Alla Dieric Boutss Oljemålningar

Bilder

Oljemålningar Från A till Z

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52094

Altarpiece of the Holy Sacrament

1464-67 Oil on wood, 185 x 294 cm

52095

Altarpiece of the Holy Sacrament

1464-67 Oil on wood, 185 x 294 cm

84277

Christ Crowned with Thorns

. 1470(1470) Medium Oil on egg tempera Dimensions 37.1 x 43.8 cm (14.6 x 17.2 in) cyf

10024

Christ in the House of Simon

1440s Oil on wood,40,5x61cm Staatliche Museen,Berlin

52096

Christ in the House of Simon

1440s Oil on wood, 40,5 x 61 cm

74237

Christ in the House of Simon

Date 1440-1450 Current location Staatliche Museen Deutsch: Berlin, Deutschland cyf

10031

Ecce agnus Dei

1462-64 Wood 53,8 x 41,2 cm Alte Pinakothek, Munich

83272

Head of Christ

1464(1464) (1463-1465) Medium Oil on panel Dimensions 36 x 27 cm (14.2 x 10.6 in) cyf

87618

Hell

Date 1450(1450) Medium Oil on wood Dimensions Height: 115 cm (45.3 in). Width: 69.5 cm (27.4 in). cjr

45696

Installation of the hl. Communion

mk186 1464-67 Lowen, Sint-Pieterskerk

69130

kristushuvud

1468 olja på trä 22.5x19 se

90891

Lamentation of Christ

between 1480(1480) and 1510(1510) Medium oil on panel Dimensions 72.2 x 102 cm (28.4 x 40.2 in) cyf

33434

Last Supper

mk86 1464-1467 Tempera on wood 180x150cm Louvain,Sankt Peter

10038

Last Supper central section of an alterpiece

1464 Tempera on wood Sankt Peter, Louvain, Belgium

30426

Last Supper Triptych

mk68 Oil on wood,central panel 6 3/4x4 Louvain,Church of Saint Peter

53676

Mansportratt

mk234 1426 32x20cm

52098

Martyrdom of St Erasmus

Oil on wood

91294

Martyrdom of St Erasmus

1458(1458) Medium oil on panel cyf

91295

Martyrdom of St Erasmus

1458(1458) Medium oil on panel cyf

91296

Martyrdom of St Erasmus

1458(1458) Medium oil on panel cyf

91297

Martyrdom of St Erasmus

1458(1458) Medium oil on panel cyf

199

Musee Royal des Beaux Arts, Antwerp

1450 Musee des Beaux Arts, Lille

45461

Museem national Christ in the house the Pharisaers Simon

mk186 around 1460 Berlin foundation. Gemaldegalerie

10028

Paradise

1450 Oil on wood, 115 x 69,5 cm Mus??e des Beaux-Arts,Lille

87620

Paradise

Date 1450(1450) Medium Oil on wood Dimensions Height: 115 cm (45.3 in). Width: 69.5 cm (27.4 in). cjr

10039

Pearl of Brabant

1470 Oil on wood 61 x 113 cm Alte Pinakothek, Munich

202

Portrait of a Man

1462 The National Gallery, London

42841

Portrait of a Man

mk170 dated 1462 Oil on oak 31.6x20.5cm

84276

Portrait of a Man

1462(1462) Medium Oil and egg tempera on wood Dimensions 20.5 x 31.6 cm (8.1 x 12.4 in) cyf

52103

Prophet Elijah in the Desert

1464-68 Oil on panel, 88 x 71 cm

10027

Resurrection

Tempera on canvas 89 x 72,5cm Norton Simon Museum of Art, Pasadena

10042

Saint Christopher

1470 Oil on wood 62,6 x 27,5 cm Alte Pinakothek Munich

26706

Saint Luke Drawing the Virgin and Child

mk52 c.1455 Oil on canvas transferred from wood 109x86cm

10040

St John the Baptist

1470Oil on wood 62,6 x 27,5 cm Alte Pinakothek, Munich

78913

Studio of Dieric Bouts

Studio of Dieric Bouts (the elder) (b. ca. 1415, Haarlem, d. 1475, Leuven) Saint Luke painting the Virgin Penrhyn Castle, Bangor, North Wales Oil and tempera transferred from panel to canvas in 1899 cjr

10041

The Adoration of the Magi

1470 Oil on ood, 62,6 x 27,5 cm Alte Pinakothek Munich

10036

The Adoration of Angels

c. 1445. Oil on panel. Museo del Prado Madrid

10037

The Adoration of Magi.

c. 1445. Oil on panel. Museo del Prado Madrid

87591

The Adoration of the Magi

Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr

87593

The Annunciation

Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr

28145

The Annunciation,The Visitation,THe Adoration of theAngels,The Adoration of the Magi

mk61 Oil on panel. 80x56cm 80x105cm

28146

The Annunciation,The Visitation,THe Adoration of theAngels,The Adoration of the Magi

mk61 Oil on panel. 80x56cm 80x105cm

10025

The Capture of Christ

Oil on wood105 x 68cm Alte Pinakothek,Munich

88340

The Capture of Christ

second half of 15th century Medium Oil on wood cyf

33433

The Empress's Ordeal by Fire in front of Emperor Otto III

mk86 c.1470-1475 Tempera on wood 324x182cm

45499

The encounter of Abraham and Melchisedek

mk186 1464-67 Lowen, Sint-Pieterskerk

10026

The Entombment

1450Distemper on flax canvas, 90,2 x 74,3 cm National Gallery, London

52100

The Execution of the Innocent Count

c. 1460 Oil on wood, 324 x 182 cm

89842

The Execution of the Innocent Count

1460(1460) Medium oil on panel cyf

89843

The Execution of the Innocent Count

1460(1460) Medium oil on panel cyf

51760

The Fall of the Danned

nn09 c.1450 Oil on wood 115x69.5cm

52102

The Feast of the Passover

1464-67 Oil on wood

52101

The Gathering of the Manna

1464-67 Oil on wood

10032

The Lamentation of Christ

c. 1460 Oil on wood, 69 x 49 cm Louvre

201

The Last Supper

1467 StPierre at Louvain, Belgium

40219

The Last Supper

mk156 c.1467 Oil on panel 180x150cm

203

The Martyrdom of St.Erasmus

52099

The Meeting of Abraham and Melchizedek

1464-67 Oil on wood

40224

The Ordeal by Fire

mk156 1470-1475 Oil on panel Musee Royaux des Beaux-Arts. Brussels

89838

The Ordeal by Fire

1460(1460) Medium oil on panel cyf

89839

The Ordeal by Fire

1460(1460) Medium oil on panel cyf

89840

The Ordeal by Fire

1460(1460) Medium oil on panel cyf

89841

The Ordeal by Fire

1460(1460) Medium oil on panel cyf

198

The Virgin and Child

Musee Royal des Beaux Arts, Antwerp

42850

The Virgin and Child Enthroned with Saints Peter and Paul

mk170 Circa 1465 oil on oak 68.8x51.6cm

10033

The Virgin and Child Panel

29,5 x 20,5 cm Koninklijk Museum voor Schone Kunsten Antwerp

42849

The virgin Nursing the Child

mk170 circa 1460 oil and egg tempera on oak 38.8x29cm

87592

The Visitation

Date c. 1445(1445) Medium Oil on wood Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in). cjr

10035

The Visitation.

1445.Oil on panel Museo del Prado Madrid

200

The Way to Paradise

1450 Musee des Beaux Arts, Lille

10029

The Way to Paradise

10030

The Way to Paradise

51759

The way to Paradise

nn09 c.1450 Oil on wood 115x69.5cm

89813

The Way to Paradise

1450(1450) Medium oil on panel cyf

52097

Triptych of the Virgin

c. 1445 Oil on wood

197

Virgin and Child

Metropolitan Museum of Art, New York

10034

Virgin and Child

Oil on wood, 21,6 x 16,5 cm Metropolitan Museum of Art,NY

82206

Virgin and Child

Date second half of 15th century Medium Oil on wood Dimensions Height: 21.6 cm (8.5 in). Width: 16.5 cm (6.5 in). cjr

96889

Virgin and Child

second half of 15th century Medium oil on panel cyf

97583

Virgin and Child

between 1465(1465) and 1470(1470) Medium oil on panel cyf

97831

Virgin and Child

1460-5 Medium Oil and tempera on panel cyf

23262

Virgin and Child (nn03)

c 1460-5 Oil on Tempera on panel 27.9 x 24.1 cm 11 x 9 1/2 in Private collection

81968

Virgin Penrhyn Castle

Oil and tempera transferred from panel to canvas in 1899 cyf

Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.

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