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Domenichino
The Assumption of Mary Magdalen into Heaven (mk08)
c.1617-1621
Oil on canvas
129x100cm
St Petersburg,Hermitage
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Domenichino
The Maiden and the Unicorn (mk08)
c.1602
Freso,Rome,Palazzo Farnese
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Domenichino
St Agnes (mk25)
c 1620
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Domenichino
Self-Portrait
c.1610-12
Oil on canvas
66.4x49.9cm
Palazzo Pitti,Florence
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Domenichino
The Sacrifice of Abraham
mk61
1627-1628
Oil on canvas
147x140
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Domenichino
The Repose of Venus
mk65
Oil on canvas
23x30"
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Domenichino
Detail of The Repose of Venus
mk65
Detail
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Domenichino
The Assumption of Mary Magdalen into Heaven
mk65
Oil on canvas
51x43"
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Domenichino
Sainte Cecile avec un ange tenant une partition musicale
mk70
Toile
H.1.60
L.1.20
Paris,Muse du Louvre
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Domenichino
Le Roi David jouant de la harpe
mk70
Toile
H.2.40
L.1.70
Versailles,Musee National du Chateau
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Domenichino
Recreation by our Gallery
mk79
1614
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Domenichino
The Assumption of Mary Magdalen into Heaven
mk86
c.1617-1621
Oil on canvas
129x100cm
St Petersburg,Hermitage
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Domenichino
The Maiden and the Unicorn
mk86
c.1602
Fresco,Rome
Palazzo Farnese
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Domenichino
Saint George Killing the Dragon
mk170
circa 1610
Oil on wood
52.7x61.8cm
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Domenichino
Landscape with Tobias as far hold of the fish
mk234
probably
ca 1617-18
45x34cm
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Domenichino
The Assumption of Mary Magdalen into Heaven
mk244
c.1617-1621
Oil on canvas
129x100cm
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Domenichino
st.george killing the dragon
mk247
c.1610,oil on wood,20.75x24.12 in ,53x62 cm,national gallery,london,uk
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Domenichino
Martyrdom of St. Peter the Martyr,
Martyrdom of St. Peter the Martyr, c. 1619-21, Pinacoteca Nazionale di Bologna.
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Domenichino
A Virgin with a Unicorn
A Virgin with a Unicorn, c. 1604-05, fresco in Palazzo Farnese, Rome, by Domenichino after a design by Annibale Carracci
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Domenichino
St. Cecilia Distributing Alms
St. Cecilia Distributing Alms, fresco, 1612-15, San Luigi dei Francesi, Rome
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| Domenichino
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1581-1641
Italian
Domenichino Locations
Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.
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