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Pinturas::. All portrait >> man

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Artista: El Greco
El Greco Portrait of a Man Spain oil painting reproduction


El Greco Portrait of a Man Spain oil painting reproduction

Pintura Identificación::  62291
El Greco
Portrait of a Man
1586-90 Oil on cardboard, 7,9 x 5,7 cm The Hispanic Society of America, New York Work by El Greco in small format, which includes miniatures, small-scale religious paintings and reduced versions of larger compositions, is well documented from the time of his residence in Italy onwards. Yet this interesting portrait miniature remains one of the few known in his oeuvre. It bears an original signature on the back
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Artista: Diego Velazquez
Diego Velazquez Juan Spain oil painting reproduction


Diego Velazquez Juan Spain oil painting reproduction

Pintura Identificación::  62308
Diego Velazquez
Juan
109 x 107 cm Museo del Prado, Madrid Monta??s was the greatest Spanish sculptor of the 17th century, known as 'el dios de la madera' (the god of wood) on account of his mastery as a carver. He worked for most of his long and productive career in Seville. Vel?zquez painted this portrait in Madrid when the sculptor made a portrait head of King Philip IV
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Artista: Diego Velazquez
Diego Velazquez Philip III on Horseback Spain oil painting reproduction


Diego Velazquez Philip III on Horseback Spain oil painting reproduction

Pintura Identificación::  62309
Diego Velazquez
Philip III on Horseback
1634-35 Oil on canvas Museo del Prado, Madrid Author: VEL?ZQUEZ
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Artista: Diego Velazquez
Diego Velazquez Prince Baltasar Carlos with the Count Spain oil painting reproduction


Diego Velazquez Prince Baltasar Carlos with the Count Spain oil painting reproduction

Pintura Identificación::  62311
Diego Velazquez
Prince Baltasar Carlos with the Count
Duke of Olivares at the Royal Mews (detail) c. 1636 Oil on canvas Collection of the Duke of Westminster, London The dwarf in the painting is probably Don Diego de Acedo, called El Primo
(new21/Diego Velazquez-954837.jpg)

Artista: Diego Velazquez
Diego Velazquez Pope Innocent X c Spain oil painting reproduction


Diego Velazquez Pope Innocent X c Spain oil painting reproduction

Pintura Identificación::  62312
Diego Velazquez
Pope Innocent X c
49,2 x 41,3 cm National Gallery of Art, Washington Perhaps the preeminent Spanish artist of the seventeenth century, Vel?zquez was, from 1623 on, court painter to Philip IV in Madrid. In 1650 Vel?zquez was sent to Italy to buy paintings for one of his monarch's palaces; while in Rome the artist was commissioned to portray the Pope. The final version (now in the Galleria Doria, Rome) was preceded by several small sketches. This canvas was executed probably by someone in his circle. Vel?zquez was given the unenviable task of depicting the most powerful and, according to contemporaries, the ugliest man in Rome. The artist was successful, for when the Pontiff saw the portrait he is said to have remarked, "troppo vero" (all too true!).
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Artista: Bartolome Esteban Murillo
Bartolome Esteban Murillo Self-Portrait Spain oil painting reproduction


Bartolome Esteban Murillo Self-Portrait Spain oil painting reproduction

Pintura Identificación::  62315
Bartolome Esteban Murillo
Self-Portrait
122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art.
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Artista: Luis Tristan
Luis Tristan Adoration of the Magi Spain oil painting reproduction


Luis Tristan Adoration of the Magi Spain oil painting reproduction

Pintura Identificación::  62319
Luis Tristan
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
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Artista: GRECO, El
GRECO, El The Adoration of the Shepherds Spain oil painting reproduction


GRECO, El The Adoration of the Shepherds Spain oil painting reproduction

Pintura Identificación::  62328
GRECO, El
The Adoration of the Shepherds
1614 Oil on canvas Museo del Prado, Madrid The picture shows the head of one of the shepherds.
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Artista: GRECO, El
GRECO, El Portrait of a Man Spain oil painting reproduction


GRECO, El Portrait of a Man Spain oil painting reproduction

Pintura Identificación::  62338
GRECO, El
Portrait of a Man
53 x 47 cm Metropolitan Museum of Art, New York This painting was identified for long time as a self-portrait and as such it became one of El Greco's most famous portraits. However, lacking certified portraits of the artist, the identification is only a plausible hypothesis based on the resemblance of the sitter to other figures in El Greco's paintings that have also been thought to record the artist's features. There are several assumed self-portraits of the artist included in his compositions from the early Healing of the Blind to the Burial of Count Orgaz, then to the Pentecost, Marriage of the Virgin and the Adoration of the Shepherds. Regardless of the identification of the sitter, this is a fine and particularly compelling portrait by the artist, with the features painted with great sensitivity. The canvas has been trimmed on all sides. The signature on the painting proved to be false and was removed in 1947. Author: GRECO, El Title: Portrait of a Man , 1551-1600 , Spanish Form: painting , portrait
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Artista: GRECO, El
GRECO, El A Prelate 1600s Oil on canvas Spain oil painting reproduction


GRECO, El A Prelate 1600s Oil on canvas Spain oil painting reproduction

Pintura Identificación::  62344
GRECO, El
A Prelate 1600s Oil on canvas
107 x 90 cm Kimbell Art Museum, Forth Worth The identity of the sitter was only established in 1988, despite the fact that the portrait must record a prominent figure. He was identified with Francisco de Pisa (c. 1537-1616), Professor of Holy Scripture at Toledo University, the author of a major history of Toledo and a prominent figure in ecclesiastical affairs in the city. The identification rests on the striking resemblance between his features and those of a documented miniature of Francisco de Pisa in a private collection, that was, at one time, ascribed to El Greco himself. The open book displayed on the table is identified by lettering on its pages as BOSIUS CANONICI, presumably an edition or commentary on the corpus of canon law. The author of the text is probably Francesco Bossi or Bosio (1500/10-1584), who specialized in law. In Rome Bossi was closely associated with Carlo Borromeo, one of the key figures of the Catholic reform. Author: GRECO, El Title: A Prelate , 1551-1600 , Spanish Form: painting , portrait
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Artista: GRECO, El
GRECO, El Christ on the Cross Adored by Two Donors Spain oil painting reproduction


GRECO, El Christ on the Cross Adored by Two Donors Spain oil painting reproduction

Pintura Identificación::  62354
GRECO, El
Christ on the Cross Adored by Two Donors
1580 Oil on canvas Mus?e du Louvre, Paris On the painting a priest and a nobleman, probably the patrons who commissioned the painting, are shown praying before Christ on the cross. This detail shows the priest whose white surplice is similar to that worn by the priest in El Greco's Burial of the Count of Orgaz. He contemplates Christ's sacrifice with compassion and sobriety, his gaze leading our eyes upwards to Christ. Author: GRECO, El Title: Christ on the Cross Adored by Two Donors (detail) , 1551-1600 , Spanish Form: painting , religious
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Artista: GRECO, El
GRECO, El Christ Spain oil painting reproduction


GRECO, El Christ Spain oil painting reproduction

Pintura Identificación::  62355
GRECO, El
Christ
61 x 46 cm National Gallery, Prague Author: GRECO, El Title: Christ , 1551-1600 , Spanish Form: painting , religious
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