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Unknown Portrait of a Nobleman  c. 1570 Oil on panel, 31 x 23 cm National Gallery of Art, Washington  Both the artist and the sitter of this painting are unknown. It is certain that the painting was produced in a courtly milieu.

Unknown Portrait of a Nobleman c. 1570 Oil on panel, 31 x 23 cm National Gallery of Art, Washington Both the artist and the sitter of this painting are unknown. It is certain that the painting was produced in a courtly milieu.

Unknown Portrait of a Young Man  c. 1770 Oil on canvas, 65 x 54 cm National Gallery of Art, Washington  This painting has long been associated with the oeuvre of Fragonard, but the attribution and the identity of the sitter have remained uncertain. However, the portrait betrays weaknesses that seem impossible for an artist of Fragonard's abilities. The traditional identification of the sitter as Fragonard's friend and fellow artist Hubert Robert seems also untenable.

Unknown Portrait of a Young Man c. 1770 Oil on canvas, 65 x 54 cm National Gallery of Art, Washington This painting has long been associated with the oeuvre of Fragonard, but the attribution and the identity of the sitter have remained uncertain. However, the portrait betrays weaknesses that seem impossible for an artist of Fragonard's abilities. The traditional identification of the sitter as Fragonard's friend and fellow artist Hubert Robert seems also untenable.

Unknown Sts Cosma, Damian and Pantaleon  c. 1455 Oil on panel, 131 x 72 cm Museo Thyssen-Bornemisza, Madrid  In the mid-15th century German painting, marked by the realist trend which had developed from the turn of the century onwards in the work of such artists as Konrad Witz and Stefan Lochner, saw a major evolution which was partly influenced by Flemish painting. This is evident in the present work.

Unknown Sts Cosma, Damian and Pantaleon c. 1455 Oil on panel, 131 x 72 cm Museo Thyssen-Bornemisza, Madrid In the mid-15th century German painting, marked by the realist trend which had developed from the turn of the century onwards in the work of such artists as Konrad Witz and Stefan Lochner, saw a major evolution which was partly influenced by Flemish painting. This is evident in the present work.

Unknown Allegory of the Vanity of Earthly Things  c. 1630 Oil on canvas, 96 x 135 cm Galleria Nazionale d'Arte Antica, Rome  Mentioned in the 19th-century inventories as an Allegory of Meditation by Gerard van Honthorst, this painting was given later to a follower of Honthorst, and it was connected with a group of paintings dated to 1630-33 and attributed to the so-called "Candlelight Master".

Unknown Allegory of the Vanity of Earthly Things c. 1630 Oil on canvas, 96 x 135 cm Galleria Nazionale d'Arte Antica, Rome Mentioned in the 19th-century inventories as an Allegory of Meditation by Gerard van Honthorst, this painting was given later to a follower of Honthorst, and it was connected with a group of paintings dated to 1630-33 and attributed to the so-called "Candlelight Master".

Unknown Cardinal Matthäus Lang von Wellenburg1529 Oil on parchment mounted on mahogany, 76 x 61 cm Residenzgalerie, Salzburg  This portrait of Cardinal Matthäus Lang von Wellenburg (1468-1540) was painted by an artist who belonged to the Danube School, a painter from Albrecht Altdorfer's circle. The cardinal, who had received a humanistic education, was elected Archbishop of Salzburg in 1519.

Unknown Cardinal Matthäus Lang von Wellenburg1529 Oil on parchment mounted on mahogany, 76 x 61 cm Residenzgalerie, Salzburg This portrait of Cardinal Matthäus Lang von Wellenburg (1468-1540) was painted by an artist who belonged to the Danube School, a painter from Albrecht Altdorfer's circle. The cardinal, who had received a humanistic education, was elected Archbishop of Salzburg in 1519.

NICCOLÒ DI BUONACCORSO Virgin and Child Enthroned with Saints  c. 1380 Tempera on panel, 46 x 32 cm Museum of Fine Arts, Boston  Niccolò di Buonaccorso was one of the most accomplished masters active in Siena in the last third of the fourteenth century. The present panel, showing the Virgin and Child with a Bishop Saint, St John the Baptist, and four angels, is probably the central section of portable triptych whose wings are now missing.

NICCOLÒ DI BUONACCORSO Virgin and Child Enthroned with Saints c. 1380 Tempera on panel, 46 x 32 cm Museum of Fine Arts, Boston Niccolò di Buonaccorso was one of the most accomplished masters active in Siena in the last third of the fourteenth century. The present panel, showing the Virgin and Child with a Bishop Saint, St John the Baptist, and four angels, is probably the central section of portable triptych whose wings are now missing.

NARDO DI CIONE Crucifixion  1350-60 Tempera on wood, 145 x 71 cm Galleria degli Uffizi, Florence  This is one of the most important works produced in Florence around the middle of the fourteenth century. It was probably the central panel of a tabernacle and in the predella contains half length figures of various saints:

NARDO DI CIONE Crucifixion 1350-60 Tempera on wood, 145 x 71 cm Galleria degli Uffizi, Florence This is one of the most important works produced in Florence around the middle of the fourteenth century. It was probably the central panel of a tabernacle and in the predella contains half length figures of various saints:

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