Null 亚历山德罗-迪-马里亚诺-菲利佩皮(1445-1510 年)- Manner,风景中的圣母与耶稣和圣约翰,木板上的钢笔画,50x40 厘米
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亚历山德罗-迪-马里亚诺-菲利佩皮(1445-1510 年)- Manner,风景中的圣母与耶稣和圣约翰,木板上的钢笔画,50x40 厘米

亚历山德罗-迪-马里亚诺-菲利佩皮(1445-1510 年)- Manner,风景中的圣母与耶稣和圣约翰,木板上的钢笔画,50x40 厘米

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V. ALOJA (19th) after D'ANNA (*1743), Tomb of Mamia near Pompeii, 1806, Etching Vincenzo Aloja(19 世纪),根据 Alessandro d'Anna(1743 年,巴勒莫 - 1810 年,同上)的作品绘制:庞贝附近塞波尔克里大街上的玛米亚墓,1806 年,蚀刻版画 技术: 纸上蚀刻 钤印 下部印版上有签名:"Ales.o d'Anna dis./ Vinc.Aloja incise"。下部印版上刻有:"Veduta interna del Sepolcro di Mamia [..:"Veduta interna del Sepolcro di Mamia [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 日期:1806 年 1806 描述: 这幅精确的版画展现了一幅如诗如画的场景: 这幅精确的版画展现了风景中历史遗迹的如画场景,人物群像和驯养的动物为画面增添了活力,光与影之间的关系十分平衡。 来源:Raccolta di [..: Raccolta di [...] Vedute dell'Citta e Regno di Napoli dipinte da Filippo Hackert, Carlo Grasso, Luigi Fergola etc. incise da Vincenzo Aloja, 1806 | 套版, 景观, 建筑 关键词 庞贝; 坎帕尼亚; 维苏威火山; 图形; 废墟; 景观; 版画; 历史; 人物; 动物; 光线; 阴影; 如画; 公园; 树; 天空; 云; 透视; 文化; 建筑; 艺术; 场景; 自然;, 19 世纪, 浪漫主义, 城市, 意大利, 庞贝(坎帕尼亚)、 尺寸 纸张 31,1 厘米 x 41,8 厘米(12,2 x 16,5 英寸), 版材:23,0 厘米 x 30,3 厘米(9,1 x 11,9 英寸), 描绘:17,5 厘米 x 26,0 厘米(12,2 x 16,5 英寸17,5 厘米 x 26,0 厘米(6,9 x 10,2 英寸)

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Giacinti Brandi (1621-1691) "S. Giovannino" Important 17th century baroque painting attributable to the hand of the great Roman master Giacinto Brandi. It represents San Giovannino who, with an expression of rare beauty and intensity, directs his gaze towards us who observe this small masterpiece. Giacinto Brandi (1621 – January 19, 1691) was an Italian painter of the Baroque period, active mainly in Rome and Naples. Born in Rome, he was part of the studio of Alessandro Algardi, a prominent sculptor who noticed that Brandi was better suited to painting. He joined the studio of Giovanni Giacomo Sementi. He traveled to Naples from 1638 and by 1647 had returned to Rome to work with Giovanni Lanfranco, where Brandi became friends with Mattia Preti. The two artists would later collaborate often. His works are well distributed among the baroque churches of Rome, including the ceiling frescoes of San Carlo al Corso (1670-1671), San Silvestro in Capite, Sant'Andrea al Quirinale, a canvas of Sant'Andrea (1650) in Santa Mary on Via Lata a painting of the Martyrdom of the Forty (1660) for the Chiesa delle Santissima Stimmate di San Francesco, a Coronation of the Virgin (1680) that serves as the main altarpiece of the church of Gesù e Maria, a canvas of drunkenness of Noah in the Galleria Corsini, an Assumption (1655) for Santa Maria in Organo in Verona, a fresco of Ovid's Metamorphoses (1651-1653) for the Palazzo Pamphilj in Piazza Navona and a Martyrdom of San Biagio for the church of San Carlo ai Catinari a Visione del blessed Giovanni di San Facondo (1656) and Estasi della beata Rita da Cascia (1660) in the Basilica of Sant'Agostino in Campo Marzio San Rocco intercedes per i malati di peste (1673) and San Rocco in gloria (1674) in the Chiesa di San Rocco all'Augusteo; Compianto sul Cristo morto (1675-1676) in the Chiesa di Sant'Andrea al Quirinale. In 1647 he entered the Congregazione dei Virtuosi al Pantheon in Rome and from 1651 he was admitted to the Accademia di ...