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After this exhibition he went on to further study, and modify, the 'Techniques of the Old Masters' to his own purposes in a selection of work he called Ideas of Truth, and his portfolio The Missing Weapon, which was shown at the Gallery Bernard in Solothurn, Switzerland, in 1968.
After initial experiments in the styles of Paul Cézanne and Henri Matisse, Weissbort re-focused his energies towards the study of the "Old Masters", developing an enduring interest in the work of such artists as Johannes Vermeer, Jean-Baptiste-Siméon Chardin, Diego Velázquez, Jean-Baptiste-Camille Corot, Andrea Mantegna and Titian.
Carstanjen was a skilled collector and filled his residences in Cologne, Bad Godesberg, Plittersdorf and Berlin with Old Masters by Frans Hals, Rembrandt van Rijn, Albert Cuyp, and with antique furniture, wall tapestries, arms and armour, which his agents sourced from across Germany and auctions in Paris and London.
The greatest influence on the work of his maturity was that of the Old Masters—among them Tintoretto, Turner, Blake, Goya, Ryder and Delacroix.
In Paris he made copies after the Old Masters in the Louvre, and admired the oil sketches of Eugène Delacroix.
On business trips to Madrid in the 1950s, Meadows visited the Prado museum, which inspired an interest in Spanish old masters.
The Grapevine (1960) evokes Tiepolo's sunlight, The Quince Tree (1962) Chardin's dusky murk, and other paintings echo Old Masters from Dürer to Degas.
The Old Masters are part of the Dresden State Art Collections.
Harry Carmean (born August 5, 1922, in Anthony, Kansas) is an American painter known for his figurative paintings based on the work of the old masters.
She also did educational work, such as Musical Composers and their Works (1875) and The Old Masters and their Pictures for the Use of Schools and Learners in Art (1880), and biographical compendia such as Six Royal Ladies of the House of Hanover (1898).
Here he took a house and after a while entered upon his own characteristic style of art, that of battle-painting, in which he has been accounted to excel all other old masters; his merits were cordially recognized by the celebrated Cerquozzi, named Michelangelo delle Battaglie.
Janowski was also co-editor of the Polish edition of Donald Kuspit's book The End of Art, which accompanied the art exhibition New Old Masters in National Museum in Gdańsk in 2006.
Highlights of the collection of old masters include a "Madonna of the Strawberries" from 1425, the Solothurner Madonna by Hans Holbein the Younger, and works by Frans Snyders and Jusepe de Ribera.
DeCosta believed his medium had similar qualities to Maroger medium (Jacques Maroger), the supposed medium of the Old Masters.
From 1813 she made copies from the old masters in the gallery of the British Institution in Pall Mall, and in 1815 was awarded a gold medal by the Institution for her copy of Claude's The Embarkation of the Queen of Sheba.
von Neff constructed the current neo-Renaissance building, intended not only as a home but also as a place to accommodate and display von Neff's large collection of art, which included both his own work and copies of old masters (now part of the Art Museum of Estonia).
In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters.
He etched both contemporary works and Old Masters as well as portraits, including ones of Ivan Turgenev, Théophile Gautier, J.S. Mill, Charles Darwin and Alfred, Lord Tennyson.
After finishing formal education he independently studied the old masters such as Leonardo da Vinci, Titian, Caravaggio, Rembrandt, Johannes Vermeer, Diego Velázquez, Goya and J.M.W. Turner.
The Art Journal became noted for its honest portrayal of the fine arts, but its opposition to fake and mis-attributed Old Masters, such as Raphael or Titian, depressed the market in such works.
The artist's acknowledged sources range from old masters to the Futurists (especially Boccioni and Balla): from Klee and Kandinsky to Matta, Gorky and Pepi's contemporaries.