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#artist is johann heinrich tischbein
diioonysus · 22 days
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bows in art
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floral-art-prints · 3 months
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Girl with Flowers by Johann Heinrich Wilhelm Tischbein (Öl auf Leinwand)
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Diogenes mit der Lampe auf Menschensuche in Athen - Johann Heinrich Wilhelm Tischbein  (1751–1829), second half of the 17th century.
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Amazons – Johann Heinrich Wilhelm Tischbein (detail) // The Lookout – Vasily Polenov // The Revelation (Brünnhilde Discovering Sieglinde and Siegmund) – Gaston Bussière (detail) // The Brigand’s Wife – Anton Romako // The Amazon – Karl Ludwig Hassmann // The Heroine of Peralada – Antoni Caba // Judith and Holofernes – unknown artist // The Accolade – Edmund Leighton // Valkyries – Elisabeth Baumann // The Valkyrie – Servais Joseph Detilleux // Inkpot Gods – The Amazing Devil
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gogmstuff · 2 years
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1770s portraits:
Top:  1770s Actress Mademoiselle Evrard by Johann Heinrich Tischbein (Neue Galerie - Kassel, Hessen, Germany). From the-athenaeum.org/art/full.php?ID=150966 1501X2000 @96 740kj.
Middle row left:  One of a pair of portraits by ? (Im Kinsky - 28Jun22 auction Lot 142). From invaluable.com-auction-lot-artist-of-the-18th-century-two-portaits-of-women--142-c-e2a44ebbb0 2686X3401 @150 4.2Mj. The dark spots are too close together to erase.
Middle row right:  The other of a pair of portraits by ? (Im Kinsky - 28Jun22 auction Lot 142). From invaluable.com-auction-lot-artist-of-the-18th-century-two-portaits-of-women--142-c-e2a44ebbb0 2696X3401 @150 3.5Mj.
Bottom;  1777 Mrs. Elisha Mathew by Sir Joshua Reynolds (Museum of Fine Arts - Houston, Texas, USA). From Wikimedia 1473X2401 @38 pixels/cm 1Mj.
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drrobertpuffphd · 2 years
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Johann Heinrich Wilhelm Tischbein German 1751-1829 “The Children of Martin Anton Heckscher” 1805 Oil on canvas Photo is taken by: @robertpuffjr Sons of the Hamburg banker Martin Anton Hecksher examine a plan of the Schnepfenthal school, founded in Gotha in 1787 and considered one of the most progressive in Germany. Tischbein was at the heart of German Romanticism's rich intellectual culture, and he depicts the young students in a natural setting that was sympathetic to Enlightenment educational reforms that swept Europe and encouraged a new vision of childhood. (This writeup is taken from the description at the museum.) Metropolitan Museum of Art, New York City, USA #historyofart #arthistory #greatworksofart #artmuseum #art #artist #masterpiece #painting #museumvisit #artlover #artists #artblogger #met #metropolitan #johannheinrichwilhelmtischbein #tischbein (at The Metropolitan Museum of Art, New York) https://www.instagram.com/p/CkSCicYLuNI/?igshid=NGJjMDIxMWI=
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madeleineengland · 4 years
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Arminius and Thusnelda; detail, 1822
Artist: Johann Heinrich Wilhelm Tischbein
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hsama · 3 years
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I absolutely LOVE when they copy the same portrait by different artists. Seems to me she wanted a winter and version and a spring one. Which one is your favorite? Princess Christine Charlotte of Hesse Kassel by Johann Heinrich Tischbein the Elder #costurahistoricabr #georgianjanuary #georgianjewelry #18thcentury #18thcenturyfashion #historiadamoda #brasilcolonial #BrazilianBaroness #bondedasbarrocas #roupashistoricas #costubebr #rococostyle #séculoXVIII #historicalsewing #costurahistorica https://www.instagram.com/p/CLkQadrgrCA/?igshid=g3ctxinj0amv
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toanunnery · 7 years
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Portrait of the Artist Maria Elisabeth de Boor
Johann Heinrich Tischbein, 1781
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wigmund · 6 years
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From Wikipedia Picture of the Day; August 28, 2018:
Goethe in the Roman Campagna is an oil painting on canvas completed in 1787 by the German Neoclassical artist Johann Heinrich Wilhelm Tischbein. It depicts Johann Wolfgang von Goethe whilst the writer was travelling in Italy between 1786 and 1788; diaries from this journey served as the basis for his Italian Journey(1816–17). Since 1887, the painting has been held by the Städel Museum in Goethe's hometown, Frankfurt.
Painting: Johann Heinrich Wilhelm Tischbein
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diioonysus · 3 months
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women in art: helen of troy
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arthisour-blog · 7 years
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Giovanni Battista Piazzetta (Feb 13, 1682 – Apr 28, 1754) was an Italian Rococo painter of religious subjects and genre scenes.
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The Piazzetta, together with Giambattista Pittoni, Giovan Battista Tiepolo, Canaletto, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters painters of the 18th-century.
Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta’s account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703–05, although there is no record by Crespi of formal tutelage. Thanks to Crespi, Carlo Cignani’s influence reached Piazzetta. Piazzetta did find inspiration in Crespi’s art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm in his pictures of common folk. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino.
Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. yet Piazzeta’s range of topics was broader than that of these artists; Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Ricci and Tiepolo had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta’s darker and more intimate depictions.
Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo’s palette influenced Piazzetta in his later years.
Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer (1740, now in Gallerie dell’Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo.
Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings.
In 1750 Piazzetta became the first director of the newly founded Accademia di Belle Arti di Venezia, and he devoted the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), Johann Heinrich Tischbein, Egidio Dall’Oglio, and Antonio Marinetti. The engraver Marco Pitteri was affiliated with his studio, and engraved many of his works. Among younger painters who emulated his style are Giovanni Battista Pissati, Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683–1753). He died in Venice on April 28, 1754.
Giovanni Battista Piazzetta was originally published on HiSoUR Art Collection
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diioonysus · 9 months
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dresses in art
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