Gothic Paintings

This small devotional panel (20.5 x 14 cm) depicts Saint John the Baptist in the wilderness, accompanied by the lamb, an allusion to Christ as the Agnus Dei, and holding a slender cr...

This refined watercolour from 1912 presents the soaring interior of the Cathedral of Notre Dame in Rouen, rendered with remarkable sensitivity to vertical rhythm and atmospheric dept...

"TRiCK" (2024) By Aria Fawn is a beautiful and esoteric watercolor painting, embossed with 24 Karat gold leaf on hand-textured paper. This piece depicts a still from a fictional vide...

This macabre late-19th-century oil painting by German artist Paula Wildhack (1872-1955) depicts a still life with skull, bible, crucifix, candlestick and flowers. Wildhack was an acc...

Crucifixion, South Germany, 15th century, circa 1470-1480 Pine panel, oil and gold background Dimensions: h. 63 cm, w. 42 cm (24.8 in x 16.54 in) Our rare panel imbued with all the Gothic symbolism, presents one of the subjects that has become universal in Western art. The crucifixion of Jesus, recounted in all the gospels, is one of the episodes of the Passion of Christ. The contemplation of his death by the faithful is and has always been an intense devotional exercise. The suffering of Christ had to be made as realistic as possible by the artist, in order to move the spectators and create piety. Christ with his emaciated and collapsed body hangs on his cross. In an attitude of resignation and abandonment, his head crowned with thorns is leaned on his right shoulder, but the eyes still remain open under the eyebrows contracted by suffering. His wounds shed large drops of blood and clearly show how painful the torment he is enduring is. At the foot of the cross to her right, the Virgin swoons in the arms of Saint John out of compassion for the suffering of her Son. Behind them Saint Marie-Salomé with clenched hands and face twisted in pain looks at the Cross, near her another holy woman seen from behind. To his left, Joseph of Arimathea stands near the cross, his hand placed on the cross, like a gesture of protection to leave dignity to the dying. His face turned from the cross, a resigned look, suggests his complete helplessness in the face of Jesus' torture. Longinus the centurion carrying a spear and shield looks impassively before him, while another standard-bearer soldier contemplates the cross. The man who stands prominently in profile next to the cross of Christ and is highlighted by his rich clothes adorned with precious stones and his pointed hat with gold trim, is probably Levi, tax collector. This intimate scene with very tight framing, tightens the figures around the raised cross, the absence of landscape replaced here by a gold background which comes from the Italian pictorial tradition helps to reinforce the feeling of timelessness of the scene and of its sacred context, gold being assimilated to the divine world. Our work dates back to the last quarter of the 15th century; comparison with similar works (including dimensions) could suggest that it is an altarpiece element, typical of German art. The use of softwood allows us to establish the origin of our panel from southern Germany, Swabia or Bavaria. Related works: 1. Crucifixion, German School around 1470, oil on lime (57.5 cm x 31 cm), Dresden Old Masters Painting Gallery, inventory number: 1964 and 343 2. Crucifixion, around 1475 oil on lime 69 x 45.5 cm Stuttgart, National Museum of Württemberg, 3. Crucifixion, attributed to Wolfgang Katzheimer around 1480-1485, Forchheim, Catholic parish church of St. Martin 4. Crucifixion, around 1450, Schwabach, town church of St. John -et-Saint-Martin 5. Fainting of the Virgin and Christ on cross...

By Martha Ochoa, contemporary painter of Catholic religious icons that revive Renaissance and Latin American Colonial art. This painting ...

This atmospheric early 20th-century oil study by eminent Danish artist Josef Theodor Hansen (1848-1912) depicts a substantial coastal mosque lit by the moon. Hansen was one of the f...

His first name sounds like a concerto. Vivacious, its name is reminiscent of an aperitif or a cyclist. The addition of the two evokes the Italianate. Indomitable and unavoidable. Moreover, I was born on November 11, 1908 in Bellinzona, one day became a portrait painter of the president of the confederation, residing most of his life in Geneva, Vivaldo Martini...

Pair of fine antique 19th Century Italian Florentine Painted Gothic Renaissance Panels by Olga Ciardi, circa 1850. The panels painted in egg tempera ...

Painting, 19th century, oil on wood, "Brussels Cathedral / Church" by Jan Baptist Tetar Van Elven. Very fine painting. Dimensions with frame 35,3cm x 28,5cm. Age-related condition.

These works are from an exhibition entitled Flawed Beauty. An exploration of the Japanese concept of wabi-sabi. “Wabi-sabi represents a comprehensive Japanese world view or aesthetic...

These works are from an exhibition entitled Flawed Beauty. An exploration of the Japanese concept of wabi-sabi. “Wabi-sabi represents a comprehensive Japanese world view or aesthetic...