The Three Graces. c.1503-1504. Oil on panel. Conde Museum, Chantilly, France.



Terranuova Madonna. c.1505. Oil on panel. Staatliche Museen zu Berlin, Gemaldegalerie, Berlin, Germany.

Madonna Connestabile. c.1503-1504. Oil on panel, transferred to canvas. The Hermitage, St. Petersburg, Russia



Entombment. 1507. Oil on panel. Museo Galleria Borghese, Rome, Italy.

St. George and the Dragon. c.1505-1506. Oil on panel. National Gallery of Art, Washington DC, USA


Madonna with the Baldachino. 1507-1508. Oil on panel. Palazzo Pitti, Galleria Palatina, Florence, Italy

The School of Athens. 1509. Fresco. Vaticano, Stanza della Segnatura, Rome



Parnasus. c. 1509-1510. Fresco. Vaticano, Stanza della Segnatura, Rome

Disputa. 1510-1511. Fresco. Vaticano, Stanza della Segnatura, Rome



Adam and Eve (ceiling panel). 1509-1511. Fresco. Vaticano, Stanza della Segnatura, Rome




The Judgment of Solomon (ceiling panel). 1509-1511. Fresco. Vaticano, Stanza della Segnatura, Rome

Caravaggio hakkinda Türkce yazilara bu adresten ulasabilirsiniz
Caravaggio


Caravaggio
(1571 –1610)




Caravaggio at Artprice. To look at auction records, find Caravaggio's works in upcoming auctions, check price levels and indexes for his works, read his biography and view his signature, access the Artprice database.
Michelangelo Merisi, called later Caravaggio, was born in either Milan, or a town of Caravaggio near Milan, as the son of a ducal architect. His early training started in 1584 under Simone Peterzano, a little known pupil of Titian, and continued till 1588.
In 1592, Caravaggio went to Rome. His contact with Giuseppe Cesare d’Arpino (1568-1640), the most popular painter and art dealer in Rome at the turn of the century, brought him recognition. Through the art business Caravaggio met his first patron Cardinal Francesco Maria Del Monte, who not only held out the possibility of working independently, but also secured for him his first public commission: side paintings in the Contarelli Chapel, San Luigi dei Francesi. For Cardinal’s Casino dell’Aurora he painted Jupiter, Neptune and Pluto (c.1599-1600).
From then on he was flooded by public commissions. Yet because of his violent temper he was constantly in trouble with the law. Since 1600, he is regularly mentioned in police records, is constantly under accusations of assault, libel and other crimes. In 1606, he became involved in murder and had to flee, finding refuge on the estates of Prince Marzio Colonna, where he painted Madonna of the Rosary (c.1606-1607).
On his wanderings he paused in Naples, painting exclusively religious themes: Seven Works of Mercy (1606-1607), The Flagellation of Christ (1607). Not only these, but almost all of Caravaggio’s religious subjects emphasize sadness, suffering, and death.
In Malta he was housed by the Knights of St. John and painted several portraits of the Grand Master, Alof de Wignacourt. The artistically fertile Maltese period brought him the title of a Knight of St. John of Malta in 1608, but was shortly interrupted by imprisonment for a passionate quarrel with a noble and a renewed flight.
Going through Syracuse and Messina, where some major late works came into being, The Raising of Lazarus (c.1608-1609) Caravaggio went on to Palermo and from there again to Naples. Here the news of the Pope’s pardon reached him but, on arriving at Porto Escole by ship, he was again arrested, though later released. By then the ship had sailed, carrying away all his possessions. Struck down by a fever, he died without setting foot in Rome again.


Penitent Magdalene. c.1593-1594. Oil on canvas. Galleria Doria Pamphilj, Rome, Italy



Self-Portrait as Sick Bacchus. c.1593-1594. Oil on canvas. Galleria Borghese, Rome, Italy



The Rest on the Flight into Egypt. c.1595. Oil on canvas. Galleria Doria Pamphilj, Rome, Italy

The Martyrdom of St. Matthew. 1599-1600. Oil on canvas. San Luigi dei Francesi, Rome, Italy.



Medusa. c.1598. Oil on canvas. Galleria degli Uffizi, Florence, Italy



Judith Beheading Holofernes. c.1599. Oil on canvas. Palazzo Barberini, Rome, Italy

Hieronymus Bosch hakkinda türkce bilgilere bu adresten ulasabilirsiniz
Hieronymus
Hieronymus Bosch un tüm resimlerini görmek icin buraya tiklayin

Hieronymus Bosch
(1450-1516)
Bosch’s pictures have always fascinated viewers, but in earlier centuries it was widely assumed that his diabolic scenes were intended merely to amuse or titillate, most people regarded him as “the inventor of monsters and chimeras’.
Philip II, though, collected his works more for education than for entertainment. A Dutch art historian in the early 17th century described Bosch’s paintings chiefly as ‘wondrous and strange fantasies… often less pleasant than gruesome to look at’. In the 20th century, however, scholars decided that Bosch’s art has a more profound significance, and there have been many attempts to explain its origins and meaning. Some writers saw him as a sort of 15th century surrealist and linked his name with that of Salvator Dali. For others, Bosch’s art reflects mysterious practices of the Middle Ages. No matter what explanation and comprehension of his art might be, Bosch remains the most extravagant painter of his time.
Bosch lived and worked in ‘s-Hertogenbosch, the place from which he takes his name, a fairly quiet Dutch city.
Bosch’s ancestors settled in ‘s-Hertogenbosch in the late 14th or early 15th century. Their family name, Van Aken, suggests that they originally came from the German town of Aachen. In 1430-31 appears the first reference to Bosch’s grandfather, Jan van Aken, who died in 1454. Jan had 5 sons, at least four of them were painters; one of these, Anthonius van Aken (died c.1478), was the father of Hieronymus Bosch. He had 2 brothers and a sister; brother Goossen was also a painter. His training as a painter Bosch, most probably, received in the family. Some time between 1479 and 1481 Bosch married Aleyt Goyaerts van den Meervenne, evidently some years his senior. She came from a good family and had considerable wealth of her own.
In 1486-87, Bosch’s name appears for the first time in the membership lists of the Brotherhood of Our Lady, with which he was closely associated for the rest of his life. This brotherhood was one of the many groups devoted to the worship of the Virgin, which flourished in the late Middle Ages. The Brotherhood of Our Lady of ’s-Hertogenbosch was a large and wealthy organization, it must have contributed significantly to the religious and cultural life of the city. They also commissioned works of art to embellish the chapel of Our Lady. Most of Bosch’s family belonged to the Brotherhood, and were employed by them in various tasks. There is no documentary evidence that Bosch ever left his home town. One final entry in the accounts of the Brotherhood of Our Lady records Bosch’s death in 1516.
Numerous paintings bearing Bosch’s name can be found in museums and private collections in Europe and the United States. Many of these are only copies or imitations of his original compositions, but over thirty pictures and a small group of drawings can be attributed to him with reasonable certainty. Except for his early works, however, the chronology of these paintings is difficult to determine with any precision.


Scenes from the Passion of Christ and the Pelican with Her Young. Reverse of St. John the Evangelist on Patmos. 1485. Oil on panel. Staatliche Museen zu Berlin, Gemaldegalerie, Berlin, Germany.



kaynak;abcgallery

Epiphany. 1480-1490. Oil on panel. Philadelphia Museum of Art, Philadelphia, PA, USA



The Stone Operation. 1475-1480. Oil on panel. Museo del Prado, Madrid, Spain

St. John the Evangelist on Patmos. 1485. Oil on panel. Staatliche Museen zu Berlin, Gemaldegalerie, Berlin, Germany



Tabletop of the Seven Deadly Sins and the Four Last Things. 1485. Oil on panel. Museo del Prado, Madrid, Spain



St. Christopher Carrying the Christ Child. 1480-1490. Oil on panel. Museum Boymans-van Beuningen, Rotterdam, Netherlands