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Painting:: all nude --> Style:: mixed
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Artist: Paul Cezanne

les grandes baigneuses
Painting ID::  56386
mk247 1900 to 06,oil on canvas,50.125x77.25 in,127x196 cm,national gallery,london,uk

Artist: Tintoretto

adam and eve
Painting ID::  56692
mk247 c.1550,oil on canvas,59x86.5 in,150x220 cm,gallerie dell-accademia,venice,ltaly

Artist: Correggio

Venus and Eros was found Lin God
Painting ID::  57233
mk255 made in the sixteenth century, 25 years ago. Canvas 1.88 meters high, 1.25 meters wide. Paris, the Louvre

Artist: Pietro vannucci called IL perugino

Apollo and Marilyn income Ah
Painting ID::  57235
mk255 for 1495 to 1500 years. Oil painting, 0.39 x 0.29 meters. Paris Louvre

Artist: TIZIANO Vecellio

Field concert
Painting ID::  57237
mk255 for in 1509. 1.05 x 1.37 meters canvas. Paris, the Louvre

Artist: Jean-Leon Gerome

The Cockfight
Painting ID::  59048
The Cockfight (1846); now in the Mus??e d'Orsay, Paris.

Artist: Peter Paul Rubens

The Fall of Man
Painting ID::  60630
The Fall of Man (after Titian), 1628?C29. Prado, Madrid

Artist: Paul Cezanne

hostage
Painting ID::  60803
mk273 1867 Oil on canvas 89.5 x 115.5 cm

Artist: John William Waterhouse

The Siren
Painting ID::  61570
The Siren circa 1900

Artist: El Greco

Epimetheus and Pandora
Painting ID::  62295
1600s Polychromed wood, height: 43 cm Conde de la Infantas Collection, Granada A few sculptures, including these two strange nudes, have been attributed to El Greco. This attribution is doubtful, however. It is based on the testimony of Pacheco, who saw in El Greco's studio a series of figurines of wax, stucco, and wood, but these may have been merely models, like those used in the Italian workshops where El Greco was trained. The figures illustrated recall certain nudes in paintings by El Greco in their elongated proportions, their supple postures, and their opposition in contrapposto. Nevertheless, they also evoke certain Florentine mannerists, Sansovino or Cellini, and their naturalism and the accentuated musculature of the male figure are surprising for El Greco. The identification of the statuettes is also problematical. Originally thought to represent Adam and Eve or even Vulcan and Venus, they were correctly identified as representing Epimetheus and Pandora in 1961. According to the Greek poet Hesiod, Pandora was the first woman, created from the earth and water. She was brought to life with heavenly fire and married Epimetheus, the brother of Prometheus. Zeus gave her a beautiful box containing all manner of evils and calamities and Pandora or according to some versions of the myth, Epimetheus, opened it, releasing them into the world. These small statuettes are carved in wood and painted in oils, the traditional materials of Spanish polychrome sculpture. They are undocumented works but the attribution to the artist is generally accepted

Artist: GOSSAERT, Jan (Mabuse)

Adam and Eve
Painting ID::  63046
1520 Oil on panel, 168,9 x 111,4 cm Royal Collection, Windsor This theme occurs at least nine times in Mabuse's painted and graphic oeuvre, but none of these renderings is dated. On grounds of style, however, the present painting would seem to have been undertaken after the Neptune and Amphitrite of 1516 (Berlin, Staatliche Museen) or the Hercules and Deinara of 1517 (Birmingham, Barber Institute of Fine Arts), and to have preceded the Adam and Eve dating from around 1525 (Berlin, Staatliche Museen). In general terms, as his career developed, Mabuse evolved compositions of greater complexity characterised by a repertoire of contorted poses with exaggerated anatomy and a vivid treatment of chiaroscuro. At the same time his technique became altogether freer. The Adam and Eve in the Royal Collection may date from around 1520. Mabuse refers to a number of prints for the poses of Adam and Eve: D?rer's Adam and Eve of 1504, Jacopo de' Barbari's Mars and Venus and Marcantonio Raimondi's Adam and Eve after Raphael. The pose of Eve is perhaps more specifically related to D?rer's engraving known as The Dream of the Doctor, particularly the upper part of the body. Mabuse had visited Italy in 1508-9 and became a prime exponent of Northern Mannerism, a style that evolved principally from the cross-fertilisation of German and Italian art. Quite apart from the large scale of the painting, the prominence of the foreground figures is still further enhanced by the sudden drop down to the middle-ground, dominated by a fountain set in the Garden of Eden. Fanciful architecture of this kind is frequently found in Mabuse's work. He was also a remarkably fine painter of the nude. The treatment of the musculature may not be to modern taste, but it was undoubtedly inspired by classical sculpture. The handling of the hair, especially Eve's long tresses, which may have influenced Milton, was a speciality of the artist. Supplementing the narrative of The Fall as recounted in the second and third chapters of Genesis is a certain amount of symbolism, which is illustrated in Mabuse's work: the two trees represent the Tree of Life and the Tree of Good and Evil, while the plants in the immediate foreground (columbine and sea holly) probably symbolise the contrasting emotions of the fear of God and the lust experienced by Adam and Eve in the Garden of Eden. Adam wears an apron of leaves, but Eve is still technically naked. Mabuse was concerned to paint an epitome of the theme and was therefore disposed to take liberties with the biblical text. This painting was presented by the States-General of Holland to Charles I in 1636. It was sold in 1650 after the death of Charles I, but was recovered at the time of the Restoration. It has been suggested that John Milton, who was appointed Latin Secretary to Cromwell's Council of State in 1649, may have seen the work before it was sold, since the description of Adam and Eve in Paradise Lost (Book 4, lines 300-18) is fairly close. Artist: GOSSAERT, Jan (Mabuse) Painting Title: Adam and Eve , 1501-1550 Painting Style: Flemish , , religious

Artist: HEINTZ, Joseph the Elder

Adonis Parting from Venus - Copperplate
Painting ID::  63047
40 x 31 cm Kunsthistorisches Museum, Vienna At the end of the 16th century the court of Emperor Rudolph II in Prague was one of the most important art and cultural centre of Europe. The Emperor gathered together important artists: painters, sculptors, goldsmiths, who developed a characteristic style as important as that of the Fontainebleau school flowered at the same period in France. One component of the Rudolphean style was the painting of the Flemish Spranger, another the German Hans von Aachen and the third the Swiss Joseph Heintz. Heintz was in Rome between 1583 and 1587 and was a pupil of Hans von Aachen whom he followed to Prague. He was perhaps the best colorist in Prague and he exerted an influence on the older painter in the Empereor's court. Artist: HEINTZ, Joseph the Elder Painting Title: Adonis Parting from Venus , 1551-1600 Painting Style: Swiss , , mythological

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Painting:: nude --> Style:: mixed
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