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Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

Pintura Identificación::  10190
Still-life
Naturaleza Muerta
Oil on panel, 55,8 x 73,5 cm Museum voor Schone Kunsten Ghent
óleo en panel, 55,8 x 73,5 cm Museo voor Schone Kunsten Ghent
stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

   
 

 

 
   
      

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Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

Pintura Identificación::  10192
Still-Life
Naturaleza Muerta
Oil on canvas 47 x 61 cm Kunstmuseum St. Gallen
Óleo en lona 47 x 61 cm KunstMuseo St. Gallen
stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

   
 

 

 
   
      

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Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

Pintura Identificación::  10194
Still-life
Naturaleza Muerta
Oil on panel 49 x 64 cm Museo del Prado, Madrid
óleo en panel 49 x 64 cm Museo del Prado, Madrid
stilllife masters, Dutch Baroque Era Painter, 1606-C.1683

   
 

 

 
   
      

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ZURBARAN Francisco de

Spanish Baroque Era Painter, 1598-1664

Pintura Identificación::  7095
Still-life
Naturaleza Muerta
Oil on canvas, 46 x 84 cm Museo del Prado, Madrid
Óleo en lona, 46 x 84 cm Museo del Prado, Madrid
Spanish Baroque Era Painter, 1598-1664

   
 

 

 
   
      

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WILLEBEECK, Petrus

Flemish painter, Antwerp school (active 1632-1646 in Antwerp)

Pintura Identificación::  7260
Still-Life
Naturaleza Muerta
Oil on canvas, 80 x 110 cm Rockox House, Antwerp
Óleo en lona, 80 x 110 cm Rockox House, Antwerp
Flemish painter, Antwerp school (active 1632-1646 in Antwerp)

   
 

 

 
   
      

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Francisco de Zurbaran

1598-1664 Spanish Francisco de Zurbaran Galleries

Pintura Identificación::  29528
Still-life
la Naturaleza MUERTA
Oil on canvas, 46 x 84 cm
Engrasa en lalona, 46 X 84 cm
1598-1664 Spanish Francisco de Zurbaran Galleries

   
 

 

 
   
      


Pintura Identificación::  50523
Still-Life
mk212 c.1885 Oil on canvas 85.7x111.1cm

   
 

 

 
   
      


Pintura Identificación::  50524
Still-Life
mk212 1868 Oil on canvas 25x30in

   
 

 

 
   
      


Pintura Identificación::  50610
Still-life
mk213 Oil on canvas

   
 

 

 
   
      

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Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations

Pintura Identificación::  50910
Still-Life
mk216 The Dutch middle classes maintained their homes with great pride
Dutch 1597-1660 Pieter Claesz Locations

   
 

 

 
   
      

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CLAESZ, Pieter

Dutch Baroque Era Painter, ca.1597-1660

Pintura Identificación::  52776
Still-life
mk223 The Dutch middle classes maintained their homes with great pride in the 17th century
Dutch Baroque Era Painter, ca.1597-1660

   
 

 

 
   
      

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Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations

Pintura Identificación::  52778
Still-life
mk223 Oil on canvas
Dutch 1597-1660 Pieter Claesz Locations

   
 

 

 
   
      

This artist (Marie Laurencin) is not available now.

This artist (Marie Laurencin) is not available now.

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Gustave Courbet

1819-1877 French Gustave Courbet Locations

Pintura Identificación::  55526
Still-life
mk242 1872 38.5x56cm Oil on canvas
1819-1877 French Gustave Courbet Locations

   
 

 

 
   
      

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Gustave Courbet

1819-1877 French Gustave Courbet Locations

Pintura Identificación::  55592
Still-life
mk242 1871-1872 Oil on canvas 44.5x61cm
1819-1877 French Gustave Courbet Locations

   
 

 

 
   
      

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Gustave Courbet

1819-1877 French Gustave Courbet Locations

Pintura Identificación::  55595
Still-life
mk242 1871 Oil on canvas 59x73cm
1819-1877 French Gustave Courbet Locations

   
 

 

 
   
      

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Bela Ivanyi-Grunwald

(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::  74525
Still-life
before 1903(1903) Oil on canvas 63X50.5 cm cjr
(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::  74530
Still-Life
17th century Oil on canvas 72 X 82 cm (28.35 X 32.28 in) cjr

   
 

 

 
   
      

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Jacopo Chimenti

(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.

Pintura Identificación::  74538
Still-Life
17th century Oil on canvas cjr
(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.

   
 

 

 
   
      


Pintura Identificación::  74715
Still-life
1657 Oil on canvas 52 x 74 cm cjr

   
 

 

 
   
      

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Luis Eugenio Melendez

(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.

Pintura Identificación::  74815
Still-Life
1770 Oil on canvas 49 x 37 cm cjr
(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.

   
 

 

 
   
      


Pintura Identificación::  74834
Still-Life
Still-Life 17th century Oil on canvas cjr

   
 

 

 
   
      

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Floris van Schooten

(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::  75336
Still-Life
Still-Life", Panel, Frans Halsmuseum, Haarlem ca. 1640
(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::  76068
Still-Life
Date 17th century Medium Oil on canvas Dimensions 72 x 82 cm (28.3 x 32.3 in) cyf

   
 

 

 
   
      

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Jacopo Chimenti

(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.

Pintura Identificación::  76081
Still-Life
Date 17th century Medium Oil on canvas cyf
(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.

   
 

 

 
   
      

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Willem Claesz Heda

1594-1682 Dutch Willem Claesz Heda Galleries

Pintura Identificación::  76244
Still-life
Date 1657 Medium Oil on canvas Dimensions 52 x 74 cm cyf
1594-1682 Dutch Willem Claesz Heda Galleries

   
 

 

 
   
      

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Luis Eugenio Melendez

(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.

Pintura Identificación::  76277
Still-Life
Date 1770 Medium Oil on canvas Dimensions 49 x 37 cm cyf
(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.

   
 

 

 
   
      


Pintura Identificación::  76527
Still-life
Oil on canvas Dimensions 65 x 54 cm (25.6 x 21.3 in) cyf

   
 

 

 
   
      

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Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations

Pintura Identificación::  83952
Still-life
Date first half of 17th century Medium Oil on wood cjr
Dutch 1597-1660 Pieter Claesz Locations

   
 

 

 
   
      

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Juriaen van Streeck

(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.

Pintura Identificación::  84545
Still-Life
Date after 1653(1653) Medium Oil on oak Dimensions Height: 54.5 cm (21.5 in). Width: 44 cm (17.3 in). cjr
(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.

   
 

 

 
   
      

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Frans Snyders

Belgian 1579-1657 Frans Snyders Gallery

Pintura Identificación::  85181
Still-Life
Date first half of 17th century Medium Oil on oak panel Dimensions Height: 125 cm (49.2 in). Width: 127 cm (50 in). cjr
Belgian 1579-1657 Frans Snyders Gallery

   
 

 

 
   
      

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Jacob van Es

Flemish Baroque Era Painter, 1596-1666

Pintura Identificación::  85866
Still-Life
Date first half of 17th century Medium Oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cjr
Flemish Baroque Era Painter, 1596-1666

   
 

 

 
   
      

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Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations

Pintura Identificación::  87803
Still-life
first half of 17th century Medium Oil on wood cyf
Dutch 1597-1660 Pieter Claesz Locations

   
 

 

 
   
      

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Juriaen van Streeck

(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.

Pintura Identificación::  88383
Still-Life
after 1653(1653) Medium Oil on oak cyf
(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.

   
 

 

 
   
      

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Willem Claesz Heda

1594-1682 Dutch Willem Claesz Heda Galleries

Pintura Identificación::  88806
Still-Life
1632(1632) Medium Oil on oak panel cyf
1594-1682 Dutch Willem Claesz Heda Galleries

   
 

 

 
   
      

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Osias Beert

1580-1624 Flemish Osias Beert Galleries

Pintura Identificación::  88989
Still-life
first half of 17th century Medium oil on oak cyf
1580-1624 Flemish Osias Beert Galleries

   
 

 

 
   
      

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Frans Snyders

Belgian 1579-1657 Frans Snyders Gallery

Pintura Identificación::  89492
Still-Life
first half of 17th century Medium oil on oak panel cyf
Belgian 1579-1657 Frans Snyders Gallery

   
 

 

 
   
      

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Jan Davidz de Heem

1606-1684 Dutch Jan Davidz de Heem Galleries

Pintura Identificación::  89822
Still-Life
1642(1642) Medium oil on oak cyf
1606-1684 Dutch Jan Davidz de Heem Galleries

   
 

 

 
   
      

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Jacob van Es

Flemish Baroque Era Painter, 1596-1666

Pintura Identificación::  90064
Still-Life
first half of 17th century Medium oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cyf
Flemish Baroque Era Painter, 1596-1666

   
 

 

 
   
      

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Floris van Dyck

, also called Floris van Dijck or Floris Claesz. van Dyck (Delft or Haarlem, c. 1575 - Haarlem, before 26 April 1651), was a Dutch Golden Age still life painter. He lived in Haarlem for most of his life, but he was born in Delft. He was a cousin of Pieter Cornelisz van Dijck. In 1600 he is documented as being in Rome, indicating he made a journey to Italy. In 1606 he returned to the Netherlands, where he joined the Haarlem Guild of St. Luke in 1610 and became dean in 1637. He was influenced by Osias Beert and Clara Peeters. He is considered the inventor of the banketje (banquet still life genre similar to breakfasts, or ontbijtjes), together with Nicolaes Gillis.

Pintura Identificación::  91118
Still-Life
1610(1610) Medium oil on oak panel cyf
, also called Floris van Dijck or Floris Claesz. van Dyck (Delft or Haarlem, c. 1575 - Haarlem, before 26 April 1651), was a Dutch Golden Age still life painter. He lived in Haarlem for most of his life, but he was born in Delft. He was a cousin of Pieter Cornelisz van Dijck. In 1600 he is documented as being in Rome, indicating he made a journey to Italy. In 1606 he returned to the Netherlands, where he joined the Haarlem Guild of St. Luke in 1610 and became dean in 1637. He was influenced by Osias Beert and Clara Peeters. He is considered the inventor of the banketje (banquet still life genre similar to breakfasts, or ontbijtjes), together with Nicolaes Gillis.

   
 

 

 
   
      

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Willem Kalf

1619-1693 Dutch Willem Kalf Galleries

Pintura Identificación::  92519
Still-Life
Date between 1653(1653) and 1654(1654) Medium oil on canvas Dimensions Height: 105 cm (41.3 in). Width: 88 cm (34.6 in). TTD
1619-1693 Dutch Willem Kalf Galleries

   
 

 

 
   
      

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Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Pintura Identificación::  92549
Still-Life
1607 Oil on panel, 31 x 42 cm TTD
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

   
 

 

 
   
      

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Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Pintura Identificación::  92550
Still-Life
1610 Oil on panel, 29 x 41 cm TTD
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

   
 

 

 
   
      

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Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Pintura Identificación::  92551
Still-Life
1593 Oil on canvas, 30 x 41 cm TTD
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

   
 

 

 
   
      

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Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

Pintura Identificación::  92552
Still-Life
1610 Oil on panel, 31 x 43 cm TTD
Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.

   
 

 

 
   
      

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Niko Pirosmanashvili

(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.

Pintura Identificación::  93576
Still-Life
Date 1900s Medium oil on tin-plate Dimensions 73 x 36 cm (28.7 x 14.2 in) TTD
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.

   
 

 

 
   
      

Niko Pirosmanashvili
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.
Still-Life

        
 
   
 

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