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Petrus Christus

Flemish 1415-1473 Petrus Christus Locations

Pintura Identificación::  405
Portrait of a Young Woman
Retrato de un Joven
Gemaldegalerie, Berlin
Gemaldegalerie, Berlen
Flemish 1415-1473 Petrus Christus Locations

   
 

 

 
   
      

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Rosso Fiorentino

Italian Mannerist Painter, ca.1495-1540

Pintura Identificación::  3626
Portrait of a Young Woman
Retrato de una Joven
Galleria degli Uffizi, Florence
Galleria degli Uffizi, Florencia
Italian Mannerist Painter, ca.1495-1540

   
 

 

 
   
      

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Jan Vermeer

Dutch Baroque Era Painter, 1632-1675

Pintura Identificación::  10280
Portrait of a Young Woman
Retrato de una Mujer joven
1666-67 Oil on canvas, 44,5 x 40 cm Metropolitan Museum of Art, New York
1666-67 Óleo en lona, 44,5 x 40 cm Metropolitan Museo de Arte, Nueva York
Dutch Baroque Era Painter, 1632-1675

   
 

 

 
   
      

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DOU, Gerrit

Dutch Baroque Era Painter, 1613-1675

Pintura Identificación::  18996
Portrait of a Young Woman
Retrato de una Joven Mujer
1635-40 Oil on panel Manchester City Art Galleries.
1635-40 Petróleo en pone panelGalerías de arte de Ciudad de Manchester.
Dutch Baroque Era Painter, 1613-1675

   
 

 

 
   
      

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Pollaiuolo, Piero

Italian, 1443-96

Pintura Identificación::  19908
Portrait of a Young Woman
Retrato de una Joven Mujer
1475 Tempera on panel Galleria degli Uffizi, Florence.
1475 Témpera en pone panel degli de Galería Uffizi, Florencia.
Italian, 1443-96

   
 

 

 
   
      

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John William Waterhouse

English Pre-Raphaelite Painter, 1849-1917

Pintura Identificación::  27649
Portrait of a Young Woman
Retrato de una JovenMujer
mk58 c.1875-8, oil on canvas 61x50.8cm
el petróleo mk58 c.1875-8, en la lona 61x50.8cm
English Pre-Raphaelite Painter, 1849-1917

   
 

 

 
   
      

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Zacarias Gonzalez Velazquez

Spanish , Madrid 1763 - 1834

Pintura Identificación::  28749
Portrait of a Young Woman
Retrato de una Joven Mujer
mk61 c.1800 Oil on canvas 45x35cm
mk61 C. 1800 Petróleo en lalona 45x35cm
Spanish , Madrid 1763 - 1834

   
 

 

 
   
      

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PARMIGIANINO

Italian Mannerist Painter, 1503-1540

Pintura Identificación::  30488
Portrait of a Young Woman
Retrato de una Joven Mujer
mk68 Oil on wood 26 1/2x21" Parma,Nationa Museum C.1530 Italy
el Petróleo mk68 en la madera 26 Parma 1/2x21, de Nationa C Museo. 1530 Italia
Italian Mannerist Painter, 1503-1540

   
 

 

 
   
      

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Petrus Christus

Flemish 1415-1473 Petrus Christus Locations

Pintura Identificación::  31315
Portrait of a Young Woman
Retrato de una Joven Mujer
nn07 after 1446 Panel painting; Gemaldegalerie, Staatliche Museen Preussischer Kulturbesitz at West Berlin
nn07 después de 1446 Entrepañoque pinta; Gemaldegalerie, Staatliche Preussischer Kulturbesitz Reflexionado en Berlín Occidental
Flemish 1415-1473 Petrus Christus Locations

   
 

 

 
   
      

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Barthel Bruyn

1493-1555 German

Pintura Identificación::  32265
Portrait of a Young Woman
Retrato de una Joven Mujer
Oil on canvas
Engrasa en la lona
1493-1555 German

   
 

 

 
   
      

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DOMENICO VENEZIANO

Italian Early Renaissance Painter, ca.1400-1461

Pintura Identificación::  33371
Portrait of a Young Woman
Retrato de una Joven Mujer
mk86 c.1465 Tempera on wood 52.5x36.5cm
mk86 C. 1465 Témpera en la madera 52.5x36.5cm
Italian Early Renaissance Painter, ca.1400-1461

   
 

 

 
   
      


Pintura Identificación::  34262
Portrait of a Young Woman
Retrato de una Joven Mujer
mk91 1530s Oil on canvas 96x85
1530mk91 Engrasan en la lona 96x85

   
 

 

 
   
      

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Giorgione

Italian 1476-1510 Giorgione Galleries

Pintura Identificación::  39587
Portrait of a young woman
Retrato de una joven mujer
mk150 1506 Canvas on panel 41x33.6cm
mk150 1506 Lona en pone panel41x33.6cm
Italian 1476-1510 Giorgione Galleries

   
 

 

 
   
      

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DOMENICO VENEZIANO

Italian Early Renaissance Painter, ca.1400-1461

Pintura Identificación::  40218
Portrait of a Young Woman
Retrato de una Joven Mujer
mk156 c.1465 Oil on panel 51x35cm
mk156 C. 1465 Petróleo en pone panel 51x35cm
Italian Early Renaissance Painter, ca.1400-1461

   
 

 

 
   
      

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Thomas Gainsborough

1727-1788 British Thomas Gainsborough Locations

Pintura Identificación::  40955
Portrait of a Young Woman
Retrato de una JovenMujer
mk158 c.1759
mk158 C. 1759
1727-1788 British Thomas Gainsborough Locations

   
 

 

 
   
      

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Paris Bordone

Italian 1500-1571

Pintura Identificación::  43048
Portrait of a Young Woman
mk170 Oil on canvas 106.7x85.7cm
Italian 1500-1571

   
 

 

 
   
      

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Bischoff, Franz

Austrian, practiced mainly in America, 1864-1929

Pintura Identificación::  56199
portrait of a young woman
mk247 1827,oil on canvas,24.625x20.625 in,62.5x52.5 cm,private collection
Austrian, practiced mainly in America, 1864-1929

   
 

 

 
   
      

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Domenico Ghirlandaio

Italian 1449-1494 Domenico Ghirlandaio Galleries

Pintura Identificación::  59053
Portrait of a Young Woman
Portrait of a Young Woman
Italian 1449-1494 Domenico Ghirlandaio Galleries

   
 

 

 
   
      

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Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640

Pintura Identificación::  62441
Portrait of a Young Woman
1628-35 Black chalk Museum Boijmans Van Beuningen, Rotterdam Author: RUBENS, Pieter Pauwel Title: Portrait of a Young Woman , 1601-1650 , Flemish Form: graphics , portrait
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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Johann Heinrich Fuseli

1741-1825 Romanticism Swiss

Pintura Identificación::  62845
Portrait of a Young Woman
101 x 127 cm Institue of Arts, Detroit This portrait is painted on the reverse of the Nightmare. The portrait is generally believed to be of the woman Fuseli loved, Anna Landolt, who was a niece of the Zerich physiologist Johann Caspar Lavater (1741-1801). Lavater and Fuseli were close friends, but Fuseli's suit was rejected by Anna's parents, and it may not be coincidence that the portrait is on the reverse of his painting The Nightmare. Artist: FUSELI, John Henry Title: Portrait of a Young Woman , painting Date: 1751-1800 Swiss : portrait
1741-1825 Romanticism Swiss

   
 

 

 
   
      

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BOTTICELLI, Sandro

Italian Early Renaissance Painter, 1445-1510

Pintura Identificación::  62943
Portrait of a Young Woman
1475 Tempera on panel, 61 x 40 cm Galleria Palatina (Palazzo Pitti), Florence There are several assumptions concerning the identity of the young woman (Simonetta Vespucci, Clarice Orsini, Fioretta Gorini etc.). The picture was partly repainted. The sleeve of the robe covers the left hand in a very unnatural way. The lock of hair coming loose from her bun gives a more spontaneous feeling to this severe profile portrait. The half length figure is slightly to the left of the centre of the picture. Behind her is a dark window frame and it contrasts with the gentle flow other contours. The attribution of the work to Botticelli is disputed. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Young Woman , 1451-1500 Painting Style: Italian , , portrait
Italian Early Renaissance Painter, 1445-1510

   
 

 

 
   
      

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RAFFAELLO Sanzio

Italian High Renaissance Painter, 1483-1520

Pintura Identificación::  63786
Portrait of a Young Woman
1518-19 Oil on wood, 85 x 60 cm Galleria Nazionale d'Arte Antica, Rome Much of Raphael's energy during his last years was directed toward public activity, or at least toward commissioners who were influential in city life and life within the Papal States (he designed a villa, known as the Villa Madama, for Cardinal Giulio de' Medici). Furthermore, many critics attribute to him a series of compositions of the Holy Family and of Saints which were then executed by his followers. The famous portrait of a young woman, called La Fornarina, must also be viewed in this perspective, although it is signed, in Latin, "Raphael from Urbino". The signature is engraved on the thin ribbon that the girl wears just under her left shoulder. Tradition identifies her with Margherita Luti, a Sienese woman whom Raphael loved, the daughter of a baker from the Roman district of Santa Dorotea. The stiffness of her features and the heavy chiaroscuro effect make La Fornarina an almost certain workshop piece with the contribution of Raphael, for Raphael's own work from this period is far more delicate. There are several old copies of this painting, the most famous in the Galleria Borghese.Artist:RAFFAELLO Sanzio Title: Portrait of a Young Woman (La Fornarina) Painted in 1501-1550 , Italian - - painting : portrait
Italian High Renaissance Painter, 1483-1520

   
 

 

 
   
      

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WEYDEN, Rogier van der

Netherlandish Northern Renaissance Painter, ca.1400-1464

Pintura Identificación::  63866
Portrait of a Young Woman
1440 Silverpoint on prepared paper, 166 x 116 mm British Museum, London The finest of the drawings ascribed to Rogier is the Portrait of a Young Woman. In its freshness of observation and lively expression the drawing comes closest to the painted portrait of another young woman (Staatliche Museen, Berlin), although in contrast to that painting - probably the earliest of the independent portraits by Rogier still extant - the draftsman has modeled the face with much greater plasticity, using light and shade to make shapes like the eyelids appear more rounded and fleshier. This factor in turn links the drawing closely to a portrait of a woman ascribed to the Master of Fl?malle, now in the National Gallery, London, and to the faces in Rogier's earlier Deposition (Prado, Madrid). The strong, bright reflections on the shaded areas of the sitter's throat and cheeks also adopt a method frequently used by Jan van Eyck to heighten the sense of three-dimensionality. By comparison with the chiaroscuro and the powerful three-dimensional style of the drawing, the painted face of the young woman in the portrait appear generally more linear - paradoxically, one might almost say more like a drawing. The draftsman's intention of placing several strong contrasts of light and shade side by side also matches the effects in the Deposition. Like the shaded side of the head of the Virgin, the right-hand side of the portrait drawing shows the alternation of light and very dark areas, and the artist has even shaded the headdress heavily next to the area of reflected light on the sitter's jaw line just below her ear, though this effect is illogical, since if the head-dress is to reflect light it ought to be lit there itself. However, the darkness in the outer area of the drawing, emphasizing the fold at the back of the head-dress, is a genuinely distinctive feature, producing the effect of heavy shadow. There are no such heavy shadows in any painted portrait by Rogier; this pictorial device, creating a sense of space around the figure, first appears in painting around the middle of the century in works by the artist Petrus Christus, who was active in Bruges. Here the draftsman may have created the shadows before drawing the sitter herself, or he may have placed them there to make the back of the headdress retreat into the background - an effect that would also be achieved by the uniform dark ground of a painted portrait. The immediacy of this portrait gives the impression that it was drawn from life. Such an impression is further supported by the fact that only the head and the complicated head-dress are executed in detail, while the upper part of the sitter's body is only lightly indicated; her dress with its patterns of folds could be added later, and leaving it out while the woman herself was being portrayed would have spared her the tedium of sitting for the artist. Such details could easily enough be copied from a painting, but the visible part of the woman's body appears rather awkwardly executed. The right hand on the edge of the picture is particularly jarring, and does not quite connect up anatomically with her shoulder. It is complex in structure, but only half shown, and its clear outline does not make it look like a study from nature. Perhaps the artist completed the lower areas of the portrait later, using a work already in his stock, and experimenting with the composition of his planned painting. All Early Netherlandish portraits were certainly based on drawings from life, for the long process of painting would not have allowed the artist to work from a living model. The Portrait of a Young Woman, outstanding as both a drawing and a portrait, must be one of the very few examples of this genre to have been preserved. Since over and beyond these qualities, the drawing shows similarities with Rogier's painted portraits in its presentation, and with his Deposition in the manner of depicting a head, it could well be by his own hand. It was probably done quite close to the time of the great altarpiece for the Archers of Leuven, while the other (painted) Portrait of a Young Woman must have been executed rather later.Artist:WEYDEN, Rogier van der Title: Portrait of a Young Woman Painted in 1401-1450 , Flemish - - graphics : portrait
Netherlandish Northern Renaissance Painter, ca.1400-1464

   
 

 

 
   
      

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Master of the Legend

active in Cologne ca 1490/1500

Pintura Identificación::  71551
Portrait of a young woman
Date 1541(1541) Medium Oil on oak panel
active in Cologne ca 1490/1500

   
 

 

 
   
      

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Gaetano Gandolfi

(August 31, 1734 - June 20, 1802) was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, to a family of artists. Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a "student" at the Accademia Clementina in Bologna, where he was taught by Felice Torelli and Ercole Lelli. In the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli (1667 - 1748) as his master. Other sources mention Ercole Graziani the Younger (1688 - 1765) and Ercole Lelli. He traveled to England, and became strongly influenced by Tiepolo. Gaetano died in Bologna, Italy.

Pintura Identificación::  74528
Portrait of a Young Woman
1777 Oil on canvas 51 X 40 cm (20.08 X 15.75 in) cjr
(August 31, 1734 - June 20, 1802) was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, to a family of artists. Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a "student" at the Accademia Clementina in Bologna, where he was taught by Felice Torelli and Ercole Lelli. In the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli (1667 - 1748) as his master. Other sources mention Ercole Graziani the Younger (1688 - 1765) and Ercole Lelli. He traveled to England, and became strongly influenced by Tiepolo. Gaetano died in Bologna, Italy.

   
 

 

 
   
      

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Gaetano Gandolfi

(August 31, 1734 - June 20, 1802) was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, to a family of artists. Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a "student" at the Accademia Clementina in Bologna, where he was taught by Felice Torelli and Ercole Lelli. In the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli (1667 - 1748) as his master. Other sources mention Ercole Graziani the Younger (1688 - 1765) and Ercole Lelli. He traveled to England, and became strongly influenced by Tiepolo. Gaetano died in Bologna, Italy.

Pintura Identificación::  76063
Portrait of a Young Woman
Date 1777 Medium Oil on canvas Dimensions 51 x 40 cm (20.1 x 15.7 in) cyf
(August 31, 1734 - June 20, 1802) was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, to a family of artists. Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a "student" at the Accademia Clementina in Bologna, where he was taught by Felice Torelli and Ercole Lelli. In the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli (1667 - 1748) as his master. Other sources mention Ercole Graziani the Younger (1688 - 1765) and Ercole Lelli. He traveled to England, and became strongly influenced by Tiepolo. Gaetano died in Bologna, Italy.

   
 

 

 
   
      

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Almeida Junior

(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.

Pintura Identificación::  81497
Portrait of a young woman
Medium Oil on cardboard Dimensions 61 x 46 cm (24 x 18.1 in) cjr
(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.

   
 

 

 
   
      

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Franciszek zmurko

(18 July 1859 in Lviv - 9 October 1910 in Warsaw) was a Polish painter. Zmurko began drawing lessons as a young boy in his hometown with the painter Franciszek Tepa. As an adolescent he moved to Krakow to study at the The Academy of Fine Arts where he had lessons from Jan Matejko. In 1877 Zmurko moved to Vienna, Austria where he was accepted at the Vienna Academy, but left soon thereafter to study under Aleksander Wagner in Munich. Zmurko returned to Krakow in 1880 and then moved to Warsaw in 1882 where he remained until his death in 1910.

Pintura Identificación::  82023
Portrait of a Young Woman
oil on canvas Dimensions 98 x 64 cm (38.6 x 25.2 in) 1896 cjr
(18 July 1859 in Lviv - 9 October 1910 in Warsaw) was a Polish painter. Zmurko began drawing lessons as a young boy in his hometown with the painter Franciszek Tepa. As an adolescent he moved to Krakow to study at the The Academy of Fine Arts where he had lessons from Jan Matejko. In 1877 Zmurko moved to Vienna, Austria where he was accepted at the Vienna Academy, but left soon thereafter to study under Aleksander Wagner in Munich. Zmurko returned to Krakow in 1880 and then moved to Warsaw in 1882 where he remained until his death in 1910.

   
 

 

 
   
      

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Christoph Amberger

(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

Pintura Identificación::  84662
Portrait of a Young Woman
Date after 1548(1548) Medium Oil on wood Dimensions Height: 51 cm (20.1 in). Width: 43 cm (16.9 in). cjr
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

   
 

 

 
   
      

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Federico Barocci

Italian Mannerist/Baroque Era Painter, ca.1535-1612

Pintura Identificación::  85585
Portrait of a Young Woman
Date between 1570(1570) and 1575(1575) Medium Oil on paper Dimensions Height: 45 cm (17.7 in). Width: 33 cm (13 in). cjr
Italian Mannerist/Baroque Era Painter, ca.1535-1612

   
 

 

 
   
      

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Franciszek zmurko

(18 July 1859 in Lviv - 9 October 1910 in Warsaw) was a Polish painter. Zmurko began drawing lessons as a young boy in his hometown with the painter Franciszek Tepa. As an adolescent he moved to Krakow to study at the The Academy of Fine Arts where he had lessons from Jan Matejko. In 1877 Zmurko moved to Vienna, Austria where he was accepted at the Vienna Academy, but left soon thereafter to study under Aleksander Wagner in Munich. Zmurko returned to Krakow in 1880 and then moved to Warsaw in 1882 where he remained until his death in 1910.

Pintura Identificación::  85812
Portrait of a Young Woman
oil on canvas Dimensions 98 x 64 cm (38.6 x 25.2 in) cyf
(18 July 1859 in Lviv - 9 October 1910 in Warsaw) was a Polish painter. Zmurko began drawing lessons as a young boy in his hometown with the painter Franciszek Tepa. As an adolescent he moved to Krakow to study at the The Academy of Fine Arts where he had lessons from Jan Matejko. In 1877 Zmurko moved to Vienna, Austria where he was accepted at the Vienna Academy, but left soon thereafter to study under Aleksander Wagner in Munich. Zmurko returned to Krakow in 1880 and then moved to Warsaw in 1882 where he remained until his death in 1910.

   
 

 

 
   
      

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Giorgione

Italian 1476-1510 Giorgione Galleries

Pintura Identificación::  86880
Portrait of a Young Woman
Date 1506(1506) Medium Oil on canvas mounted on panel Dimensions Height: 41 cm (16.1 in). Width: 34 cm (13.4 in). cjr
Italian 1476-1510 Giorgione Galleries

   
 

 

 
   
      

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Christoph Amberger

(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

Pintura Identificación::  86958
Portrait of a Young Woman
after 1548(1548) Medium Oil on wood cyf
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

   
 

 

 
   
      

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Paulus Moreelse

(1571, Utrecht - 6 March 1638, Utrecht) was a Dutch painter, mainly of portraits. Moreelse was a pupil of the Delft portrait painter Michiel Jansz. van Mierevelt, who had himself been a pupil of Anthonie van Blocklandt. He took a study-trip to Italy, where he received many portrait commissions. Back in Utrecht, in 1596 he became a member of the zadelaarsgilde, which was the traditional name in Utrecht for the Guild of Saint Luke. In 1611, along with Abraham Bloemaert, he was one of the founders of a new painters' guild, called "St. Lucas-gilde", and became its first deken. Moreelse was a well known portrait painter who received commissions from right across the Dutch Republic. His earliest work dates to 1606. Other than portraits, he also painted a few history paintings in the Mannerist style and in the 1620s produced pastoral scenes of herders and shepherds. He belonged to the same generation as Abraham Bloemaert and Joachim Wtewael, and like Wtewael he played an important role in the public life of their city. His version of Diana and Callisto was engraved by Jan Saenredam. In 1618, when the anti-remonstrants came to power in Utrecht, he was raadslid.

Pintura Identificación::  89299
Portrait of a Young Woman
first half of 17th century Medium oil on wood cyf
(1571, Utrecht - 6 March 1638, Utrecht) was a Dutch painter, mainly of portraits. Moreelse was a pupil of the Delft portrait painter Michiel Jansz. van Mierevelt, who had himself been a pupil of Anthonie van Blocklandt. He took a study-trip to Italy, where he received many portrait commissions. Back in Utrecht, in 1596 he became a member of the zadelaarsgilde, which was the traditional name in Utrecht for the Guild of Saint Luke. In 1611, along with Abraham Bloemaert, he was one of the founders of a new painters' guild, called "St. Lucas-gilde", and became its first deken. Moreelse was a well known portrait painter who received commissions from right across the Dutch Republic. His earliest work dates to 1606. Other than portraits, he also painted a few history paintings in the Mannerist style and in the 1620s produced pastoral scenes of herders and shepherds. He belonged to the same generation as Abraham Bloemaert and Joachim Wtewael, and like Wtewael he played an important role in the public life of their city. His version of Diana and Callisto was engraved by Jan Saenredam. In 1618, when the anti-remonstrants came to power in Utrecht, he was raadslid.

   
 

 

 
   
      

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Federico Barocci

Italian Mannerist/Baroque Era Painter, ca.1535-1612

Pintura Identificación::  89672
Portrait of a Young Woman
between 1570(1570) and 1575(1575) Medium oil on paper cyf
Italian Mannerist/Baroque Era Painter, ca.1535-1612

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Pintura Identificación::  91529
Portrait of a Young Woman
1480(1480) Medium oil on oak panel cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Pintura Identificación::  91571
Portrait of a Young Woman
1480(1480) Medium oil on oak panel Dimensions Height: 38 cm (15 in). Width: 26.5 cm (10.4 in). cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Karl Jakob Theodor Leybold

painted Portrait of a young woman in 1822

Pintura Identificación::  93856
Portrait of a young woman
1822(1822) Medium oil on canvas Dimensions 72 x 58 cm (28.3 x 22.8 in) cjr
painted Portrait of a young woman in 1822

   
 

 

 
   
      

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Jose Ferraz de Almeida Junior

(8 May 1850 - 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro , the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiete River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. In 1877 he was already enrolled in the School of Fine Arts in Paris. He took part at the Salon de Paris with several works of art in 1879 (Retrato do Dr. Jose de Magalhães), 1880 (O Derrubador Brasileiro) and (Remorso de Judas), 1881 (Fuga para o Egito) and 1882 (Descanso do Modelo) He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.

Pintura Identificación::  96875
Portrait of a young woman
oil on cardboard Dimensions 61 X 46 cm cyf
(8 May 1850 - 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira violeiro , the countrymen that are a kind of a symbol of the rural areas of the São Paulo state. While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiete River. Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters. In 1877 he was already enrolled in the School of Fine Arts in Paris. He took part at the Salon de Paris with several works of art in 1879 (Retrato do Dr. Jose de Magalhães), 1880 (O Derrubador Brasileiro) and (Remorso de Judas), 1881 (Fuga para o Egito) and 1882 (Descanso do Modelo) He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting. He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.

   
 

 

 
   
      

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Christoph Amberger

(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

Pintura Identificación::  97089
Portrait of a Young Woman
after 1548(1548) Medium oil on panel cyf
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.

   
 

 

 
   
      

Christoph Amberger
(c. 1505 --1562) was a painter of Nernberg in the 16th century, a disciple of Hans Holbein, his principal work being the history of Joseph in twelve pictures. Amberger travelled to Northern Italy and Venice between 1525 and 1527. He died in Augsburg.
Portrait of a Young Woman

        
 
   
 

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