Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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BALDUNG GRIEN, Hans
The Seven Ages of Woman ww

ID: 04923

BALDUNG GRIEN, Hans The Seven Ages of Woman ww
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BALDUNG GRIEN, Hans The Seven Ages of Woman ww


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BALDUNG GRIEN, Hans

German Northern Renaissance Painter and Printmaker, ca.1484-1545  Related Paintings of BALDUNG GRIEN, Hans :. | Eve, the Serpent, and Death | Adam (detail) | Three Ages of Man and Three Graces | Virgin and Child in a Room | Crucifixion |
Related Artists:
riesener

CATENA, Vincenzo
Italian Painter, ca.1480-1531 His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena's are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits.
Pietro da Cortona
1596-1669 Italian Pietro da Cortona Galleries Italian painter, draughtsman and architect. He was, together with Gianlorenzo Bernini and Franceso Borromini, one of the three leading artists of the Roman Baroque. As a painter he developed the early Baroque style, initiated by Annibale Carracci, to a magnificent and imposing High Baroque. His fresco decorations set a standard for European Baroque painting until they were eclipsed by Giambattista Tiepolo's works and those of other Venetian masters of the 18th century. As an architect Cortona was far less influential. His imaginative designs for fa?ades and stucco decorations were, however, conclusive and independent solutions to problems central to Roman Baroque architecture.






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