Raphael
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Raphael Museum
April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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James Abbott McNeil Whistler
La Princesse du pays de la porcelaine
from 1863(1863) until 1865(1865) Medium Oil on canvas cyf
ID: 80448

James Abbott McNeil Whistler La Princesse du pays de la porcelaine
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James Abbott McNeil Whistler La Princesse du pays de la porcelaine


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James Abbott McNeil Whistler

1834-1903 James Abbott McNeill Whistler Art Locations   Related Paintings of James Abbott McNeil Whistler :. | Arrangement in light pink and black | Symphony in White 2 | Nocturne in Black and Gold The Falling Rocket | Harmony in Green and Rose | Harmony in Grey and Green |
Related Artists:
Alexander Keirincx
Alexander Keirincx (Antwerp, 23 January 1600-Amsterdam, 1652) was a Flemish Baroque painter who spent his later career in the Dutch Republic. He became a master in Antwerp's guild of St. Luke in 1619, and like his teacher Abraham Govaerts he initially specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo. Also like Govaerts, Keirincx's early works typically show diminutive history, mythological or biblical subjects within a Mannerist three-color universal landscape bracketed by repoussoir trees. However, during the 1620s his landscapes become increasingly natural. He lived in Utrecht and Amsterdam from 1628 until the end of his career, and made trips to England to decorate palaces for Charles I. The figures in his works were usually painted by collaborators such as Cornelis Poelenburg.[1] Keirincx worked primarily as an art dealer later in life.
Jean Descourtiz
French 19th
Peale, James
American, 1749-1831 Painter, brother of Charles Willson Peale. Charles encouraged him to become a painter; James also worked as a frame-maker for his brother until the Revolution, in which he served as a lieutenant. From 1779 James shared Charles's practice, specializing in miniatures. His early work, occasionally confused with Charles's, shows his brother's influence. After 1794, his style became clearly his own: more delicate with subtle colour harmonies, softened outlines and free handling; it may be distinguished by a faint violet tone in the shadows and the inconspicuous signature 'IP'. His miniatures of male subjects are frequently superior to his portraits of women, for example Benjamin Harwood (1799; Baltimore, Mus. & Lib. MD Hist.), but his meticulous attention to costume and his success in imparting colour and sparkle to skin and eyes,






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