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

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Jaime Huguet
The Flagellation of Christ

ID: 02263

Jaime Huguet The Flagellation of Christ
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Jaime Huguet The Flagellation of Christ


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Jaime Huguet

1415-1492 French Jaime Huguet Galleries   Related Paintings of Jaime Huguet :. | The Lamentation of Christ (mk05) | Head of a Prophet (Fragment of a Lost Altarpiece) | The Flagellation The Four Symbols of the Evangelists (mk05) | Last Supper | The Lamentation of Christ |
Related Artists:
Francis Parsons
painted Cunne Shote in 1762
Hughes Taraval
1729-1785
Perov, Vasily
Russian Painter, 1834-1882 Russian painter. Son of a public prosecutor, he studied intermittently at Arzamas from 1846 to 1849 at the Art School of Alexander Stupin (1776-1862), a classicist painter whose School was the first of its type in provincial Russia, and during the 1850s at the Moscow School of Painting, Sculpture and Architecture under Sergey Zaryanko. The work of Pavel Fedotov, pictorial satire in the press and genre scenes by the Old Dutch masters and William Hogarth were the greatest formative influences on Perov. His early works, permeated by a Biedermeier romantic spirit, combine detailed brushwork with anecdotal narrative and aim at criticizing social behaviour in line with the contemporary democratic doctrines of such writers as Nikolay Chernyshevsky. Such anti-clerical pictures as the Village Sermon (1861; Moscow, Tret'yakov Gal.) are distinguished by a particular irony. As in the prose of Nikolai Leskov, which has many affinities with Perov's painting, there is a conflict between feelings of love and hatred, and between an intimate knowledge of the daily life of the people and an alienating irony. In 1862-4 Perov travelled abroad, working mainly in Paris, where he painted a series of vivid genre scenes of city life. Perov's success as a genre painter reached its peak in the latter half of the 1860s. His compositions become more laconic and expressive; overcoming an indisciplined use of colour, he achieved an impressive unity with an austere greyish-brown palette. Such works as the Drowned Girl (1867) and the Last Tavern by the City Gates






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