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Painting:: all people --> Style:: party
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Artist: William Hogarth

Group painting fashionable marriage Breakfast
Painting ID::  62163
mk279 Oil on canvas 70 x 90.8cm 1744 years

Artist: William Hogarth

Painting fashionable marriage group s visit to doctor
Painting ID::  62164
mk279 Oil on canvas 70 x 90.8cm 1744 years

Artist: William Hogarth

Countess painting fashionable group to get up early marriage
Painting ID::  62165
mk279 Oil on canvas 70 x 90.8cm 1744 years

Artist: BERRUGUETE, Alonso

Last Supper
Painting ID::  62313
1588-1603 Oil on canvas Museo de Bellas Artes, Seville In addition to Italian influences, the impact of northern painters, such as Marten de Vos and Maerten van Heemskerck, on painters in Seville at the end of the 16th century was important. The resulting hybrid of Italian and Flemish elements became the dominant mode of expression until well into the seventeenth century and is first observable in the work of Alonso V?zquez, who worked in Seville from 1588 until his departure for Mexico in 1603. His Last Supper, painted for the Carthusians of Santa Maria de las Cuevas, is a pastiche of poses and motifs borrowed from prints by or after Heemskerck, de Vos and Cornelis Cort. In fact the stylistic correspondence to the paintings by these northern late Mannerists is close enough to suggest that V?zquez had been able to study their works, perhaps in the collections of the resident Flemish community

Artist: BIJLERT, Jan van

Ulysses and Circe - Oil on panel
Painting ID::  62371
51 x 81 cm Private collection The present painting depicts an episode from the Odyssey (Bk 10). On their journey home after the Trojan War, Ulysses and his companions came upon the island of the sorceress, Circe. With a magic potion, she transformed the men into swine; however Ulysses, having been forewarned by Mercury and having taken an antidote, was able to resist her magic. The present painting depicts the moment when Circe lifts her wand to touch Ulysses and activate the spell

Artist: Kracker, Johann Lucas

The Council in Trident
Painting ID::  62444
1778 Fresco Library of the College, Eger Author: KRACKER, Johann Lucas Title: The Council in Trident (detail) , 1751-1800 , Austrian Form: painting , religious

Artist: Bartolome Esteban Murillo

San Diye Ke Shi poor people do not
Painting ID::  62567
mk284 Oil on canvas 1646 173 x 183 cm Madrid, San Fernando College of the Arts Tibet

Artist: Bartolome Esteban Murillo

Wolves wanderer overspending
Painting ID::  62594
mk284 Oil on canvas 21 x 42 cm Madrid, Museo del Prado

Artist: unknow artist

Concert
Painting ID::  63051
1690s Oil on canvas Musee du Louvre, Paris Artist: TOURNI?RES, Robert Painting Title: Concert , 1701-1750 Painting Style: French , , genre

Artist: GUARDI, Francesco

Audience Granted by the Doge
Painting ID::  63057
1766-70 Oil on canvas, 66 x 100 cm Musee du Louvre, Paris The painting depicts the audience granted by the Doge to the ambassadors in the Sala del Collegio of the Doge's Palace in Venice. Artist: GUARDI, Francesco Painting Title: Audience Granted by the Doge , 1751-1800 Painting Style: Italian , , landscape

Artist: BASSANO, Jacopo

Adam and Eve in the Garden of Eden
Painting ID::  63073
1544-45 Oil on canvas, 139,5 x 219 cm Royal Collection, Windsor The Adoration of the Shepherds is an imposing composition dating from around 1544-45 and the time of the artists early maturity. It was during this decade that Bassano painted a number of successful works on a large scale, which helped to establish him as a major artist of the Venetian school. The main compositional features of this painting are the treatment of the architecture, the Virgin's expression of concern for the Child, and the figure of the shepherd who acknowledges the Holy Family by removing his headgear. These features appear to be derived from a painting of the same subject by Titian, the original of which was painted for the Duke of Urbino in 1532-34 and may be the ruined panel in the Palazzo Pitti, Florence. Bassano clearly knew of Titian's painting, but almost certainly through the woodcut by the Master I.B. (Giovanni Boitto), which he seems to have made use of in the 1530s. The composition follows the same direction as the print, which reverses Titian's painting. It is notable that Bassano often redeployed figures in his paintings so that the figure of Joseph in the present work is found in reverse in the Rest on the Flight into Egypt and the kneeling shepherd in the foreground is used in reverse in the Adoration of the Magi. Apparently, from quite an early date, the artist kept a stock of drawings in his studio for this purpose. Apart from Titian, other influences have been cited in the context of Bassano's composition. The architectural features and the shepherd playing the bagpipes recall the woodcut of the Nativity in D?rer's Little Passion of 1511. On a general basis the naturalistic aspects of the composition are often compared with Netherlandish painting, particularly the work of artists such as Pieter Aertsen. Such observations perhaps over-emphasise the eclectic elements in Bassano's art when it is preferable to stress the scale of the work, the firm drawing, the warm colouring and the view of the artist's home town of Bassano del Grappa, seen in the background against the mountains. Iconographically, the broken elements of the classical architecture denote the passing of the Old Law in favour of the New Law symbolised by the Christ Child. Similarly, the tree prefigures the death of Christ on the cross. Artist: BASSANO, Jacopo Painting Title: Adoration of the Shepherds , 1551-1600 Painting Style: Italian , , religious

Artist: Pieter Bruegel

konungarnas tillbedjan
Painting ID::  64005
1564 pannå, 111x83.5cm. national gallery,london

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Painting:: people --> Style:: party
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