Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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CARPACCIO, Vittore
Arrival of the English Ambassadors g

ID: 05845

CARPACCIO, Vittore Arrival of the English Ambassadors g
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CARPACCIO, Vittore Arrival of the English Ambassadors g


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CARPACCIO, Vittore

Italian High Renaissance Painter, ca.1450-1525  Related Paintings of CARPACCIO, Vittore :. | The Stoning of St Stephen g | Vision of St Augustin fg | Portrait of a Knight dsfg | Holy Conversation (detail) fdg | Vision of St Augustin (detail) dsf |
Related Artists:
Jean Clouet
French Painter, ca.1485-1541 painter. He was chief painter to Francis I and produced many pastel portraits of members of the French court. Clouet was one of the best 16th-century portrait painters, both incisive and delicate in the psychological characterization of sitters. His drawings are simple, broad, and subtle; his paintings are fresh in colour, subdued in modeling, and minute in execution. He was celebrated in his lifetime as the equal of Michelangelo. His son Francois Clouet (c. 1515 ?C 72) took his place as official painter to Francis I in 1540.
E. Phillips Fox
Emanuel Phillips Fox (1865-1915) was an Australian Naturalist painter.
Louis Hayet
French, 1864-1940.French painter and writer. He was largely self-taught and initially earned his living as an itinerant painter-decorator. In 1881 he met Lucien and Camille Pissarro while painting landscapes near Pontoise and through them met Paul Signac in 1885 and Seurat in 1886. After a years military service at Versailles, Hayet moved to Paris in the autumn of 1887. There he began to apply to his paintings Eug?ne Chevreuls theories of colour contrast with which he had become familiar by 1881. A gifted watercolour painter, he also experimented with the ancient technique of wax encaustic, painting on a prepared cotton that allowed light to filter through. The paint surface of works such as The Grange (Beauchamp, France, priv. col., see 1983 Pontoise exh. cat., no. 1) retains a vivid tonal freshness, while the subject of crowds of peasants gathered before the Paris agricultural market reveals a debt to Pissarro. During the second half of the 1880s he became obsessed with the notion of passage






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