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

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unknow artist
An eighteenth-century oil painting owned by the Winterthur Museum claims to depict James Oglethorpe presenting the Yamacraw Indians to the Georgia Tru

ID: 73315

unknow artist An eighteenth-century oil painting owned by the Winterthur Museum claims to depict James Oglethorpe presenting the Yamacraw Indians to the Georgia Tru
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unknow artist An eighteenth-century oil painting owned by the Winterthur Museum claims to depict James Oglethorpe presenting the Yamacraw Indians to the Georgia Tru


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unknow artist

  Related Paintings of unknow artist :. | Portrait of Maria Hess | The Four Seasons with the Sun and the Moon | The Old Westover Mansion | Ludovico Il Moro and his son Massimiliano Sforza | Classical hunting fox, Equestrian and Beautiful Horses, 057. |
Related Artists:
Monamy, Peter
English Painter, 1681-1749 English painter. It seems likely that his family origins and name were French. The Painter-Stainers' Company records that he was apprenticed as a house painter to William Clarke from 1696, but by 1710 he had become a marine artist, filling the gap in the market left by the death of Willem van de Velde the younger in 1707. Most of his subsequent career was devoted to careful imitations of van de Velde's style (and, in some cases, of particular pictures), by which, according to Vertue, 'he distinguished himself and came into reputation'. He maintained his links with the Painter-Stainers, of which he had been made a freeman in 1703
Christen Dalsgaard
(October 30, 1824-February 11, 1907), Danish painter, was born on the Krabbesholm estate on the fjord near Skive, and was son of the estate owner, Jens Dalsgaard.
Caravaggio
Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.






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