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Study of a Bust of Young Boy with Shaved Head  Gerard David

Study of a Bust of Young Boy with Shaved Head Gerard David

John More, son of Thomas More by Hans Holbein the Younger. (The Royal Collection)

John More, son of Thomas More by Hans Holbein the Younger. (The Royal Collection)

Jean Fouquet: Portrait d'un ecclésiastique (49.38) | Chronologie Heilbrunn d'histoire de l'art | Le Metropolitan Museum of Art

Jean Fouquet: Portrait d'un ecclésiastique (49.38) | Chronologie Heilbrunn d'histoire de l'art | Le Metropolitan Museum of Art

Rafaello, Head of a muse, c.1490, private collection

Rafaello, Head of a muse, c.1490, private collection

Hans Holbein the Younger (1497/8-1543) - Sir Thomas Lestrange (c.1490-1545)

Hans Holbein the Younger (1497/8-1543) - Sir Thomas Lestrange (c.1490-1545)

Portrait - Francesco Amatori    Silverpoint Drawing

Portrait - Francesco Amatori Silverpoint Drawing

Viktor Koulbak . Young Girl in Profile . Silverpoint Drawing and watercolor on paper

Viktor Koulbak . Young Girl in Profile . Silverpoint Drawing and watercolor on paper

Rogier van der Weyden, Head of the Virgin, silverpoint on white paper, 1455 Rogier van der Weyden, 1400-1464

Rogier van der Weyden, Head of the Virgin, silverpoint on white paper, 1455 Rogier van der Weyden, 1400-1464

Victor Koulbak                                                                                                                                                                                 More

Victor Koulbak More

Petrus Christus (ca. 1415‒1472/73) Portrait of a Man with a Falcon, ca. 1445‒50 - The facial features of the “man with a falcon” have been rendered with great care; the fine silverpoint lines blend to create a vibrant surface. The concentration on the face can be interpreted as evidence that the drawing served to capture the subject’s physiognomy for a painted portrait.

Petrus Christus (ca. 1415‒1472/73) Portrait of a Man with a Falcon, ca. 1445‒50 - The facial features of the “man with a falcon” have been rendered with great care; the fine silverpoint lines blend to create a vibrant surface. The concentration on the face can be interpreted as evidence that the drawing served to capture the subject’s physiognomy for a painted portrait.

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