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Sandro Botticelli

Italian Early Renaissance Painter, 1445-1510

Pintura Identificación::  129
The Adoration of the Magi
La Adoración de los Reyes Magos
1475 Galleria degli Uffizi, Florence
1475 Galleria degli Uffizi, Florencia
Italian Early Renaissance Painter, 1445-1510

   
 

 

 
   
      

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Filippino Lippi

Italian 1457-1504 Filippino Lippi Galleries

Pintura Identificación::  2551
The Adoration of the Magi
La Adoración de los Reyes Magos
1496 Galleria degli Uffizi, Florence
1496 Galleria degli Uffizi, Florencia
Italian 1457-1504 Filippino Lippi Galleries

   
 

 

 
   
      

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Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640

Pintura Identificación::  3641
The Adoration of the Magi
la Adoración de los Reyes Magos
1617-18 Musee des Beaux Arts, Lyons
1617-18 Musee des Beaux Arts, Lyons
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      

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RICCI, Sebastiano

Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).

Pintura Identificación::  8922
The Adoration of the Magi
la Adoración de los Reyes Magos
1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection,
1726-30 Óleo en lona, 330,2 x 289,6 cm Royal Colección,
Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).

   
 

 

 
   
      

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Maino, Juan Bautista del

Spanish Baroque Era Painter, 1578-1649

Pintura Identificación::  19250
The Adoration of the Magi
LaAdoración de los Magos
Oil on canvas Museo del Prado, Madrid.
Engrasa en el del de lona Museo Prado, Madrid.
Spanish Baroque Era Painter, 1578-1649

   
 

 

 
   
      

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Parentino, Bernardo

Italian Painter, 1437-1531

Pintura Identificación::  19760
The Adoration of the Magi
LaAdoración de los Magos
Panel Musee du Louvre, Paris.
Pone panel du de Musee Louvre, París.
Italian Painter, 1437-1531

   
 

 

 
   
      


Pintura Identificación::  27366
The Adoration of the magi
La Adoración de los magos
mk56 oil on canvas Venetian School,circa 1600
el petróleo mk56 en la lona la Escuela veneciana, hacia el año 1600

   
 

 

 
   
      

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Maino, Juan Bautista del

Spanish Baroque Era Painter, 1578-1649

Pintura Identificación::  28113
The Adoration of the Magi
La Adoración de los Magos
mk61 Oil on canvas 315x174cm
elPetróleo mk61 en la lona 315x174cm
Spanish Baroque Era Painter, 1578-1649

   
 

 

 
   
      

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BERRUGUETE, Pedro

Spanish Early Renaissance Painter, ca.1450-1504

Pintura Identificación::  28527
The Adoration of the Magi
La Adoración de los Magos
mk61 Gouache on twilled canvas 350x206cm
el Guache mk61 en cruzó lona350x206cm
Spanish Early Renaissance Painter, ca.1450-1504

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Pintura Identificación::  28696
The Adoration of the Magi
La Adoración de los Magos
mk61 Oil on panel 95x145cm
el Petróleo mk61 en pone panel 95x145cm
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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BOSCH, Hieronymus

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  28697
The Adoration of the Magi
La Adoración de los Magos
mk61 c.1510 Oil on panel 138x33cm
mk61 C. 1510 Petróleoen pone panel 138x33cm
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Domenico Ghirlandaio

Italian 1449-1494 Domenico Ghirlandaio Galleries

Pintura Identificación::  28872
The Adoration of the Magi
La Adoración de los Magos
mk65 Oil on panel 67 11/16in
el Petróleo mk65 en el entrepaño 67 11/16in
Italian 1449-1494 Domenico Ghirlandaio Galleries

   
 

 

 
   
      

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Gentile da Fabriano

Fabriano ca 1370-Rome 1427

Pintura Identificación::  28909
The Adoration of the Magi
La Adoración de los Magos
mk65 Tempera on panel, 68 1/8x86 5/8in Uffizi,
la Témpera mk65 en el entrepaño, 68 Uffizi 1/8x86 5/8in,
Fabriano ca 1370-Rome 1427

   
 

 

 
   
      

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Lorenzo Monaco

Italian c1370-c1424 Lorenzo Monaco Gallery

Pintura Identificación::  29722
The Adoration of the Magi
La Adoración de los Magos
mk67 Tempera on panel 45 5/16x66 15/16in Uffizi,Gallery
la Témpera mk67 en el entrepaño 45 Uffizi 5/16x66 15/16in, la Galería
Italian c1370-c1424 Lorenzo Monaco Gallery

   
 

 

 
   
      

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Filippino Lippi

Italian 1457-1504 Filippino Lippi Galleries

Pintura Identificación::  29763
The Adoration of the Magi
La Adoración de los Magos
mk67 Tempera on panel 101 9/16x95 11/16in Uffizi,Gallery
la Témpera mk67 en el entrepaño 101 95 9/16x Uffizi 11/16in, la Galería
Italian 1457-1504 Filippino Lippi Galleries

   
 

 

 
   
      

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Gerard David

b.c. 1460, Oudewater, Neth. d.Aug. 13, 1523, Bruges Flemish Gerard David Locations

Pintura Identificación::  29823
The Adoration of the Magi
La Adoración de los Magos
mk67 Tempera on panel 37 3/8x31 1/2in Uffizi,Gallery
la Témpera mk67 en el entrepaño 37 Uffizi 3/8x31 1/2in, la Galería
b.c. 1460, Oudewater, Neth. d.Aug. 13, 1523, Bruges Flemish Gerard David Locations

   
 

 

 
   
      

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Pontormo

Italian Mannerist Painter, 1494-ca.1556

Pintura Identificación::  29851
The Adoration of the Magi
La Adoración de los Magos
mk67 Oil on panel 33 7/16x74 13/16in Pitti,Palatine Gallery
el Petróleomk67 en el entrepaño 33 Pitti 7/16x74 13/16in, la Galería de Palatino
Italian Mannerist Painter, 1494-ca.1556

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Pintura Identificación::  29924
The Adoration of the Magi
La Adoración de los Magos
mk67 Oil on panel 39x44 1/16in Uffizi,Gallery
el Petróleo mk67 en pone panel Uffizi 39x44 1/16in, la Galería
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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BASTIANI, Lazzaro

Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)

Pintura Identificación::  31721
The Adoration of the magi
La Adoración de los magos
mk76 Painted probably between 1470 and 1480 Tempera on panel 20 1/2x11in
mk76 Pintó probablemente entre 1470 y 1480 Témpera en el entrepaño 20 1/2x11in
Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)

   
 

 

 
   
      

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Fra Angelico

Fra Angelico Galleries b.c. 1400, Vicchio, Florence d.Feb. 18, 1455, Rome

Pintura Identificación::  32108
The Adoration of the Magi
La Adoración de los Magos
mk78 c.1435 Tempera on panel 39x56cm Florence, Museo di San Marco
mk78 C. 1435 Témpera en pone panel Florencia 39x56cm,Museo Di San Marco
Fra Angelico Galleries b.c. 1400, Vicchio, Florence d.Feb. 18, 1455, Rome

   
 

 

 
   
      

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Fra Filippo Lippi

Italian 1406-1469 Fra Filippo Lippi Galleries

Pintura Identificación::  32145
The Adoration of the Magi
La Adoración de los Magos
mk78 Washington,National Gallery of Art
Washington mk78, la Galería Nacional del Arte
Italian 1406-1469 Fra Filippo Lippi Galleries

   
 

 

 
   
      

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DOMENICO VENEZIANO

Italian Early Renaissance Painter, ca.1400-1461

Pintura Identificación::  32146
The Adoration of the Magi
La Adoración de los Magos
mk78 c.1439-40 Tempera on panel, diameter 84 cm,Berlin, Staatliche Museen Preussischer Kulturbesitz. Gemaldegalerie
la Témpera mk78 c.1439-40 en el entrepaño, el diámetro 84 cm, Berlín, Staatliche Preussischer Kulturbesitz Reflexionado.Gemaldegalerie
Italian Early Renaissance Painter, ca.1400-1461

   
 

 

 
   
      

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MASSYS, Quentin

Flemish Northern Renaissance Painter, ca.1465-1530

Pintura Identificación::  32395
The Adoration of the Magi
La Adoración de los Magos
1526 Tempera and oil on wood
1526 Témpera y engrasa en la madera
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      

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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669

Pintura Identificación::  34595
The Adoration of The Magi
La Adoración de Los Magos
mk93 Oil on paper glued to canvas 45x39cm
el Petróleo mk93 en el papel pegado a la lona 45x39cm
Born 1606, Died 1669

   
 

 

 
   
      

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Bernardo Cavallino

Italian Baroque Era Painter, ca.1616-1656

Pintura Identificación::  39622
The adoration of the Magi
La adoración de los Magos
mk150 c.1640 Canvas 101.5x127cm
mk150 C. 1640Lona 101.5x127cm
Italian Baroque Era Painter, ca.1616-1656

   
 

 

 
   
      

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VERONESE (Paolo Caliari)

Italian Mannerist Painter, ca.1528-1588

Pintura Identificación::  40398
The Adoration of the Magi
La Adoración de los Magos
mk156 1571 Oil oncanvas 206x2445
mk156 1571 Engrasan oncanvas 206x2445
Italian Mannerist Painter, ca.1528-1588

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Pintura Identificación::  42459
The Adoration of the magi
La Adoración de los magos
mk168 Oil on fir wood 75.5x170cm Basel
el Petróleo mk168 en del abeto madera75.5x170cm Basel
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Pintura Identificación::  42469
The Adoration of the Magi
La Adoración de los Magos
mk168 100x114cm Oil on coniferouswood
elPetróleo mk168 100x114cm en el coniferouswood
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Jacopo Bassano

Italian c1510-1592 Jacopo Bassano Gallery

Pintura Identificación::  69647
The Adoration of the Magi
oil on jasper painting by Jacopo Bassano
Italian c1510-1592 Jacopo Bassano Gallery

   
 

 

 
   
      

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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669

Pintura Identificación::  50253
The Adoration of the Magi
mk210 1619 Cnavs 134x160cm
Born 1606, Died 1669

   
 

 

 
   
      

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LEONARDO da Vinci

Italian High Renaissance Painter and Inventor, 1452-1519

Pintura Identificación::  58584
The Adoration of the Magi
The Adoration of the Magi, (1481)??Uffizi.
Italian High Renaissance Painter and Inventor, 1452-1519

   
 

 

 
   
      

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Luis Tristan

Toledo ca ,1585-1624

Pintura Identificación::  62318
The Adoration of the Magi
232 x 115 cm Museum of Fine Arts, Budapest Around 1600 the dominant influence in Toledo was that of El Greco. The link with the master was strongest in the distinguished painter Luis Trist?n, who stressed the Tenebrist aspects of some of El Greco's work. Trist?n's development was interrupted by his premature death, but not before he had completed work of such merit as the altarpiece in Yepes (1616) and that of Santa Clara de Toledo which was finished in 1623. The Adoration of the Magi probably formed part of an altarpiece in the Jeronymite Convent of the Queen in Toledo, together with an Adoration of the Shepherds (now in Cambridge), Pentecost (now in Bucharest) and Resurrection (lost). It has the same composition as the Yepes altarpiece, however, the faces of the figures are different
Toledo ca ,1585-1624

   
 

 

 
   
      

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RICCI, Sebastiano

Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).

Pintura Identificación::  63048
The Adoration of the Magi
1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection, Windsor The artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical. The Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry. The origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s. The painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures. Artist: RICCI, Sebastiano Painting Title: The Adoration of the Magi , 1701-1750 Painting Style: Italian , , religious
Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).

   
 

 

 
   
      

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RAFFAELLO Sanzio

Italian High Renaissance Painter, 1483-1520

Pintura Identificación::  63815
The Adoration of the Magi
1502-03 Oil on canvas, 27 x 150 cm Pinacoteca, Vatican Extant drawings demonstrate the tremendous amount of thought which Raphael put into the realization of the Oddi Altarpiece and some details, notably the highly individual faces of the Apostles and the serene landscape in the background, are quite masterful. But the most meaningful passages are found in the predella scenes: the vast space which opens out beneath the colonnades of the Annunciation; the highly animated Adoration of the Magi; and the free quality of the atmosphere in the Presentation in the Temple, which foreshadows the extraordinary spatial intuition of some of the artist's future Vatican compositions.Artist:RAFFAELLO Sanzio Title: The Adoration of the Magi (Oddi altar) Painted in 1501-1550 , Italian - - painting : religious
Italian High Renaissance Painter, 1483-1520

   
 

 

 
   
      


Pintura Identificación::  63959
The Adoration of the Magi
1380-90 Tempera on wood, 50 X 31 cm Museo Nazionale del Bargello, Florence The left-hand panel of this diptych depicts the adoration of the Infant Jesus by the Magi; the right-hand panel represents the Crucifixion. This is another of the pictures whose origin has been the subject of considerable speculation among scholars, for the international uniformity which is the hallmark of the International Gothic style has led to the picture being ascribed to Avignon, Paris, Franco-Flemish, Austrian and Bohemian artists. Perhaps the closest analogy can be found in the works of the Master of Trebon (the folds of the Virgin's mantle, undulating in a similar manner, or the insubstantial birds on the roof of the Bethlehem stable). On the other hand, these details could be coincidental, or derived from a common source; until the coat of arms on the ornate bed can be positively identified these questions will remain open to speculation. Seated on her canopied bed, the Virgin receives the homage of the Magi, who are taking off their crowns. In the upper left corner we can see the Magi and their horses assembling from different directions. In the bottom right corner Joseph is sitting; when the guests arrived he was warming his feet at a brazier. Now, like the Magi, he, too, takes off his headgear with a humble gesture. (If we want to find the prototype of the figure, we could see it in the representations of the month of February in calendars of books of hours: the figure of an elderly man warming himself at the fire was the personification of February.) The picture is a strange mixture of marked condensation and of anecdotal details. The story is circumstantially told by merely putting the most important characters and decor side by side. The wealth of small objects set beside one another gradually overlap and cover the whole surface of the picture. The Virgin's canopied bed is a throne too, while its top has a double role and is also the roof of the Bethlehem building crowded with dovecotes. The space left empty by the structure of the bed-throne is filled up by a bastion. Space, as a substance, is not conveyed; the motifs are linked with one another in the way the words of a sentence are. The star, for example, is given emphasis by the small spot of nocturnal darkness surrounding it and separating it from the golden background. , Artist: UNKNOWN MASTER, French , The Adoration of the Magi (Bargello Diptych) , 1351-1400 , French , painting , religious

   
 

 

 
   
      


Pintura Identificación::  63962
The Adoration of the Magi
44 x 30 cm Musee Bonnat, Bayonne , Artist: UNKNOWN MASTER, French , The Adoration of the Magi , 1451-1500 , French , painting , religious

   
 

 

 
   
      


Pintura Identificación::  63966
The Adoration of the Magi
1420 Tempera on pine, 100 x 81 cm Hessisches Landesmuseum, Darmstadt The picture is the right-side wing of a triptych (the Ortenberg Altarpiece), the central panel of which represents the Virgin and other members of her family, whilst on the left-hand wing the Nativity is depicted. The relatively large-size work, which used to decorate the high altar of the parish church of Ortenberg, was painted by a master of the Middle Rhineland, who was influenced by the Frech and Italian art of the period. The scene takes place in front of a golden background, in a narrow space, in surroundings which look like stage sets. The Virgin is seated on a red bed on the left in the tiny hut-small in proportion to the size of the figures-in Bethlehem and, holding the naked Infant on her lap. She receives the homage of the Magi who are arriving from the right. Strangely enough, the shed is attached to the dark rocks, whereas on the right it is directly adjacent to a tower in the town. With a na'ive ingenuity the painter represented the hut as if seen from above, while the tower is depicted from a point of view below it. Thus he was able to give the impression that the latter was higher. Without using this solution he would have been obliged to cut the tower into two and could not have shown the characteristic ridge of its roof. Or else, he should not have allowed the hut to reach the frame-and in this case what would have filled up the top left corner of the picture? Evidently it was important for him to fill up the whole surface of the picture. That is why he painted the jug above the bent back of Joseph, who is squatting in the left corner, and this is the purpose, among others, of the little red table and the bread-basket which is hung on the rocky wall. It is with infinite humility and devotion that the two kneeling Magi kiss the hand and the foot of Jesus. As an expression of their veneration they also take off their crown. The one nearer to the spectator puts it on the large table, a round object rather similar to the haloes, as if he were solemnly placing a gift on an altar. This symbolic meaning of the table is perhaps stressed by the bread-basket hung on the wall above the head of Jesus and which refers to the Eucharist. The frame, like a setting of some precious stone or noble metal, encloses the picture and contributes to its markedly sublime and solemn mood. Indeed, the painting is full of representation of fine examples of the goldsmith s art, e.g. the crowns, the gold sword and the huge, heavy haloes which resemble golden dishes, and what is more, the technique of the painting itself has affinities with the work executed by goldsmiths of the period. The silver underpaint of the garments lends a metallic sheen to the translucent, enamel-like top layer of yellowish paint. , Artist: UNKNOWN MASTER, German , The Adoration of the Magi , 1401-1450 , German , painting , religious

   
 

 

 
   
      

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RUBENS, Pieter Pauwel

Flemish Baroque Era Painter, 1577-1640

Pintura Identificación::  64195
The Adoration of the Magi
1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp , Artist: RUBENS, Pieter Pauwel , The Adoration of the Magi (detail) , 1601-1650 , Flemish , painting , religious
Flemish Baroque Era Painter, 1577-1640

   
 

 

 
   
      


Pintura Identificación::  65022
The Adoration of the Magi
1505 Oak, 57,2 x 50,7 cm Wallraf-Richartz Museum, Cologne In contrast to most of the large-scale and ceremonious images of the Magi in Cologne this small-format picture depicts an intimate and familiar scene. Idealism is combined with realistic observation. The artist of the panel is referred to as the Master of St Severin. , UNKNOWN MASTER, German , The Adoration of the Magi , 1501-1550 , German , painting , religious

   
 

 

 
   
      

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Master of the Prelate Mur

painted The Adoration of the Magi in 15th century

Pintura Identificación::  80767
The Adoration of the Magi
Date 15th century Medium Oil on panel Dimensions 124.5 x 112.5 cm (49 x 44.3 in) cjr
painted The Adoration of the Magi in 15th century

   
 

 

 
   
      

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Pieter Aertsen

1508-1575 Flemish Pieter Aertsen Galleries

Pintura Identificación::  81110
The adoration of the Magi
Date ca. 1560(1560) Medium Oil on panel Dimensions 167.5 x 180 cm (65.9 x 70.9 in) cjr
1508-1575 Flemish Pieter Aertsen Galleries

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  84104
The Adoration of the Magi
Date ca. 1510(1510) Medium Oil on wood Dimensions Height: 138 cm (54.3 in). Width: 72 cm (28.3 in). cjr
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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BRAMANTINO

Italian High Renaissance Painter, ca.1460-1530

Pintura Identificación::  84579
The Adoration of the Magi
Date ca. 1498(1498) Medium Oil on wood Dimensions Height: 56.8 cm (22.4 in). Width: 55 cm (21.7 in). cjr
Italian High Renaissance Painter, ca.1460-1530

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  84661
The Adoration of the Magi
Date ca. 1510(1510) Medium Oil on wood cjr
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Master of the Prelate Mur

painted The Adoration of the Magi in 15th century

Pintura Identificación::  84954
The Adoration of the Magi
15th century Medium Oil on panel Dimensions 124.5 x 112.5 cm (49 x 44.3 in) cyf
painted The Adoration of the Magi in 15th century

   
 

 

 
   
      

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Jan de Bray

1627-1697 Dutch

Pintura Identificación::  85186
The Adoration of the Magi
Date 1658(1658) Medium Oil on oak panel Dimensions Height: 71 cm (28 in). Width: 55 cm (21.7 in). cjr
1627-1697 Dutch

   
 

 

 
   
      

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Joos van cleve

Flemish Northern Renaissance Painter, ca.1485-1540

Pintura Identificación::  85189
The Adoration of the Magi
Date between 1526(1526) and 1528(1528) Medium Oil on oak panel Dimensions Height: 251 cm (98.8 in). Width: 185 cm (72.8 in). cjr
Flemish Northern Renaissance Painter, ca.1485-1540

   
 

 

 
   
      


Pintura Identificación::  86108
The Adoration of the Magi
Date first half of 16th century Medium Oil on oak panel cjr

   
 

 

 
   
      

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Albrecht Durer

b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

Pintura Identificación::  86879
The Adoration of the Magi
Date 1504(1504) Medium Oil on wood Dimensions Height: 100 cm (39.4 in). Width: 114 cm (44.9 in). cjr
b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Pintura Identificación::  86912
The Adoration of the Magi
Date c. 1470(1470) Medium Oil on wood Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). cjr
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Follower of Jacopo da Ponte

painted Christ in the house of Martha and Mary in 16th/17th century

Pintura Identificación::  86922
The Adoration of the Magi
Date between 1580(1580) and 1585(1585) Medium Oil on slate Dimensions Height: 35 cm (13.8 in). Width: 27 cm (10.6 in). cjr
painted Christ in the house of Martha and Mary in 16th/17th century

   
 

 

 
   
      

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Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations

Pintura Identificación::  87591
The Adoration of the Magi
Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr
1420-1475 Flemish Dieric Bouts Locations

   
 

 

 
   
      

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BRAMANTINO

Italian High Renaissance Painter, ca.1460-1530

Pintura Identificación::  88442
The Adoration of the Magi
1498(1498) Medium Oil on wood cyf
Italian High Renaissance Painter, ca.1460-1530

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  89056
The Adoration of the Magi
c. 1510(1510) Medium oil on wood Dimensions Width: 33.6 cm (13.2 in). (of detail) cjr
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Gerard David

b.c. 1460, Oudewater, Neth. d.Aug. 13, 1523, Bruges Flemish Gerard David Locations

Pintura Identificación::  89148
The Adoration of the Magi
1500(1500) Medium oil on oak cyf
b.c. 1460, Oudewater, Neth. d.Aug. 13, 1523, Bruges Flemish Gerard David Locations

   
 

 

 
   
      

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Jan de Bray

1627-1697 Dutch

Pintura Identificación::  89496
The Adoration of the Magi
1658(1658) Medium Oil on oak panel cyf
1627-1697 Dutch

   
 

 

 
   
      

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Joos van cleve

Flemish Northern Renaissance Painter, ca.1485-1540

Pintura Identificación::  89499
The Adoration of the Magi
between 1526(1526) and 1528(1528) Medium oil on oak panel cyf
Flemish Northern Renaissance Painter, ca.1485-1540

   
 

 

 
   
      

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Quentin Matsys

Flemish Northern Renaissance Painter, ca.1465-1530

Pintura Identificación::  89746
The Adoration of the Magi
1526(1526) Medium tempera and oil on wood cyf
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      

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Master of Ab Monogram

MASTER of AB Monogram. German painter (active 1530s in Saxony

Pintura Identificación::  89788
The Adoration of the Magi
1530(1530) Medium oil on linden cyf
MASTER of AB Monogram. German painter (active 1530s in Saxony

   
 

 

 
   
      

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Pieter Brueghel the Younger

(1564 or 1565 - 10 October 1636) was a Flemish painter, known for numerous copies after his father Pieter Brueghel the Elder's paintings and nicknamed "Hell Brueghel" for his fantastic treatments of fire and grotesque imagery. Pieter Brueghel the Younger was the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder (known as "Peasant Brueghel") and Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Then, following the death of his mother in 1578, Pieter, along with his brother Jan Brueghel the Elder ("Velvet Brueghel") and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo (1544 - 1607). In the 1584/1585 registers of Guild of Saint Luke, "Peeter Brugel" is listed as an independent master. On 5 November 1588 he married Elisabeth Goddelet, and the couple had seven children. He painted landscapes, religious subjects and fantasy paintings. For this last category he often made use of fire and grotesque figures, leading to his nickname "Hell Brueghel". Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the works his father had created by using a technique called pouncing. His genre paintings of peasants lack Pieter the Elder's subtlety and humanism, and emphasize the picturesque

Pintura Identificación::  90130
The Adoration of the Magi
between 1590(1590) and 1638(1638) Medium oil on panel Dimensions 41 x 57 cm (16.1 x 22.4 in) cjr
(1564 or 1565 - 10 October 1636) was a Flemish painter, known for numerous copies after his father Pieter Brueghel the Elder's paintings and nicknamed "Hell Brueghel" for his fantastic treatments of fire and grotesque imagery. Pieter Brueghel the Younger was the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder (known as "Peasant Brueghel") and Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Then, following the death of his mother in 1578, Pieter, along with his brother Jan Brueghel the Elder ("Velvet Brueghel") and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo (1544 - 1607). In the 1584/1585 registers of Guild of Saint Luke, "Peeter Brugel" is listed as an independent master. On 5 November 1588 he married Elisabeth Goddelet, and the couple had seven children. He painted landscapes, religious subjects and fantasy paintings. For this last category he often made use of fire and grotesque figures, leading to his nickname "Hell Brueghel". Apart from these paintings of his own invention, Pieter Brueghel the Younger also copied the works his father had created by using a technique called pouncing. His genre paintings of peasants lack Pieter the Elder's subtlety and humanism, and emphasize the picturesque

   
 

 

 
   
      

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Vasco Fernandes

Vasco Fernandes (c.1475-c.1542), better known as Grão Vasco, was one of the main Portuguese Renaissance painters. Vasco Fernandes was probably born in Viseu, in Northern Portugal, where he began his career in the team of painters executing the main altarpiece of Viseu Cathedral (1501-1506). Between 1506 and 1511 he painted the main altarpiece of Lamego Cathedral. After working in the Santa Cruz Monastery of Coimbra, Vasco Fernandes returned to Viseu and executed a series of altarpieces for Viseu Cathedral, considered his main works. Most of his paintings hang nowadays in the Grão Vasco Museum, in Viseu.

Pintura Identificación::  90334
The Adoration of the Magi
between 1501(1501) and 1506(1506) Medium oil on panel Dimensions Height: 132 cm (52 in). Width: 79 cm (31.1 in). cyf
Vasco Fernandes (c.1475-c.1542), better known as Grão Vasco, was one of the main Portuguese Renaissance painters. Vasco Fernandes was probably born in Viseu, in Northern Portugal, where he began his career in the team of painters executing the main altarpiece of Viseu Cathedral (1501-1506). Between 1506 and 1511 he painted the main altarpiece of Lamego Cathedral. After working in the Santa Cruz Monastery of Coimbra, Vasco Fernandes returned to Viseu and executed a series of altarpieces for Viseu Cathedral, considered his main works. Most of his paintings hang nowadays in the Grão Vasco Museum, in Viseu.

   
 

 

 
   
      

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DOMENICO VENEZIANO

Italian Early Renaissance Painter, ca.1400-1461

Pintura Identificación::  90801
The Adoration of the Magi
1439(1439) Medium oil on poplar cyf
Italian Early Renaissance Painter, ca.1400-1461

   
 

 

 
   
      


Pintura Identificación::  91029
The Adoration of the Magi
first half of 16th century Medium oil on oak panel Dimensions Height: 83.4 cm (32.8 in). Width: 73.1 cm (28.8 in). cyf

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  91542
The Adoration of the Magi
1510(1510) Medium oil on panel cyf
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Follower of Jacopo da Ponte

painted Christ in the house of Martha and Mary in 16th/17th century

Pintura Identificación::  91653
The Adoration of the Magi
between 1580(1580) and 1585(1585) Medium oil on slate cyf
painted Christ in the house of Martha and Mary in 16th/17th century

   
 

 

 
   
      

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Hans Memling

Netherlandish Northern Renaissance Painter, ca.1435-1494

Pintura Identificación::  91657
The Adoration of the Magi
1470(1470) Medium oil on panel Dimensions Height: 96.4 cm (38 in). Width: 147 cm (57.9 in). cyf
Netherlandish Northern Renaissance Painter, ca.1435-1494

   
 

 

 
   
      

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Jheronimus Bosch

c. 1450 - 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives. Hieronymus Bosch was born Hieronymus (or Jeroen, respectively the Latin and Middle Dutch form of the name "Jerome") van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Middle Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch". Little is known of Bosches life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosches date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties

Pintura Identificación::  91923
The Adoration of the Magi
c. 1554(1554) Medium oil on panel Dimensions 127.8 X 72.5 cm (50.3 X 28.5 in) cjr
c. 1450 - 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives. Hieronymus Bosch was born Hieronymus (or Jeroen, respectively the Latin and Middle Dutch form of the name "Jerome") van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Middle Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch". Little is known of Bosches life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosches date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  93196
The Adoration of the Magi
between 1468(1468) and 1560(1560) Medium oil, tempera and gold on panel Dimensions 71.1 X 56.5 cm (28 X 22.2 in) cjr
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Master of the Prelate Mur

painted The Adoration of the Magi in 15th century

Pintura Identificación::  96333
The Adoration of the Magi
15th century Medium oil on panel Dimensions 124.5 X 112.5 cm cyf
painted The Adoration of the Magi in 15th century

   
 

 

 
   
      

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MASTER of the Polling Panels

German Northern Renaissance Painter, active 1434-1450

Pintura Identificación::  96862
The Adoration of the Magi
15th century Medium oil on panel Dimensions 124.5 X 112.5 cm cyf
German Northern Renaissance Painter, active 1434-1450

   
 

 

 
   
      

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Quentin Matsys

Flemish Northern Renaissance Painter, ca.1465-1530

Pintura Identificación::  97749
The Adoration of the Magi
1526(1526) Medium tempera and oil on wood cyf
Flemish Northern Renaissance Painter, ca.1465-1530

   
 

 

 
   
      


Pintura Identificación::  97868
The Adoration of the Magi
first half of 16th century Medium oil on oak panel cyf

   
 

 

 
   
      

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Jacopo Bassano

Italian c1510-1592 Jacopo Bassano Gallery

Pintura Identificación::  97972
The Adoration of the Magi
between 1580(1580) and 1585(1585) Medium oil on slate cyf
Italian c1510-1592 Jacopo Bassano Gallery

   
 

 

 
   
      

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Hieronymus Bosch

Netherlandish Northern Renaissance Painter, ca.1450-1516

Pintura Identificación::  98297
The Adoration of the Magi
circa 1510(1510) Medium oil on panel cyf
Netherlandish Northern Renaissance Painter, ca.1450-1516

   
 

 

 
   
      

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Gaspare Diziani

(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).

Pintura Identificación::  98433
The Adoration of the Magi
1718(1718) Medium oil on canvas Dimensions Height: 94 cm (37 in). Width: 110 cm (43.3 in).
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).

   
 

 

 
   
      

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Gaspare Diziani

(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).

Pintura Identificación::  98435
The Adoration of the Magi
1705 - 1760 Medium oil on canvas Dimensions 30.5 x 40 cm (12 x 15.7 in)
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).

   
 

 

 
   
      

Gaspare Diziani
(1689 - 17 August 1767) was an Italian painter of the late-Baroque or Roccoco period, active mainly in the Veneto but also in Dresden and Munich. His earliest training was in his native town of Belluno with Antonio Lazzarini, then moved to Venice, to the studio of Gregorio Lazzarini and later that of Sebastiano Ricci. He was seven years older, but otherwise his career was contemporary with the Lazzarini and Ricci fellow-pupil, Giovanni Battista Tiepolo. Between 1710-1720, he painted a group of eight pictures that included the Mary Magdalene for the church of San Stefano in Belluno, and Entry into Jerusalem for San Teodoro in Venice. He also painted three frescoes on the Life of Saint Helena in the Scuola del Vin next to the church of San Silvestro. Dizianies celerity and technical assurance are evident preparatory oil sketches, with color applied in rapid and spirited strokes. He was also working as a scenery painter for the theater and opera in Venice, Munich (1717), and later in Dresden, working with Alessandro Mauro. Diziani was invited to Rome by Cardinal Ottoboni in 1726, to paint a emagnificent decoration for the church of San Lorenzo in Damaso. The decoration is now known only through an engraving by Claude Vasconi. The Sala dei Pastelli in Ca' Rezzonico has an sotto in su allegorical ceiling fresco presenting Triumph of Poetry (Poetry surrounded by Painting, Architecture, Music and Sculpture).
The Adoration of the Magi

        
 
   
 

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