Edouard Vuillard
Edouard Vuillard's Oil Paintings
Edouard Vuillard Museum
November 11, 1868-June 21, 1940. French painter.

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Melendez, Luis Eugenio
Still Life with Pigeons, Onions, Bread and Kitchen Utensils

ID: 19366

Melendez, Luis Eugenio Still Life with Pigeons, Onions, Bread and Kitchen Utensils
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Melendez, Luis Eugenio Still Life with Pigeons, Onions, Bread and Kitchen Utensils


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Melendez, Luis Eugenio

Spanish, born in Italy, approx. 1716-1780  Related Paintings of Melendez, Luis Eugenio :. | Portrait of Philip V of Spain | Style life with figs | Still-Life with a Box of Sweets and Bread Twists | Still Life with Pigeons, Onions, Bread and Kitchen Utensils | Still-Life with Figs |
Related Artists:
Hans Hartig
painted Im Hafen von Neuwarp in 1918
Gustaaf Vanaise
painted The Negroe and I in 1886
Piero della Francesca
Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.






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