Alla Barocci, Federicos Oljemålningar
ID Bilder  Oljemålningar Från A till Z     Information
4932  
Barocci, Federico, Aeneas' Flight from Troy
  		Aeneas' Flight from Troy 1598 Oil on canvas Galleria Borghese, Rome
4933  
Barocci, Federico, Annunciation 7898
  		Annunciation 7898 1592-96 Oil on canvas S. Maria degli Angeli, Perugia
52118  
Barocci, Federico, Francesco II della Rovere
  		Francesco II della Rovere 1572 Oil on canvas
4934  
Barocci, Federico, Rest on the Flight to Egypt sw
  		Rest on the Flight to Egypt sw 1570 Oil on canvas Pinacoteca, Vatican
63843  
Barocci, Federico, St Jerome
  		St Jerome 1598 Oil on canvas Galleria Borghese, Rome In this painting, recent restoration has revealed a lion, sleeping like a large cat in the background; it had been hidden under thick layers of paint that had darkened with age.Artist:BAROCCI, Federico Fiori Title: St Jerome Painted in 1551-1600 , Italian - - painting : religious
20313  
Barocci, Federico, The Circumcision (mk05)
  		The Circumcision (mk05) 1590 Canvas,140 1/4 x 99''(356 x 251 cm)Painted for the high altar of a church at Pesaro from which it came in 1797;entered the Louvre in 1789;ceded to the Cathedral of Notre Dame de Paris for sixty years and given by the Chapter in 1862
9787  
Barocci, Federico, The Nativity
  		The Nativity 1597, oil on canvas, Museo del Prado, Madrid.
4936  
Barocci, Federico, The Nativity 54
  		The Nativity 54 1597 Oil on canvas, 134 x 105 cm Museo del Prado, Madrid
Barocci, Federico
Italian, 1535-1612 .Italian painter. The leading altar painter in Italy in the second half of the 16th century, he enjoyed a greater popularity and exerted a more profound influence on the art of his time than any of his contemporaries. His patrons included the Pope, Emperor, King of Spain and Grand Duke of Tuscany, and among his admirers were Lodovico Cigoli, Annibale Carracci, Rubens and Guido Reni. However, his work did not begin to receive the acclaim accorded that of Tintoretto or El Greco until the mid-20th century. Several factors have obscured his importance, notably the relative inaccessibility and scarcity of his painted works, most of which were done on commission for specific locations in remote parts of Italy (where they have remained), and the type of painting he produced, which was almost exclusively devoted to religious subjects. He executed very few easel paintings. No autograph example of his painted work has ever left Europe, the portrait of Quintilia Fischieri (c. 1600; Washington, DC, N.G.A.) and pair of portraits of Federigo Ubaldo, Prince of Urbino



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