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Early netherlandish art Stock Photos and Images

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Early netherlandish art Stock Photos and Images

Triptych with the Way to Calvary, the Crucifixion, and the Disrobing of Jesus ca. 1400–1420 Netherlandish or French Made as an object of private devotion for an affluent patron, this triptych is a virtuoso example of Parisian goldsmiths' art of the early fifteenth century. Christ, the group of mourners, and the soldiers on the central panel are reliefs of uncolored silver. By contrast, the two thieves in the gilded background, as well as the Carrying of the Cross and Christ Disrobed on the wings, are rendered in pointillé (stippling). In this technique, the goldsmith's hammer hits a very fine Stock Photo
RM2HJ4P6K–Triptych with the Way to Calvary, the Crucifixion, and the Disrobing of Jesus ca. 1400–1420 Netherlandish or French Made as an object of private devotion for an affluent patron, this triptych is a virtuoso example of Parisian goldsmiths' art of the early fifteenth century. Christ, the group of mourners, and the soldiers on the central panel are reliefs of uncolored silver. By contrast, the two thieves in the gilded background, as well as the Carrying of the Cross and Christ Disrobed on the wings, are rendered in pointillé (stippling). In this technique, the goldsmith's hammer hits a very fine
Mountainous Landscape with Tobias and the Angel 1575–1631 Tobias Verhaecht Netherlandish This mountainous landscape serves as the backdrop to the Old Testament story of Tobias and the Angel. Tobias and his guardian Rafael are depicted to the left, en route to find a cure Tobias’s father’s blindness. The artist, however, clearly gave greater prominence to the landscape than to the biblical narrative – a common phenomenon in landscape art of late sixteenth-century, which was slowly developing into an independent genre.Tobias Verhaecht worked in the tradition of the early Netherlandish landscapis Stock Photo
RM2HHBF9X–Mountainous Landscape with Tobias and the Angel 1575–1631 Tobias Verhaecht Netherlandish This mountainous landscape serves as the backdrop to the Old Testament story of Tobias and the Angel. Tobias and his guardian Rafael are depicted to the left, en route to find a cure Tobias’s father’s blindness. The artist, however, clearly gave greater prominence to the landscape than to the biblical narrative – a common phenomenon in landscape art of late sixteenth-century, which was slowly developing into an independent genre.Tobias Verhaecht worked in the tradition of the early Netherlandish landscapis
Archangel Gabriel; The Virgin Annunciate ca. 1510 Gerard David Netherlandish Gerard David painted in Bruges all his life. Where he trained is unknown, though his early works show the influence of his northern Netherlandish roots, and of the art of Hugo van der Goes and Dieric Bouts. These two Annunciation panels, along with the depictions of the Passion that decorated their reverses (1975.1.119), originally formed the movable wings of an altarpiece. When the wings were closed, the Archangel Gabriel and the Virgin Annunciate were shown. When opened, on certain feast days, the Christ Carrying th Stock Photo
RM2HH9648–Archangel Gabriel; The Virgin Annunciate ca. 1510 Gerard David Netherlandish Gerard David painted in Bruges all his life. Where he trained is unknown, though his early works show the influence of his northern Netherlandish roots, and of the art of Hugo van der Goes and Dieric Bouts. These two Annunciation panels, along with the depictions of the Passion that decorated their reverses (1975.1.119), originally formed the movable wings of an altarpiece. When the wings were closed, the Archangel Gabriel and the Virgin Annunciate were shown. When opened, on certain feast days, the Christ Carrying th
Medallion with the Feast of Ahasuerus early 16th century Netherlandish The medallion must originally have formed part of a larger ensemble focusing on the story of Esther, the biblical heroine feted in the Jewish feast of Purim. By tricking her gullible Persian husband, King Ahasuerus—host of the dinner party seen here—Esther became the savior of the Jewish people. In art, her story was associated with royal women in the Burgundian Netherlands, as a means of comparing their strong commitment to their people to Esther’s good example.. Medallion with the Feast of Ahasuerus. Netherlandish. early Stock Photo
RM2HH8NT6–Medallion with the Feast of Ahasuerus early 16th century Netherlandish The medallion must originally have formed part of a larger ensemble focusing on the story of Esther, the biblical heroine feted in the Jewish feast of Purim. By tricking her gullible Persian husband, King Ahasuerus—host of the dinner party seen here—Esther became the savior of the Jewish people. In art, her story was associated with royal women in the Burgundian Netherlands, as a means of comparing their strong commitment to their people to Esther’s good example.. Medallion with the Feast of Ahasuerus. Netherlandish. early
The Adoration of the Magi early 16th–mid 16th century Circle of Bernard van Orley Netherlandish This drawing of the Adoration of the Magi closely recalls treatments of the theme by painter and tapestry designer Bernard van Orley, in particular his picture from the early 1520s in the Philadelphia Museum of Art, which features the same broken column and very similarly posed principal figures, largely in reverse. As scholars have long noted, Van Orley derived the figures in the Philadelphia painting from the Adoration scene in the Scuola Nuova tapestries in the Vatican; he probably had access to Stock Photo
RM2HHWGBJ–The Adoration of the Magi early 16th–mid 16th century Circle of Bernard van Orley Netherlandish This drawing of the Adoration of the Magi closely recalls treatments of the theme by painter and tapestry designer Bernard van Orley, in particular his picture from the early 1520s in the Philadelphia Museum of Art, which features the same broken column and very similarly posed principal figures, largely in reverse. As scholars have long noted, Van Orley derived the figures in the Philadelphia painting from the Adoration scene in the Scuola Nuova tapestries in the Vatican; he probably had access to
Group of Draped Figures early 1460s Attributed to Antonello da Messina (Antonello di Giovanni d'Antonio) Antonello da Messina's contact with Northern European art had a profound influence on his style. Several features of this drawing—in particular, the elongated proportions of the figures and the heavy drapery arranged in sharp, angular folds—demonstrate Antonello's absorption of Netherlandish and Burgundian styles. A more elaborate drawing of this composition, with the group of figures set against a cityscape, is preserved in the Musée du Louvre. The relationship between the two sheets remai Stock Photo
RM2HHYT82–Group of Draped Figures early 1460s Attributed to Antonello da Messina (Antonello di Giovanni d'Antonio) Antonello da Messina's contact with Northern European art had a profound influence on his style. Several features of this drawing—in particular, the elongated proportions of the figures and the heavy drapery arranged in sharp, angular folds—demonstrate Antonello's absorption of Netherlandish and Burgundian styles. A more elaborate drawing of this composition, with the group of figures set against a cityscape, is preserved in the Musée du Louvre. The relationship between the two sheets remai
Allegorical Figure (Faith?) early 16th–mid 16th century Pieter Cornelisz Kunst Netherlandish. Allegorical Figure (Faith?) 381958 Artist: Pieter Cornelisz Kunst, Netherlandish, Leiden 1489/90?1560/61 Leiden, Allegorical Figure (Faith?), early 16th?mid 16th century, Pen and brown ink. Framing line in black chalk (left, right and upper edge) and pen and grey ink (lower edge), possibly by the artist., sheet: 9 5/16 x 6 3/4 in. (23.6 x 17.1 cm). The Metropolitan Museum of Art, New York. Harry G. Sperling Fund, 2008 (2008.376) Stock Photo
RM2HH4FG5–Allegorical Figure (Faith?) early 16th–mid 16th century Pieter Cornelisz Kunst Netherlandish. Allegorical Figure (Faith?) 381958 Artist: Pieter Cornelisz Kunst, Netherlandish, Leiden 1489/90?1560/61 Leiden, Allegorical Figure (Faith?), early 16th?mid 16th century, Pen and brown ink. Framing line in black chalk (left, right and upper edge) and pen and grey ink (lower edge), possibly by the artist., sheet: 9 5/16 x 6 3/4 in. (23.6 x 17.1 cm). The Metropolitan Museum of Art, New York. Harry G. Sperling Fund, 2008 (2008.376)
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