Arte-Fact Fine Art Paintings

Large 17th century Italian old master - Noli me tangere - Christ in the garden with Mary Magdalene The Italian art historian Federico Zeri has conserved a painting in his archives w...

This opulent 17th-century Italian still-life captures the abundance and refinement of the Baroque era, presenting a feast for the senses. The composition features an array of ripe, s...

17th century Flemish Old master painting "The Rest on the flight into Egypt", Victor Wolfvoet the Younger Amidst a serene landscape, the Holy Family rests beneath the shade of a spr...

17th Century Flemish Painting "A bustling scene of fishermen, merchants and visitors in a peaceful and picturesque port village” This intriguing painting offers a wonderful and real...

17th century Dutch old master painting "A summer day in Kleve in 1661" Our painting depicting a whimsical vibrant blue sky, was long believed to depict an Italian landscape. However...

17th century Old Master painting depicting the Infant Christ with Mary and St. Anne attributed to Nicolas de Liemaker The artist of the present work wonderfully captured the loving gaze of Maria, looking in awe at her child. One can sense the tenderness and love in her eyes. The eyes of Christ appears to be filled with wisdom and love and a finely painted aura crowns his and his mother's heads. St. Anne, Mary's mother, gently holds the infant whilst gazing adoringly at him. The painting is not only a beautiful depiction of Christ and his mother and grandmother, but also a sweet image of the tender bond between a mother's and their children. The vibrant and soft colours of the fabric create a soft cocoon around the figures and seem to further emphasis the beauty and importance of the depicted scenery and its protagonists. Nicolaas de Liemaecker (also spelled as Liemaker or Liemackere) was a Flemish painter born in Ghent in 1601. He was also known under the name Nicolaas Roose. His father was Jacobus de Liemaecker, a painter upon glass. Nicolaas is reported to have been trained by his father and Gaspard de Crayer II (1), an apprenticeship with Otto Van Veen has also been suggested. In 1624 he worked at the Court of the Bishop of Paderborn and for Ferdinand of Bavaria. He later returned to his native city, where he focused on religious and historical paintings. He was a very accomplished and celebrated artist who attained a high rank in his profession. He witnessed the baptisms of Pieter and Janne-Marie Van Hulle...