Albert Bierstadt's Oil Paintings
	Albert Bierstadt Museum Jan 8, 1830 - Feb 18, 1902. German-American painter.
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Here are all the paintings of Antonello da Messina 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
94654		Annunciation	1474 Type Oil on panel Dimensions 180 cm x 180 cm (71 in x 71 in) cyf
38440		Antonello there measuring, madonna Annunziata	mk137 ca. 1475 oils on wood chalkboard 45x34.5cm Galleria Nazionale della Sicilla, Palermo
53706		Bebadelsen	mk34 about 1465 45x34cm
4819		Christ at the Column (detail)	c. 1475-1479 Oil on wood, 25,8 x 21 cm Mus??e du Louvre, Paris
84319		Christ Blessing	1465(1465) Medium Oil on wood Dimensions 38.7 x 29.8 cm cyf
42904		Christ Crucified	mk170 Dated 1475 Oil on wood
55959		Condottiero	mk247 1475,oil on wood,14x12 in,36x30.5 cm,louvre,paris,france
4822		Crucifixion dfgd	1475 Oil on panel 52.5 x 42.5 cm Koninklijk Museum voor Schone Kunsten, Antwerp
4821		Crucifixion 111	1475 Wood, 42 x 25,5 cm National Gallery, London
87887		Ecce Homo	Date 1474(1474) Medium Oil on wood Dimensions Deutsch: 39,7 x 32,7 cm cjr
94655		Ecce Homo	1475 Type Oil on panel Dimensions 48.5 cm x 38 cm (19.1 in x 15 in) cyf
39584		Madonna with SS Nicholas of Bari,Anastasia	mk150 1475/6 115/56x133.6cm
87926		Maria der Verkundigung	1475(1475) Medium Oil on wood cjr
98161		Maria der Verkundigung	1473(1473) Medium oil on panel Dimensions 43 x 32 cm cyf
42921		Portrai of a Man	mk170 circa 1475 Oil on poplar 35.6x25.4cm
31306		Portrait of a Man	nn07 c.1475 36x25cm
40237		Portrait of a Man	mk156 1475 Oil on panel 36x30cm
63537		Portrait of a Man	1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait
79671		Portrait of a Man	1473(1473) Medium Oil on panel cyf
79859		Portrait of a Man	c.1465-70 Oil on panel cjr
84830		Portrait of a Man	1470(1470) Medium Oil on wood Dimensions 27 x 20.6 cm (10.6 x 8.1 in) cyf
4826		Portrait of a Man jj	c. 1475 Oil on panel, 36 x 25 cm National Gallery, London
4825		Portrait of a Man kjjjkj	c. 1475 Oil on wood Galleria Borghese, Rome
4820		Portrait of a Man (Il Condottiere)	1475 Oil on wood, 35 x 38 cm Mus??e du Louvre, Paris
20075		Portrait of a Man (mk05)	1475 Wood 14 1/4 x 12''(36 x 30 cm)Entered the Louvre in 1865
4824		Portrait of a Man hh	1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin
2881		Portrait of a Young Man	1465 National Gallery, London
79932		Portrat eines Mannes	1474 - 1475 Medium Oil on panel Dimensions Deutsch: 30 x 24 cm cyf
93474		Portrat eines Mannes	1474 - 1475 Porträt eines Mannes Medium oil on panel Dimensions Deutsch: 30 x 24 cm cjr
38473		Portrat of a man	mk137 1475 oils on wood chalkboard 36x30cm muse you Louvre, Paris
53707		Portratt of young man	mk234 aout 1465 35x25cm
55958		Prtrait of a Man	mk247 c.1475,oil on poplar,14x10 in,36x25.5 cm,national gallery,london,uk
33414		Sacra Conversazione	mk86 1475/76 Tempera on wood Saints Nicholas and Anastasia 56x35cm Virgin and Child 115x63cm
21240		Sacra Conversazione (mk08)	Tempera on wood.Saints Dominic and Ursula 57x36cm Vienna ,Kunsthistorisches Museum
3266		Saint Jerome in his Study	c1475-76 National Gallery, London
42923		Saint Jerome in His Study	mk170 circa 1475 Oi lon lime 45.7x36.2cm
23249		Saint Jerome in his Study (nn03)	c 1475-6 Oil on panel h46 x w36.5 cm h18 x w14 1/4in National Gallery,London
90598		Salvator mundi	1465(1465) Medium oil on panel cyf
86646		Salvator mundi, Detail	Date 1465(1465) Medium Oil on wood cjr
4818		San Cassiano Altar	1475-76 Oil on panel Kunsthistorisches Museum, Vienna
40240		San Cassiano Altar	mk156 1475-1476 Oil on panel 115x65cm
2878		San Cassiano Altarpiece	1475-76 Art History Museum, Vienna
4828		St Jerome in his Study	c. 1460 Wood, 46 x 36,5 cm National Gallery, London
33411		St Jerome in His Study	mk86 c.1456 Tempera on wood 46x36cm London,National Gallery
84580		St Jerome in his Study	Date ca. 1460(1460) Medium Oil on wood Dimensions Height: 46 cm (18.1 in). Width: 36 cm (14.2 in). cjr
88443		St Jerome in his Study	1460(1460) Medium Oil on wood cyf
21237		St Jerome in His Study (mk08)	C.1456 Tempera on wood 46x36cm London National Gallery
21239		St Sebasian (mk08)	c,1476 Tempera on wood transferred to canvas 171x86cm Dresden,Gemaldegalerie Alte Meister
33413		St Sebastian	mk86 c.1476 Tempera on wood transferred to canvas 171x86cm Dresden,Gemaldegalerie Alte Meister
40245		St Sebastian	mk156 c.1476 Panel transposed on canvas 171x85cm
91187		St Sebastian	between 1476(1476) and 1477(1477) Medium Oil on canvas transferred from panel Dimensions Height: 171 cm (67.3 in). Width: 85.5 cm (33.7 in). cyf
4827		St Sebastian jj	1476-77 Oil on canvas transferred from panel, 171 x 85,5 cm Gemäldegalerie, Dresden
2882		St.Jerome in his Study	National Gallery, London
41132		The Dead Christ	mk157 1475-76 Oil on wood 117x85cm
4823		The Dead Christ Supported by an Angel	1475-78 Panel, 74 x 51 cm Museo del Prado, Madrid
28606		The Dead Christ Supported by an Angel	mk61 c.1476 Oil on panel 74x51cm
2880		Virgin Annunciate	1465 Galleria Nazionale della Sicilia
33412		Virgin Annunciate	mk86 c.1475 Oil on wood 45x34.5cm Palermo,Galleria Nazionale della Sicilia
40236		Virgin Annunciate	mk156 1475 Oil on panel 45x135cm
86600		Virgin Annunciate	Date c. 1476(1476) Medium Oil on wood Dimensions Height: 45 cm (17.7 in). Width: 34.5 cm (13.6 in). cjr
21238		Virgin Annunciate (mk08)	c.1475 Oil on wood 45x34.5cm Palermo,Galleria Nazionale della sicilia
4830		Virgin Annunciate hhh	c. 1476 Oil on wood, 45 x 34,5 cm Museo Nazionale, Palermo
2879		Virgin of the Annunciation	Pinakothek, Munich
4829		Virgin of the Annunciation fvv	Oil on panel Alte Pinakothek, Munich

Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.

All the Albert Bierstadt's Oil Paintings

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