Toutes peintures ā l'huile d'MIGNON, Abraham
ID Image Painting(From A to Z)    Details 
8224  
MIGNON, Abraham, Flowers sye
  		 Flowers sye   Oil on canvas Gemäldegalerie, Dresden
28382  
MIGNON, Abraham, Fruit
  		 Fruit   mk60 Oil on canvas 35x27 1/2"
8221  
MIGNON, Abraham, Fruit Still-Life with Squirrel and Goldfinch g
  		 Fruit Still-Life with Squirrel and Goldfinch g   Oil on canvas, 80,5 x 99,5 cm Staatliche Museen, Kassel
77383  
MIGNON, Abraham, Nature as a Symbol of Vanitas
  		 Nature as a Symbol of Vanitas   Date between 1665(1665) and 1679(1679) Medium Oil on canvas cyf
19434  
MIGNON, Abraham, Still Life
  		 Still Life   Undated Oil on canvas Wallraf-Richartz-Museum, Cologne.
8219  
MIGNON, Abraham, Still-Life ei57
  		 Still-Life ei57   after 1672 Oil on canvas, 92 x 72,7 cm Wallraf-Richartz Museum, Cologne
8222  
MIGNON, Abraham, Still-Life with Fishes and Bird Nest sg
  		 Still-Life with Fishes and Bird Nest sg   c. 1670 Oil on canvas, 89 x 71,5 cm Museum of Fine Arts, Budapest
8220  
MIGNON, Abraham, Still-Life with Fruits sg
  		 Still-Life with Fruits sg   1660s Oil on wood, 40 x 32,5 cm Staatliche Kunsthalle, Karlsruhe
8223  
MIGNON, Abraham, The Nature as a Symbol of Vanitas ag
  		 The Nature as a Symbol of Vanitas ag   1665-79 Oil on canvas, 78,7 x 99 cm Hessisches Landesmuseum, Darmstadt
MIGNON, Abraham
Dutch Baroque Era Painter, 1640-1679 Dutch painter, was born at Frankfurt. His father, a merchant, placed him under the still-life painter Jacob Marrel, by whom he was taken to the Netherlands about 1660. He then worked under Jan Davidszoon de Heem at Utrecht, where in 1675 he married the daughter of the painter Cornelis Willaerts. Sibylle Merian (1647-1717), daughter of the engraver Matthew Merian, became his pupil and achieved distinction as a flower painter. He died at Utrecht. Mignon devoted himself almost exclusively to flowers, fruit, birds and other still-life, though at times he also attempted portraiture. His flower pieces are marked by careful finish and delicate handling. His favourite scheme was to introduce red or white roses in the centre of the canvas and to set the whole group of flowers against a dark background. Nowhere can his work be seen to better advantage than at the Dresden Gallery, which contains fifteen of his paintings, twelve of which are signed. Six of his pictures are at the Louvre, four at the Hermitage, and other examples are to be found at the museums of Amsterdam,



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