Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)
Måleriet identifieringen:: 29295
Porträtt av en Herre mk65 1512 Olja på segelduk 46x33 1/2 Italian painter, Venetian school (b. 1494, Venezia, d. 1528, Treviso)
Måleriet identifieringen:: 63841
Portrait of a Gentleman 1512 Oil on panel, 73 x 58 cm Galleria Nazionale d'Arte Antica, Rome Earlier this picture was described as a work of Leonardo. Later, the panel was attributed to Holbein. Finally, of exceptionally high quality, the painting was given to Bartolomeo Veneto by comparing it to two other portraits by the same painter, now at Houston and Washington. The proposed dating is the second decade of the sixteenth century (perhaps 1512), in the wake of Bartolomeo's sojourn in Ferrara between 1506 and 1508. Bartolomeo Veneto (Bartolommeo Veneziano) attracted attention at the end of the 19th century. He was a pupil of Gentile Bellini, he worked at the Court of the Grand Duke of Ferrara and elsewhere. There he came under the influence of LOmbard artists. The artist enriched his original Venetian pictorial language with direct exposure to the influence of Albrecht D?rer, who had been active in Venice in the first years of the sixteenth century. The figures of the knight and the soldier, visible in the background, are literally copied from a 1496 woodcut by D?rer. The identity of the sitter, however, remains a mystery. We do know, however, that he must have been a gentleman attached to the Mantuan court of the Gonzagas. Recently, it was suggested that Bartolomeo Veneto may have been the talented portraitist working in Raphael's workshop who was responsible for the faces of the chair-bearers in the Vatican Palace's Mass of Bolsena. Several inscriptions are legible in the painting: on the medal of the sitter's beret is written "Probasti e Chognovisti"; on the placard above the animal on the medal are the Greek letters epsilon and tau; and along the edge of the plaquette that decorates the sword handle, "IN(?) B:VF" and "NO SPI(E)".Artist:BARTOLOMEO VENETO Title: Portrait of a Gentleman Painted in 1501-1550 , Italian - - painting : portrait Italian Painter, ca.1470-1531
Rodrigo de Villandrando (1588 - December 1623) was a court painter during the reign of Philip III of Spain. He worked in the tradition of Alonso Senchez Coello and Juan Pantoja de la Cruz. His death opened the road to court for the young painter Diego Velezquez from Sevilla.
Måleriet identifieringen:: 82710
Portrait of a Gentleman Oil on canvas
Dimensions Height: 125 cm (49.2 in).
cyf Rodrigo de Villandrando (1588 - December 1623) was a court painter during the reign of Philip III of Spain. He worked in the tradition of Alonso Senchez Coello and Juan Pantoja de la Cruz. His death opened the road to court for the young painter Diego Velezquez from Sevilla.
Måleriet identifieringen:: 84300
Portrait of a gentleman Date 1845(1845)
Medium Oil on canvas
Dimensions 76.2 x 63.5 cm (30 x 25 in)
cjr 1796-1860
John Neagle Gallery
Måleriet identifieringen:: 86051
Portrait of a Gentleman Date c. 1550(1550)
Medium Oil on canvas
Dimensions Height: 202 cm (79.5 in). Width: 106 cm (41.7 in).
cjr Italian
c1520-1578
Måleriet identifieringen:: 88762
Portrait of a gentleman 1845(1845)
Medium Oil on canvas
Dimensions 76.2 x 63.5 cm (30 x 25 in)
cyf 1796-1860
John Neagle Gallery
(c. 1517 - 1577) was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis, or Mor van Dashorst, Antonio Moro, Anthony More, etc., but signed most of his portraits as, Anthonis Mor.
Mor was born in Utrecht, Netherlands by some estimation between 1516 and 1520. What is known of his early life is that his artistic education commenced under Jan van Scorel. His earliest work is probably a portrait at Stockholm, dated 1538.
A group of Knights of St. John, at Utrecht, supposed to have been painted about 1541; a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; together with the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works although their authenticity has not been proved.
In 1547, he was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527-1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known) where he copied some works by Titian, notably the Danaë.
Måleriet identifieringen:: 90804
Portrait of a Gentleman oil on panel, 68 x 53 cm (26.8 x 20.9 in).
Date 1560(1560)
cyf (c. 1517 - 1577) was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis, or Mor van Dashorst, Antonio Moro, Anthony More, etc., but signed most of his portraits as, Anthonis Mor.
Mor was born in Utrecht, Netherlands by some estimation between 1516 and 1520. What is known of his early life is that his artistic education commenced under Jan van Scorel. His earliest work is probably a portrait at Stockholm, dated 1538.
A group of Knights of St. John, at Utrecht, supposed to have been painted about 1541; a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; together with the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works although their authenticity has not been proved.
In 1547, he was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527-1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known) where he copied some works by Titian, notably the Danaë.
Måleriet identifieringen:: 91517
Portrait of a Gentleman 1526(1526)
Medium oil on canvas
Dimensions Height: 201 cm (79.1 in). Width: 92 cm (36.2 in).
cyf Italian High Renaissance Painter, 1498-1554
Måleriet identifieringen:: 93253
Portrait of a Gentleman c. 1750
Medium oil on canvas
Dimensions 25 x 30 1/8 in. (63.5 x 76.5 cm)
cjr English Painter, 1708-1776
Måleriet identifieringen:: 95318
Portrait of a Gentleman Date fourth quarter of 17th century or first quarter of 18th century
Medium oil
TTD 1656-1746
French
Nicolas de Largilliere Gallery
Måleriet identifieringen:: 96614
Portrait of a gentleman circa 1650(1650)
Medium oil on canvas
Dimensions 43 X 34 cm
cyf Dutch Baroque Era Painter, active ca.1654-1662
1613-1670
Dutch
Bartholomeus Van Der Helst Galleries
Måleriet identifieringen:: 98097
Portrait of a Gentleman 1653(1653)
Medium oil on canvas
Dimensions 111.2 x 95.1 cm
cyf 1613-1670
Dutch
Bartholomeus Van Der Helst Galleries
