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unknow artist The flagellation oil painting reproduction


unknow artist

The flagellation

mk56 a pair,both oil on panel
Painting ID::  27521
 

 

James Ensor The Flagellation oil painting reproduction


James Ensor

The Flagellation

mk126
Painting ID::  37442
 

 

Piero della Francesca the flagellation oil painting reproduction


Piero della Francesca

the flagellation

urbino, gallery nazionale delle marche oil and tempera on panel 58.4 by 81.5cm se
Painting ID::  64943
 

 

Piero della Francesca the flagellation oil painting reproduction


Piero della Francesca

the flagellation

detail, urbino galleria nazionale se
Painting ID::  64980
 

 

Piero della Francesca The Flagellation oil painting reproduction


Piero della Francesca

The Flagellation

Date c. 1455(1455) Medium Oil and tempera on panel Dimensions Height: 59 cm (23.2 in). Width: 82 cm (32.3 in). cjr
Painting ID::  86843
 

 

Domenico Tintoretto The Flagellation oil painting reproduction


Domenico Tintoretto

The Flagellation

1590(1590) Medium Oil on canvas cyf
Painting ID::  88874
 

 

Piero della Francesca The Flagellation oil painting reproduction


Piero della Francesca

The Flagellation

1455(1455) Medium oil and tempera on panel Dimensions Height: 59 cm (23.2 in). Width: 82 cm (32.3 in). cyf
Painting ID::  91670
 

 

Domenico Tintoretto The Flagellation oil painting reproduction


Domenico Tintoretto

The Flagellation

circa 1590(1590) Medium oil on canvas cyf
Painting ID::  96864
 

 

Piero della Francesca The Flagellation oil painting reproduction


Piero della Francesca

The Flagellation

circa 1455(1455) Medium oil and tempera on panel cyf
Painting ID::  98302
 

 

Piero della Francesca
Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.
The Flagellation
circa 1455(1455) Medium oil and tempera on panel cyf

        
   
 

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