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

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Dyck, Anthony van
The Greate Peece (mk25

ID: 24251

Dyck, Anthony van The Greate Peece (mk25
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Dyck, Anthony van The Greate Peece (mk25


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Dyck, Anthony van

Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses,  Related Paintings of Dyck, Anthony van :. | Mary Stewart | Susanna Fourment and her Daughter | The Three Eldest Children of Charles I (mk25) | Portrat der Elisabeth oder Theresia Shirley in orientalischer Kleidung | Head of a Robber |
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abstract composition
Russian painter, sculptor, designer and photographer. He was a central exponent of Russian Constructivism, owing much to the pre-Revolutionary work of Malevich and Tatlin, and he was closely involved in the cultural debates and experiments that followed the Revolution of 1917. In 1921 he denounced, on ideological grounds, easel painting and fine art, and he became an exponent of Productivism (see CONSTRUCTIVISM,
Jose Aparicio Inglada
1770-1838 Spain. b Alicante, 1770; d Madrid, 1838
Maria Fortuny i Marsal
painted Marocco, mercato e case in 1869






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