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

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william r clark
den franske officern overste paul flatter underhandlar med tuareghovdingar

ID: 59306

william r clark den franske officern overste paul flatter underhandlar med tuareghovdingar
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william r clark den franske officern overste paul flatter underhandlar med tuareghovdingar


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william r clark

1829-1912  Related Paintings of william r clark :. | cooks fartyg endeavour uar battre utrstat for vetenskapliga andamal an nagot fortyg dessforin nan | livingstone halsas av hovdingen i en avlagsen djungelby | barth kallade staden kano for central afrikas stora knutpunkt | egyptiskt handelsfrtyg,omkr. | da fohn ross sokte efter norduastpassagen 1818 motte han sadana har isberg i baffinbukten |
Related Artists:
Sofonisba Anguisciola
1532?C1625, The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century.
Lycett, Joseph
1774 - 1825
Jones, Francis Coates
American, 1857-1932






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