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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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CARDUCHO, Vicente
(b. 1576, Florence, d. 1638, Madrid
Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal, |
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CARDUCHO, Vicente
Vision of St Francis of Assisi fg
1631
Oil on canvas, 246 x 173 cm
Museum of Fine Arts, Budapest
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CARDUCHO, Vicente
The Vision of St. Anthony of Padua sdf
1631
Oil on canvas
The Hermitage, St. Petersburg
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CARDUCHO, Vicente
Ecstasy of Father Birelli (mk05)
Canvas,23 1/2 x 19''(60 x 48 cm)Acquired in 1980
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CARDUCHO, Vicente
ST Bernard of Clairvaux (mk05)
Canvas,23 1/2 x 19''(60 x 48 cm)Acquired in 1980
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| CARDUCHO, Vicente
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(b. 1576, Florence, d. 1638, Madrid
Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal,
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