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Reproduction of master pieces

   

Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
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Jan lievens Esther and Abasuerus (mk33) oil painting


Esther and Abasuerus (mk33)

Painting ID::  24528 		Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
Esther and Abasuerus (mk33)
c.1625 Raleigh,North Carolina Museum of Art
   
   
     
Jan lievens Fob (mk33) oil painting


Fob (mk33)

Painting ID::  24531 		Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
Fob (mk33)
Ottawa National Gallery
   
   
     
Jan lievens The Feast of Esther (mk33) oil painting


The Feast of Esther (mk33)

Painting ID::  24654 		Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
The Feast of Esther (mk33)
Canvas 130x165cm Raleigh,North Carolina Museum of Art
   
   
     
Jan lievens Christ at the Column (mk33) oil painting


Christ at the Column (mk33)

Painting ID::  24655 		Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
Christ at the Column (mk33)
Panel 106.5x74.5cm Amsterdam,Charles Roelofsz
   
   
     
Jan lievens Toung Man with a pipe blowing on a glowing coal (mk33) oil painting


Toung Man with a pipe blowing on a glowing coal (mk33)

Painting ID::  24656 		Jan lievens
Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.
Toung Man with a pipe blowing on a glowing coal (mk33)
Panel.Warsaw,Muzeum Narodowe
   
   
     
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     Jan lievens
     Dutch Baroque Era Painter, 1607-1674 Dutch painter, draughtsman and printmaker. His work has often suffered by comparison with that of Rembrandt, with whom he was closely associated from 1625 to 1631. Yet Lievens's early work is equal to that of Rembrandt, although in later years he turned more towards a somewhat facile rendering of the international Baroque style favoured by his noble patrons, thus never fully realizing his early promise.

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