Edgar Degas
Edgar Degas's Oil Paintings
Edgar Degas Museum
19 July 1834 - 27 September 1917. French painter.

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Here are all the paintings of Carlo Saraceni 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
68863 Andromede attachee Carlo Saraceni Andromede attachee Medium oil on panel Dimensions 26 X 22 cm
73405 Andromede attachee Carlo Saraceni Andromede attachee Oil on panel 26 X 22 cm (10.24 X 8.66 in) cjr
75083 Andromede attachee Carlo Saraceni Andromede attachee Date Unknown date Medium Oil on panel Dimensions 26 X 22 cm (10.24 X 8.66 in) cyf
98313 Dogs Carlo Saraceni Dogs 1856(1856) Medium oil on canvas cyf
56045 landscape with salmacis and hermaphroditus Carlo Saraceni landscape with salmacis and hermaphroditus mk247 c.1608,oil on panel,16.125x20.875 in,41x53 cm,museo di capodimonte,naples,ltaly
79803 Madonna and Child with Saint Anne and an Angle Carlo Saraceni Madonna and Child with Saint Anne and an Angle oil on copper painting by Carlo Saraceni, c. 1608-1610 cyf
83396 Mars and Venus Carlo Saraceni Mars and Venus 1605(1605) until 1610(1610) Medium Oil on copper Dimensions 40 x 52 cm (15.7 x 20.5 in) cyf
80088 Mars and Venus, with a Circle of Cupids and a Landscape Carlo Saraceni Mars and Venus, with a Circle of Cupids and a Landscape from 1605(1605) until 1610(1610) Oil on copper 40 x 52 cm (15.7 x 20.5 in) cjr
3701 St.Cecelia with an Angel Carlo Saraceni St.Cecelia with an Angel Galleria Nazionale di Arte Antica, Rome
20353 The Birth of the Virgin (mk05) Carlo Saraceni The Birth of the Virgin (mk05) Copper,28 1/4 x 16 1/2''(72 x 42 cm).Given to the Louvre in 1974-18
79111 The Madonna and Child with Saint Anne and an Angle Carlo Saraceni The Madonna and Child with Saint Anne and an Angle oil on copper painting by Carlo Saraceni, c. 1608-1610 cyf
3702 Venus and Mars Carlo Saraceni Venus and Mars 1605-10 Museum of Art, Sao Paolo

Carlo Saraceni
1580-1620 Italian Carlo Saraceni Galleries Carlo Saraceni (Venice 1579-Venice, 16 June 1620) was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968. Though he was born in Venice, his paintings are distinctly Roman in style; he moved to Rome in 1598, joining the Accademia di San Luca in 1607. He never visited France, though he spoke fluent French and had French followers and a French wardrobe. His painting, however, was influenced at first by the densely forested, luxuriantly enveloping landscape settings for human figures of Adam Elsheimer, a German painter resident in Rome; "there are few landscapes by Saraceni which have not been attributed to Elsheimer," Malcolm Waddingham observed, and Anna Ottani Cavina has suggested the influences may have travelled both ways. and Elsheimer's small cabinet paintings on copper offered a format that Saraceni employed in six landscape panels illustrating The Flight of Icarus; in Moses and the Daughters of Jethro and Mars and Venus. Saint Sebastian Castle Museum, PragueWhen Caravaggio's notorious Death of the Virgin was rejected in 1606 as an altarpiece suitable for a chapel of Santa Maria della Scala, it was Saraceni who provided the acceptable substitute, which remains in situ, the only securely dated painting of his first decade in Rome. He was influenced by Caravaggio's dramatic lighting, monumental figures, naturalistic detail, and momentary action (illustration, right), so that he is numbered among the first of the "tenebrists" or "Caravaggisti". Examples of this style can be seen in the candlelit Judith and the Head of Holofernes. Saraceni's matured rapidly between 1606 and 1610, and the next decade gave way to his fully mature works, synthesizing Caravaggio and the Venetians. In 1616?C17 he collaborated on the frescoes for the Sala Regia of the Palazzo del Quirinale. In 1618 he received payment for two paintings in the church of Santa Maria dell'Anima. The compositional details of his fresco of The Birth of the Virgin in the Chapel of the Annunciation of the church of Santa Maria in Aquiro are repeated in a panel on copper at the Louvre In 1620 he returned to Venice, where he died in the same year. He was so influential on the style of an anonymous still life painter working in Rome, that the man is known as "Pensionante del Saraceni"
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