Sandro Botticelli
Sandro Botticelli's Oil Paintings
Sandro Botticelli Museum
c. 1445 – May 17, 1510. Italian painter.

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Here are all the paintings of BOEL, Pieter 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
76105 Allegorie der Verganglichkeit der Welt BOEL, Pieter Allegorie der Verganglichkeit der Welt Date 1663 Medium Oil on canvas Dimensions 207 ?? 260 cm cyf
76041 Large Vanitas BOEL, Pieter Large Vanitas Date 1663(1663) Medium Oil on canvas Dimensions 207 x 260 cm cyf
5212 Large Vanitas Still-Life  gdh BOEL, Pieter Large Vanitas Still-Life gdh 1663 Oil on canvas, 207 x 260 cm Mus??e des Beaux-Arts, Lille
57295 South America, large parrot BOEL, Pieter South America, large parrot mk255 for in the years 1669-1671. 0.98 x 1.30 meters canvas. Paris, the Louvre
5210 Still-Life with Dead Wild-Duck gfh BOEL, Pieter Still-Life with Dead Wild-Duck gfh Oil on canvas, 71 x 87 cm National Gallery, Prague
5211 Still-Life with Owl  gfh BOEL, Pieter Still-Life with Owl gfh Oil on canvas, 68 x 93 cm Museum voor Schone Kunsten, Ghent

BOEL, Pieter
Flemish Baroque Era Painter, 1622-1674 Flemish painter, draughtsman and etcher. He came from an artistic family: his father Jan Boel (1592-1640), was an engraver, publisher and art dealer; his uncle Quirin Boel I was an engraver; and his brother Quirin Boel II (1620-40) was also a printmaker. Pieter was probably apprenticed in Antwerp to Jan Fyt, but may have studied previously with Frans Snyders. He then went to Italy, probably visiting Rome and Genoa, where he is supposed to have stayed with Cornelis de Wael. None of Boel's work from this period is known. In 1650 he became a master in the Antwerp Guild of St Luke (having given his first name as Jan, not Pieter). His marriage to Maria Blanckaert took place at about the same time. Boel dated only a few of his paintings, making it difficult to establish a chronology. He is best known for his hunting scenes, some of which clearly show his debt to Snyders, but the dominant influence on his work was that of Fyt, particularly evident in his emphatic brushwork. However, Boel was more restrained both in his treatment and in his handling of outline. He also borrowed the theme of open-air hunting still-lifes (e.g. Feathered Game with Three Dogs; Madrid, Prado) from Fyt, but he painted other subjects as well, such as the monumental Vanitas Still-life (e.g. 1633; Lille, Mus. B.-A.).
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