidens konstnärer sedvanlig studieresa till utlandet. Färden gick till Paris, Belgien och Holland, bland annat med en vidareutbildning i gobelängteknikerna som mål. I Paris blir Hilleström erbjuden att studera måleri i François Bouchers atelj??, men störst intryck tog han där av genre- och stillebenmålaren Jean-Baptiste-Sim??on Chardin, som undervisade honom vid franska målarakademien. Väl hemma i Stockholm fortsatte han visserligen att göra tapeter, mattor, stolsöverdrag och dylikt för hovet. Men så småningom fylldes slottet behov av vävnader samtidigt som Hilleström fortsatte studera måleri.
(Czech: Vaclav Vavřinec Reiner; 8 August 1686 or 1689 - 9 October 1743) was a Baroque painter who lived and died in Prague, Bohemia.
Pintura Identificación:: 81010
Self-portrait Date from 1730(1730) until 1740(1740)
Medium Oil on canvas
Dimensions 67 x 57 cm (26.4 x 22.4 in)
cjr (Czech: Vaclav Vavřinec Reiner; 8 August 1686 or 1689 - 9 October 1743) was a Baroque painter who lived and died in Prague, Bohemia.
Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere.
In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
Pintura Identificación:: 81300
Self-portrait oil on canvas
147.8 x 113.5 cm
Date 18th century
cjr Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere.
In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
(14 November 1852 - 28 December 1930) was an Italian painter.
Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823-1901), a painter of historical scenes who favored dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (1818-1899), a landscape painter. Mancini developed quickly under their guidance, and in 1872, he exhibited two paintings at the Paris Salon.
Mancini worked at the forefront of Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in "Saltimbanco" (1877-78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds.
While in Paris in the 1870s, Mancini met Impressionists Edgar Degas and Édouard Manet. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. His mature works show a brightened palette with a striking impasto technique on canvas and a bold command of pastels on paper.
In 1881, Mancini suffered a disabling mental illness. He settled in Rome in 1883 for twenty years, then moved to Frascati where he lived until 1918. During this period of Mancini's life, he was often destitute and relied on the help of friends and art buyers to survive. After the First World War, his living situation stabilized and he achieved a new level of serenity in his work. Mancini died in Rome in 1930 and buried in the Basilica Santi Bonifacio e Alessio on the Aventine Hill.
His painting,The Poor Schoolboy, exhibited in the Salon of 1876, is in the Musee d'Orsay in Paris. Its realist subject matter and dark palette are typical of his early work. Paintings by Mancini also may be seen in major Italian museum collections, including Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, and Museo Civico-Galleria d'Arte Moderna in Turin. The Philadelphia Art Museum holds fifteen oil paintings and three pastels by Mancini that were a gift of New York art dealer Vance N. Jordan.
Pintura Identificación:: 81354
Self-portrait oil on canvas
60 x 70 cm
Date 1910
cjr (14 November 1852 - 28 December 1930) was an Italian painter.
Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823-1901), a painter of historical scenes who favored dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (1818-1899), a landscape painter. Mancini developed quickly under their guidance, and in 1872, he exhibited two paintings at the Paris Salon.
Mancini worked at the forefront of Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in "Saltimbanco" (1877-78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds.
While in Paris in the 1870s, Mancini met Impressionists Edgar Degas and Édouard Manet. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. His mature works show a brightened palette with a striking impasto technique on canvas and a bold command of pastels on paper.
In 1881, Mancini suffered a disabling mental illness. He settled in Rome in 1883 for twenty years, then moved to Frascati where he lived until 1918. During this period of Mancini's life, he was often destitute and relied on the help of friends and art buyers to survive. After the First World War, his living situation stabilized and he achieved a new level of serenity in his work. Mancini died in Rome in 1930 and buried in the Basilica Santi Bonifacio e Alessio on the Aventine Hill.
His painting,The Poor Schoolboy, exhibited in the Salon of 1876, is in the Musee d'Orsay in Paris. Its realist subject matter and dark palette are typical of his early work. Paintings by Mancini also may be seen in major Italian museum collections, including Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, and Museo Civico-Galleria d'Arte Moderna in Turin. The Philadelphia Art Museum holds fifteen oil paintings and three pastels by Mancini that were a gift of New York art dealer Vance N. Jordan.
Pintura Identificación:: 82524
Self-portrait Date Paris, Summer 1887
Medium Oil on canvas
Dimensions 42 x 34 cm
cjr Dutch Post-Impressionist Painter, 1853-1890
(1726 - 1782) was a self-taught artist who prepared the drawings for the illustration of Norden's 'Travels in Egypt,' and then became a decorative and theatrical painter. Together with this occupation he executed popular Danish scenes in the style of Teniers, and several of his pictures were engraved by Haas, Kleve, and Clemens. He died at Copenhagen in 1782.
Pintura Identificación:: 82942
Self-portrait Date 18th century
Medium Oil
cjr (1726 - 1782) was a self-taught artist who prepared the drawings for the illustration of Norden's 'Travels in Egypt,' and then became a decorative and theatrical painter. Together with this occupation he executed popular Danish scenes in the style of Teniers, and several of his pictures were engraved by Haas, Kleve, and Clemens. He died at Copenhagen in 1782.
(c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
Pintura Identificación:: 82989
Self-portrait Date second half of 15th century
Medium Oil on canvas
cjr (c. 1450 - 1504) was a Spanish painter; his art is regarded as a transitional style between gothic and Renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino, where he could see some works by Melozzo da Forle. He came back to Spain in 1482 and painted in several cities, such as Sevilla, Toledo and Ávila. He was the father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
Pintura Identificación:: 83125
Self-portrait Date ca. 1640(1640)
Medium Oil on canvas
Dimensions 45 x 38 cm (17.7 x 15 in)
cjr Spanish Baroque Era Painter, 1599-1660
Pintura Identificación:: 83226
Self-portrait Date ca. 1770(1770)
Medium Oil on canvas
Dimensions 84 x 74 cm (33.1 x 29.1 in)
cjr 1702-1789
Swiss
Jean Etienne Liotard Gallery
Francesco Caccianiga (1700-1781) was an Italian painter and engraver.
He was born in Milan. In Bologna, he became a pupil of Marcantonio Franceschini. He afterwards visited Rome, where he established himself under the patronage of Prince Borghese, for whom he executed some considerable works in the Palazzo and the Villa Borghese. His principal works are at Ancona, where he painted several altar-pieces, among them, Marriage of the Virgin and Last Supper.
Pintura Identificación:: 83379
Self-portrait 18th century
Medium Oil
cyf Francesco Caccianiga (1700-1781) was an Italian painter and engraver.
He was born in Milan. In Bologna, he became a pupil of Marcantonio Franceschini. He afterwards visited Rome, where he established himself under the patronage of Prince Borghese, for whom he executed some considerable works in the Palazzo and the Villa Borghese. His principal works are at Ancona, where he painted several altar-pieces, among them, Marriage of the Virgin and Last Supper.
Pintura Identificación:: 83471
Self-portrait 1649-1650
Medium Oil on canvas
Dimensions 98 x 74 cm (38.6 x 29.1 in)
cyf French 1594-1665 Nicolas Poussin Galleries
Anton von Maron (January 8, 1733 - March 3, 1808) was an Austrian painter, active in Rome.
Von Maron was born in Vienna, but moved at a young age to Rome. There, he studied under Anton Raphael Mengs, and became an accomplished portrait painter. He married a sister of Mengs, Therese Maron, who was a painter in her own right. He lived the rest of his life in Rome, and died there in 1808.
Pintura Identificación:: 83503
Self-portrait Oil on canvas
Dimensions 61 x 47 cm (24 x 18.5 in)
cyf Anton von Maron (January 8, 1733 - March 3, 1808) was an Austrian painter, active in Rome.
Von Maron was born in Vienna, but moved at a young age to Rome. There, he studied under Anton Raphael Mengs, and became an accomplished portrait painter. He married a sister of Mengs, Therese Maron, who was a painter in her own right. He lived the rest of his life in Rome, and died there in 1808.
Pintura Identificación:: 83890
Self-portrait Date 1889(1889)
Medium Oil on canvas
Dimensions 66.3 x 49 cm (26.1 x 19.3 in)
cjr Spanish painter , 1849-1916
Pintura Identificación:: 84156
Self-portrait 1629-1630
Medium Oil on panel
Dimensions 42 x 33 cm (16.5 x 13 in)
cyf Dutch Baroque Era Painter, 1607-1674
Pintura Identificación:: 84876
Self-portrait Date Paris, Spring 1887
English: Oil on paper
Dimensions 32 x 23 cm
cjr Dutch Post-Impressionist Painter, 1853-1890
Pintura Identificación:: 85436
Self-portrait 1770-1775
Medium Oil on canvas
Dimensions 73.7 x 61 cm (29 x 24 in)
cyf Swiss(Resident in England)
1741-1807
Pintura Identificación:: 85573
Self-portrait c. 1629 (1628-1630)
Medium Oil on oak panel
Dimensions 38.2 x 31 cm (15 x 12.2 in)
cyf 1778-1860
Rembrandt Peale Galleries
Pintura Identificación:: 86705
Self-portrait Date 1823(1823)
Medium Oil on canvas mounted on board
Dimensions Height: 26 cm (10.2 in). Width: 20 cm (7.9 in).
cjr German Romantic, 1798-1840
1852 in Wieliczka ?C January 9, 1916 in Krak??w) was a Polish painter.
From 1868 to 1873, he followed Władysław Luszczkiewicz classes in the Fine art school of Krakow. Later, he was in Vienna and Munich and in J??zef Brandt's atelier. In 1877, he travelled to Paris and Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. In 1883, he went to London, where he made Prince of Wales' portrait. In 1884, to Constantinople, he was sultan Abdhulhamid II's guest. And he woked later in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in one of the battles of this war. He's first cousin was Zygmunt Ajdukiewicz.
Pintura Identificación:: 86785
Self-portrait Medium Oil on canvas
cyf 1852 in Wieliczka ?C January 9, 1916 in Krak??w) was a Polish painter.
From 1868 to 1873, he followed Władysław Luszczkiewicz classes in the Fine art school of Krakow. Later, he was in Vienna and Munich and in J??zef Brandt's atelier. In 1877, he travelled to Paris and Near East. In 1882, he lived in Vienna, where he worked for the aristocracy. In 1883, he went to London, where he made Prince of Wales' portrait. In 1884, to Constantinople, he was sultan Abdhulhamid II's guest. And he woked later in Sofia, Saint Petersburg and Bucharest. He joined the Polish Legions in 1914, during World War I, and he died in one of the battles of this war. He's first cousin was Zygmunt Ajdukiewicz.
Pintura Identificación:: 87321
Self-portrait 1770(1770)
Medium Oil on canvas
Dimensions 84 x 74 cm (33.1 x 29.1 in)
cyf 1702-1789
Swiss
Jean Etienne Liotard Gallery
(1682 - May 25, 1755) was a Swedish born painter who emigrated to the New World in 1711. He was the father of painter John Hesselius and cousin of the religious leader Emanuel Swedenborg.
Hesselius left his home country of Sweden for Wilmington, Delaware in 1711. There he lived until 1717 when he moved to Philadelphia, Pennsylvania, where he lived until 1721. In 1721, he moved to Prince George's County, Maryland and became a portrait painter, though he had been trained in Sweden. That same year, he received the first recorded public art commission in the American colonies, he painted The Last Supper. He also painted a Crucifixion. Some time around 1735, Hesselius returned to Philadelphia where spent the rest of his life and traveling. He was listed as a member of the Gloria Dei (Old Swedes') Church in Philadelphia.
He also worked as an organ builder, having built an organ for the Moravian Church in Bethlehem, Pennsylvania in 1746. From about this time on, he focused on building organs, referring painting commissions to his son John.
J. Hall Pleasants has said that Hesselius became "America's earliest portrait painter of note." In 1994 he was named to the Prince George's County Hall of Fame.
Pintura Identificación:: 87482
Self-portrait 1740
Medium Oil
cjr (1682 - May 25, 1755) was a Swedish born painter who emigrated to the New World in 1711. He was the father of painter John Hesselius and cousin of the religious leader Emanuel Swedenborg.
Hesselius left his home country of Sweden for Wilmington, Delaware in 1711. There he lived until 1717 when he moved to Philadelphia, Pennsylvania, where he lived until 1721. In 1721, he moved to Prince George's County, Maryland and became a portrait painter, though he had been trained in Sweden. That same year, he received the first recorded public art commission in the American colonies, he painted The Last Supper. He also painted a Crucifixion. Some time around 1735, Hesselius returned to Philadelphia where spent the rest of his life and traveling. He was listed as a member of the Gloria Dei (Old Swedes') Church in Philadelphia.
He also worked as an organ builder, having built an organ for the Moravian Church in Bethlehem, Pennsylvania in 1746. From about this time on, he focused on building organs, referring painting commissions to his son John.
J. Hall Pleasants has said that Hesselius became "America's earliest portrait painter of note." In 1994 he was named to the Prince George's County Hall of Fame.
Pintura Identificación:: 89836
Self-portrait c. 1647(1647)
Medium oil on canvas
Dimensions 102 x 79 cm (40.2 x 31.1 in)
cjr Dutch Baroque Era Painter, 1627-1678
Ismael Nery (October 9, 1900 - April 6, 1934) was a Brazilian artist.
Born in Belem, Pare of Dutch, Native-Brazilian and African ancestry,[1] he studied at the Escola Nacional de Belas Artes (National School of Fine Arts) in Rio de Janeiro and at the Academie Julian in Paris. He created numerous paintings, wrote many poems and also helped design Brazil's National Patrimony of the Treasury department. Nery married a poet, Adalgisa Nery, in 1922. He contracted tuberculosis in 1931, and died of it in 1934.
Pintura Identificación:: 89847
Self-portrait 1930(1930)
Medium oil on paper
Dimensions 62 x 47.5 cm (24.4 x 18.7 in)
cyf Ismael Nery (October 9, 1900 - April 6, 1934) was a Brazilian artist.
Born in Belem, Pare of Dutch, Native-Brazilian and African ancestry,[1] he studied at the Escola Nacional de Belas Artes (National School of Fine Arts) in Rio de Janeiro and at the Academie Julian in Paris. He created numerous paintings, wrote many poems and also helped design Brazil's National Patrimony of the Treasury department. Nery married a poet, Adalgisa Nery, in 1922. He contracted tuberculosis in 1931, and died of it in 1934.
Pintura Identificación:: 90172
Self-portrait 1626(1626) or 1627(1627)
Medium oil on canvas
Dimensions 45 x 36.5 cm (17.7 x 14.4 in)
cyf b. 1590, Paris, d. 1649, Paris
born 1853 - d. 1919) was a Hungarian painter. He was one of the first Hungarian painters to become well known in Europe.
Csontvery was born on 5 July 1853 in Kisszeben, Seros County, Kingdom of Hungary (today Sabinov, Slovakia), and died 20 June 1919 in Budapest. His ancestors were Poles who settled down in Hungary. Although Csontvery was obsessed with his Magyar roots, he himself grew up speaking Slovak mixed with German. He was a pharmacist until his twenties. On a hot sunny afternoon, 13 October 1880, e when he was 27 years old e he experienced a mystic vision. He heard a voice saying "you will be the greatest sunway painter, greater than Raphael!" He took journeys around Europe, visited the galleries of the Vatican, then went home to collect money for his journeys working as an apothecary. From 1890 onwards he traveled around the world. He visited Paris, the Mediterraneum (Dalmatia, Italy, Greece), North Africa and the Middle East (Lebanon, Palestine, Egypt, Syria) and painted pictures. He painted his major works between 1903 and 1909. He had some exhibitions in Paris (1907) and Western Europe. Most of the critics in Western Europe recognized his abilities, art and congeniality, but in the Kingdom of Hungary during his life he was considered to be an eccentric crank for several reasons, e. g. for his vegetarianism, anti-alcoholism, anti-nicotinism, pacifism, his latent, but more and more apparent schizophrenia and his cloudy, prophetic writings and pamphlets about his life (Curriculum), genius (The Authority, The Genius) and religious philosophy (The Positivum). Even though later he was acclaimed, during his lifetime Csontvery's visionary, expressionistic style found little understanding. A loner by nature, the master's mental balance was upset by his efailuree impairing his creative power. Little did he know that some years after his death, an entire museum in Paris, Hungary, would be devoted to his paintings, and that worldwide appreciation of his works would be in constant ascendancy. Many painters, e.g. Picasso added a stone to Csontvery's cairn.
Pintura Identificación:: 90707
Self-portrait
Date c. 1900(1900)
Medium oil on canvas
Dimensions 39.5 x 67 cm (15.6 x 26.4 in)
cjr born 1853 - d. 1919) was a Hungarian painter. He was one of the first Hungarian painters to become well known in Europe.
Csontvery was born on 5 July 1853 in Kisszeben, Seros County, Kingdom of Hungary (today Sabinov, Slovakia), and died 20 June 1919 in Budapest. His ancestors were Poles who settled down in Hungary. Although Csontvery was obsessed with his Magyar roots, he himself grew up speaking Slovak mixed with German. He was a pharmacist until his twenties. On a hot sunny afternoon, 13 October 1880, e when he was 27 years old e he experienced a mystic vision. He heard a voice saying "you will be the greatest sunway painter, greater than Raphael!" He took journeys around Europe, visited the galleries of the Vatican, then went home to collect money for his journeys working as an apothecary. From 1890 onwards he traveled around the world. He visited Paris, the Mediterraneum (Dalmatia, Italy, Greece), North Africa and the Middle East (Lebanon, Palestine, Egypt, Syria) and painted pictures. He painted his major works between 1903 and 1909. He had some exhibitions in Paris (1907) and Western Europe. Most of the critics in Western Europe recognized his abilities, art and congeniality, but in the Kingdom of Hungary during his life he was considered to be an eccentric crank for several reasons, e. g. for his vegetarianism, anti-alcoholism, anti-nicotinism, pacifism, his latent, but more and more apparent schizophrenia and his cloudy, prophetic writings and pamphlets about his life (Curriculum), genius (The Authority, The Genius) and religious philosophy (The Positivum). Even though later he was acclaimed, during his lifetime Csontvery's visionary, expressionistic style found little understanding. A loner by nature, the master's mental balance was upset by his efailuree impairing his creative power. Little did he know that some years after his death, an entire museum in Paris, Hungary, would be devoted to his paintings, and that worldwide appreciation of his works would be in constant ascendancy. Many painters, e.g. Picasso added a stone to Csontvery's cairn.
Pintura Identificación:: 91133
Self-portrait 1506(1506)
Medium oil on panel
Dimensions Height: 45 cm (17.7 in). Width: 33 cm (13 in
cyf Italian High Renaissance Painter, 1483-1520
Pintura Identificación:: 91226
Self-portrait c. 1635(1635)
Medium oil on canvas
Dimensions 48.5 x 37 cm (19.1 x 14.6 in)
cjr 1575-1642
Italian
Guido Reni Galleries
Pintura Identificación:: 91320
Self-portrait 1823(1823)
Medium oil on canvas mounted on board
Dimensions Height: 26 cm (10.2 in). Width: 20 cm (7.9 in).
cyf German Romantic, 1798-1840
(25 January 1834 - 22 January 1902) was a German painter.
He was born in Frankfurt am Main. On completing his schooling, Scholderer went to the Städel academy of arts in 1849, where he remained until 1851. Among his teachers were the art historian Johann David Passavant and the painter Jakob Becker. Subsequently, Scholderer established himself in Städel as a freelance painter. During this period his friendship with Victor Meller began; Scholderer became his brother-in-law in 1868.
Through Meller, Scholderer became acquainted with the works of Gustave Courbet. Scholderer made several short study trips to Paris between 1857 and 1858, where he became friends with Henri Fantin-Latour and Édouard Manet, whose influence can be seen in his subsequent work. Fantin-Latour depicted Scholderer in his picture Studio aux Batignolles . Starting from 1858, Scholderer worked and lived predominantly in Kronberg in Taunus, where his colleagues included Anton Burger, Peter Burnitz and Louis Eysen; he was close to the Kronberger painter colony.
In 1866, Scholderer established himself in Desseldorf and made friends with Hans Thoma. With Thoma, Scholderer went in 1868 to Paris and returned to Germany only shortly before the outbreak of the French-German War. First Scholderer established himself in Munich, renewing his friendship with Wilhelm Leibl and becoming one of the artists of the Leibl-Kreis (Leibl circle). At the beginning of 1871 he went to London and worked there till the autumn of 1899. After 1899, Scholderer returned to his hometown of Frankfurt, where he died at the age of almost 68 years on 22 January 1902.
Otto Scholderer's art, initially dominated by landscapes, later consisted primarily of portraits and still lifes. The important connection between the romantic period and the Impressionists is evident in his work.
Pintura Identificación:: 91408
Self-portrait 1875/76
Medium oil on canvas
Dimensions 96.5 x 76.5 cm (38 x 30.1 in)
cyf (25 January 1834 - 22 January 1902) was a German painter.
He was born in Frankfurt am Main. On completing his schooling, Scholderer went to the Städel academy of arts in 1849, where he remained until 1851. Among his teachers were the art historian Johann David Passavant and the painter Jakob Becker. Subsequently, Scholderer established himself in Städel as a freelance painter. During this period his friendship with Victor Meller began; Scholderer became his brother-in-law in 1868.
Through Meller, Scholderer became acquainted with the works of Gustave Courbet. Scholderer made several short study trips to Paris between 1857 and 1858, where he became friends with Henri Fantin-Latour and Édouard Manet, whose influence can be seen in his subsequent work. Fantin-Latour depicted Scholderer in his picture Studio aux Batignolles . Starting from 1858, Scholderer worked and lived predominantly in Kronberg in Taunus, where his colleagues included Anton Burger, Peter Burnitz and Louis Eysen; he was close to the Kronberger painter colony.
In 1866, Scholderer established himself in Desseldorf and made friends with Hans Thoma. With Thoma, Scholderer went in 1868 to Paris and returned to Germany only shortly before the outbreak of the French-German War. First Scholderer established himself in Munich, renewing his friendship with Wilhelm Leibl and becoming one of the artists of the Leibl-Kreis (Leibl circle). At the beginning of 1871 he went to London and worked there till the autumn of 1899. After 1899, Scholderer returned to his hometown of Frankfurt, where he died at the age of almost 68 years on 22 January 1902.
Otto Scholderer's art, initially dominated by landscapes, later consisted primarily of portraits and still lifes. The important connection between the romantic period and the Impressionists is evident in his work.
(in German: Johann Kupetzky, in Hungarian: Kupecky Jenos, or Kupeczky Jenos, 1667, Bazin, Royal Hungary (today Slovakia) - 1740, Nernberg, Germany) was a Czech and Slovak portrait painter during the baroque. He was active in Hungary, Slovakia, Vienna and Nernberg.
Kupecký, like many people at that time, was the son of Protestant (Czech Brethren) parents from the Czech lands (Mlade Boleslav) who sought refuge in Slovakia (constituting the core of Royal Hungary at that time) from religious persecution by the Catholics. He was born in Pezinok - a town near Bratislava.
According to the sources he began his studies with the Swiss painter Benedikt Klaus, who was active in both Vienna and in Royal Hungary. At the age of twenty, Kupecký went on a long Italian study trip. In Rome Prince Aleksander Benedykt Sobieski, the son of the Polish king John III Sobieski, helped him to become famous. He returned to Vienna in 1709, after twenty-two years spent in Venice and Rome. We know very little of his Italian activity as well as his early works and his setting in Vienna.
According to his contemporary biographer, the Swiss Johann Caspar Fessli, the Protestant Kupecký, who faithfully clung to his ancestor's religion, remained withdrawn and isolated in Vienna's Catholic milieu, which was under the influence of the court and the aristocracy. However this concept is partly contradicted by the fact that the master had significant courtly commissions while working in Vienna. He painted portraits of various members of the dynasty, Prince Eugene of Savoy, several aristocrats, and, in Karlovy Vary, even of the Russian Czar Peter I. The rich ceuvre of this period comprises a series of gorgeous portraits of Kupecky's family, friends and the painter himself, as well as several persons, whose identity in unknown.
In 1733 Kupecký, fearing religious persecution, fled from Vienna to Nernberg with his family and worked there until his death in 1740. As the most significant portrait painter of contemporary Germany, he was commissioned by a large number of German princes, church dignitaries rich merchants and scholars, and his works were popularized by engravings even during his lifetime. Through his pupils and followers Kupecký's influence and artistic example remained alive and widespread for a long time.
Pintura Identificación:: 91910
Self-portrait 1707(1707)
Medium oil
cjr (in German: Johann Kupetzky, in Hungarian: Kupecky Jenos, or Kupeczky Jenos, 1667, Bazin, Royal Hungary (today Slovakia) - 1740, Nernberg, Germany) was a Czech and Slovak portrait painter during the baroque. He was active in Hungary, Slovakia, Vienna and Nernberg.
Kupecký, like many people at that time, was the son of Protestant (Czech Brethren) parents from the Czech lands (Mlade Boleslav) who sought refuge in Slovakia (constituting the core of Royal Hungary at that time) from religious persecution by the Catholics. He was born in Pezinok - a town near Bratislava.
According to the sources he began his studies with the Swiss painter Benedikt Klaus, who was active in both Vienna and in Royal Hungary. At the age of twenty, Kupecký went on a long Italian study trip. In Rome Prince Aleksander Benedykt Sobieski, the son of the Polish king John III Sobieski, helped him to become famous. He returned to Vienna in 1709, after twenty-two years spent in Venice and Rome. We know very little of his Italian activity as well as his early works and his setting in Vienna.
According to his contemporary biographer, the Swiss Johann Caspar Fessli, the Protestant Kupecký, who faithfully clung to his ancestor's religion, remained withdrawn and isolated in Vienna's Catholic milieu, which was under the influence of the court and the aristocracy. However this concept is partly contradicted by the fact that the master had significant courtly commissions while working in Vienna. He painted portraits of various members of the dynasty, Prince Eugene of Savoy, several aristocrats, and, in Karlovy Vary, even of the Russian Czar Peter I. The rich ceuvre of this period comprises a series of gorgeous portraits of Kupecky's family, friends and the painter himself, as well as several persons, whose identity in unknown.
In 1733 Kupecký, fearing religious persecution, fled from Vienna to Nernberg with his family and worked there until his death in 1740. As the most significant portrait painter of contemporary Germany, he was commissioned by a large number of German princes, church dignitaries rich merchants and scholars, and his works were popularized by engravings even during his lifetime. Through his pupils and followers Kupecký's influence and artistic example remained alive and widespread for a long time.
Pintura Identificación:: 92418
Self-portrait Date c. between 1500(1500) and 1510(1510)
Medium color on canvas
Dimensions 52 X 43 cm
ttd Italian
1476-1510
Giorgione Galleries
Pintura Identificación:: 92732
Self-portrait 1628(1628)
Medium oil on panel
Dimensions Height: 22.6 cm (8.9 in). Width: 18.7 cm (7.4 in).
cjr Born 1606, Died 1669
Pintura Identificación:: 93424
Self-portrait Date 1906(1906)
Medium oil on canvas
Dimensions 54.2 x 35.4 cm (21.3 x 13.9 in)
TTD 1887-1914
August Macke Locations
Pintura Identificación:: 93882
Self-portrait circa 1800(1800)
Medium oil on canvas
Dimensions 45.5 x 39.3 cm (17.9 x 15.5 in)
cjr 1766-1853
German
Wilhelm von Kobell Gallery
(November 29, 1806 e December 30, 1879) was a Brazilian Romantic writer and painter, as well as an architect, diplomat and professor. He is patron of the 32nd chair of the Brazilian Academy of Letters.
Porto-alegre was born Manuel Jose de Araejo in Rio Pardo, to Francisco Jose de Araejo and Francisca Antônia Viana. He would change his name to Manuel de Araejo Pitangueira during the independence of Brazil, due to nativist causes. Later on, he finally changed it to its definitive form: Manuel de Araejo Porto-alegre.
In 1826, he moved to Rio de Janeiro, in order to study painting with Jean-Baptiste Debret at the Escola Nacional de Belas Artes. He also studied at what is now the Academia Militar das Agulhas Negras and took a Medicine course and Philosophy. In 1831, he left Brazil along with Debret to Europe, in order to improve his painting techniques. In 1835, he went to Italy, where he met Gonçalves de Magalhães, another Brazilian poet. He and Magalhães would create in France, in the year of 1837, a short-lived magazine named Niterei, alongside Francisco de Sales Torres Homem. Also in 1837, he becomes history painting teacher at the Escola Nacional de Belas Artes, in a post that would last until 1848, when he would become a drawing teacher at the Academia Militar das Agulhas Negras, and starts doing his first caricatures. In 1838, he married Ana Paulina Delamare, having with her two children: Carlota Porto-alegre (the future wife of painter Pedro Americo) and future diplomat Paulo Porto-alegre.
In 1840 he is named the official painter and decorator of Emperor Pedro II's palace. He decorated the imperial palace in Petrepolis, the wedding of Pedro II with Teresa Cristina of the Two Sicilies and the aforementioned emperor's coronation. He was decorated with the Order of Christ and the Order of the Rose.
Reuniting with Gonçalves de Magalhães and Torres Homem, he founded a periodic named Minerva Brasiliense, that lasted from 1843 to 1845. He would publish in this periodic his poem Brasiliana. In 1844, alongside Torres Homem, he founded the humoristic magazine Lanterna Megica, where he published his caricatures.
In 1849, Porto-alegre founded the magazine Guanabara, alongside Joaquim Manuel de Macedo and Gonçalves Dias. The magazine, considered the official journal of the Romantic movement in Brazil, lasted until 1856.
Pintura Identificación:: 94288
Self-portrait oil painting; circa 1823
cjr (November 29, 1806 e December 30, 1879) was a Brazilian Romantic writer and painter, as well as an architect, diplomat and professor. He is patron of the 32nd chair of the Brazilian Academy of Letters.
Porto-alegre was born Manuel Jose de Araejo in Rio Pardo, to Francisco Jose de Araejo and Francisca Antônia Viana. He would change his name to Manuel de Araejo Pitangueira during the independence of Brazil, due to nativist causes. Later on, he finally changed it to its definitive form: Manuel de Araejo Porto-alegre.
In 1826, he moved to Rio de Janeiro, in order to study painting with Jean-Baptiste Debret at the Escola Nacional de Belas Artes. He also studied at what is now the Academia Militar das Agulhas Negras and took a Medicine course and Philosophy. In 1831, he left Brazil along with Debret to Europe, in order to improve his painting techniques. In 1835, he went to Italy, where he met Gonçalves de Magalhães, another Brazilian poet. He and Magalhães would create in France, in the year of 1837, a short-lived magazine named Niterei, alongside Francisco de Sales Torres Homem. Also in 1837, he becomes history painting teacher at the Escola Nacional de Belas Artes, in a post that would last until 1848, when he would become a drawing teacher at the Academia Militar das Agulhas Negras, and starts doing his first caricatures. In 1838, he married Ana Paulina Delamare, having with her two children: Carlota Porto-alegre (the future wife of painter Pedro Americo) and future diplomat Paulo Porto-alegre.
In 1840 he is named the official painter and decorator of Emperor Pedro II's palace. He decorated the imperial palace in Petrepolis, the wedding of Pedro II with Teresa Cristina of the Two Sicilies and the aforementioned emperor's coronation. He was decorated with the Order of Christ and the Order of the Rose.
Reuniting with Gonçalves de Magalhães and Torres Homem, he founded a periodic named Minerva Brasiliense, that lasted from 1843 to 1845. He would publish in this periodic his poem Brasiliana. In 1844, alongside Torres Homem, he founded the humoristic magazine Lanterna Megica, where he published his caricatures.
In 1849, Porto-alegre founded the magazine Guanabara, alongside Joaquim Manuel de Macedo and Gonçalves Dias. The magazine, considered the official journal of the Romantic movement in Brazil, lasted until 1856.
(1585-1627) was a wealthy landowner from Culford, Suffolk, England.
self-portraitBacon was an exceptionally skillful amateur painter and gardener. Only a small group of 9 of his paintings survive. He was particularly known for his kitchen and market scenes, dominated by still-life depictions of large vegetables and fruit, often accompanied by a buxom maid, the most well known being "The Cookmaid with Still Life of Vegetables and Fruit" (Tate Gallery London). This predilection for cook or market scenes is much more common among Dutch and Flemish painters, see for example Joachim Beuckelaer (1533-1574), or from a later generation, Pieter Cornelisz van Rijck (1567-ca.1637), and Cornelis Jacobsz Delff.
Bacon is credited with the first known British landscape and also painted a self-portrait and a number of other portraits. He was created a Knight of the Bath in 1625, in honour of the Coronation of Charles I. He died at Culford Hall at the age of 42. He was buried there on 1 July 1627. His little daughter, Jane, aged three years, died that same October and is buried alongside her father. The entries of their burials follow each other in the Culford Parish Burial Register.
He was the son of Sir Nicholas Bacon, 1st Baronet.
Pintura Identificación:: 94322
self-portrait cjr (1585-1627) was a wealthy landowner from Culford, Suffolk, England.
self-portraitBacon was an exceptionally skillful amateur painter and gardener. Only a small group of 9 of his paintings survive. He was particularly known for his kitchen and market scenes, dominated by still-life depictions of large vegetables and fruit, often accompanied by a buxom maid, the most well known being "The Cookmaid with Still Life of Vegetables and Fruit" (Tate Gallery London). This predilection for cook or market scenes is much more common among Dutch and Flemish painters, see for example Joachim Beuckelaer (1533-1574), or from a later generation, Pieter Cornelisz van Rijck (1567-ca.1637), and Cornelis Jacobsz Delff.
Bacon is credited with the first known British landscape and also painted a self-portrait and a number of other portraits. He was created a Knight of the Bath in 1625, in honour of the Coronation of Charles I. He died at Culford Hall at the age of 42. He was buried there on 1 July 1627. His little daughter, Jane, aged three years, died that same October and is buried alongside her father. The entries of their burials follow each other in the Culford Parish Burial Register.
He was the son of Sir Nicholas Bacon, 1st Baronet.
Pintura Identificación:: 94451
Self-portrait 1787-1788
Medium oil on canvas
Dimensions 59 x 50 cm (23.2 x 19.7 in)
cjr 1769-1830
British
Sir Thomas Lawrence Galleries
ARA (1740-1779) was a British Neoclassical figure and landscape painter and printmaker, known for romantic paintings set in Italy, works depicting conversations, and works drawn in the 1770s portraying war scenes, similar to those of Salvator Rosa.
Mortimer became President of the Society of Artists in 1774, five years before his death, at age 39.
John Hamilton Mortimer was born on 17 September 1740 at Eastbourne. Not much is known about his family, other than that his father was a customs officer, a dealer in flour and owner of several mills. By 1757, while he was still young, he was studying in London at the Duke of Richmond's Academy. During this time he became a friend of Joseph Wright, a fellow student at the Academy - a friendship which would endure throughout Mortimer's life. Mortimer is also known to have had some professional relationship with the artist Samuel Ireland, who was involved with etching Mortimer's work. At the St Martin's Lane Academy his fellow students included Thomas Jones and William Pars. In 1759 Mortimer won a first prize for a study after Michelangelo's Bacchus and a second prize for a life drawing.
He began to display his works on a regular basis from the early 1760s onwards. He became an active member of the Society of Artists and President of the Society in 1774.
Pintura Identificación:: 94851
Self-portrait before 1779(1779)
Medium oil on panel
Dimensions 314 x 254 cm (123.6 x 100 in)
cjr ARA (1740-1779) was a British Neoclassical figure and landscape painter and printmaker, known for romantic paintings set in Italy, works depicting conversations, and works drawn in the 1770s portraying war scenes, similar to those of Salvator Rosa.
Mortimer became President of the Society of Artists in 1774, five years before his death, at age 39.
John Hamilton Mortimer was born on 17 September 1740 at Eastbourne. Not much is known about his family, other than that his father was a customs officer, a dealer in flour and owner of several mills. By 1757, while he was still young, he was studying in London at the Duke of Richmond's Academy. During this time he became a friend of Joseph Wright, a fellow student at the Academy - a friendship which would endure throughout Mortimer's life. Mortimer is also known to have had some professional relationship with the artist Samuel Ireland, who was involved with etching Mortimer's work. At the St Martin's Lane Academy his fellow students included Thomas Jones and William Pars. In 1759 Mortimer won a first prize for a study after Michelangelo's Bacchus and a second prize for a life drawing.
He began to display his works on a regular basis from the early 1760s onwards. He became an active member of the Society of Artists and President of the Society in 1774.
ARA (1740-1779) was a British Neoclassical figure and landscape painter and printmaker, known for romantic paintings set in Italy, works depicting conversations, and works drawn in the 1770s portraying war scenes, similar to those of Salvator Rosa.
Mortimer became President of the Society of Artists in 1774, five years before his death, at age 39.
John Hamilton Mortimer was born on 17 September 1740 at Eastbourne. Not much is known about his family, other than that his father was a customs officer, a dealer in flour and owner of several mills. By 1757, while he was still young, he was studying in London at the Duke of Richmond's Academy. During this time he became a friend of Joseph Wright, a fellow student at the Academy - a friendship which would endure throughout Mortimer's life. Mortimer is also known to have had some professional relationship with the artist Samuel Ireland, who was involved with etching Mortimer's work. At the St Martin's Lane Academy his fellow students included Thomas Jones and William Pars. In 1759 Mortimer won a first prize for a study after Michelangelo's Bacchus and a second prize for a life drawing.
He began to display his works on a regular basis from the early 1760s onwards. He became an active member of the Society of Artists and President of the Society in 1774.
Pintura Identificación:: 94852
Self-portrait circa 1765(1765)
Medium oil on canvas
Dimensions 73.7 x 61 cm (29 x 24 in)
cjr ARA (1740-1779) was a British Neoclassical figure and landscape painter and printmaker, known for romantic paintings set in Italy, works depicting conversations, and works drawn in the 1770s portraying war scenes, similar to those of Salvator Rosa.
Mortimer became President of the Society of Artists in 1774, five years before his death, at age 39.
John Hamilton Mortimer was born on 17 September 1740 at Eastbourne. Not much is known about his family, other than that his father was a customs officer, a dealer in flour and owner of several mills. By 1757, while he was still young, he was studying in London at the Duke of Richmond's Academy. During this time he became a friend of Joseph Wright, a fellow student at the Academy - a friendship which would endure throughout Mortimer's life. Mortimer is also known to have had some professional relationship with the artist Samuel Ireland, who was involved with etching Mortimer's work. At the St Martin's Lane Academy his fellow students included Thomas Jones and William Pars. In 1759 Mortimer won a first prize for a study after Michelangelo's Bacchus and a second prize for a life drawing.
He began to display his works on a regular basis from the early 1760s onwards. He became an active member of the Society of Artists and President of the Society in 1774.
(November 4, 1592 - April 27, 1656), also known as Gerrit van Honthorst and Gherardo della Notte, was a Dutch painter of Utrecht. He was brought up at the school of Abraham Bloemaert, who exchanged the style of the Franckens for that of the pseudo-Italians at the beginning of the 16th century.
Margareta Maria de Roodere and Her Parents by Gerrit van Honthorst (1652) Oil on canvas, 140 x 170 cm. Centraal Museum, UtrechtInfected thus early with a mania which came to be very general in the Netherlands, Honthorst went to Italy in 1616, where he copied the naturalism and eccentricities of Michelangelo da Caravaggio. Home again about 1620, after acquiring a considerable practice in Rome, he set up a school at Utrecht which flourished exceedingly. Together with his colleague Hendrick ter Brugghen, he represented the so-called Dutch Caravaggisti. In 1623 he was president of his gild at Utrecht, where he had married his cousin. He soon became so fashionable that Sir Dudley Carleton, then English envoy at The Hague, recommended his works to the earl of Arundel and Lord Dorchester. In 1626 he received a visit from Rubens, whom he painted as the honest man sought for and found by Diogenes.
Pintura Identificación:: 94939
Self-portrait Date 17th century
Medium pen on paper
Dimensions 39.2 x 32.2 cm (15.4 x 12.7 in)
TTD (November 4, 1592 - April 27, 1656), also known as Gerrit van Honthorst and Gherardo della Notte, was a Dutch painter of Utrecht. He was brought up at the school of Abraham Bloemaert, who exchanged the style of the Franckens for that of the pseudo-Italians at the beginning of the 16th century.
Margareta Maria de Roodere and Her Parents by Gerrit van Honthorst (1652) Oil on canvas, 140 x 170 cm. Centraal Museum, UtrechtInfected thus early with a mania which came to be very general in the Netherlands, Honthorst went to Italy in 1616, where he copied the naturalism and eccentricities of Michelangelo da Caravaggio. Home again about 1620, after acquiring a considerable practice in Rome, he set up a school at Utrecht which flourished exceedingly. Together with his colleague Hendrick ter Brugghen, he represented the so-called Dutch Caravaggisti. In 1623 he was president of his gild at Utrecht, where he had married his cousin. He soon became so fashionable that Sir Dudley Carleton, then English envoy at The Hague, recommended his works to the earl of Arundel and Lord Dorchester. In 1626 he received a visit from Rubens, whom he painted as the honest man sought for and found by Diogenes.
Pintura Identificación:: 95315
Self-portrait Date 1707(1707)
Medium oil on canvas
Dimensions 92.7 x 73 cm (36.5 x 28.7 in)
TTD 1656-1746
French
Nicolas de Largilliere Gallery
(16 December 1833 - 13 October 1904) was a German-Hungarian painter.
Karl Lotz was born in Bad Homburg vor der Höhe, Germany, the 7th and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick (Höfflich). His father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg's rights of sovereignty over Hessen-Darmstadt. The sudden death of the young Baron von Sinclair, charge d'affaires, forced W. C. Lotz temporarily into the rôle. While in Hungary in 1815 he made the acquaintance of the 13-year-old Antonie Hoefflich, whom he married three years later. She gave birth to 8 children, of whom Karl was the youngest.
W. C. Lotz died in 1837 and Antonie moved the family to Pest (now one of the three constituent parts of Budapest; the one on the east bank of the River Danube). Karl attended the Piaristengymnasium, where, although Calvinist, he was awarded a scholarship for his exceptional academic performance. He began his artistic career as a pupil of the Hofkapellmeister Destouches, then in the academy of the Venetian master Jacopo Marastoni (1804-1860). Later he was a pupil of the historical painters Henrik Weber (1818-1866) in Budapest and Carl Rahl (1812-1865) in Vienna.
Together with Rahl he worked on numerous commissions. Later he started on his own original works, first as a romantic landscape artist in scenes of the Alföld (the Hungarian lowland plain), and then as a creator of monumental murals and frescos in the style of the Venetian master Tiepolo.
After various works in Budapest he became active in Vienna. He laid out plans for a grandiose palace, and completed murals commissioned by the Abbot of Tihany for his abbey church on the shore of Lake Balaton. He became known for his portraits and nudes, for which both his wife and his daughters (Katarina in particular) posed. Lotz found married bliss only at the age of 58, when he married the widow Jacoboy, the former wife of his brother Paul Johann Heinrich, who had died in 1828. From then on he signed his works Keroly Jacoboy-Lotz.
In 1882 Lotz was appointed Professor at various art academies in Budapest, and in 1885 he became dean of a newly-established department for women painters. He was an honorary member of the Academy of Pictorial Arts in Vienna.
Tomb of Keroly Lotz by Jenos Pesztor (Kerepesi cemetery in Budapest)Hist last important public commission was the "Apotheosis of the Habsburg Dynasty", a huge ceiling fresco in the Habsburg Room of the newly rebuilt Royal Palace, that he painted in 1903, one year before his death. Lotz was already seriously ill when he worked on the fresco. The "Apotheosis" followed the traditions of Baroque court painting and the work was praised by contemporary critics. The fresco survived the war unscathed, but it was destroyed in the 1950s.
He died in 1904 in Budapest. As a "Prince of Hungarian Artists" he was given a state funeral and interred inside a memorial. His pictures, drawings and sketches were donated to the State of Hungary and are now in the Szepműveszeti Mezeum. Several Hungarian cities have streets named after him, there are Hungarian stamps bearing his likeness, and there is a bust in the National Museum in Budapest.
Pintura Identificación:: 98375
Self-portrait early 1870s
Medium oil on paperboard
Dimensions Height: 40.8 cm (16.1 in). Width: 29.5 cm (11.6 in).
(16 December 1833 - 13 October 1904) was a German-Hungarian painter.
Karl Lotz was born in Bad Homburg vor der Höhe, Germany, the 7th and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick (Höfflich). His father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg's rights of sovereignty over Hessen-Darmstadt. The sudden death of the young Baron von Sinclair, charge d'affaires, forced W. C. Lotz temporarily into the rôle. While in Hungary in 1815 he made the acquaintance of the 13-year-old Antonie Hoefflich, whom he married three years later. She gave birth to 8 children, of whom Karl was the youngest.
W. C. Lotz died in 1837 and Antonie moved the family to Pest (now one of the three constituent parts of Budapest; the one on the east bank of the River Danube). Karl attended the Piaristengymnasium, where, although Calvinist, he was awarded a scholarship for his exceptional academic performance. He began his artistic career as a pupil of the Hofkapellmeister Destouches, then in the academy of the Venetian master Jacopo Marastoni (1804-1860). Later he was a pupil of the historical painters Henrik Weber (1818-1866) in Budapest and Carl Rahl (1812-1865) in Vienna.
Together with Rahl he worked on numerous commissions. Later he started on his own original works, first as a romantic landscape artist in scenes of the Alföld (the Hungarian lowland plain), and then as a creator of monumental murals and frescos in the style of the Venetian master Tiepolo.
After various works in Budapest he became active in Vienna. He laid out plans for a grandiose palace, and completed murals commissioned by the Abbot of Tihany for his abbey church on the shore of Lake Balaton. He became known for his portraits and nudes, for which both his wife and his daughters (Katarina in particular) posed. Lotz found married bliss only at the age of 58, when he married the widow Jacoboy, the former wife of his brother Paul Johann Heinrich, who had died in 1828. From then on he signed his works Keroly Jacoboy-Lotz.
In 1882 Lotz was appointed Professor at various art academies in Budapest, and in 1885 he became dean of a newly-established department for women painters. He was an honorary member of the Academy of Pictorial Arts in Vienna.
Tomb of Keroly Lotz by Jenos Pesztor (Kerepesi cemetery in Budapest)Hist last important public commission was the "Apotheosis of the Habsburg Dynasty", a huge ceiling fresco in the Habsburg Room of the newly rebuilt Royal Palace, that he painted in 1903, one year before his death. Lotz was already seriously ill when he worked on the fresco. The "Apotheosis" followed the traditions of Baroque court painting and the work was praised by contemporary critics. The fresco survived the war unscathed, but it was destroyed in the 1950s.
He died in 1904 in Budapest. As a "Prince of Hungarian Artists" he was given a state funeral and interred inside a memorial. His pictures, drawings and sketches were donated to the State of Hungary and are now in the Szepműveszeti Mezeum. Several Hungarian cities have streets named after him, there are Hungarian stamps bearing his likeness, and there is a bust in the National Museum in Budapest.
Karoly Lotz (16 December 1833 - 13 October 1904) was a German-Hungarian painter.
Karl Lotz was born in Bad Homburg vor der Höhe, Germany, the 7th and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick (Höfflich). His father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg's rights of sovereignty over Hessen-Darmstadt. The sudden death of the young Baron von Sinclair, charge d'affaires, forced W. C. Lotz temporarily into the rôle. While in Hungary in 1815 he made the acquaintance of the 13-year-old Antonie Hoefflich, whom he married three years later. She gave birth to 8 children, of whom Karl was the youngest.
W. C. Lotz died in 1837 and Antonie moved the family to Pest (now one of the three constituent parts of Budapest; the one on the east bank of the River Danube). Karl attended the Piaristengymnasium, where, although Calvinist, he was awarded a scholarship for his exceptional academic performance. He began his artistic career as a pupil of the Hofkapellmeister Destouches, then in the academy of the Venetian master Jacopo Marastoni (1804-1860). Later he was a pupil of the historical painters Henrik Weber (1818-1866) in Budapest and Carl Rahl (1812-1865) in Vienna.
Together with Rahl he worked on numerous commissions. Later he started on his own original works, first as a romantic landscape artist in scenes of the Alföld (the Hungarian lowland plain), and then as a creator of monumental murals and frescos in the style of the Venetian master Tiepolo.
After various works in Budapest he became active in Vienna. He laid out plans for a grandiose palace, and completed murals commissioned by the Abbot of Tihany for his abbey church on the shore of Lake Balaton. He became known for his portraits and nudes, for which both his wife and his daughters (Katarina in particular) posed. Lotz found married bliss only at the age of 58, when he married the widow Jacoboy, the former wife of his brother Paul Johann Heinrich, who had died in 1828. From then on he signed his works Keroly Jacoboy-Lotz.
In 1882 Lotz was appointed Professor at various art academies in Budapest, and in 1885 he became dean of a newly-established department for women painters. He was an honorary member of the Academy of Pictorial Arts in Vienna.
Tomb of Keroly Lotz by Jenos Pesztor (Kerepesi cemetery in Budapest)Hist last important public commission was the "Apotheosis of the Habsburg Dynasty", a huge ceiling fresco in the Habsburg Room of the newly rebuilt Royal Palace, that he painted in 1903, one year before his death. Lotz was already seriously ill when he worked on the fresco. The "Apotheosis" followed the traditions of Baroque court painting and the work was praised by contemporary critics. The fresco survived the war unscathed, but it was destroyed in the 1950s.
He died in 1904 in Budapest. As a "Prince of Hungarian Artists" he was given a state funeral and interred inside a memorial. His pictures, drawings and sketches were donated to the State of Hungary and are now in the Szepműveszeti Mezeum. Several Hungarian cities have streets named after him, there are Hungarian stamps bearing his likeness, and there is a bust in the National Museum in Budapest.
Self-portrait
