Visualizzazione post con etichetta 15th century Art. Mostra tutti i post
Visualizzazione post con etichetta 15th century Art. Mostra tutti i post
Textual description of firstImageUrl

Rogier Van Der Weyden | The Descent from the Cross, c. 1435

The Descent from the Cross was commissioned by the Greater Guild of Crossbowmen of Leuven in today's Belgium and was originally installed in the Chapel of Our Lady Without the Walls. The tiny crossbows in the side spandrels of the picture reflect the original patronage. De Vos and Campbell both give an approximate date of 1435 for the painting.
De Vos argues that the earliest known copy of Van der Weyden🎨's Deposition, the Edeleheere triptych in Leuwen, may have been completed by 1435, certainly before 1443. This implies that Van der Weyden🎨's painting pre-dates it. The painting was exchanged around 1548 for a copy by Michael Coxcie and an organ.
The new owner was Mary of Austria, sister of Holy Roman Emperor, Charles V, for whom she governed the Habsburg Netherlands.
The painting was initially installed in Mary's castle at Binche, where it was seen by a Spanish courtier, Vicente Alvárez, who in 1551 wrote:
  • "It was the best picture in the whole castle and even, I believe, in the whole world, for I have seen in these parts many good paintings but none that equalled this in truth to nature or devoutness. All those who have seen it were of the same opinion".


Textual description of firstImageUrl

Albrecht Dürer | High Renaissance painter

A supremely gifted and versatile German artist🎨 of the Renaissance period🎨, Albrecht Dürer (1471-1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries.
He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking. Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications.
An admirer of his compatriot Martin Schongauer, Dürer revolutionized printmaking, elevating it to the level of an independent art form.



Textual description of firstImageUrl

Michelangelo Buonarroti | High Renaissance | Sculpture

Michelangelo, in full Michelangelo di Lodovico Buonarroti Simoni (born March 6, 1475, Caprese, Republic of Florence [Italy]-died February 18, 1564, Rome, Papal States) Italian Renaissance sculptor, painter, architect and poet who exerted an unparalleled influence on the development of Western art.
Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time. A number of his works in painting, sculpture, and architecture rank among the most famous in existence.
Although the frescoes on the ceiling of the Sistine Chapel🎨 (Vatican; see below) are probably the best known of his works today, the artist thought of himself primarily as a sculptor. His practice of several arts, however, was not unusual in his time, when all of them were thought of as based on design, or drawing. Michelangelo worked in marble sculpture all his life and in the other arts only during certain periods. The high regard for the Sistine Ceiling🎨 is partly a reflection of the greater attention paid to painting in the 20th century and partly, too, because many of the artist’s works in other media remain unfinished.



Textual description of firstImageUrl

Michelangelo | San Giovannino di Ubeda, 1495-1496 | Museo del Prado

The biographies of Michelangelo by Vasari🎨 (1550) and Condivi (1553) recount that following the artist’s return to Florence from Bologna in 1495, his first commission was for a marble sculpture of a “San Giovannino” for Lorenzo di Pierfrancesco de’Medici (cousin of Lorenzo the Magnificent), now identified as the present work. Rather than following the model of Donatello🎨’s Saint John the Baptist (Florence, Museo del Bargello) as other Florentine sculptors had done, Michelangelo depicted the Baptist as much younger, no more than a boy of six or seven.



Textual description of firstImageUrl

Michelangelo | Pietà for Vittoria Colonna, 1538-44

The Pietà for Vittoria Colonna is a black chalk drawing on cardboard (28.9 × 18.9 cm) by Michelangelo Buonarroti🎨, dated to about 1538-44 and kept at the Isabella Stewart Gardner Museum in Boston.

History
Michelangelo became acquainted with Vittoria Colonna (1492-1547, marchioness of Pescara, was an Italian noblewoman and poet) around 1538. Their lively friendship gained Michelangelo admission to her social circles, and he became acquainted with issues of church reform.
For Colonna, Michelangelo executed several paintings in the fifth decade of the sixteenth century.
All of them are now lost or of controversial attribution, but several sketches and copies by students and admirers of Michelangelo have been preserved.
Apart from a famous Crucifixion🎨, Michelangelo's most notable work for Vittoria Colonna is a Pietà, of which a remarkable drawing is exhibited at Boston.



Textual description of firstImageUrl

Giovanni Antonio Boltraffio (1466-1516) | High Renaissance painter

Born in Milan, Boltraffio (1467-1516), sometimes called Giovanni Antonio Beltraffio, was a painter of the High Renaissance🎨 said to work with Leonardo da Vinci (1452-1519)🎨.
This is partially confirmed by the biographer, Giorgio Vasari (1511-1574)🎨 and also from Leonardo’s note of a Gian Antonio working in his studio. There is also the evidence that Boltraffio painted closely to the style of da Vinci at the time.
His pieces showing the influence of da Vinci include his Madonna and Child, among his other depictions of the Virgin and child, as well as in his portrait work. They clearly show the use of a common da Vinci trait, the smoky blend of color and tone to create depth in the image, a method called Sfumato.



Textual description of firstImageUrl

Masaccio | Early Renaissance painter

Masaccio, byname of Tommaso di Giovanni di Simone Cassai, (born December 21, 1401, Castel San Giovanni [now San Giovanni Valdarno, near Florence, Italy] - died autumn 1428, Rome), important Florentine painter of the early Renaissance🎨 whose frescoes in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence (c. 1427) remained influential throughout the Renaissance.
In the span of only six years, Masaccio radically transformed Florentine painting.
His art eventually helped create many of the major conceptual and stylistic foundations of Western painting. Seldom has such a brief life been so important to the history of art.
Early Life And Works
Tommaso di Giovanni di Simone Guidi was born in what is now the town of San Giovanni Valdarno, in the Tuscan province of Arezzo, some 40 miles (65 km) southeast of Florence.
His father was Ser Giovanni di Mone Cassai, a notary, while his mother, Monna Iacopa, was the daughter of an innkeeper. Masaccio’s brother Giovanni was also an artist; called lo Scheggia (“the Splinter”), he is known only for several inept paintings.



Textual description of firstImageUrl

Piero della Francesca | Early Renaissance painter

Piero della Francesca, original name Piero di Benedetto dei Franceschi, (born c. 1416/17, Sansepolcro, Republic of Florence [Italy] - died October 12, 1492, Sansepolcro), painter whose serene, disciplined exploration of perspective had little influence on his contemporaries but came to be recognized in the 20th century as a major contribution to the Italian Renaissance🎨.



Textual description of firstImageUrl

Leonardo da Vinci | Adoration of the Magi, 1482

Current location: The Uffizi Gallery🎨
Collection: Painting
Location: Room 35
Technique: Drawing in charcoal, watercolour ink and oil on wood
Size: 244 x 240 cm
Inventory: Inv. 1890 n. 1594

A document from July 1481 states that Leonardo da Vinci🎨 had received a commission from the Augustinian monks to paint a panel for the high altar in the church of San Donato in Scopeto, outside Florence’s city walls.
The painting, which Leonardo undertook to finish within 30 months, had the Adoration of the Magi as its subject, i.e., the celebration of the feast of the Epiphany when, according to St Augustine, all people respond to the call of Christ.
For this subject, Leonardo studied an extremely complex composition, rich with figures, set out in a semi-circle, with the Virgin and Child as the focus. In the foreground, the kneeling Magi offer their gifts of gold, frankincense and myrrh to Jesus.
Leonardo has painted a background with ruined buildings and clashes between knights on horseback, while on the left, we can see work on a building, perhaps a temple, with in the foreground, two flights of stairs, like the presbytery of several Mediaeval churches (San Miniato al Monte in Florence, for example).



Textual description of firstImageUrl

Michelangelo | La pietà / The Pity, 1498-1499

The Pietà is a work of Renaissance🎨 sculpture by Michelangelo Buonarroti🎨, housed in St. Peter's Basilica, Vatican City🎨. It is the first of a number of works of the same theme by the artist.
The statue was commissioned for the French Cardinal Jean de Bilhères, who was a representative in Rome.
The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed.



Textual description of firstImageUrl

Domenico Ghirlandaio | Renaissance painter

Domenico Ghirlandaio (2 June 1448 - 11 January 1494) was an Italian Renaissance painter🎨 born in Florence.
Ghirlandaio was part of the so-called "third generation" of the Florentine Renaissance, along with Verrocchio, the Pollaiolo brothers and Sandro Botticelli🎨.
Ghirlandaio led a large and efficient workshop that included his brothers Davide Ghirlandaio and Benedetto Ghirlandaio, his brother-in-law Bastiano Mainardi from San Gimignano, and later his son Ridolfo Ghirlandaio.



Textual description of firstImageUrl

Jaume Huguet | Early Renaissance painter


Jaume Huguet (1412–1492) was a Catalan painter.
Originally from Valls, he moved to Tarragona to stay with his uncle Pere Huguet, who was also a painter. When they moved to Barcelona he was exposed to modern trends of the time. Between 1440-1445 he worked in Zaragoza and later in Tarragona, where he was influenced by the Flemish style of Luis Dalmau.
A retablo from Huguet is in the Monastery of Pedralbes, while another, depicting the Adoration of the Magi (or Epiphany) is housed in the Chapel of St. Agatha in Barcelona's Palau Reial Major.


Textual description of firstImageUrl

Andrea Mantegna | Early Renaissance painter


Andrea Mantegna, (born 1431, Isola di Cartura [near Vicenza], Republic of Venice [Italy]-died September 13, 1506, Mantua), painter and engraver, the first fully Renaissance artist of northern Italy. His best known surviving work is the Camera degli Sposi ("Room of the Bride and Groom"), or Camera Picta ("Painted Room") (1474), in the Palazzo Ducale of Mantua, for which he developed a self-consistent illusion of a total environment. Mantegna’s other principal works include the Ovetari Chapel frescoes (1448-55) in the Eremitani Church in Padua and the Triumph of Caesar (begun c. 1486), the pinnacle of his late style.


Textual description of firstImageUrl

Melozzo da Forlì | Early Renaissance painter


Melozzo da Forlì ⏩, original name Melozzo degli Ambrogi, (born June 8, 1438, Forlì, near Ravenna, Italy - died November 8, 1494, Forlì), early Renaissance painter⏩ whose style was influenced by Andrea Mantegna⏩ and Piero della Francesca ⏩.
Melozzo was one of the great fresco artists of the 15th century, and he is noted for his skilled use of illusionistic perspective and foreshortening.


Textual description of firstImageUrl

Piero della Francesca | The History of the True Cross, 1466


The History of the True Cross or The Legend of the True Cross is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo.
It is his largest work, and generally considered one of his finest, and an early Renaissance ⎆ masterpiece.
Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Varagine, the Golden Legend, is the triumph of the True Cross - the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified.


Textual description of firstImageUrl

Melozzo da Forlì | Musician angels / Gli Angeli musicanti, 1480


The 14 fragments with the Apostles and Angel musicians (these too exhibited in room IV) together with the figure of Christ, (now in the Quirinal Palace) were part of the old decoration of the apse of the Church of the SS. Apostoli in Rome illustrating the Ascension of Christ.
The fresco, which was destroyed in 1711, was painted by Melozzo da Forlì ⏭ around 1480, shortly after the works of restoration on the church for cardinal Giuliano della Rovere, the future Pope Julius II (pontiff from 1503-1513).


Textual description of firstImageUrl

Domenico Ghirlandaio | Portrait of Giovanna degli Albizzi Tornabuoni, 1488

Title: Portrait of Giovanna degli Albizzi Tornabuoni.
Author: Domenico Ghirlandaio - Italian ⎆ Early Renaissance painter ⎆ (1449-1494).
Date: 1488.
Medium: Mixed media on panel.
Dimensions: 77 x 49 cm.
Current location: Museo Nacional Thyssen-Bornemisza, Madrid.

Textual description of firstImageUrl

Juan de Flandes | Northern Renaissance painter


Juan de Flandes (John of Flanders, c. 1460 - 1519) was an Early Netherlandish painter who was active in Spain from 1496-1519; his actual name is unknown, although an inscription Juan Astrat on the back of one work suggests a name such as "Jan van der Straat". Jan Sallaert, who became a master in Ghent in 1480, has also been suggested.


Textual description of firstImageUrl

Cosmé Tura | Early Renaissance painter


Cosmè Tura, Cosmè also spelled Cosimo, (born c. 1430, Ferrara [Italy] - died 1495, Ferrara), early Italian Renaissance painter ⎆ who was the founder and the first significant figure of the 15th-century school of Ferrara. His well-documented career provides a detailed glimpse of the life of a court painter.


Textual description of firstImageUrl

Hans Memling | Northern Renaissance painter

Hans Memling, Memling also spelled Memlinc, (born c. 1430-40, Seligenstadt, near Frankfurt am Main [Germany] - died August 11, 1494, Bruges [Belgium]), leading South Netherlandish painter of the Bruges school during the period of the city’s political and commercial decline.
The number of his imitators and followers testifies to his popularity throughout Flanders.
His last commission, which has been widely copied, is a Crucifixion panel from the Passion triptych (1491).
Memling, born in the region of the Middle Rhine, was apparently first schooled in the art of Cologne and then traveled to the Netherlands (c. 1455-60), where he probably trained in the workshop of the painter Rogier van der Weyden.
He settled in Bruges (Brugge) in 1465; there he established a large shop and executed numerous altarpieces and portraits. Indeed, he was very successful in Bruges: it is known that he owned a large stone house and by 1480 was listed among the wealthiest citizens on the city tax accounts.
Sometime between 1470-1480 Memling married Anna de Valkenaere (died 1487), with whom he had three children.



Aiutaci a crescere con una donazione con con Paypal