The 647 Artworks of media Oil On Copper and containing the word annibale carracci, oil on copper, 1600

Elsheimer’s directness of vision placed him, along with Caravaggio and Annibale Carracci, in the vanguard of reforming artists working in Rome in the first decade of the seventeenth century. A pioneer in the development of naturalistic landscape, his influence extended to Claude and Rembrandt. Here ...

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Inside a dark cavern, dramatically lit by a torch, Christ’s limp but powerful body is about to be lowered into his tomb. Light on the horizon signals either sunset on his earthly life or sunrise in anticipation of a new beginning with his resurrection. This richly painted oil on copper was commissio...

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Among his innovations, Annibale launched the vogue for landscapes in which nature was carefully studied but transformed by the imagination into an idyllic setting for religious or mythological stories. The main figure’s large almond eyes derive from the study of ancient sculpture. Annibale’s paintin...

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This meticulously painted little work is a typical example of the Mannerist style, which was in fashion around 1600. The style is characterised by naked figures in complex graceful poses. Joachim Wtewael painted this work on smooth copper, which lends itself well to painting fine details. It depicts...

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Thought to be Rubens’s earliest dated work, this oil on copper is one of the few known paintings by the artist completed before his departure from Antwerp for Italy in 1600 and attests to his sensitivity as a portraitist. The unknown gentleman holds a watch, an architect’s or draftsman’s square and ...

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A pupil of Annibale Carracci, Domenichino was a key proponent of an idealizing, classical style. His landscapes transpose observation of nature to a timeless, idyllic realm. This oil on copper depicts a scene from the biblical book of Exodus in which a burning bush was one of three miracles that God...

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Annibale Carracci, with Caravaggio the most innovative painter at the birth of baroque painting, painted the theme (Matthew, III, 13-17) already in 1585 for S. Gregorio in Bologna, with michelangelesque figures. Of particular interest is the comparison with Domenichino/

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Domenichino, who is renowned for his large-scale frescoes, history paintings, and altarpieces, became Italy’s leading classical painter in the first half of the seventeenth century. Trained at the Carracci Academy in his native city of Bologna, he came to Rome in 1602 to work under Annibale Carracci...

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The Portrait of Prince Maurits (SK-A-2100) is a small-scale copy of Van Mierevelt’s 1607 painting in Delft,2 of which there are many versions.3 According to a note at the Iconographisch Bureau, the Portrait of Frederik Hendrik (shown here) is a copy of a 1612 painting by Jan van Ravesteyn.4 Van Rave...

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As usual in Savery’s oeuvre, the subject, in this case the biblical story of Elijah fed by ravens, is subordinated to the landscape. According to Walford, it is the rays of sunlight that give the scene its religious nature,2 but such rays are frequently found in the artist’s non-religious works.3 Th...

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Although the earliest known provenance of this painting, the manuscript sale catalogue of the estate of the dealer Jaques Meyers in 1722, gives a detailed description of it as ‘a landscape with three men and an old lady’, for a long time afterwards there was some confusion about the sex of the bathe...

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As Faggin first recognized,7 depicted in the middle distance is Rebecca offering her pitcher to Eliezer, Abraham’s servant, as related in Genesis, 24:45-46. The fountain required by the narrative is conveyed by a generalized depiction from the side of the fountain and bowl placed in the Foro Romano ...

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After his return from Italy in c. 1627 until his death 40 years later Van Poelenburch produced an enormous number of cabinet pieces depicting archaic landscapes with figures bathing. Only few have specific subjects, such as Diana and her Nymphs Spied upon by Actaeon,8 or Landscape with the Discovery...

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In his review of the auction of the estate of F. Kaijser in 1888, Bredius suggested a date for this picture in the middle of Breenbergh’s career. He also noted that it showed the strong influence of Cornelis van Poelenburch, and that it was painted very smoothly.6 Doubts about the attribution were f...

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These miniature portraits on copper, dated 1627 (see SK-A-1791) and 1629 (shown here), were acquired by the museum at the end of the 19th century. The sitters’ identities are unknown. It can be deduced from the inscription that the man was born in 1587 or 1588, and the woman in 1591 or 1592. Althoug...

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These miniature portraits on copper, dated 1627 (shown here) and 1629 (see SK-A-1792), were acquired by the museum at the end of the 19th century. The sitters’ identities are unknown. It can be deduced from the inscription that the man was born in 1587 or 1588, and the woman in 1591 or 1592. Althoug...

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Notwithstanding the apparent narrative and archaic dress that seem to suggest a story from the Old Testament, there has been no convincing identification of the subject of this painting. When it appeared at auction in 1958 it was identified as Joseph Relating his Dreams to the Shepherds (read: ‘to h...

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