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Raphael
madonna of the pinks
national gallery, london
se
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unknow artist
The Madonna of St Vitus Cathedral in Prague
1420 Tempera on wood, 89 x 77 cm National Gallery, Prague The half length figure of the Virgin holding her Child in front of her on her right side appears in an ornate, three-dimensional frame - though we are not sure whether the frame originally belonged to the picture. Although the whole composition and the manner in which Mary is showing her Child to the congregation of the faithful has preserved the formal solemnity of devotional pictures, the almost coquettish posture of her head and the animation of the Child radiate a natural atmosphere. The striking three-dimensional qualities of the painting point to the influence of the sculptures of "Beautiful Madonnas" of the period, indeed, some scholars believe that the painter is identical with the master of the Beautiful Madonna of Krumlov. Precise and subtle modelling conveys the full forms of the figures, as do the deep, falling folds of the Virgin's mantle, which is made of some heavy fabric; the Child's body and hands are represented organically, and the two figures constitute a group imagined in spatial terms. The Virgin is depicted in a complicate counterpoise: her body is not only bent sidewise, but is also drawn backwards, whereas the whole torso of Jesus faces the spectator. The movements of the two figures in opposite directions stress that the construction of the composition is determined by the two diagonals of the oblong standing frame. The torso of the Virgin is bent into the direction of the diagonal line directed towards the upper right corner, while her head and the Child's body parallel with it point to the opposite direction. The two flesh-coloured areas, the face and the body, are placed in the middle of that diagonal line. The harmonious overall effect of the well-poised composition is intensified by the fact that the Infant's right shoulder is merged with that of His mother and by this means a single, undisturbed outline encloses the two figures. Artist:UNKNOWN MASTER, Bohemian Title: The Madonna of St Vitus Cathedral in Prague, 1401-1450, Bohemian , painting , religious
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RUBENS, Pieter Pauwel
Madonna in Floral Wreath
1620 Oil on oak, 185 x 209,8 cm Alte Pinakothek, Munich Religious flower still-lifes are a special category, first developed by the Fleming Daniel Seghers, a pupil of Jan Brueghel the Elder. However, this can be traced back to Rubens's Madonna in Floral Wreath (in which the floral decoration was painted by Jan Brueghel the Elder). This represents a picture within a picture with an authoritative religious significance, encircled by a floral arrangement and cherubs. Unlike Seghers, however, Rubens did not quote Mary and Jesus as historical traditions or pictorial relics. Instead he preferred to give the impression that they were physically present, even though the motif of a picture within a picture would have been ideally suited for illusionist stylization. Artist:RUBENS, Pieter Pauwel Title: Madonna in Floral Wreath, 1601-1650, Flemish , painting , religious
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RUBENS, Pieter Pauwel
Virgin and Child
62 x 50 cm St.-Niklaaskerk, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
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RUBENS, Pieter Pauwel
Adoration of the Magi
1626-29 Oil on canvas, 283 x 219 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious
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RUBENS, Pieter Pauwel
Virgin and Child
1620-24 Oil on wood, 65 x 48 cm Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
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CRIVELLI, Carlo
Virgin and Child Enthroned around
1476 Panel, 106,5 x 55,3 cm Museum of Fine Arts, Budapest Crivelli was one of the busiest painters in Venice during the second half of the fifteenth century and was responsible for many altarpieces in small churches in Veneto and in the Marches. Adapting himself to the conservative taste of his patrons, he painted in an archaic style based on Gothic tradition; his Madonnas are usually frontally posed and seen against a gold background of Bysantine splendor. There is but little movement and few details from nature, the composition being solemn and strictly linear. Only the pure and sure design of the faces and the lavishly applied festoons of flowers and fruits testify to Crivelli's being a master of the fifteenth century, a Renaissance artist with a style of his own. The "Virgin and Child Enthroned" was formerly the central panel of a polyptych in the church of San Domenico at Ascoli Piceno. The representaion of saints from the wings are in the National Gallery in London. *** Keywords: ************* Author: CRIVELLI, Carlo Title: Virgin and Child Enthroned, 1451-1500, Italian , painting , religious
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unknow artist
The Virgin in a Paradise Garden
1415-30 Tempera on oak, 20,2 x 16,2 cm Wallraf-Richartz Museum, Cologne This miniature devotional painting is one of the key works of the master, referred to as Master of Sankt Laurenz (St Lawrence), and of Cologne painting of the 'Weiche Stil' or 'soft style'. Artist:UNKNOWN MASTER, German Title: The Virgin in a Paradise Garden, 1401-1450, German , painting , religious
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Jean Fouquet
virgin and child ,also know as agnes sored
1480
antwerp, museum for fine arts
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VOS, Marten de
The Family of St Anne
1585 Oil on panel Museum voor Schone Kunsten, Ghent What makes this particular work so interesting is not so much its overall impact as the refined treatment of the individual figures and the realistic rendering of the various objects. , Artist: VOS, Marten de , The Family of St Anne (detail) , 1551-1600 , Flemish , painting , religious
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unknow artist
Virgin and Child
1475-1500 Oil on oak panel, 38 x 29,7 cm Private collection The Virgin is carrying the naked Infant Christ, who is sitting on a cloth, in both hands. She is in front of a wall-hanging in red-gold brocade and is clothed in a dark blue garment with a grey fur lining and a mantle of the same colour (in fact it has darkened into blue-green). With his left hand the Child reaches for the hanger of a necklace made of red coral (possibly an allusion to the blood of his sacrifice), and in his other hand he holds a pear (as the fruit of the `new Adam', an allusion to Salvation). The Virgin is situated in front of a golden balustrade with an arcade of rounded arches which encloses the choir of a church with stained-glass windows. She appears behind a golden arch resting on brown marble pillars. The image should probably be interpreted as a Virgin who is standing behind a low wall supporting an arch. The top of this little wall was originally probably visible and seems to have been sawn off. This Virgin-and-Child type is frequently encountered in works by Memling and his followers, sometimes with the Child sitting on the wall. Related examples by Memling are: the Van Nieuwenhove Virgin (Memlingmuseum, Bruges); the Virgin and Child in Lisbon (Museu Nacional de Arte Antiga). A similar type by a Memling follower is in the Metropolitan Museum of Art, New York. The little work discussed here is also Memlingian from a stylistic point of view. The type of the Virgin with the bulging forehead, the long straight nose and the narrow bow-shaped eyebrows is particularly closely related to Memling. The faces, however, are flatter and squarer, especially in the case of the Child. Apart from the Virgin type the staffage and architectural surroundings have the same roots: red brocade hangings with vegetally decorated edges, brown marble columns on each side, perspective of a church interior with stained-glass windows consisting of small coloured squares. , Artist: UNKNOWN MASTER, Flemish , Virgin and Child , 1451-1500 , Flemish , painting , religious
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unknow artist
Virgin and Child with St Anne
Tempera on canvas, 32,2 x 23,7 cm Museum Mayer van den Bergh, Antwerp , Artist: UNKNOWN MASTER, Flemish , Virgin and Child with St Anne , 1451-1500 , Flemish , painting , religious
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