Måleriet identifieringen:: 19142
Tillbedjan om Fåraherde 1638-39. olja på segelduk. Fundera des Beaux - Konst på Grenoble. Frankrike Spanish Baroque Era Painter, 1598-1664
Måleriet identifieringen:: 29698
Den Tillbedjan om Fåraherde mk67 Temperamenten på panel 18 7/8x16 15/16in Italian Early Renaissance Painter, ca.1300-1366
Måleriet identifieringen:: 29767
Den Tillbedjan om Fåraherde mk67 Olja på panel 88 3/16x77 3/16in Uffizi.Gallery Italian High Renaissance Painter, ca.1458-1537
Måleriet identifieringen:: 29862
Tillbedjan om Fåraherde mk67 Olja på panel 33 7/16x42 1/2in Uffizi.Gallery Italian
1510-1563
Francesco Salviati Gallery
Måleriet identifieringen:: 31269
Den Tillbedjan om Fåraherde 1476-79 Olja på trä. 253 x 304 cm Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31270
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31271
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31272
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31273
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31274
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31275
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 31276
Den Tillbedjan om Fåraherde 1476-79 Olja på trä Galleri degli Uffizi. Florens Netherlandish Northern Renaissance Painter, ca.1440-1482
Måleriet identifieringen:: 42977
The Adoration of the Shepherds mk170
Circa 1480
Tempera on poplar
24.8x21.6cm
Italian Early Renaissance Painter, 1450-1507
Måleriet identifieringen:: 52658
The Adoration of the Shepherds c. 1610 Oil on canvas, 144,5 x 101,3 cm Greek-born Spanish Mannerist Painter, 1541-1614
Måleriet identifieringen:: 62328
The Adoration of the Shepherds 1614 Oil on canvas Museo del Prado, Madrid The picture shows the head of one of the shepherds. Greek-born Spanish Mannerist Painter, 1541-1614
Måleriet identifieringen:: 62349
The Adoration of the Shepherds 114 x 105 cm Private collection In the eighteenth century this painting was attributed to Giovanni Lanfranco, and later to a member of the Bassano family. Since 1951 the authorship of El Greco is universally accepted. However, this picture owes a great deal to the nocturnal paintings of the Bassano. According to the X-radiograph the upper part of the canvas was completely repainted, and the canvas has been cropped at the top. Author: GRECO, El Title: The Adoration of the Shepherds , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
Måleriet identifieringen:: 82483
The Adoration of the Shepherds Date ca. 1616(1616)
Medium Oil on canvas
Dimensions 157.7 x 118 cm (62.1 x 46.5 in)
cjr Flemish Baroque Era Painter, 1593-1678
(November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects.
Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher.
Måleriet identifieringen:: 83246
The Adoration of the Shepherds Date between 1539(1539) and 1540(1540)
Medium Oil on wood
cjr (November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects.
Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher.
(November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects.
Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher.
Måleriet identifieringen:: 83288
The Adoration of the Shepherds Date between 1539(1539) and 1540(1540)
Medium Oil on wood
cjr (November 17, 1503 - November 23, 1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects.
Bronzino was born in Florence. According to his contemporary Vasari, Bronzino was a pupil first of Raffaellino del Garbo, and then of Pontormo. The latter was ultimately the primary influence on Bronzino's developing style and the young artist remained devoted to his eccentric teacher.
(1480 - c. 1528) - also known as Mazzolini da Ferrara, Lodovico Ferraresa, and Il Ferrarese - was an Italian Renaissance painter active in Ferrara and Bologna.
He was born and died in Ferrara. He appears to have studied under such as Lorenzo Costa, who also trained Dosso Dossi and Cosimo Tura, and came under the influence of Ercole Roberti. In 1521 he married Giovanna, the daughter of Bartolomeo Vacchi, a Venetian painter. Much of his work was commissioned by the duke Ercole I d'Este from Ferrara. Mazzolino was influenced by il Garofalo and Boccaccino. He is known for devotional cabinet pictures, in a style somewhat regressive, or primitive, relative to the modern classicism then emerging. For example, his Massacre canvas has a turbulent and cartoonish crowding.
The exact date, or even year, of his death is not known, but he died during a plague which devastated the area.
Måleriet identifieringen:: 84592
The Adoration of the Shepherds Date between 1520(1520) and 1524(1524)
Medium Oil on wood
Dimensions Height: 79.5 cm (31.3 in). Width: 60.5 cm (23.8 in).
cjr (1480 - c. 1528) - also known as Mazzolini da Ferrara, Lodovico Ferraresa, and Il Ferrarese - was an Italian Renaissance painter active in Ferrara and Bologna.
He was born and died in Ferrara. He appears to have studied under such as Lorenzo Costa, who also trained Dosso Dossi and Cosimo Tura, and came under the influence of Ercole Roberti. In 1521 he married Giovanna, the daughter of Bartolomeo Vacchi, a Venetian painter. Much of his work was commissioned by the duke Ercole I d'Este from Ferrara. Mazzolino was influenced by il Garofalo and Boccaccino. He is known for devotional cabinet pictures, in a style somewhat regressive, or primitive, relative to the modern classicism then emerging. For example, his Massacre canvas has a turbulent and cartoonish crowding.
The exact date, or even year, of his death is not known, but he died during a plague which devastated the area.
Måleriet identifieringen:: 85751
The Adoration of the Shepherds Date between 1476(1476) and 1479(1479)
Medium Oil on wood
cjr 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 85932
The Adoration of the Shepherds 1616(1616)
Medium Oil on canvas
Dimensions 157.7 x 118 cm (62.1 x 46.5 in)
cyf Flemish Baroque Era Painter, 1593-1678
Måleriet identifieringen:: 86542
The Adoration of the Shepherds Date between 1476(1476) and 1479(1479)
Medium Oil on wood
Dimensions Height: 253 cm (99.6 in). Width: 304 cm (119.7 in).
cjr 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 88450
The Adoration of the Shepherds between 1520(1520) and 1524(1524)
Medium Oil on wood
cyf Italian High Renaissance Painter, 1480-1528
Måleriet identifieringen:: 88904
The Adoration of the Shepherds 1608(1608)
Medium Oil on canvas transferred from panel
cyf Flemish Baroque Era Painter, 1577-1640
Måleriet identifieringen:: 89030
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on wood
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89904
The Adoration of the Shepherds 1596(1596)
Medium oil on panel
Dimensions 31.1 x 19.7 cm (12.2 x 7.8 in)
cyf Dutch Mannerist Writer and Painter, 1548-1606
Måleriet identifieringen:: 89942
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89943
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89944
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89945
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89946
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89968
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89969
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89970
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89971
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89972
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89973
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 89974
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
Måleriet identifieringen:: 90202
The Adoration of the Shepherds c. 1644(1644)
Medium oil on canvas
Dimensions 107 x 137 cm (42.1 x 53.9 in)
cjr 1593-1652
French
Georges de La Tour Galleries
Måleriet identifieringen:: 91124
The Adoration of the Shepherds Oil on wood, 224 x 196 cm Galleria degli Uffizi, Florence
Date c. 1510
cyf Italian High Renaissance Painter, ca.1458-1537
Måleriet identifieringen:: 95745
The Adoration of the Shepherds between 1544(1544) and 1545(1545)
Medium oil on canvas
cyf Italian
c1510-1592
Jacopo Bassano Gallery
Måleriet identifieringen:: 95747
The Adoration of the Shepherds between 1590(1590) and 1591(1591)
Medium oil on canvas
cyf Italian
c1510-1592
Jacopo Bassano Gallery
Måleriet identifieringen:: 96134
The Adoration of the Shepherds between 1616(1616) and 1618(1618)
Medium oil on canvas
cyf 1581-1644
Italian
Bernardo Strozzi Galleries
Måleriet identifieringen:: 97833
The Adoration of the Shepherds between 1476(1476) and 1479(1479)
Medium oil on panel
cyf 1440-1482
Flemish
Hugo van der Goes Galleries
(c. 1474 - 1552) is an Italian Renaissance painter whose complex, eccentric, and eclectic style anticipates Mannerism. He is considered among the first of the Bolognese School of painting.
He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500 - 1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio.
In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529.
Måleriet identifieringen:: 98265
The Adoration of the Shepherds 1515(1515)
Medium oil on panel
cyf (c. 1474 - 1552) is an Italian Renaissance painter whose complex, eccentric, and eclectic style anticipates Mannerism. He is considered among the first of the Bolognese School of painting.
He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500 - 1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio.
In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529.
(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).
Måleriet identifieringen:: 98434
The Adoration of the Shepherds circa 1755(1755)
Medium oil on canvas
Dimensions Height: 117 cm (46.1 in). Width: 131 cm (51.6 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 Shepherds
