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Jaroslav Cermak - Dalmatian wedding (unfinished) (1876)
He was influenced by the work of Peter Paul Rubens. During his stay in Paris he encountered Eugène Delacroix and Alexandre-Gabriel Decamps and became familiar with their works. Many of his paintings depicted scenes from Czech history; he was, however, also interested in subjects from Montenegro and Herzegovina, and one of his most famous works is The Wounded Montenegrin. His works are influenced by Romanticism. As an important artistic exponent of the Czech National Revival, he actively participated in the emancipation efforts of Czechs and other small European nations. The themes of his works bear the stamp of anti-Habsburg stance. Čermák painted portraits and genre pieces in addition to history paintings.
Master of Jaques de Besancon - The Crucifixion With Six Passion Stories 1490 The National Gallery in Prague.jpg
Master of the Vyssi Brod Altarpiece - Nativity (1348)
The Master of Vyšší Brod (also known as the Master of Hohenfurth, from the German name for the town of Vyšší Brod) was an anonymous Bohemian painter active around 1350. It seems likely that he was from Prague originally; an altarpiece for the Cistercian convent of Vyšší Brod, from which his name is derived, may still be seen in Prague. Datable to around 1350, the painting, whose panels are now disbanded, depicts the Infancy of Christ along with scenes from the Passion. It may be seen in the Convent of St. Agnes branch of the National Gallery in Prague. The scenes depicting the Annunciation, the Nativity, the Adoration of the Magi and the Resurrection are ascribed to the Master's hand, while other portions are believed to be the product of his studio.
art slave - Votive Painting Of Archbishop Jan Ocko Of Vlasim (1370 - 1371) The National Gallery in Prague.jpg
Rembrandt Harmensz van Rijn - Scholar at his Study (1634)
Scholar in His Study, a subject visited often by Rembrandt. The rich dark tones are characteristic of the artist's palette as is the interplay of light and shadow providing depth, contrast, and focus. The scholar, placed in the immediate foreground and viewed slightly from below, appears imposing and monumental. The thick folio lighted against rich brocade, the globe, the books, the surprised, even pained, response to what seems outside interruption imply that the study is of consequence and time of the essence.