Måleriet identifieringen:: 10049
Tillbedjan om Magi ( central panel om Monforte Altare ; från Monforte de Citron cloister. Spain ) .1470 Olja på trä. Gemaldegalerie.Berlin 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 26849
Tillbedjan om Magi 1475-1476 detalj av ungdom i en röd tunic.standing på det lämna ( Giuliano de~ Medicinsk? ) Florence.Galleria degli Uffizi (mk57) Italian Early Renaissance Painter, 1445-1510
Måleriet identifieringen:: 33314
Tillbedjan om den Magi mk86 1308-1311 Temperamenten på trä 42.5x44cm 1255-1318
Italian Duccio di Buoninsegna
Locations
Måleriet identifieringen:: 33342
Tillbedjan om Magi mk86 1423 Temperamenten på trä 303x282cm Florence.Galleria Degli Uffizi. Fabriano ca 1370-Rome 1427
Måleriet identifieringen:: 33346
Tillbedjan om den Magi mk86 1421/22 Temperamenten på trä 144x177cm Florence.Galleria degli Uffizi Italian
c1370-c1424
Lorenzo Monaco Gallery
Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Måleriet identifieringen:: 38172
Tillbedjan om den Magi mk29 c.1470s Temperamenten på poplar panel 52x28cm Italian painter, Venetian school (b. 1449, Venezia, d. 1512, Venezia)
Italian High Renaissance Painter and Inventor, 1452-1519
Måleriet identifieringen:: 40251
Tillbedjan om den Magi mk156 c.1481 Tempera.oil.vanish och vitt leda på panel 246x243cm Italian High Renaissance Painter and Inventor, 1452-1519
Måleriet identifieringen:: 58237
Adoration of the magi Adoration of the magi, around 1563/1564, oil on canvas, Kunsthistorisches Museum, Vienna
Italian
c1510-1592
Jacopo Bassano Gallery
Måleriet identifieringen:: 62319
Adoration of the Magi 1620 Oil on canvas Museum of Fine Arts, Budapest It is assumed that the figure at the bottom was painted after a model Toledo ca ,1585-1624
Spanish painter (b. 1615, Madrid, d. 1673, Madrid)
Måleriet identifieringen:: 62358
Adoration of the Magi 83 x 119 cm Museo de Bellas Artes, Bilbao This painting of intense colours shows Italian, particularly Venetian influences. The composition follows the example of Paolo Veronese's paintings of the same subject, painted one century earlier. This probably can be partly explained by the Italian origin of the artist Spanish painter (b. 1615, Madrid, d. 1673, Madrid)
Måleriet identifieringen:: 62397
Adoration of the Magi 1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture Italian Early Renaissance Painter, 1420-1497
Måleriet identifieringen:: 62412
Adoration of the Magi 1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome Italian
1449-1494
Domenico Ghirlandaio Galleries
Måleriet identifieringen:: 63010
Adoration of the Magi 1488 Tempera on wood, 285 x 240 cm Spedale degli Innocenti, Florence Vasari writes about the painting: "In the church of the Innocenti he painted in tempera a much-admired picture of the Magi, containing some fine heads and varied physiognomies of people both young and old, notably a head of the Virgin, displaying all the modesty, beauty and grace which art can impart to the Mother of God". There are so many saints in this Adoration that it is not easy to make out the three Magi. On the left, Saint John the Baptist is kneeling and pointing to the Madonna. The orphans of the Spedale are represented by two of the innocent boys who were killed during the Slaughter of the Innocents in Bethlehem, kneeling in the foreground. There are gaping bloody wounds to their faces, arms and necks. In this Adoration of the Magi, Ghirlandaio's carefully thought out use of colour is particularly impressive: Ghirlandaio distributes the glowing colours evenly. Mary in the centre is wearing a blue cloak over a red dress. The oldest king kneeling in front of her is wearing a variation of these colours combined with yellow. To the left of Mary, the youngest king holding the valuable goblet in his hand - he almost looks like Saint John the Evangelist - is also dressed in blue, yellow and red. The figure standing on the right edge of the picture wearing an expensive hat repeats this combination of colours, though now the blue and yellow are reversed. In the second figure from the right, wearing the blue hat, the Madonna's colours of red and blue are visible again, and they are repeated in clothes of the bearded man wearing a turban on the left edge of the picture. Between the Madonna and the man with the blue hat on the right, the artist creates a yellow highlight, though with a weaker blue accent, in the figure of Joseph. This row of figures alone produces a rhythm of colour from left to right: red and blue; yellow, blue and red; red and blue; yellow and blue; red and blue; yellow, blue and red. The work represents one of Ghirlandaio's most important "easel" works. Here too the assistants were at work. Indeed, in the scene of the Slaughter of the Innocents in the background, Berenson recognized the hand of Bartolomeo di Giovanni, the author of the stories from the predella. Artist: GHIRLANDAIO, Domenico Painting Title: Adoration of the Magi , 1451-1500 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1449-1494
Måleriet identifieringen:: 63065
Adoration of the Magi 1526-28 Oak, 251 x 185 cm Gem?ldegalerie, Dresden The painting, coming probably from a church in Genoa, was attributed to D?rer in the 16th century. Artist: CLEVE, Joos van Painting Title: Adoration of the Magi , 1501-1550 Painting Style: Flemish , , religious Flemish Northern Renaissance Painter, ca.1485-1540
German Northern Renaissance Painter and Printmaker, ca.1484-1545
Måleriet identifieringen:: 63525
Adoration of the Magi 1507 Oil on wood Staatliche Museen, Berlin In the centre of the altarpiece the donor, Ernst von Wettin, Archbishop of Magdeburg, brother of Emperor Frederic the Wise, is represented. The side panels depict St George and St Maurice, the latter being the patron saint of the Magdeburg archbishopry.Artist:BALDUNG GRIEN, Hans Title: Adoration of the Magi Painted in 1501-1550 , German - - painting : religious German Northern Renaissance Painter and Printmaker, ca.1484-1545
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Måleriet identifieringen:: 63739
Adoration of the Magi 1504 Oil on wood Galleria degli Uffizi, FlorenceArtist:D?RER, Albrecht Title: Adoration of the Magi (detail) Painted in 1501-1550 , German - - painting : religious b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
Måleriet identifieringen:: 63945
Adoration of the Magi 1501-06 Oil on wood, 132 x 79 cm Vasco Museum, Viseu The Adoration of the Magi, is one of the fourteen panels from the altarpiece of the Chancel in Viseu Cathedral, and the earliest dated work of the artist. It is a key work in the evaluation of the impact which the painting and the painters from southern parts of the Low Countries had on the taste of patrons and on the work of painters in Portugal. Despite the controversy surrounding its authorship, everything points to a team, led by the Flemish painter Francisco Henriques, joined locally by the young Vasco Fernandes, elaborating the altarpiece for the bishop of Viseu. The Adoration of the Magi includes iconographic details which confirm that the altarpiece was made locally. The black Wise King, Balthasar, is replaced by an Indian from Brazil. The closeness in time of this artistic representation (the first in Western art) to the discovery of the lands of the True Cross (Brazil) gives it an extraordinary historical value. , Artist: FERNANDES, Vasco , Adoration of the Magi , 1501-1550 , Portuguese , painting , religious Portuguese painter (active 1500-1542 in Viseu
Måleriet identifieringen:: 63982
Adoration of the Magi 1515 Oil on panel, 83 x 166 cm Rockox House, Antwerp In comparison with other artistic centres, Antwerp had relatively little tradition in art in the beginning of the 16th century: but it was fertile ground ready to receive the seeds of new ideas brought by the many artists who flocked to the town on the Scheldt from other towns in the Low Countries. This burgeoning artistic life yielded religious works based on iconographic and compositional formulae derived from foreign examples. Moreover, the Low Countries' own traditional church based art had reached a crisis, and signs could already be seen heralding the advent of a different type of painting all together, with the birth of the Italian Renaissance. The economic and social revolution which transformed the needs and demands of art lovers resulted in a much looser relationship between artist and patron. Artists no longer felt obliged to bow to specific requirements as to the form or content of the painting imposed by the patron or institution commissioning it. Instead, they began to feel that their responsibility was rather to satisfy the tenets of taste held by nameless international artistic circles in which they moved. Thus an art market was created. Artists began to specialise, made life easier for themselves by repeating certain motifs over and over again, and aimed to create a certain effect. The anonymous Adoration of the Magi is an admirable example of the most popular subject of these artists, who are known as the Antwerp Mannerists. Strutting vanity and late Gothic and Renaissance decorations are depicted in sharp contrast with quiet modesty. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Måleriet identifieringen:: 64036
Adoration of the Magi . 1515 Polychromed wood, 73 x 64,5 x 21 cm Rockox House, Antwerp , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , sculpture , religious
Måleriet identifieringen:: 64062
Adoration of the Magi 1520 Panel, 29 x 22 cm (central), 29 x 8,5 cm (side panels) Koninklijk Museum voor Schone Kunsten, Antwerp The charming little work by anonymous artist called the Master of the Antwerp Adoration is exuberant, lively and full of eccentric shapes and attitudes, while the newly acquired wealth of Antwerp is displayed in the abundance of luxurious, gothic reminiscences. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Måleriet identifieringen:: 64144
Adoration of the Magi 1500-10 Oil on oak panel, 151 x 115,5 cm Groeninge Museum, Bruges The altarpiece - shown in the original frame - probably hung in the Chapel of the Magi in the former Saint Donatian's Church in Bruges. , Artist: UNKNOWN MASTER, Flemish , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Måleriet identifieringen:: 64216
Adoration of the Magi 83,4 x 73,1 cm Museum Mayer van den Bergh, Antwerp The picture shows the central panel of a triptych. , Artist: MASTER of Hoogstraeten , Adoration of the Magi , 1501-1550 , Flemish , painting , religious
Måleriet identifieringen:: 64217
Adoration of the Magi Oil on oak panel Museum Mayer van den Bergh, Antwerp , Artist: MASTER of Hoogstraeten , Adoration of the Magi (detail) , 1501-1550 , Flemish , painting , religious
Måleriet identifieringen:: 64699
Adoration of the Magi 1626-29 Oil on canvas, 283 x 219 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious Flemish Baroque Era Painter, 1577-1640
Måleriet identifieringen:: 64701
Adoration of the Magi 1618-19 Oil on canvas, 245 x 325 cm Mus?e des Beaux-Arts, Lyon Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious Flemish Baroque Era Painter, 1577-1640
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Måleriet identifieringen:: 71631
Adoration of the Magi between 1753(1753) and 1757(1757)
Oil on canvas
99.1 x 73.7 cm (39.02 x 29.02 in)
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Måleriet identifieringen:: 72830
Adoration of the Magi Date between 1753(1753) and 1757(1757)
Medium Oil on canvas
Dimensions 99.1 X 73.7 cm (39.02 X 29.02 in)
cyf 17 June 1691 - 21 October 1765) was an Italian painter and architect, mainly known as one of the vedutisti .
As a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1719-1725), the Palazzo de Carolis (1720), and the Seminario Romano (1721-1722). In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Academie de France, where he influenced Jean-Honore Fragonard. In 1754, he served as the principal of the Accademia di San Luca. Panini died in Rome on 21 October 1765
As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.
Måleriet identifieringen:: 78249
Adoration of the Magi between 1628(1628) and 1630(1630)
Medium Oil on panel
Dimensions Width: 53 cm (20.9 in).
cyf Dutch Baroque Era Painter, 1596-1674
Måleriet identifieringen:: 85168
adoration of the Magi 1560(1560)
Medium Oil on panel
Dimensions 167.5 x 180 cm (65.9 x 70.9 in)
cyf 1508-1575
Flemish
Pieter Aertsen Galleries
Måleriet identifieringen:: 91872
Adoration of the Magi c. 1505
Medium : Oil on panel
Dimensions 50 3/4 x 40 in. (128.9 x 101.6 cm)
cjr 1440-1482
Flemish
Hugo van der Goes Galleries
Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy.
Måleriet identifieringen:: 94645
Adoration of the Magi 1434
Type Tempera on panel
Dimensions 47 cm x 42 cm (19 in x 17 in)
cyf Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy.
Måleriet identifieringen:: 94652
Adoration of the Magi 1462
Type Tempera on panel
Dimensions 76 cm x 76.5 cm (30 in x 30.1 in)
cyf Italian
1431-1506
Andrea Mantegna Locations
Italian High Renaissance Painter and Inventor, 1452-1519
Måleriet identifieringen:: 94658
Adoration of the Magi 1481
Type oil on wood
Dimensions 246 cm x 243 cm (97 in x 96 in)
cyf Italian High Renaissance Painter and Inventor, 1452-1519
Måleriet identifieringen:: 94667
Adoration of the Magi 1496
Type Oil on panel
Dimensions 258 cm x 243 cm (102 in x 96 in)
cyf Italian
1457-1504
Filippino Lippi Galleries
Måleriet identifieringen:: 94799
Adoration of the Magi 1619
Type Oil on canvas
Dimensions 204 cm x 126.5 cm (80 in x 49.8 in)
cyf Spanish Baroque Era Painter, 1599-1660
Måleriet identifieringen:: 94808
Adoration of the Magi ca. 1616-17
Type Oil on canvas
Dimensions 251 cm x 338 cm
cyf Flemish Baroque Era Painter, 1577-1640
