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

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unknow artist
pa this allegorise portrait of they Inconvenience ses Vasco da Gama wholly serene was bribing its Position aboard pa Victoria,da she double Sydamerika

ID: 49628

unknow artist pa this allegorise portrait of they Inconvenience ses Vasco da Gama wholly serene was bribing its Position aboard pa Victoria,da she double Sydamerika
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unknow artist pa this allegorise portrait of they Inconvenience ses Vasco da Gama wholly serene was bribing its Position aboard pa Victoria,da she double Sydamerika


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unknow artist

  Related Paintings of unknow artist :. | Still life floral, all kinds of reality flowers oil painting 194 | Arab or Arabic people and life. Orientalism oil paintings 532 | French Bible of Hainburg | Still life floral, all kinds of reality flowers oil painting 362 | Classical hunting fox, Equestrian and Beautiful Horses, 221. |
Related Artists:
Lentulov, Aristarkh
Russian Painter, 1882-1943 Russian painter. He studied art in Penza (1897-1903), Kiev (1903-5), and in St Petersburg (1906) under Dmitry Kardovsky. He participated in major exhibitions, including The Wreath (1907-8), The Link (1908) and Union of Russian Artists (1910). He was a founder-member in 1910 of the avant-garde exhibiting society the JACK OF DIAMONDS
Barthel Bruyn the Elder
German Northern Renaissance Painter, 1493-1555
POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665 French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response,






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