1627-1678
Flemish Samuel Dircksz Van Hoogstraten Galleries
Pintura Identificación:: 2414
Still Life Naturaleza Muerte 1666-68
Staatliche Kunsthalle, Karlsruhe 1666-68 Staatliche Kunsthalle, Karlsruhe 1627-1678
Flemish Samuel Dircksz Van Hoogstraten Galleries
Pintura Identificación:: 19434
Still Life la Naturaleza muerta Undated
Oil on canvas
Wallraf-Richartz-Museum, Cologne. el Petróleo sin fecha en el Museo de lona Wallraf Richartz, Colonia. Dutch Baroque Era Painter, 1640-1679
Russian Constructivist Painter and Designer, 1889-1924
Pintura Identificación:: 19913
Still Life la Naturaleza muerta Russian Constructivist Painter and Designer, 1889-1924 Pintor y Diseñador Constructivistas rusos, 1889-1924 Russian Constructivist Painter and Designer, 1889-1924
maurice de vlaminck,1876 to 1958,French painter, printmaker, draughtsman and writer. His nature, character, tastes and way of life were in perfect harmony with the freedom, daring and violence of his painting. He was brought up in a musical environment: his father, of Flemish origin, was a violin teacher and his mother, from Lorraine, was a piano teacher. He studied music himself to quite a high standard and later played the double-bass (and sometimes the bass drum, a source of considerable pleasure) in his regimental band. His family had come to live at Le V?sinet near Paris, and he spent his childhood both there and later at Chatou on the Seine. From 1892 he began to take an interest in painting, though he worked as a mechanic and became a racing cyclist.
Pintura Identificación:: 11889
Still Life la Naturalezamuerta ca 1910
1' 9 1/4'' x 2' 1 1/2''(54 x 64.5 cm)Gift of Max and Rosy Kaganovitch,1973 ca 1910 1 ~ 9 1/4 ~ ~ X 2 ~ 1 1/2 ~ ~ (54 X 64,5 cm) Regalo de Max y Kaganovitch Rosáceo, 1973 maurice de vlaminck,1876 to 1958,French painter, printmaker, draughtsman and writer. His nature, character, tastes and way of life were in perfect harmony with the freedom, daring and violence of his painting. He was brought up in a musical environment: his father, of Flemish origin, was a violin teacher and his mother, from Lorraine, was a piano teacher. He studied music himself to quite a high standard and later played the double-bass (and sometimes the bass drum, a source of considerable pleasure) in his regimental band. His family had come to live at Le V?sinet near Paris, and he spent his childhood both there and later at Chatou on the Seine. From 1892 he began to take an interest in painting, though he worked as a mechanic and became a racing cyclist.
Pintura Identificación:: 27766
Still Life la Naturaleza muerta mk62
1890-1894
Oil on canvas
65.5x81.5cm
on loan to the Kunsthaus Zurich
mk62 1890-1894 Engrasan en la lona 65.5x81.5cm en el préstamo al Kunsthaus Zúrich French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 27939
Still Life la Naturaleza muerta mk62
c.1892-4
Oil on canvas
53x71cm
Tate Gallery.London
el Petróleo mk62 c.1892-4 en la lona 53x71cm TateGalería.Londres French Post-Impressionist Painter, 1839-1906
Pintura Identificación:: 28050
Still Life la Naturaleza muerta mk61
c.1666
Oil on canvas
100x127cm
mk61 C. 1666 Petróleo en la lona100x127cm Spanish gifted painter and colorist , c.1626-1666
Pintura Identificación:: 28053
Still Life la Naturaleza muerta mk61
1628
Oil on canvas
71x92cm
mk61 1628 Engrasan en la lona71x92cm Spanish painter (documented 1628-1631 in Toledo).
Dutch painter (b. 1594, Haarlem, d. 1680, Haarlem).
Pintura Identificación:: 30552
Still Life la Naturaleza muerta mk68
Oil on wood
The Hague
Mauritshuis
1629
Netherlands
el Petróleo mk68 en la madera La HayaMauritshuis 1629 Países Bajos Dutch painter (b. 1594, Haarlem, d. 1680, Haarlem).
Pintura Identificación:: 30562
Still Life la Naturaleza muerta mk68
Oil on canvas
18"x33"
1633-1640
Spain
el Petróleo mk68 en la lona 18x33 1633-1640 España 1598-1664
Spanish Francisco de Zurbaran Galleries
Pintura Identificación:: 30627
Still Life la Naturaleza muerta mk68
Oil on canvas
Paris,Louvre
1763
France
el Petróleo mk68 en la lona París, Louvre 1763 Francia 1699-1779
Pintura Identificación:: 32879
Still Life la Naturaleza muerta mk84
1633
Pasadena,Norton Simon Museum of Art,
canvas
60x107cm
mk84 1633 Pasadena,Museo de Norton Simon del Arte, la lona 60x107cm 1598-1664
Spanish Francisco de Zurbaran Galleries
Pintura Identificación:: 33619
Still Life la Naturaleza muerta mk86
undated
Oil on copper
78x67cm
Munich,Bayerische Staatsgemalde-Sammlungen,Alt Pinakothek
mk86 el Petróleo sin fecha en el cobre 78x67cm Múnich, Bayerische Staatsgemalde Sammlungen, Alt Pinakothek 1566-1638
Georg Flegel Location
Pintura Identificación:: 33625
Still Life la Naturaleza muerta mk86
c.1602
Oil on canvas
65x81cm
mk86 C. 1602 Petróleo en la lona 65x81cm Spanish
1561-1637
Pintura Identificación:: 33680
Still Life la Naturaleza muerta mk86
1614
Oil on canvas
156x218cm
Cologne,Wallraf-Richartz-Musuem mk86 1614 Engrasan en la lona 156x218cm Colonia, Wallraf Richartz Musuem Belgian
1579-1657
Frans Snyders Gallery
Pintura Identificación:: 33688
Still Life la Naturaleza muerta mk86
1631
Oil on panel54x82cm
Dresden,Gemaldegalerie Alte Meister
mk86 1631 Engrasan en Dresde panel54x82cm, Gemaldegalerie Alte Meister 1594-1682
Dutch
Willem Claesz Heda Galleries
stilllife masters, Dutch Baroque Era Painter, 1606-C.1683
Pintura Identificación:: 33711
Still Life la Naturaleza muerta mk86
undated
Oil on panel
55.8x73.5cm
Gent ,Museum voor Schone Kunsten
mk86 el Petróleo sin fecha en pone panel a Señor 55.8x73.5cm, voor de Museo Schone Kunsten stilllife masters, Dutch Baroque Era Painter, 1606-C.1683
Pintura Identificación:: 33721
Still Life la Naturaleza muerta mk86
c.1653/1654
Oil on canvas
105x87.5cm
St Petersburg,Hermitage
el Petróleo mk86 c.1653/1654 en la lona 105x87.5cm SanPetersburg, la Ermita 1619-1693
Dutch
Willem Kalf Galleries
Pintura Identificación:: 33732
Still Life la Naturaleza muerta mk86
c.1666-1668
Oil on canvas
63x79cm
Karlsruhe,Staatliche Kunsthalle el Petróleo mk86 c.1666-1668 en la lona63x79cm Karlsruhe, Staatliche Kunsthalle Dutch Baroque Era Painter, 1627-1678
Pintura Identificación:: 33965
Still Life la Naturaleza muerta mk87
1869
Oil on canvas
32x29.5cm
Grenoble,Musee de Peinture et de Sculpture
mk87 1869 Engrasan en la lona 32x29.5cm Grenoble, Musee de Peinture et de Escultura French 1836-1904
Henri Fantin Latour Locations
Pintura Identificación:: 33986
Still Life la Naturaleza muerta mk87
c.1910
Oil on canvas
73x54cm
Wuppertal,Von der Heydt-Museum
mk87 C. 1910 Petróleo en la lona 73x54cm Wuppertal, Heydt-Museo de der de Von French Symbolist Painter, 1840-1916
Pintura Identificación:: 34271
Still Life la Naturaleza muerta mk91
1660
Oil on canvas
Transferred from a panel
62x46.5
mk91 1660Engrasan en la lona Transferida de un 5 de entrepaño 62x46 German,Christoph Paudiss, ca.1618-1666
Pintura Identificación:: 36556
Still life la naturaleza muerta mk112
1917
Oil on canvas
73.5x91.5cm
mk112 1917 Engrasan en la lona 73.5x91.5cm 1887-1927
Pintura Identificación:: 36998
Still life la naturaleza muerta mk115
About1919-1920
30.5x44.5cm
mk115 About1919-1920 30.5x44.5cm 1863-1935
French
Paul Signac Galleries
Pintura Identificación:: 37000
Still life la naturaleza muerta mk115
About 1918-1920
32.2x49.7cm
mk115 acerca de 1918-192032.2x49.7cm 1863-1935
French
Paul Signac Galleries
Pintura Identificación:: 37080
Still life la naturaleza muerta mk116
1879
Oil on canvas
50x60cm
mk116 1879 Engrasan en la lona 50x60cm French Impressionist Painter, 1848-1894
Pintura Identificación:: 37082
Still life la naturaleza muerta mk116
1881-1882
Oil on canvas
25x55cm
mk116 1881-1882 Engrasan en la lona25x55cm French Impressionist Painter, 1848-1894
Pintura Identificación:: 37083
Still life la naturaleza muerta mk116
1880-1882
76.5x100.6cm
mk116 1880-1882 76.5x100.6cm French Impressionist Painter, 1848-1894
Pintura Identificación:: 37085
Still life la naturaleza muerta mk116
1882
Oil on canvas
70x105cm
mk116 1882 Engrasan en la lona 70x105cm French Impressionist Painter, 1848-1894
Pintura Identificación:: 37086
Still life la naturaleza muerta mk116
1881
Oil on canvas
38x55cm
mk116 1881Engrasan en la lona 38x55cm French Impressionist Painter, 1848-1894
Pintura Identificación:: 37361
Still life la naturaleza muerta mk124
88.9x101.2cm
About 1898
mk12488.9x101.2cm acerca de 1898 American Impressionist Painter, 1849-1916
Pintura Identificación:: 39319
Still Life la Naturaleza muerta mk147
Glasgow Museum
Art Gallery and Museum
Galería de arte de Museo de Glasgow mk147 yMuseo 1619-1693
Dutch
Willem Kalf Galleries
Pintura Identificación:: 39335
Still Life la Naturaleza muerta mk147
c.1913
Oil on canvas
55x46
Scottish National Gallery of Modern Art. mk147 C. 1913 Petróleo en la lona 55x46 la Galería Nacional escocesa del Arte moderno Scottish Painter, 1871-1935
Pintura Identificación:: 39356
Still Life la Naturaleza muerta mk147
c.1930
Oil on canvas
51x61.2
Scottish National Gallery of Modern Art.
mk147 C. 1930 Petróleo en la lona 51x61.2 la Galería Nacional escocesa del Arte moderno Scottish Painter, 1877-1931
Pintura Identificación:: 41017
Still life la naturaleza muerta mk159
1652
Oil on canvas
80x94cm
mk159 1652 Engrasan en la lona 80x94cm Spanish Baroque Era Painter, ca.1611-1678
Pintura Identificación:: 41053
Still Life la Naturaleza muerta mk159
1660
Oil on canvas
62x46.5cm
mk159 1660 Engrasan en la lona 62x46.5cm German,Christoph Paudiss, ca.1618-1666
Pintura Identificación:: 42719
still Life la Naturaleza muerta MK169
ca.1650-90 Shut down 71.5x62cm MK169 ca.1650-90 Cerró 71.5x62cm 1619-1693
Dutch
Willem Kalf Galleries
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:: 68703
Still Life 83 X 66 cm (32.68 X 25.98 in)
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.
(1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua.
Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes.
One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.
Pintura Identificación:: 74480
Still life 1620(1620)
Oil on panel
50 X 60 cm (19.68 X 23.62 in)
cjr (1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua.
Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes.
One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.
Pintura Identificación:: 75782
Still Life English: Still Life (1866, Henri Fantin-Latour) located inside the National Gallery of Art's West Building in Washington, D.C.
cyf French 1836-1904
Henri Fantin Latour Locations
Pintura Identificación:: 75841
Still Life Date 1866(1866)
Medium Deutsch: Leinwand
Oil on canvas
Dimensions 61.9 x 75 cm (24.4 x 29.5 in)
cyf French 1836-1904
Henri Fantin Latour Locations
(ca. 1620 - March 1690) was a Dutch Baroque era painter. He was little regarded in his day but is now considered one of the greatest of still-life painters. Van Beijeren (alternatively spelled "Beyeren") lived in a succession of Dutch towns. Born in The Hague, the artist also lived in Delft, Amsterdam, Alkmaar and Gouda. In 1678 he settled in Rotterdam, where he died in 1690.
Pintura Identificación:: 75875
Still life Date ca. 1663-1669 (1640-1670)
Medium Oil on canvas
Dimensions 57 x 52.5 cm (22.4 x 20.7 in)
cyf (ca. 1620 - March 1690) was a Dutch Baroque era painter. He was little regarded in his day but is now considered one of the greatest of still-life painters. Van Beijeren (alternatively spelled "Beyeren") lived in a succession of Dutch towns. Born in The Hague, the artist also lived in Delft, Amsterdam, Alkmaar and Gouda. In 1678 he settled in Rotterdam, where he died in 1690.
(1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua.
Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes.
One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.
Pintura Identificación:: 75920
Still life Date 1620(1620)
Medium Oil on panel
Dimensions 50 x 60 cm (19.7 x 23.6 in)
cyf (1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua.
Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes.
One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.
(6 May 1867 - 24 September 1940) was a Hungarian painter, a leading member of the Nagybenya artists' colony and founder of the Kecskemet artists' colony.
Born in Som, Ivenyi-Grenwald began his artistic studies under Bertalan Szekely and Keroly Lotz at the Academy of Fine Arts in Budapest (1882-86) and continued them at Munich in 1886-87 and at the Academie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hader kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Ivenyi-Grenwald painted a large-scale genre painting entitled Nihilistek sorsot heznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting.
Pintura Identificación:: 76062
Still life before 1903(1903)
Medium Oil on canvas
Dimensions English: 63x50.5 cm
cyf (6 May 1867 - 24 September 1940) was a Hungarian painter, a leading member of the Nagybenya artists' colony and founder of the Kecskemet artists' colony.
Born in Som, Ivenyi-Grenwald began his artistic studies under Bertalan Szekely and Keroly Lotz at the Academy of Fine Arts in Budapest (1882-86) and continued them at Munich in 1886-87 and at the Academie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hader kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Ivenyi-Grenwald painted a large-scale genre painting entitled Nihilistek sorsot heznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting.
(1590-1655), was a Dutch Golden Age still life painter.
According to the RKD, Van Schooten was the son of a leading Catholic family of Amsterdam who came to live in Haarlem in 1612. During that period, many Catholic families left Amsterdam where the Protestants had the upper hand in local government, for Haarlem, where the climate for Catholicism was more tolerant. The young Van Schooten became a member of the Haarlem Guild of St. Luke and married the daughter of a leading beer brewer there, Rycklant Bol van Zanen. Together they had 3 daughters and a son Johannes, who also became a painter
Pintura Identificación:: 77220
Still Life : "Still-Life", Panel, Frans Halsmuseum, Haarlem
Date ca. 1640
cyf (1590-1655), was a Dutch Golden Age still life painter.
According to the RKD, Van Schooten was the son of a leading Catholic family of Amsterdam who came to live in Haarlem in 1612. During that period, many Catholic families left Amsterdam where the Protestants had the upper hand in local government, for Haarlem, where the climate for Catholicism was more tolerant. The young Van Schooten became a member of the Haarlem Guild of St. Luke and married the daughter of a leading beer brewer there, Rycklant Bol van Zanen. Together they had 3 daughters and a son Johannes, who also became a painter
Dutch Baroque Era Painter, 1627-ca.1683
Studied under Otto Marseus van Schrieck.
Students included Rachel Ruysch.
Specializes in Still Life.
Pintura Identificación:: 77354
Still Life Date ca. 1645(1645)
Medium Oil on panel
cyf Dutch Baroque Era Painter, 1627-ca.1683
Studied under Otto Marseus van Schrieck.
Students included Rachel Ruysch.
Specializes in Still Life.
Pintura Identificación:: 80445
Still Life 1644(1644)
Medium Oil on canvas
Dimensions 185 x 242.5 cm (72.8 x 95.5 in)
cyf Flemish Baroque Era Painter, 1599-1652
(16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany.
In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips.
Also his son Olof Jernberg (1855 - 1935) was an artist.
Pintura Identificación:: 83735
Still Life Date 1863(1863)
Medium Oil on canvas
Dimensions 90 x 117 cm (35.4 x 46.1 in)
cjr (16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany.
In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips.
Also his son Olof Jernberg (1855 - 1935) was an artist.
(16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany.
In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips.
Also his son Olof Jernberg (1855 - 1935) was an artist.
Pintura Identificación:: 87658
Still Life 1863(1863)
Medium Oil on canvas
Dimensions 90 x 117 cm (35.4 x 46.1 in)
cyf (16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany.
In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips.
Also his son Olof Jernberg (1855 - 1935) was an artist.
(c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
Pintura Identificación:: 88717
Still Life 1696(1696)
Medium Oil
cyf (c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
Pintura Identificación:: 90210
Still Life oil on canvas
Dimensions 20 1/16 x 49 1/8 in. (51 x 124.8 cm)
cjr 1598-1664
Spanish Francisco de Zurbaran Galleries
Pintura Identificación:: 90272
Still Life 1810(1810)
Medium : Oil on panel
Dimensions 14 7/8 x 18 1/4 in. (37.8 x 46.4 cm)
cjr 1753-1818
John Johnston Gallery
Pintura Identificación:: 90279
Still Life 1863(1863)
Medium oil on canvas
Dimensions 22 1/4 x 27 in. (56.5 x 68.6 cm)
cyf Hannah Brown Skeele (1829 - 1901)
Pintura Identificación:: 90410
Still life 1637(1637)
Medium oil on panel
Dimensions Height: 52 cm (20.5 in). Width: 74.2 cm (29.2 in).
cyf painted Dessert in 1637
(1897-1936) was a Polish painter, a member of the Kapist movement.
Waliszewski was born in Saint Petersburg to the Polish family of an engineer. In 1907 his parents moved to Tbilisi where Waliszewski spent his childhood. In Tbilisi began his studies at a prestigious art school. In 1908 he had his first exhibition and participated in the life of artistic avant-garde. During World War I he fought with the Russian army, returning to Tbilisi in 1917. He visited Moscow several times and became inspired by the Russian Futurists. He, later, became a member of a Futurist group. In the early 1920s, he departed for Poland, and settled in Krakew. Between 1921 and 1924 he studied at Academy of Fine Arts in Krakew in the studios of Wojciech Weiss and Jezef Pankiewicz. In 1924 he went to Paris with his avante-garde group and continued his studies in painting there under the guidance of Pankiewicz. He was a participant in the Capists' plein-air painting workshops in Cagnes, Valence, Cap Martin, and Avignon. At the Louvre, he painted copies and travesties of the works of old masters like Titian, Veronese, Velezquez, Vermeer, Goya, and Delacroix. He was also fascinated by the art of Cezanne, van Gogh, and Matisse.
In 1931 he returned to Poland, residing in Warsaw, Krzeszowice, and Krakew. During this time Waliszewski designed scenery and posters, created book illustrations, drew and painted caricatures and grotesque scenes. In Krakew he befriended the Polish Formists. Waliszewski painted primarily portraits and figural compositions and landscapes of the rural countryside. He died suddenly in 1936.
Pintura Identificación:: 92119
Still life 1928(1928)
Medium oil on canvas
Dimensions 38.5 X 46.5 cm (15.2 X 18.3 in)
cyf (1897-1936) was a Polish painter, a member of the Kapist movement.
Waliszewski was born in Saint Petersburg to the Polish family of an engineer. In 1907 his parents moved to Tbilisi where Waliszewski spent his childhood. In Tbilisi began his studies at a prestigious art school. In 1908 he had his first exhibition and participated in the life of artistic avant-garde. During World War I he fought with the Russian army, returning to Tbilisi in 1917. He visited Moscow several times and became inspired by the Russian Futurists. He, later, became a member of a Futurist group. In the early 1920s, he departed for Poland, and settled in Krakew. Between 1921 and 1924 he studied at Academy of Fine Arts in Krakew in the studios of Wojciech Weiss and Jezef Pankiewicz. In 1924 he went to Paris with his avante-garde group and continued his studies in painting there under the guidance of Pankiewicz. He was a participant in the Capists' plein-air painting workshops in Cagnes, Valence, Cap Martin, and Avignon. At the Louvre, he painted copies and travesties of the works of old masters like Titian, Veronese, Velezquez, Vermeer, Goya, and Delacroix. He was also fascinated by the art of Cezanne, van Gogh, and Matisse.
In 1931 he returned to Poland, residing in Warsaw, Krzeszowice, and Krakew. During this time Waliszewski designed scenery and posters, created book illustrations, drew and painted caricatures and grotesque scenes. In Krakew he befriended the Polish Formists. Waliszewski painted primarily portraits and figural compositions and landscapes of the rural countryside. He died suddenly in 1936.
(1897-1936) was a Polish painter, a member of the Kapist movement.
Waliszewski was born in Saint Petersburg to the Polish family of an engineer. In 1907 his parents moved to Tbilisi where Waliszewski spent his childhood. In Tbilisi began his studies at a prestigious art school. In 1908 he had his first exhibition and participated in the life of artistic avant-garde. During World War I he fought with the Russian army, returning to Tbilisi in 1917. He visited Moscow several times and became inspired by the Russian Futurists. He, later, became a member of a Futurist group. In the early 1920s, he departed for Poland, and settled in Krakew. Between 1921 and 1924 he studied at Academy of Fine Arts in Krakew in the studios of Wojciech Weiss and Jezef Pankiewicz. In 1924 he went to Paris with his avante-garde group and continued his studies in painting there under the guidance of Pankiewicz. He was a participant in the Capists' plein-air painting workshops in Cagnes, Valence, Cap Martin, and Avignon. At the Louvre, he painted copies and travesties of the works of old masters like Titian, Veronese, Velezquez, Vermeer, Goya, and Delacroix. He was also fascinated by the art of Cezanne, van Gogh, and Matisse.
In 1931 he returned to Poland, residing in Warsaw, Krzeszowice, and Krakew. During this time Waliszewski designed scenery and posters, created book illustrations, drew and painted caricatures and grotesque scenes. In Krakew he befriended the Polish Formists. Waliszewski painted primarily portraits and figural compositions and landscapes of the rural countryside. He died suddenly in 1936.
Pintura Identificación:: 95919
Still life Date 1928(1928)
Medium oil on canvas
Dimensions 38.5 x 46.5 cm (15.2 x 18.3 in)
ttd (1897-1936) was a Polish painter, a member of the Kapist movement.
Waliszewski was born in Saint Petersburg to the Polish family of an engineer. In 1907 his parents moved to Tbilisi where Waliszewski spent his childhood. In Tbilisi began his studies at a prestigious art school. In 1908 he had his first exhibition and participated in the life of artistic avant-garde. During World War I he fought with the Russian army, returning to Tbilisi in 1917. He visited Moscow several times and became inspired by the Russian Futurists. He, later, became a member of a Futurist group. In the early 1920s, he departed for Poland, and settled in Krakew. Between 1921 and 1924 he studied at Academy of Fine Arts in Krakew in the studios of Wojciech Weiss and Jezef Pankiewicz. In 1924 he went to Paris with his avante-garde group and continued his studies in painting there under the guidance of Pankiewicz. He was a participant in the Capists' plein-air painting workshops in Cagnes, Valence, Cap Martin, and Avignon. At the Louvre, he painted copies and travesties of the works of old masters like Titian, Veronese, Velezquez, Vermeer, Goya, and Delacroix. He was also fascinated by the art of Cezanne, van Gogh, and Matisse.
In 1931 he returned to Poland, residing in Warsaw, Krzeszowice, and Krakew. During this time Waliszewski designed scenery and posters, created book illustrations, drew and painted caricatures and grotesque scenes. In Krakew he befriended the Polish Formists. Waliszewski painted primarily portraits and figural compositions and landscapes of the rural countryside. He died suddenly in 1936.
(14 October 1853 -- 31 May 1927) was a Brazilian painter. His works usually depicted figures from Brazil and Brazilian culture, including a famous portrait of the bandeirante Domingos Jorge Velho in 1923, and scenes from the coastline of São Paulo. Unlike many artists of the time, Calixto's patron was an individual other than the state, who were "the most dependable source of patronage."
Pintura Identificación:: 96320
Still life 1903(1903)
Medium oil on canvas
Dimensions 60 X 80 cm (
cyf (14 October 1853 -- 31 May 1927) was a Brazilian painter. His works usually depicted figures from Brazil and Brazilian culture, including a famous portrait of the bandeirante Domingos Jorge Velho in 1923, and scenes from the coastline of São Paulo. Unlike many artists of the time, Calixto's patron was an individual other than the state, who were "the most dependable source of patronage."
Victor Meirelles de Lima (August 18, 1832 -February 22, 1903) was a 19th century painter. He studied art in Paris but painted most of his works in and about his native Brazil. His religious and military paintings helped him become one of the most popular and celebrated Brazilian painters. His The first Mass in Brazil was the first Brazilian painting to be accepted in the Salons of Paris and is one of the most well known paintings in his native country, being reproduced in every book of History for elementary schools.
Pintura Identificación:: 97334
Still life 1880(1880)
Medium oil
Dimensions 90 X 70 cm
cyf Victor Meirelles de Lima (August 18, 1832 -February 22, 1903) was a 19th century painter. He studied art in Paris but painted most of his works in and about his native Brazil. His religious and military paintings helped him become one of the most popular and celebrated Brazilian painters. His The first Mass in Brazil was the first Brazilian painting to be accepted in the Salons of Paris and is one of the most well known paintings in his native country, being reproduced in every book of History for elementary schools.
(c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
Pintura Identificación:: 97824
Still Life circa 1696(1696)
Medium oil
cyf (c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
(c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
Pintura Identificación:: 98271
Still Life circa 1696(1696)
Medium oil
cyf (c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
Evert Collier (c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly. Still Life
