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c. 1445 – May 17, 1510. Italian painter.

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Hirst, Claude Raguet
The Title Page

ID: 39148

Hirst, Claude Raguet The Title Page
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Hirst, Claude Raguet The Title Page


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Hirst, Claude Raguet

American Painter, 1855-1942  Related Paintings of Hirst, Claude Raguet :. | Roses in a Glass Pitcher with Decorative Metal Plate | Empty Glass Bowl Surrounded | Open Book with Spectacles,Candle and pipe | An Early English Edition | Poem,The Pleasures of Memory |
Related Artists:
Hermann Nigg
painted Nigg Karl Lueger in historischem Kostum in 1876
Francisco de Herrera the Younger
1622-1685 Spanish Francisco de Herrera Gallery
PANTOJA DE LA CRUZ, Juan
Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes






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