1515 Oil on canvas, 372 x 270 cm Pinacoteca di Brera, Milan This painting may have come from the church of S. Maria di Brera. At one time it was probably an organ shutter. It was formerly attributed to Bramante. A late work, this painting reveals Bramantino's background. His roots were in the art of Ercole de' Roberti, the most energetically emotional fifteenth- century painter in northern Italy. It is from this source that Bramantino drew his highly dramatic style, which led him to freeze the tragedy of the Crucifixion within a framework of lucid abstraction. At the same time he seized the opportunity to seek out new means of formal expression. The crosses of the two thieves are arranged in terms of a centralized perspective, creating a space almost like an interior, and leading directly to the background where typical Bramantino buildings are silhouetted against an evening sky. (One of the buildings resembles the Trivulzio mausoleum, which was designed by the artist.) The marked bisymmetry of the painting, with angel and demon, sun and moon, is less structured in the choral rhythm of the foreground. The Madonna's grief is represented within the circle described by the hands of the saints, while the Magdalene lifts her arms toward the cross as if to raise it up to heaven. A strict intellectual approach dominates the colour scheme, in which subdued olive greens, golden grays and browns predominate.Artist:BRAMANTINO Title: Crucifixion Painted in 1451-1500 , Italian - - painting : religious
Painting ID:: 63534
1617 Oil on wood, 82 x 123 cm Museum of Fine Arts, Budapest It is assumed that the painting is copy of lost painting of Pieter Bruegel the Elder. There are several other copies differring only in the background. Artist:BRUEGHEL, Pieter the Younger Title: Crucifixion, 1551-1600, Flemish , painting , religious
Painting ID:: 64484
Italian Early Renaissance Painter, ca.1345-1396 1390-96 Tempera on wood, 57,5 x 77 cm Galleria degli Uffizi, Florence , GADDI, Agnolo , Crucifixion , 1351-1400 , Italian , painting , religious
Painting ID:: 64767
Maarten van Heemskerck (1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World.
He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem.
His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.
Crucifixion between 1545(1545) and 1550(1550)
Medium oil on panel