Toutes peintures ā l'huile d'MOLA, Pier Francesco
ID Image Painting(From A to Z)    Details 
19463  
MOLA, Pier Francesco, Barbary Pirate with a Bow
  		 Barbary Pirate with a Bow   1650 Oil on canvas Mus??e du Louvre, Paris.
20585  
MOLA, Pier Francesco, Barbary Pirate with a Bow (mk05)
  		 Barbary Pirate with a Bow (mk05)   Canvas,67 1/2 x 48 1/2''(172 x 123 cm)Acquired in 1948
19462  
MOLA, Pier Francesco, Herminia and Vafrino Tending the Wounded Tancred
  		 Herminia and Vafrino Tending the Wounded Tancred   Oil on canvas Mus??e du Louvre, Paris.
20584  
MOLA, Pier Francesco, Herminia and Vafrino Tending the Wounded Tancred (mk05)
  		 Herminia and Vafrino Tending the Wounded Tancred (mk05)   Canvas 27 x 36 1/4''(69 x 93 cm)Acquired for Louis XIV in 1685
31011  
MOLA, Pier Francesco, Herminie gardant ses troupeaux grave sur un arbre le nom de Tancrede
  		 Herminie gardant ses troupeaux grave sur un arbre le nom de Tancrede   mk70 H.0.69 L.0.92 Paris,Musee du Louvre
19461  
MOLA, Pier Francesco, Jacob's Meeting with Rachel
  		 Jacob's Meeting with Rachel   oil on canvas The Hermitage, St. Petersburg.
28993  
MOLA, Pier Francesco, Self-portrait
  		 Self-portrait   mk65 Pastel on paper 13 11/16x9 13/16in Uffizi,Cabinet of Drawings and Prints
40489  
MOLA, Pier Francesco, Self-Portrait
  		 Self-Portrait   mk156 1650-66 Pastel on paper 34.7x24.9cm
8237  
MOLA, Pier Francesco, St Peter Freed from Prison dh
  		 St Peter Freed from Prison dh   c. 1630 Oil on canvas Galleria Borghese, Rome
43097  
MOLA, Pier Francesco, THe Rest on the Flight into Egypt
  		 THe Rest on the Flight into Egypt   mk170 1630-1635 Oil on canvas 3.5x45.7cm
62406  
MOLA, Pier Francesco, Virgin Annunciate
  		 Virgin Annunciate   1608-09 Marble, over life-size Museo dell'Opera del Duomo, Orvieto Mochi first achieved fame with his Angel of Annunciation of 1603-05 for the Orvieto Cathedral, a work whose vigour and directness reflect the artist's earnestness in reformulating a conventional theme. Three years lie between the Angel of Annunciation and the Virgin Annunciate which completed the composition. Here Mochi evoked reminiscences of Rome, in particular the suavity of Mariani and the more active type of Classical statuary, but added his own flair for dramatic gestures by showing the Virgin starting from her chair. Mochi's work has sometimes been explained as a response to Caravaggio, yet it is better understood as part of a general concern with conveying emotions through external expressions, something manifests in the work of Carracci and Reni, as well as that of Caravaggio. Interestingly enough, the forcefulness of Mochi's Virgin Annunciate was not to the liking of the Bishop of Orvieto, who opposed its placement in the cathedral for three years. See also the Angel of Annunciation. Author: MOCHI, Francesco Title: Virgin Annunciate , 1601-1650 , Italian Form: sculpture , religious
MOLA, Pier Francesco
Italian Baroque Era Painter, 1612-1666 Painter and draughtsman, son of (1) Giovanni Battista Mola. His most characteristic works are small, intensely romantic scenes from mythology, the Bible, and from works by the poet Torquato Tasso, set in landscapes inspired by Venetian art. Yet he also received important public commissions for frescoes and altarpieces, and in his mature work he achieved an impressive synthesis of 17th-century Roman gran maniera painting with the stronger chiaroscuro and richer palette of the 16th-century Venetian style. He was a prolific and versatile draughtsman, who drew for pleasure as well as in preparation for commissions; he was also a witty caricaturist, who mocked himself and his friends as much as more typical targets



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