Oil On Canvas, Real Flavor of Old Masters

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Painting:: landscape             BEST SELLER::. Special Offer
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Artist: Winslow Homer
Winslow Homer Driftwood oil painting picture wholesale


Winslow Homer Driftwood oil painting picture wholesale

Painting ID::  62794
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Driftwood
mk285 1909 Oil on 62 x 71 cm private possession of
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Artist: Winslow Homer
Winslow Homer Vessels away by strong wind oil painting picture wholesale


Winslow Homer Vessels away by strong wind oil painting picture wholesale

Painting ID::  62795
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Vessels away by strong wind
mk285 1888 Watercolor 25.7 x 48.3 cm Nian Brooklyn Museum of Art
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Artist: Winslow Homer
Winslow Homer Anchor ready to berthing oil painting picture wholesale


Winslow Homer Anchor ready to berthing oil painting picture wholesale

Painting ID::  62796
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Anchor ready to berthing
mk285 1903 Watercolor 40.3 x 55.5 cm Washington, National Gallery of Art Tibet
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Artist: Winslow Homer
Winslow Homer Santiago de Cuba lighting at the entrance to Hong Kong oil painting picture wholesale


Winslow Homer Santiago de Cuba lighting at the entrance to Hong Kong oil painting picture wholesale

Painting ID::  62797
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Santiago de Cuba lighting at the entrance to Hong Kong
mk285 1901 Oil on 77.4 x 128.2 cm U.S. Metropolitan Art Collection
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Artist: Winslow Homer
Winslow Homer Storm approaching oil painting picture wholesale


Winslow Homer Storm approaching oil painting picture wholesale

Painting ID::  62798
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Storm approaching
mk285 1901 Watercolor 37 x 53.7 cm Washington, United States National Collection of Fine Arts
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Artist: Winslow Homer
Winslow Homer Shage Nai River 3 Shanjia oil painting picture wholesale


Winslow Homer Shage Nai River 3 Shanjia oil painting picture wholesale

Painting ID::  62800
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Shage Nai River 3 Shanjia
mk285 1904 - 1909 Oil on 73 x 123.8 cm
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Artist: Winslow Homer
Winslow Homer Houses and trees oil painting picture wholesale


Winslow Homer Houses and trees oil painting picture wholesale

Painting ID::  62803
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Houses and trees
mk285 1899 Watercolor 33.9 x 53.3 cm Nian Brooklyn Museum of Art
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Artist: Winslow Homer
Winslow Homer Black Lodge oil painting picture wholesale


Winslow Homer Black Lodge oil painting picture wholesale

Painting ID::  62805
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Black Lodge
mk285 Watercolor 1898 36.5 x 53.3cm Brooklyn Art Collection
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Artist: Winslow Homer
Winslow Homer Watch all normal oil painting picture wholesale


Winslow Homer Watch all normal oil painting picture wholesale

Painting ID::  62808
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Watch all normal
mk285 1896 Oil on 101.6 x 76.8 cm Collection of Fine Arts, Boston
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Artist: Winslow Homer
Winslow Homer Maine cliffs oil painting picture wholesale


Winslow Homer Maine cliffs oil painting picture wholesale

Painting ID::  62809
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Maine cliffs
mk285 Watercolor 1883
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Artist: Winslow Homer
Winslow Homer Gardens and Housing oil painting picture wholesale


Winslow Homer Gardens and Housing oil painting picture wholesale

Painting ID::  62811
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Gardens and Housing
mk285 1899 Watercolor 35.5 x 53.3 cm Nian
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Artist: John Martin
John Martin The Eve of the Deluge oil painting picture wholesale


John Martin The Eve of the Deluge oil painting picture wholesale

Painting ID::  62815
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The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm Royal Collection, Windsor John Martin had humble beginnings in Newcastle-upon-Tyne as a herald painter to a coach-builder, and then in London as a painter on china and glass, but he later achieved a great success with his highly imaginative paintings of scenes from a variety of literary sources, particularly the Old Testament. Many of these pictures were executed on a vast scale and were frequently visionary in conception. The impact of Martin's paintings was also enhanced by his use of vivid contrasts in colour, which served to emphasise the grandeur and other-worldliness of his compositions, and the varying thickness of the paint surface. Apart from his paintings Martin was also a prolific illustrator and engraver, as well as a practising urban engineer. It was while Prince Albert was visiting Martin's studio that he saw one of the artist's major works, The Deluge (the second version of 1834, present whereabouts unknown), and suggested that the artist paint the related themes - The Eve of the Deluge and The Assuaging of the Waters - in order to make a series. It would seem, however, that the artist himself had already developed the idea for such a sequence. The subject of The Eve of the Deluge is ultimately based on Genesis 6:5-8, in which God despairs of man's wickedness on earth and decides to destroy him with the single exception of Noah. The figures on the promontory in the foreground are the patriarchs. The seated figure with a white beard is Methuselah, who is surrounded by the family of Noah. Methuselah instructs Noah to open the scroll written by his father, Enoch, so that he can compare the signs in the sky (sun, moon and comet) with those on the scroll. The fact that they match ordains the end of the world and this results in Methuselah's death. The figures hurrying up the slope include those described in the Bible as 'giants in the earth in those days'. In the middle distance, under the trees on the right, is a group of revellers representing the antediluvian age. Their behaviour has no doubt undermined God's confidence in man. Ravens, a symbol of ill omen, circle overhead. The ark, which Noah was instructed to build in order to save himself, his family and the animals, is visible on a distant promontory in the background on the right. Both The Eve of the Deluge and The Assuaging of the Waters were exhibited at the Royal Academy in 1840, and The Eve of the Deluge was acquired by Prince Albert the following year. The Assuaging of the Waters is now in San Francisco Museum of Fine Arts. Martin published his own account of these three paintings in a pamphlet entitled The Deluge of 1840. This shows that his sources were fairly recondite, extending beyond the historical and the religious to the cosmological and the eschatological, including Byron's Heaven and Earth. 'Altogether the three paintings amount to a history of the world, summarized in the terms of documentary mythology and dioramic episodes, compressed into three scenes - evening,
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Artist: Joseph Anton Koch
Joseph Anton Koch Mountain Scene oil painting picture wholesale


Joseph Anton Koch Mountain Scene oil painting picture wholesale

Painting ID::  62822
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Mountain Scene
110 x 161 cm Wallraf-Richartz Museum, Cologne A group of German painters based in Rome in the early nineteenth century had a most decisive effect on the development of German art. The foremost of these artists was Joseph Anton Koch. He was born in Obergiblen in the Tyrol in 1768 but lived in Rome from spring 1795 to his death in 1839. Here he painted the 'heroic landscapes' which form the major part of his work. His Mountain scene of 1796, one of his earliest paintings, shows his attempt to continue the tradition of seventeenth-century landscape painting and to relate the heroic grandeur of nature to the human life that is dependent on it
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Artist: Jakob Philipp Hackert
Jakob Philipp Hackert Autumn oil painting picture wholesale


Jakob Philipp Hackert Autumn oil painting picture wholesale

Painting ID::  62839
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Autumn
1784 Oil on canvas, 96,5 x 64 cm Wallraf-Richartz Museum, Cologne The painting depicts a grape harvest and the view of Sorrento, the Gulf of Naples and the islands. Artist: HACKERT, Jacob Philipp Title: Autumn Date: 1751-1800 German , painting : landscape
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Artist: Friedrich Johann Overbeck
Friedrich Johann Overbeck Morning in the Riesengebirge oil painting picture wholesale


Friedrich Johann Overbeck Morning in the Riesengebirge oil painting picture wholesale

Painting ID::  62851
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Morning in the Riesengebirge
1810-11 Oil on canvas, 108 x 170 cm Nationalgalerie, Berlin With his friend Kersting he had made a tour of the mountainous area near Dresden known as 'Saxon Switzerland', in the summer of 1810. Morning in the Riesengebirge, painted shortly afterwards, is another exposition of his theme of the cross on a peak. It may be seen as a sort of continuation of the Tetschen Altar. The planes of earth and sky, representing the bodily and the infinite, are bridged by the crucifix, lit by the morning sun. Artist: FRIEDRICH, Caspar David Title: Morning in the Riesengebirge , painting Date: 1801-1850 German : landscape
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Artist: Friedrich Johann Overbeck
Friedrich Johann Overbeck The Cross in the Mountains oil painting picture wholesale


Friedrich Johann Overbeck The Cross in the Mountains oil painting picture wholesale

Painting ID::  62852
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The Cross in the Mountains
1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape
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Artist: Caspar David Friedrich
Caspar David Friedrich The Watzmann oil painting picture wholesale


Caspar David Friedrich The Watzmann oil painting picture wholesale

Painting ID::  62856
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The Watzmann
1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape
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Artist: Karl Blechen
Karl Blechen Building the Devil's Bridge oil painting picture wholesale


Karl Blechen Building the Devil's Bridge oil painting picture wholesale

Painting ID::  62877
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Building the Devil's Bridge
1833 Oil on canvas, cm Neue Pinakothek, Munich At first sight the picture seems full of mystery, indeed it creates a sense of unease. The very title seems designed to evoke a shudder, and this impression is strengthened by the darkening evening with its long shadows, and above all, the building crane, which looks like a gallows. The viewer may well be attracted to the Romantic mood of the painting, but the true message is clear, and it is rather sombre. Man is bringing even the most distant and seemingly inaccessible regions under control through civilization and technical advance, and he is mastering the aspects of nature that have till now seemed unapproachable and fearful. But there is also allegory here - it is in the reference to transience. The new bridge that is being built will one day be as crumbling as the old one is now. Artist: BLECHEN, Karl Title: Building the Devil's Bridge , painting Date: 1801-1850 German : landscape
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Artist: Thomas Cole
Thomas Cole The Architect's Dream oil painting picture wholesale


Thomas Cole The Architect's Dream oil painting picture wholesale

Painting ID::  62883
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The Architect's Dream
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other
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Artist: unknow artist
unknow artist The Castle of Batavia oil painting picture wholesale


unknow artist The Castle of Batavia oil painting picture wholesale

Painting ID::  62884
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The Castle of Batavia
Seen from Kali Besar West 1656 Oil on canvas, 108 x 151,5 cm Rijksmuseum, Amsterdam Dutch expansion overseas was in both directions, eastward and westwards. In particular, it was the establishment of the Dutch East India Company (VOC) in 1602 and the Dutch West India Company (WIC) in 1621, each with clearly demarcated areas of activity, that caused the number of Dutch overseas territories to increase rapidly. Some of the settlements in the western hemisphere were only briefly under Dutch administration: Northern Brazil (1624-1661) and New Holland, with the city of New Amsterdam ethe future New York eat the mouth of the Hudson river (1628-1664). On the other hand, the islands of Curacao, Aruba, Bonaire, St. Eustatius, Saba and St. Martin are still Dutch, while Surinam became independent in 1975. The Far Eastern territories were the most important, including settlements in India, Ceylon (now Sri Lanka), Malacca (now part of Malaysia), Formosa (now Taiwan), the Japanese island of Deshima and the Indonesian archipelago. It was here, in Batavia on the island of Java, that the VOC established its administrative headquarters, with a governor-general in charge from 1610 onwards. Trading contracts were signed and alliances concluded with local princes. In 1652, a staging post for VOC ships was established at the southern tip of Africa, known as the Cape of Good Hope. The arrival of settlers was to transform this into a fully-fledged Dutch colony. In the background of the paianting is the castle of Batavia, the bastion of Dutch rule in Asia. This was where the VOC's administrators lived. The governor-general is just arriving in town with his retinue. In the foreground is a market by the Kali Besar, or Great River. The Dutch built Batavia in 1619 on the site of Jakarta, which they had destroyed. Beeckman was commissioned by the voc to paint this peaceful scene on the spot. Artist: BEECKMAN, Andries Title: The Castle of Batavia, Seen from Kali Besar West , painting Date: 1651-1700 Dutch : landscape
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Painting:: landscape