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

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unknow artist
European city landscape, street landsacpe, construction, frontstore, building and architecture.336

ID: 46960

unknow artist European city landscape, street landsacpe, construction, frontstore, building and architecture.336
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unknow artist European city landscape, street landsacpe, construction, frontstore, building and architecture.336


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unknow artist

  Related Paintings of unknow artist :. | Still life floral, all kinds of reality flowers oil painting 331 | Kaiser Joseph I. (1678-1711) im Alter von sechs Jahren mit einem Hund, in ganzer Figur | Sir Henry Untonwas a well-to-do Elizabethan Gentheman | Montezuma responds to Chapultepec for develar the esculturos of its ancestros | Portrait of a sculptor,bust length,set within a stone niche,on the ledge a hammer,chisel and calipers |
Related Artists:
Johannes van Wijckersloot
Johan Hendriksz Van Wijckersloot (1557- 1602) Born in Utrecht, Utrecht, Netherlands on 20 Oct 1557 to Hendrick Roelofsz Van Wijckersloot and Antonia Gosina Van Benthem. He passed away on 27 Jul 1602 in Utrecht, Utrecht, Netherlands
Theodor Hosemann
painted Blick uber die Havel auf das winterliche Brandenburg in 1838
Maffei, Francesco
Italian Baroque Era Painter, 1605-1660 Italian painter. He probably trained with his father, Giacomo Maffei, before joining the workshop of the Maganza family in Vicenza. His early works, such as the Ecce homo (ex-Dianin priv. col., Padua, see Pallucchini, 1981,), were influenced by the eclectic style, between Veronese and the Bassani, of Alessandro Maganza. The St Nicholas and the Angel (1626; Vicenza, S Nicola da Tolentino), with colours like those of Veronese, yet lighter, suggests Maffei's rapid development of an independent style that is both rugged and moving. His interest in narrative, already evident in scenes from the Life of St Cajetan (Vicenza, S Stefano), was developed in the later Martyrdom of the Franciscan Minors at Nagasaki (Schio, S Francesco), which is datable to about 1630. Here, the contrast between the pale, silvery tones of the background and the darker foreground figures is derived from Tintoretto, but the exaggerated Mannerist treatment of the main figures also recalls the art of such French engravers as Jacques Bellange and Pierre Brebiette. At the same time there is also an echo of the extreme stylizations of Giovanni Demio.






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