Las Reproducciones del Oleo de Europa España no Mínimo

 
 

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Albrecht Altdorfer

German 1480-1538 Albrecht Altdorfer Galleries

Pintura Identificación::  2289
Portrait of a Lady
Retrato de una Señorita

German 1480-1538 Albrecht Altdorfer Galleries

   
 

 

 
   
      

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Walter Griffin

1861-1935

Pintura Identificación::  4051
Portrait of a Lady
Retrato de una Señorita
1897
1897
1861-1935

   
 

 

 
   
      

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Robert Campin

1406-1444 Robert Campin Location

Pintura Identificación::  18905
Portrait of a Lady
Retrato de Señorita
1420-30, The National Gallery at London
1420-30, The Galería Nacional at Londres
1406-1444 Robert Campin Location

   
 

 

 
   
      

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Sandro Botticelli

Italian Early Renaissance Painter, 1445-1510

Pintura Identificación::  10002
Portrait of a Lady
Retrato de una Señorita
1470-1475. Tempera on panel Victoria and Albert Museum,London,UK.
1470-1475. Tempera en panel Victoria and Albert Museo,Londres,UK.
Italian Early Renaissance Painter, 1445-1510

   
 

 

 
   
      

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El Greco

Greek-born Spanish Mannerist Painter, 1541-1614

Pintura Identificación::  19030
Portrait of a Lady
Retrato de una Dama
approx. 1594-1601, Philadelphia Museum of Art.
aprox. 1594-1601,Museo de Filadelfia del Arte
Greek-born Spanish Mannerist Painter, 1541-1614

   
 

 

 
   
      

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Makart, Hans

Austrian Academic Painter, 1840-1884

Pintura Identificación::  19256
Portrait of a Lady
Retrato de una Dama
Oil on panel The Hermitage, St. Petersburg.
el Petróleoen pone panel La Ermita, S. Petersburg.
Austrian Academic Painter, 1840-1884

   
 

 

 
   
      

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Mor, Anthonis

Netherlandish Painter, ca.1517-1577

Pintura Identificación::  19488
Portrait of a Lady
Retrato de una Dama
Approx. 1555-60 Oil on panel National Gallery of Victoria, Melbourne.
Aprox. 1555-60 Petróleo en el entrepaño la Galería Nacional de Victoria, Melburne.
Netherlandish Painter, ca.1517-1577

   
 

 

 
   
      

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Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar

Pintura Identificación::  29289
Portrait of a Lady
Retrato de una Dama
mk65 1526 Oil on panel 35x23"
mk65 1526 Engrasan en el entrepaño 35x23
b. 1472, Kronach, d. 1553, Weimar

   
 

 

 
   
      

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Correggio

Italian 1489-1534 Correggio Locations

Pintura Identificación::  29290
Portrait of a Lady
Retrato de una Dama
mk65 ca.1519 Oil on canvas 40 1/2x34 1/2"
ca mk65. 1519 Petróleo en la lona 40 1/2x34 1/2
Italian 1489-1534 Correggio Locations

   
 

 

 
   
      

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Makart, Hans

Austrian Academic Painter, 1840-1884

Pintura Identificación::  29346
Portrait of a Lady
Retrato de una Dama
mk65 Oil on panel 47x31 1/2"
el Petróleo mk65 en pone panel 47x31 1/2
Austrian Academic Painter, 1840-1884

   
 

 

 
   
      

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Ridolfo Ghirlandaio

Italian High Renaissance Painter, 1483-1561

Pintura Identificación::  29827
Portrait of a Lady
Retrato de una Dama
mk67 Oil on canvas 24x19 1/2in
el Petróleo mk67en la lona 24x19 1/2in
Italian High Renaissance Painter, 1483-1561

   
 

 

 
   
      

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Correggio

Italian 1489-1534 Correggio Locations

Pintura Identificación::  34261
Portrait of a Lady
Retrato de una Dama
mk91 Oil on canvas 103x87
el Petróleo mk91 en la lona 103x87
Italian 1489-1534 Correggio Locations

   
 

 

 
   
      

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Paul Frederick De Caselli

Swiss, 1775-1817

Pintura Identificación::  39834
Portrait of A Lady
Retrato de UNA Dama
mk153 40.7x30cm
mk15340.7x30cm
Swiss, 1775-1817

   
 

 

 
   
      

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Nicolas de Largilliere

1656-1746 French Nicolas de Largilliere Gallery

Pintura Identificación::  40532
Portrait of a Lady
Retrato de una Dama
mk156 c.1710 Oil on canvas 80x64cm
mk156 C. 1710Petróleo en la lona 80x64cm
1656-1746 French Nicolas de Largilliere Gallery

   
 

 

 
   
      


Pintura Identificación::  43037
Portrait of a lady
mk170 1510-1511 Oil on canvas 119.9x100.4cm

   
 

 

 
   
      

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Frans Hals

1580-1666 Frans Hals Galleries

Pintura Identificación::  52733
Portrait of a Lady
mk223 in1624
1580-1666 Frans Hals Galleries

   
 

 

 
   
      

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BOTTICELLI, Sandro

Italian Early Renaissance Painter, 1445-1510

Pintura Identificación::  62941
Portrait of a Lady
1470-75 Tempera on panel, 65,7 x 41 cm Victoria and Albert Museum, London If the inscription on the window jamb, possibly dating from the 16th century, is to be believed, this is a portrait of Smeralda Brandini, who was a member of a respected Florentine family. A sign of her rank and respectable status is the handkerchief which she is holding in the hand placed across her body. Artist: BOTTICELLI, Sandro Painting Title: Portrait of a Lady , 1451-1500 Painting Style: Italian , , portrait
Italian Early Renaissance Painter, 1445-1510

   
 

 

 
   
      

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Agnolo Bronzino

Italian Mannerist Painter, 1503-1572

Pintura Identificación::  63541
Portrait of a Lady
1550 Oil on wood, 109 x 85 cm Galleria Sabauda, Turin Some critics assumed that the sitter is Eleonora of Toledo, however, she is probably a wealthy Florentine lady.Artist:BRONZINO, Agnolo Title: Portrait of a Lady Painted in 1501-1550 , Italian - - painting : portrait
Italian Mannerist Painter, 1503-1572

   
 

 

 
   
      

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Ferdinand Georg Waldmuller

Austrian Romantic Painter, 1793-1865

Pintura Identificación::  64353
portrait of a lady
1836 munich, bayerische staatsgemäldesammlungen
Austrian Romantic Painter, 1793-1865

   
 

 

 
   
      

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Domenico Ghirlandaio

Italian 1449-1494 Domenico Ghirlandaio Galleries

Pintura Identificación::  69664
Portrait of a Lady
oil on panel painting by Benedetto Ghirlandaio
Italian 1449-1494 Domenico Ghirlandaio Galleries

   
 

 

 
   
      

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Anthony Van Dyck

Dutch 1599-1641 Anthony Van Dyck Locations

Pintura Identificación::  69677
Portrait of a Lady
oil on canvs painting , El Paso Museum of Art
Dutch 1599-1641 Anthony Van Dyck Locations

   
 

 

 
   
      

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Giovanni Boldini

1842-1931 Italian Giovanni Boldini Locations

Pintura Identificación::  71596
Portrait of a Lady
ca. 1912(1912) Oil on canvas 231.1 x 121.3 cm (90.98 x 47.76 in)
1842-1931 Italian Giovanni Boldini Locations

   
 

 

 
   
      

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Giovanni Boldini

1842-1931 Italian Giovanni Boldini Locations

Pintura Identificación::  72784
Portrait of a Lady
Date ca. 1912(1912) Medium Oil on canvas Dimensions 231.1 X 121.3 cm (90.98 X 47.76 in) cyf
1842-1931 Italian Giovanni Boldini Locations

   
 

 

 
   
      

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Jean Baptiste Greuze

1725-1805 French Jean Baptiste Greuze Galleries

Pintura Identificación::  77339
Portrait of a Lady
Date ca. 1786(1786) Medium Oil on canvas Dimensions 61 x 50.4 cm (24 x 19.8 in) cyf
1725-1805 French Jean Baptiste Greuze Galleries

   
 

 

 
   
      

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Jean Baptiste Greuze

1725-1805 French Jean Baptiste Greuze Galleries

Pintura Identificación::  78488
Portrait of a Lady
. 1773(1773) Medium Oil on canvas Dimensions 49.6 x 39.3 cm (19.5 x 15.5 in) cyf
1725-1805 French Jean Baptiste Greuze Galleries

   
 

 

 
   
      

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Hans Baldung Grien

German 1485-1545 Hans Baldung Grien Galleries

Pintura Identificación::  78818
Portrait of a Lady
1530 Oil on panel Width: 52.5 cm (20.7 in). Height: 69.2 cm (27.2 in). cjr
German 1485-1545 Hans Baldung Grien Galleries

   
 

 

 
   
      

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Jean Marc Nattier

1685-1766 French Jean Marc Nattier Gallery

Pintura Identificación::  79176
Portrait of a Lady
1738(1738) Medium Oil on canvas Dimensions 80.6 x 65.2 cm (31.7 x 25.7 in) cyf
1685-1766 French Jean Marc Nattier Gallery

   
 

 

 
   
      

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Jean Marc Nattier

1685-1766 French Jean Marc Nattier Gallery

Pintura Identificación::  79942
Portrait of a Lady
1738(1738) Medium Oil on canvas Dimensions 80.6 x 65.2 cm (31.7 x 25.7 in) cyf
1685-1766 French Jean Marc Nattier Gallery

   
 

 

 
   
      

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Jacopo Amigoni

1685-1752 Italian Jacopo Amigoni Galleries

Pintura Identificación::  80702
Portrait of a Lady
1st half of 18th century Medium Oil on canvas cyf
1685-1752 Italian Jacopo Amigoni Galleries

   
 

 

 
   
      

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PREDIS, Ambrogio de

Italian Early Renaissance Painter, ca.1455-1508

Pintura Identificación::  83513
Portrait of a lady
1490(1490) Medium Oil on panel Dimensions 51 x 34 cm (20.1 x 13.4 in) cyf
Italian Early Renaissance Painter, ca.1455-1508

   
 

 

 
   
      

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Nicolas de Largilliere

1656-1746 French Nicolas de Largilliere Gallery

Pintura Identificación::  83622
Portrait of a lady
18th century Medium Oil on canvas Dimensions 127.6 x 106.4 cm (50.2 x 41.9 in) cyf
1656-1746 French Nicolas de Largilliere Gallery

   
 

 

 
   
      

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Philip Alexius de Laszlo

Philip Alexius de Laszlo, MVO (30 April 1869 Budapest - 22 November 1937 London) was a Hungarian painter known particularly for his portraits of royal and aristocratic personages. Laszlo was born in Budapest as Laub Fulop Elek (Hungarian style with the surname first), the eldest son of a Jewish tailor. The family changed its name to Laszlo in 1891. As a young man, Laszlo apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Szekely and Karoly Lotz. He followed this with studies in Munich and Paris. Laszlo's portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition in 1900. In 1903 Laszlo moved from Budapest to Vienna. In 1907 he moved to England. He remained based in London for the rest of his life while traveling the world to fulfill commissions. Laszlo's patrons awarded him numerous honors and medals. In 1909 he was named an honorary Member of the Royal Victorian Order by King Edward VII of the United Kingdom. In 1912 he was ennobled by King Franz Joseph of Hungary; his surname became "Laszlo de Lombos". The family later shortened the name to "de Laszlo". Laszlo became a British citizen in 1914 but was interned for over twelve months in 1917 and 1918 during the First World War.

Pintura Identificación::  84189
Portrait of a Lady
Date ca. 1920(1920) Medium Oil on canvas cjr
Philip Alexius de Laszlo, MVO (30 April 1869 Budapest - 22 November 1937 London) was a Hungarian painter known particularly for his portraits of royal and aristocratic personages. Laszlo was born in Budapest as Laub Fulop Elek (Hungarian style with the surname first), the eldest son of a Jewish tailor. The family changed its name to Laszlo in 1891. As a young man, Laszlo apprenticed to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Szekely and Karoly Lotz. He followed this with studies in Munich and Paris. Laszlo's portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition in 1900. In 1903 Laszlo moved from Budapest to Vienna. In 1907 he moved to England. He remained based in London for the rest of his life while traveling the world to fulfill commissions. Laszlo's patrons awarded him numerous honors and medals. In 1909 he was named an honorary Member of the Royal Victorian Order by King Edward VII of the United Kingdom. In 1912 he was ennobled by King Franz Joseph of Hungary; his surname became "Laszlo de Lombos". The family later shortened the name to "de Laszlo". Laszlo became a British citizen in 1914 but was interned for over twelve months in 1917 and 1918 during the First World War.

   
 

 

 
   
      

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Charles Wilson Peale

1741-1827 Charles Wilson Peale Galleries

Pintura Identificación::  84258
Portrait of a lady
18th century Medium Oil cyf
1741-1827 Charles Wilson Peale Galleries

   
 

 

 
   
      

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Lefebvre, Jules Joseph

French, 1834-1912

Pintura Identificación::  84709
Portrait of a Lady
Date 1890(1890) Medium Oil on canvas cjr
French, 1834-1912

   
 

 

 
   
      


Pintura Identificación::  86250
Portrait of a Lady
Oil on panel Dimensions 112.5 x 85.3 cm (44.3 x 33.6 in) cyf

   
 

 

 
   
      

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Antonio Maria Esquivel

Nacio en Sevilla en 1806. Comenzo los estudios de pintura en la Academia de Bellas Artes de Sevilla. Alli se familiarizo con la tecnica pictorica y el detallismo al estilo de Murillo. En 1831, se traslado a Madrid, donde concurso en la Academia de San Fernando, siendo nombrado academico de merito. En contacto con el ambiente intectual madrileno de esos anos, participo activamente en la fundacion del Liceo Artistico y Literario en 1837, donde daria clases de Anatomia, asignatura que impartiria tambien mas tarde en la Academia de San Fernando. En 1839, otra vez en Sevilla, sufrio una enfermedad que le dejo practicamente ciego; el artista, sumido en una profunda depresion, se intento suicidar arrojandose al rio Guadalquivir. Enterados sus companeros y amigos poetas y artistas y movilizados por el Liceo para ayudarle, sufragaron entre todos un caro tratamiento realizado por un prestigioso oftalmologo frances. Gracias a esto, en 1840 sano y recupero la vision. El artista, agradecido, pinto a sus amigos, poetas y pintores del Romanticismo, en un cuadro que se ha hecho justamente celebre. Como reconocimientos oficiales, recibo la placa del Sitio de Cadiz y la Cruz de Comendador de la Orden de Isabel la Catolica. En 1843 es nombrado Pintor de Camara y en 1847 academico de San Fernando, siendo ademas miembro fundador de la Sociedad Protectora de Bellas Artes. Como teorico de la pintura, redacto un Tratado de Anatomia Pictorica, cuyo original se guarda en el Museo del Prado. Fallecio en Madrid en 1857. Sus hijos Carlos Maria (1830-1867) y Vicente tambien fueron pintores.

Pintura Identificación::  86533
Portrait of a lady
Oil on canvas, 121 x 98 cm. cyf
Nacio en Sevilla en 1806. Comenzo los estudios de pintura en la Academia de Bellas Artes de Sevilla. Alli se familiarizo con la tecnica pictorica y el detallismo al estilo de Murillo. En 1831, se traslado a Madrid, donde concurso en la Academia de San Fernando, siendo nombrado academico de merito. En contacto con el ambiente intectual madrileno de esos anos, participo activamente en la fundacion del Liceo Artistico y Literario en 1837, donde daria clases de Anatomia, asignatura que impartiria tambien mas tarde en la Academia de San Fernando. En 1839, otra vez en Sevilla, sufrio una enfermedad que le dejo practicamente ciego; el artista, sumido en una profunda depresion, se intento suicidar arrojandose al rio Guadalquivir. Enterados sus companeros y amigos poetas y artistas y movilizados por el Liceo para ayudarle, sufragaron entre todos un caro tratamiento realizado por un prestigioso oftalmologo frances. Gracias a esto, en 1840 sano y recupero la vision. El artista, agradecido, pinto a sus amigos, poetas y pintores del Romanticismo, en un cuadro que se ha hecho justamente celebre. Como reconocimientos oficiales, recibo la placa del Sitio de Cadiz y la Cruz de Comendador de la Orden de Isabel la Catolica. En 1843 es nombrado Pintor de Camara y en 1847 academico de San Fernando, siendo ademas miembro fundador de la Sociedad Protectora de Bellas Artes. Como teorico de la pintura, redacto un Tratado de Anatomia Pictorica, cuyo original se guarda en el Museo del Prado. Fallecio en Madrid en 1857. Sus hijos Carlos Maria (1830-1867) y Vicente tambien fueron pintores.

   
 

 

 
   
      

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caspar netscher

Caspar (or Gaspar) Netscher (Heidelberg, 1639 ?C Den Haag, January 15, 1684) was a Dutch portrait and genre painter. He was a master in depicting oriental rugs, silk and brocade and introduced an international style to the Northern Netherlands. Little is know of Netscher's early years. According to Arnold Houbraken's 17th century biographical study of Dutch painters he was born in Heidelberg or Prague. His father Johann Netscher probably was a sculptor from Stuttgart who died in Poland when he was two years of age. It is also suggested that Caspar may have been the son of a Rotterdam painter. His mother, fleeing from the dangers of a civil war, carried him to Arnhem. On her way two of her children died. In Arnhem he was adopted by a physician named A. Tullekens. At first he was destined for the profession of his patron, but owing to his great aptitude for painting he was placed under a local artist named Hendrick Coster, and in 1654 became a student of Ter Borch in Deventer, who had family connections to Tullekens. He was Ter Borch's most gifted pupil, probably worked as an assistant as well and he appears several times as a model on Ter Borch's paintings. The Lace-Maker by Caspar Netscher (1662), oil on canvas, 33 x 27 cm. Wallace Collection, LondonIn 1658 he set out for Italy to complete his education there. However, he didn't get farther south than Bordeaux that fall, where he married Margaretha Godijn in 1659. There he toiled hard to earn a livelihood by painting small cabinet pictures which are now highly valued on account of their exquisite finish. After moving to The Hague in 1662, possibly because of the prosecutions of Protestants, he turned his attention to portrait-painting. In this branch of his art was more successful. In 1668 he joined the Schutterij and Cosimo III de' Medici, traveling through the Netherlands bought four paintings. It is likely that Netscher knew the painters Frans van Mieris, Sr. (1635 -1681) and Gerard Dou, but it is certain that he knew the painter Gerrit de Hooch from The Hague as his wife gave her name to Gerrit's new born daughter Margarita in 1676, the event being witnessed by Caspar as well as his wife. He was patronized by William III, and his earnings soon enabled him to gratify his own taste by depicting musical and conversational pieces.

Pintura Identificación::  86649
Portrait of a Lady
Date 1683(1683) Medium Oil on canvas on panel Dimensions Height: 52 cm (20.5 in). Width: 42 cm (16.5 in). cjr
Caspar (or Gaspar) Netscher (Heidelberg, 1639 ?C Den Haag, January 15, 1684) was a Dutch portrait and genre painter. He was a master in depicting oriental rugs, silk and brocade and introduced an international style to the Northern Netherlands. Little is know of Netscher's early years. According to Arnold Houbraken's 17th century biographical study of Dutch painters he was born in Heidelberg or Prague. His father Johann Netscher probably was a sculptor from Stuttgart who died in Poland when he was two years of age. It is also suggested that Caspar may have been the son of a Rotterdam painter. His mother, fleeing from the dangers of a civil war, carried him to Arnhem. On her way two of her children died. In Arnhem he was adopted by a physician named A. Tullekens. At first he was destined for the profession of his patron, but owing to his great aptitude for painting he was placed under a local artist named Hendrick Coster, and in 1654 became a student of Ter Borch in Deventer, who had family connections to Tullekens. He was Ter Borch's most gifted pupil, probably worked as an assistant as well and he appears several times as a model on Ter Borch's paintings. The Lace-Maker by Caspar Netscher (1662), oil on canvas, 33 x 27 cm. Wallace Collection, LondonIn 1658 he set out for Italy to complete his education there. However, he didn't get farther south than Bordeaux that fall, where he married Margaretha Godijn in 1659. There he toiled hard to earn a livelihood by painting small cabinet pictures which are now highly valued on account of their exquisite finish. After moving to The Hague in 1662, possibly because of the prosecutions of Protestants, he turned his attention to portrait-painting. In this branch of his art was more successful. In 1668 he joined the Schutterij and Cosimo III de' Medici, traveling through the Netherlands bought four paintings. It is likely that Netscher knew the painters Frans van Mieris, Sr. (1635 -1681) and Gerard Dou, but it is certain that he knew the painter Gerrit de Hooch from The Hague as his wife gave her name to Gerrit's new born daughter Margarita in 1676, the event being witnessed by Caspar as well as his wife. He was patronized by William III, and his earnings soon enabled him to gratify his own taste by depicting musical and conversational pieces.

   
 

 

 
   
      

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William Scrots

William (or Guillim) Scrots (or Scrotes or Stretes) (active 1537-1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. He is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was stopped on Edward's death in 1553, after which it is not known what became of him, though it is presumed he left England. Edward VI, attributed to Scrots, Hampton Court. Portrait of Edward VI in distorted perspective, 1546.Little more is known of Scrots than that his paintings showed an interest in ingenious techniques and detailed accessories. Scrots was paid 50 marks in 1551 for three "great tables", two of which were portraits of Edward delivered to the ambassadors Thomas Hoby and John Mason as gifts for foreign monarchs, and the third a "picture of the late earle of Surrey attainted." Two full-length portraits of Edward VI in a pose similar to that of Holbein's portrait of his father, one now in the Royal Collection (left) and another now in the Louvre (below), are attributed to Scrots and are likely to be these two paintings. Scrots also painted an anamorphic profile of Edward VI, distorted so that it is impossible to view it normally except from a special angle to the side. This optical trick is similar to that used by Holbein in his painting The Ambassadors and in contemporary portraits of Francis I and Ferdinand I. Later, when the painting was exhibited at Whitehall Palace in the winter of 1591-92, it created a sensation, and important visitors were all taken to see it.

Pintura Identificación::  88162
Portrait of a Lady
1546 Medium Oil on panel Dimensions 178.4 x 95 cm (70.2 x 37.4 in) cyf
William (or Guillim) Scrots (or Scrotes or Stretes) (active 1537-1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. He is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was stopped on Edward's death in 1553, after which it is not known what became of him, though it is presumed he left England. Edward VI, attributed to Scrots, Hampton Court. Portrait of Edward VI in distorted perspective, 1546.Little more is known of Scrots than that his paintings showed an interest in ingenious techniques and detailed accessories. Scrots was paid 50 marks in 1551 for three "great tables", two of which were portraits of Edward delivered to the ambassadors Thomas Hoby and John Mason as gifts for foreign monarchs, and the third a "picture of the late earle of Surrey attainted." Two full-length portraits of Edward VI in a pose similar to that of Holbein's portrait of his father, one now in the Royal Collection (left) and another now in the Louvre (below), are attributed to Scrots and are likely to be these two paintings. Scrots also painted an anamorphic profile of Edward VI, distorted so that it is impossible to view it normally except from a special angle to the side. This optical trick is similar to that used by Holbein in his painting The Ambassadors and in contemporary portraits of Francis I and Ferdinand I. Later, when the painting was exhibited at Whitehall Palace in the winter of 1591-92, it created a sensation, and important visitors were all taken to see it.

   
 

 

 
   
      

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Weerts Jean Joseph

Belgian Academic Painter 1846-Paris 1927

Pintura Identificación::  88660
Portrait of a Lady
1890(1890) Medium Oil on canvas cyf
Belgian Academic Painter 1846-Paris 1927

   
 

 

 
   
      

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Domenico Puligo

(1492-1527) was an Italian painter of the Renaissance, active in Florence. His real name was Domenico di Bartolommeo Ubaldini. He was trained by Ridolfo Ghirlandaio, but acquired a style consistent with his contemporary Andrea del Sarto. He painted a Vision of Saint Bernard altarpiece, now in Walters' Gallery in Baltimore. He was also in demand for portraits. He is featured in Giorgio Vasari's Vite or biographies of artists. He excelled as a portrait painter. He befriended Andrea del Sarto ane worked with Ridolfo Ghirlandaio. His brother, Jacone Puligo was also a Renaissance painter.

Pintura Identificación::  88928
Portrait of a Lady
first half of 16th century Medium oil on wood cyf
(1492-1527) was an Italian painter of the Renaissance, active in Florence. His real name was Domenico di Bartolommeo Ubaldini. He was trained by Ridolfo Ghirlandaio, but acquired a style consistent with his contemporary Andrea del Sarto. He painted a Vision of Saint Bernard altarpiece, now in Walters' Gallery in Baltimore. He was also in demand for portraits. He is featured in Giorgio Vasari's Vite or biographies of artists. He excelled as a portrait painter. He befriended Andrea del Sarto ane worked with Ridolfo Ghirlandaio. His brother, Jacone Puligo was also a Renaissance painter.

   
 

 

 
   
      

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caspar netscher

Caspar (or Gaspar) Netscher (Heidelberg, 1639 ?C Den Haag, January 15, 1684) was a Dutch portrait and genre painter. He was a master in depicting oriental rugs, silk and brocade and introduced an international style to the Northern Netherlands. Little is know of Netscher's early years. According to Arnold Houbraken's 17th century biographical study of Dutch painters he was born in Heidelberg or Prague. His father Johann Netscher probably was a sculptor from Stuttgart who died in Poland when he was two years of age. It is also suggested that Caspar may have been the son of a Rotterdam painter. His mother, fleeing from the dangers of a civil war, carried him to Arnhem. On her way two of her children died. In Arnhem he was adopted by a physician named A. Tullekens. At first he was destined for the profession of his patron, but owing to his great aptitude for painting he was placed under a local artist named Hendrick Coster, and in 1654 became a student of Ter Borch in Deventer, who had family connections to Tullekens. He was Ter Borch's most gifted pupil, probably worked as an assistant as well and he appears several times as a model on Ter Borch's paintings. The Lace-Maker by Caspar Netscher (1662), oil on canvas, 33 x 27 cm. Wallace Collection, LondonIn 1658 he set out for Italy to complete his education there. However, he didn't get farther south than Bordeaux that fall, where he married Margaretha Godijn in 1659. There he toiled hard to earn a livelihood by painting small cabinet pictures which are now highly valued on account of their exquisite finish. After moving to The Hague in 1662, possibly because of the prosecutions of Protestants, he turned his attention to portrait-painting. In this branch of his art was more successful. In 1668 he joined the Schutterij and Cosimo III de' Medici, traveling through the Netherlands bought four paintings. It is likely that Netscher knew the painters Frans van Mieris, Sr. (1635 -1681) and Gerard Dou, but it is certain that he knew the painter Gerrit de Hooch from The Hague as his wife gave her name to Gerrit's new born daughter Margarita in 1676, the event being witnessed by Caspar as well as his wife. He was patronized by William III, and his earnings soon enabled him to gratify his own taste by depicting musical and conversational pieces.

Pintura Identificación::  90601
Portrait of a Lady
1683(1683) Medium Oil on canvas on panel Dimensions Height: 52 cm (20.5 in). Width: 42 cm (16.5 in). cyf
Caspar (or Gaspar) Netscher (Heidelberg, 1639 ?C Den Haag, January 15, 1684) was a Dutch portrait and genre painter. He was a master in depicting oriental rugs, silk and brocade and introduced an international style to the Northern Netherlands. Little is know of Netscher's early years. According to Arnold Houbraken's 17th century biographical study of Dutch painters he was born in Heidelberg or Prague. His father Johann Netscher probably was a sculptor from Stuttgart who died in Poland when he was two years of age. It is also suggested that Caspar may have been the son of a Rotterdam painter. His mother, fleeing from the dangers of a civil war, carried him to Arnhem. On her way two of her children died. In Arnhem he was adopted by a physician named A. Tullekens. At first he was destined for the profession of his patron, but owing to his great aptitude for painting he was placed under a local artist named Hendrick Coster, and in 1654 became a student of Ter Borch in Deventer, who had family connections to Tullekens. He was Ter Borch's most gifted pupil, probably worked as an assistant as well and he appears several times as a model on Ter Borch's paintings. The Lace-Maker by Caspar Netscher (1662), oil on canvas, 33 x 27 cm. Wallace Collection, LondonIn 1658 he set out for Italy to complete his education there. However, he didn't get farther south than Bordeaux that fall, where he married Margaretha Godijn in 1659. There he toiled hard to earn a livelihood by painting small cabinet pictures which are now highly valued on account of their exquisite finish. After moving to The Hague in 1662, possibly because of the prosecutions of Protestants, he turned his attention to portrait-painting. In this branch of his art was more successful. In 1668 he joined the Schutterij and Cosimo III de' Medici, traveling through the Netherlands bought four paintings. It is likely that Netscher knew the painters Frans van Mieris, Sr. (1635 -1681) and Gerard Dou, but it is certain that he knew the painter Gerrit de Hooch from The Hague as his wife gave her name to Gerrit's new born daughter Margarita in 1676, the event being witnessed by Caspar as well as his wife. He was patronized by William III, and his earnings soon enabled him to gratify his own taste by depicting musical and conversational pieces.

   
 

 

 
   
      

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Peeter Danckers de Rij

Pieter, Peeter, or Peter Danckerts de Rij, Dankers de Ry, or Peteris Dankersas (1605, Amsterdam - 9 August 1661, Rudnik) was a Dutch Golden Age painter. He was the son of Cornelis Danckerts de Ry, member of a large family of printers, painters and engravers. Adam Kazanowski - by Peeter Danckers de Rij. Example of Dankerts-Sandrart collaboration in print of PC Hooft. This 1642 engraving was painted by Sandrart, etched by Reinier van Persijn, and printed by Danckerts. The poem in Latin at the bottom was written by Caspar Barlaeus.Cornelis is mentioned in Houbraken's Schouburg as being one of the many teachers of Joachim von Sandrart in 1640-41, though considering Sandrart's age and experience (he had just returned to the North from his Grand Tour to Italy), this was more of a collaboration. Since Filippo Baldinucci later wrote a biograhical sketch on Pietro Danckerse de Ry in his list of artists called the Notizie, it is possible that Danckerts visited Italy at some time. In any case Sandrart engraved some of Peter's paintings after this period. Peter was active until 1640 in Amsterdam, and then he moved to Warsaw, Danzig, and Vilnius in the Polish-Lithuanian Commonwealth. He was active in Poland as the court painter and architect of the Polish King Władysław IV Vasa. According to Houbraken a poem was written in his honor that applauds his work in Poland. He died as the result of a highway robbery in the Redininkai Forest near Vilnius, Lithuania.

Pintura Identificación::  91486
Portrait of a Lady
c. 1640(1640) Medium oil on canvas cyf
Pieter, Peeter, or Peter Danckerts de Rij, Dankers de Ry, or Peteris Dankersas (1605, Amsterdam - 9 August 1661, Rudnik) was a Dutch Golden Age painter. He was the son of Cornelis Danckerts de Ry, member of a large family of printers, painters and engravers. Adam Kazanowski - by Peeter Danckers de Rij. Example of Dankerts-Sandrart collaboration in print of PC Hooft. This 1642 engraving was painted by Sandrart, etched by Reinier van Persijn, and printed by Danckerts. The poem in Latin at the bottom was written by Caspar Barlaeus.Cornelis is mentioned in Houbraken's Schouburg as being one of the many teachers of Joachim von Sandrart in 1640-41, though considering Sandrart's age and experience (he had just returned to the North from his Grand Tour to Italy), this was more of a collaboration. Since Filippo Baldinucci later wrote a biograhical sketch on Pietro Danckerse de Ry in his list of artists called the Notizie, it is possible that Danckerts visited Italy at some time. In any case Sandrart engraved some of Peter's paintings after this period. Peter was active until 1640 in Amsterdam, and then he moved to Warsaw, Danzig, and Vilnius in the Polish-Lithuanian Commonwealth. He was active in Poland as the court painter and architect of the Polish King Władysław IV Vasa. According to Houbraken a poem was written in his honor that applauds his work in Poland. He died as the result of a highway robbery in the Redininkai Forest near Vilnius, Lithuania.

   
 

 

 
   
      

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Abraham van den Tempel

(1622 - 1672) was a Dutch Golden Age painter. He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden. According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families. Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal. Sir William Davidson of Curriehill, Conservator of the Cloth Staple at Veere (with his son Charles), 1664.He became master of the Guild of St. Luke in 1657 and in 1659 he was chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling

Pintura Identificación::  91937
Portrait of a Lady
Oil on canvas 1660-1663 cjr
(1622 - 1672) was a Dutch Golden Age painter. He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden. According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families. Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal. Sir William Davidson of Curriehill, Conservator of the Cloth Staple at Veere (with his son Charles), 1664.He became master of the Guild of St. Luke in 1657 and in 1659 he was chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling

   
 

 

 
   
      


Pintura Identificación::  92690
Portrait of a Lady
c. 1760 Medium oil on canvas Dimensions 30 1/2 x 25 1/4 in. (77.5 x 64.1 cm) cjr
1734-97

   
 

 

 
   
      

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Giovanni Boldini

1842-1931 Italian Giovanni Boldini Locations

Pintura Identificación::  93300
Portrait of a Lady
Date circa 1912(1912) Medium oil on canvas Dimensions 231.1 x 121.3 cm (91 x 47.8 in) TTD
1842-1931 Italian Giovanni Boldini Locations

   
 

 

 
   
      

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Anonymous

unknow artist

Pintura Identificación::  93831
Portrait of a lady
oil on canvas, 90.5 x 71.5 cm Date 19th century cjr
unknow artist

   
 

 

 
   
      

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William Hoare

William Hoare of Bath RA (c. 1707 - 12 December 1792) was an English painter and printmaker, co-founder of the Royal Academy noted for his pastels. Born near Eye, Suffolk, Hoare received a gentlemanes education in Faringdon. He showed a marked aptitude for drawing and was sent to London to study under Giuseppe Grisoni, who had left Florence for London in 1715. When Grisoni returned to Italy in 1728, Hoare went with him, travelling to Rome and continuing his studies under the direction of Francesco Imperiali. He remained in Rome for nine years, returning to London in 1737/8. Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men. There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day. Hoare himself was a delicate etcher and published a number of private plates, mostly of family and friends, including Miss Hoare (probably Mary), Christopher Anstey and the 3rd Duke of Beaufort. His pastels were influenced by Rosalba Carriera.

Pintura Identificación::  94400
Portrait of a Lady
18th century Medium pastel on canvas Dimensions 58.5 x 44.5 cm (23 x 17.5 in) cjr
William Hoare of Bath RA (c. 1707 - 12 December 1792) was an English painter and printmaker, co-founder of the Royal Academy noted for his pastels. Born near Eye, Suffolk, Hoare received a gentlemanes education in Faringdon. He showed a marked aptitude for drawing and was sent to London to study under Giuseppe Grisoni, who had left Florence for London in 1715. When Grisoni returned to Italy in 1728, Hoare went with him, travelling to Rome and continuing his studies under the direction of Francesco Imperiali. He remained in Rome for nine years, returning to London in 1737/8. Failing to establish himself in London, Hoare settled in Bath, an expanding spa town popular with the wealthier classes. He obtained numerous commissions, the most important being for official portraits of social leaders of the day (including George Frideric Handel) and political men. There are several versions of most of these, suggesting that he had a studio, and they were further publicised by the production of mezzotints by leading engravers of the day. Hoare himself was a delicate etcher and published a number of private plates, mostly of family and friends, including Miss Hoare (probably Mary), Christopher Anstey and the 3rd Duke of Beaufort. His pastels were influenced by Rosalba Carriera.

   
 

 

 
   
      

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Antonio Maria Esquivel

Nacio en Sevilla en 1806. Comenzo los estudios de pintura en la Academia de Bellas Artes de Sevilla. Alli se familiarizo con la tecnica pictorica y el detallismo al estilo de Murillo. En 1831, se traslado a Madrid, donde concurso en la Academia de San Fernando, siendo nombrado academico de merito. En contacto con el ambiente intectual madrileno de esos anos, participo activamente en la fundacion del Liceo Artistico y Literario en 1837, donde daria clases de Anatomia, asignatura que impartiria tambien mas tarde en la Academia de San Fernando. En 1839, otra vez en Sevilla, sufrio una enfermedad que le dejo practicamente ciego; el artista, sumido en una profunda depresion, se intento suicidar arrojandose al rio Guadalquivir. Enterados sus companeros y amigos poetas y artistas y movilizados por el Liceo para ayudarle, sufragaron entre todos un caro tratamiento realizado por un prestigioso oftalmologo frances. Gracias a esto, en 1840 sano y recupero la vision. El artista, agradecido, pinto a sus amigos, poetas y pintores del Romanticismo, en un cuadro que se ha hecho justamente celebre. Como reconocimientos oficiales, recibo la placa del Sitio de Cadiz y la Cruz de Comendador de la Orden de Isabel la Catolica. En 1843 es nombrado Pintor de Camara y en 1847 academico de San Fernando, siendo ademas miembro fundador de la Sociedad Protectora de Bellas Artes. Como teorico de la pintura, redacto un Tratado de Anatomia Pictorica, cuyo original se guarda en el Museo del Prado. Fallecio en Madrid en 1857. Sus hijos Carlos Maria (1830-1867) y Vicente tambien fueron pintores.

Pintura Identificación::  97115
Portrait of a lady
Oil on canvas, 121 x 98 cm. Date 1850(1850) cyf
Nacio en Sevilla en 1806. Comenzo los estudios de pintura en la Academia de Bellas Artes de Sevilla. Alli se familiarizo con la tecnica pictorica y el detallismo al estilo de Murillo. En 1831, se traslado a Madrid, donde concurso en la Academia de San Fernando, siendo nombrado academico de merito. En contacto con el ambiente intectual madrileno de esos anos, participo activamente en la fundacion del Liceo Artistico y Literario en 1837, donde daria clases de Anatomia, asignatura que impartiria tambien mas tarde en la Academia de San Fernando. En 1839, otra vez en Sevilla, sufrio una enfermedad que le dejo practicamente ciego; el artista, sumido en una profunda depresion, se intento suicidar arrojandose al rio Guadalquivir. Enterados sus companeros y amigos poetas y artistas y movilizados por el Liceo para ayudarle, sufragaron entre todos un caro tratamiento realizado por un prestigioso oftalmologo frances. Gracias a esto, en 1840 sano y recupero la vision. El artista, agradecido, pinto a sus amigos, poetas y pintores del Romanticismo, en un cuadro que se ha hecho justamente celebre. Como reconocimientos oficiales, recibo la placa del Sitio de Cadiz y la Cruz de Comendador de la Orden de Isabel la Catolica. En 1843 es nombrado Pintor de Camara y en 1847 academico de San Fernando, siendo ademas miembro fundador de la Sociedad Protectora de Bellas Artes. Como teorico de la pintura, redacto un Tratado de Anatomia Pictorica, cuyo original se guarda en el Museo del Prado. Fallecio en Madrid en 1857. Sus hijos Carlos Maria (1830-1867) y Vicente tambien fueron pintores.

   
 

 

 
   
      

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Anonymous

unknow artist

Pintura Identificación::  97405
Portrait of a lady
oil on canvas, 73 x 60 cm Date circa 1830(1830) cyf
unknow artist

   
 

 

 
   
      


Pintura Identificación::  97675
Portrait of a Lady
circa 1555(1555) Medium oil on canvas cyf

   
 

 

 
   
      



Portrait of a Lady

        
 
   
 

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