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Painting:: all landscape --> Style:: street
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Artist: Jan van der Heyden

Old church landscape
Painting ID::  62108
mk278 canvas board 45 x 56.5cm

Artist: Jan van der Heyden

Old Palace landscape
Painting ID::  62111
mk278 canvas board 24 x 29cm

Artist: Jan van der Heyden

Church of the scenery
Painting ID::  62112
mk278 canvas board 33.5 x 36.3cm

Artist: Jan van der Heyden

Imagine the church and buildings
Painting ID::  62114
mk278 Oil on canvas 37 x 49.5cm

Artist: Jan van der Heyden

Baroque palaces and the Cathedral
Painting ID::  62115
mk278 Oil on canvas 20 x 27.5cm

Artist: Jan van der Heyden

Gothic churches
Painting ID::  62116
mk278 Oil on canvas 46 x 60cm

Artist: SANGALLO, Giuliano da

Exterior of the church begun
Painting ID::  62383
1485 - Santa Maria delle Carceri, Prato Tuscan architects developing the principles laid down by Brunelleschi, constructed important churches in the last years of the 15th century. These include Santa Maria delle Carceri, at Prato, by Giuliano da Sangallo, and Santa Maria del Calcinaio, near Cortona, by Francesco di Giorgio. Both these resemble the experiments with centrally planned churches being carried out in Milan by Leonardo and Bramente. In these churches we see the culmination of the Early Renaissance ideals of classical lightness and purity. The Santa Maria delle Carceri was begun in 1485 and was left in its present incomplete in 1506. It is a pure Greek cross and derives, therefore, from the Brunelleschian tradition of centrally planned churches

Artist: Thomas Cole

The Architect's Dream
Painting ID::  62883
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other

Artist: MARIESCHI, Michele

The Grand Canal at San Geremia - Oil on canvas
Painting ID::  63054
54 x 82 cm Private collection Artist: MARIESCHI, Michele Painting Title: The Grand Canal at San Geremia , 1701-1750 Painting Style: Italian , , landscape

Artist: GUARDI, Francesco

The Piazzetta
Painting ID::  63055
1758 Oil on canvas, 49 x 83,5 cm Museo Civico, Treviso This painting is one of the earliest views of Venice painted by Francesco Guardi. Artist: GUARDI, Francesco Painting Title: The Piazzetta, Looking toward San Giorgio Maggiore , 1751-1800 Painting Style: Italian , , landscape

Artist: GUARDI, Francesco

The Torre del'Orologio
Painting ID::  63056
1765-70 Oil on canvas, 62,5 x 89,4 cm Akademie der bildenden K?nste, Vienna Ever since the early sixteenth century the view of Piazza San Marco has been partly determined by the Torre dell'Orologio, the construction of which was largely completed in 1506. Francesco Guardi represented the building here with the two storeys added to the wings in 1755. To the left of this is part of the Procuratie Vecchie, which at that time accommodated the procurators of San Marco, the most important representative magistracy after the Doge; on the right is the Basilica itself. It is striking that the square does not display the geometrical patterns of the paving which was laid in about 1723. Guardi recorded the view from a vantage point beyond the Campanile, though he adapted the result of his observations somewhat for the sake of the composition. By placing the walls of the Procuratie and the Torre parallel to the picture plane, the angle between these structures and the fa?ade of San Marco appear greater than in reality. This also has the effect of making the square much more spacious. There are also several details which do not entirely correspond with the actual situation, such as the three flagstaffs, which have been depicted lower and thinner than in actuality. A drawing by Guardi has been preserved that is virtually identical in terms of detail to the painting. Despite the prominent place of the Torre dell'Orologio it was seldom chosen as an independent motif by the Venetian vedutisti. Carlevaris and Canaletto did include it in paintings, but only as an incidental feature, and furthermore from a different angle. Francesco Guardi painted this theme at least eight times, always from virtually the same vantage point. Each time he gave a slightly different impression of the space by varying the relationships, the light and the positioning of the figures. In this painting the foreground is almost empty and the depth is only accentuated by the strikingly foreshortened fa?ade of San Marco and the lines of the three flagstaffs running parallel to it, and by the tents fluttering fitfully in the wind. In this simple composition Guardi emphasized the play of light and colour on the walls and the pavement. Artist: GUARDI, Francesco Painting Title: The Torre del'Orologio , 1751-1800 Painting Style: Italian , , landscape

Artist: Canaletto

Return of the Bucentoro to the Molo on Ascension Day
Painting ID::  63066
1732 Oil on canvas Royal Collection, Windsor Artist: CANALETTO Painting Title: Return of the Bucentoro to the Molo on Ascension Day (detail) , 1701-1750 Painting Style: Italian , , landscape

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Painting:: landscape --> Style:: street
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