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Artist: GIOTTO di Bondone

GIOTTO di Bondone Joachim among the Shepherds oil painting picture wholesale

Painting ID:: 62991
GIOTTO di Bondone
Joachim among the Shepherds
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Sad and introverted, Joachim arrives among the shepherds. Using the contrast between the lively sheep, the dog that greets him, and the knowing glances of the shepherds, Giotto elucidates his state of mind in the voluminous, closed form of the saint. Artist: GIOTTO di Bondone Painting Title: No. 2 Scenes from the Life of Joachim: 2. Joachim among the Shepherds , 1301-1350 Painting Style: Italian , , religious
(new21/GIOTTO di Bondone-885244.jpg)

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Artist: GIOTTO di Bondone

GIOTTO di Bondone Joachim's Sacrificial Offering oil painting picture wholesale

Painting ID:: 62992
GIOTTO di Bondone
Joachim's Sacrificial Offering
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua In the open countryside, Joachim has sunk to the ground and catches sight of an angel, who indicates to him that his sacrifice has been accepted. Colour is used to establish a connection between these two figures, illustrating the miraculous nature of events. As so often, Giotto also employs a figure here who comments on the action ?the praying shepherd. In his colorings, he is closer to the rocks and the animals. He too recognizes the hand of benediction in the sky. Artist: GIOTTO di Bondone Painting Title: No. 4 Scenes from the Life of Joachim: 4. Joachim's Sacrificial Offering , 1301-1350 Painting Style: Italian , , religious
(new21/GIOTTO di Bondone-853868.jpg)

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Artist: GIOTTO di Bondone

GIOTTO di Bondone The Birth of the Virgin oil painting picture wholesale

Painting ID:: 62993
GIOTTO di Bondone
The Birth of the Virgin
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua The six scenes on the wall opposite to the scenes from the life of Joachim show the Birth of the Virgin, the Presentation of the Virgin in the Temple, and the four episodes pertaining to her marriage: the Rods brought to the Temple, the Prayer of the Suitors, the Marriage of the Virgin and the Wedding Procession. The birth of the Virgin takes place in the same house as the annunciation to Anne. In the small room, somewhat too narrow for the figures, Anne sits up in bed and is handed the baby in its swaddling clothes by a nursemaid. The child appears for a second time in the idyllic scene in front of the mothers bed. As in the Annunciation scene, Giotto also shows the view of the building from outside. He does not divide interior and exterior, but connects them using the two women. Artist: GIOTTO di Bondone Painting Title: No. 7 Scenes from the Life of the Virgin: 1. The Birth of the Virgin , 1301-1350 Painting Style: Italian , , religious
(new21/GIOTTO di Bondone-395777.jpg)

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Artist: GIOTTO di Bondone

GIOTTO di Bondone . Wedding Procession oil painting picture wholesale

Painting ID:: 62994
GIOTTO di Bondone
. Wedding Procession
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Mary walks in front of her companions and is led to the house other parents, where she is received by musicians. This group alone lends a cheery air to the sombre procession. The bay window of the house, from which a palm leaf juts out as an allusion to the imminent birth of the Lord, appears again in the representation of the Annunciation. In this way Giotto incorporates the Bridal Procession of the Virgin into the sequence of the narrative. The fresco was damaged by the humidity. Artist: GIOTTO di Bondone Painting Title: No. 12 Scenes from the Life of the Virgin: 6. Wedding Procession , 1301-1350 Painting Style: Italian , , religious
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Artist: GIOTTO di Bondone

GIOTTO di Bondone Presentation of Christ in the Temple oil painting picture wholesale

Painting ID:: 62996
GIOTTO di Bondone
Presentation of Christ in the Temple
1310s Fresco North transept, Lower Church, San Francesco, Assisi Artist: GIOTTO di Bondone Painting Title: Presentation of Christ in the Temple , 1301-1350 Painting Style: Italian , , religious
(new21/GIOTTO di Bondone-979857.jpg)

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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Coronation of the Virgin oil painting picture wholesale

Painting ID:: 62997
GHIRLANDAIO, Domenico
Coronation of the Virgin
1486 Tempera on wood Pinacoteca Comunale, Citta di Castello The Coronation in Citt?di Castello is untypical of Ghirlandaio because of its limited palette: its impact is derived primarily from the contrast of various shades of blue and red with a few yellow highlights. In contrast with the old-fashioned picture in Narni, only the female saints in the centre are kneeling; three holy men are standing on each side of them. This emphasizes the circular glory composed of airy shades of blue, giving the work a dynamic and animated character. The saints on this picture are mainly ones from the Franciscan order. On the far left stands the founder of the order, St Francis of Assisi. This altarpiece is not an autographed work, it was probably made by the workshop. Artist: GHIRLANDAIO, Domenico Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious
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Artist: GIOTTO di Bondone

GIOTTO di Bondone St Francis in Glory oil painting picture wholesale

Painting ID:: 62998
GIOTTO di Bondone
St Francis in Glory
1330 Fresco Lower Church, San Francesco, Assisi St Francis is enthroned in the centre of the triangular surface and drawn towards heaven by angels. His figure and in particular his face seem to belong to another world. The golden rays that emanate from him heighten the effect of the gold-embroidered dalmatic. Artist: GIOTTO di Bondone Painting Title: Franciscan Allegories: St Francis in Glory (detail) , 1301-1350 Painting Style: Italian , , religious
(new21/GIOTTO di Bondone-956876.jpg)

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Artist: Domenico Ghirlandaio

Domenico Ghirlandaio Annunciation oil painting picture wholesale

Painting ID:: 62999
Domenico Ghirlandaio
Annunciation
1489-90 Mosaic Porta della Mandorla, Duomo, Florence In addition to the fresco in the Tornabuoni Chapel, Ghirlandaio created another Annunciation between 1489 and 1490 using the ancient mosaic technique, which he had learnt from Alessio Baldovinetti and which he had been able to employ when restoring a few old mosaics. There is no lectern in this mosaic version of the Annunciation, though the influence of Leonardo's painting is still felt, particularly in the spatial arrangement - a building on the left behind Mary and a view over a wall to a landscape. Above the Porta della Mandorla on Florence Cathedral there still exists this mosaic. Vasari wrote the following comment on it: "Domenico enriched the modern art of working in mosaic infinitely more than any other Tuscan, as his works, though few, amply demonstrate...". Of this mosaic destined for the Porta della Mandorla Domenico only executed the cartoon, which was probably translated into mosaic by his brother David. Artist: GHIRLANDAIO, Domenico Painting Title: Annunciation , 1451-1500 Painting Style: Italian , , religious
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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Announcement of Death to St Fina oil painting picture wholesale

Painting ID:: 63000
GHIRLANDAIO, Domenico
Announcement of Death to St Fina
1473-75 Fresco Colleggiata, San Gimignano Next to the shining bowl is an almost empty decanter, covered by an inverted glass to protect the valuable wine. As the artist repeated both vessels in his later frescoes of the Last Supper, it is possible that they a reference to the sacrament of Holy Communion. The character of the objects, so like a still life, is an approximation to Flemish paintings, though Ghirlandaio has not yet achieved a Flemish materiality in his work. On the far right, two pomegranates are lying on a box; they may be references to the Fall of Man in the Garden of Eden. Saint Fina did not attempt to gain the biblical forbidden fruits and will therefore be made a saint. Is it possible that the large split on one of the fruits is an allusion to the bodily decay of the saint, which the artist did not dare depict in all its gruesomeness? On a framed panel on the rear wall are the Latin words that St Gregory spoke to Fina: "Be prepared my daughter, for on my feast day you will be taken up into our community and live there forever with your bridegroom." A window in the rear wall allows air and light to enter the bare room. A picture within a picture, the window appears very much like a landscape painting. The few domestic objects on the bench at the back give the room a home-like quality. Artist: GHIRLANDAIO, Domenico Painting Title: Announcement of Death to St Fina (detail) , 1451-1500 Painting Style: Italian , , religious
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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico St Barbara oil painting picture wholesale

Painting ID:: 63001
GHIRLANDAIO, Domenico
St Barbara
1471 Fresco Parish Church of Sant'Andrea, Cercina The vivid colour of her garments and the different shape of her niche give greater emphasis to the figure of St Barbara, who stands between the two old men, St Jerome and St Antony. She is holding her attribute, a tower, and in contrast to the two other saints is looking directly to us. Because she was so beautiful, Barbara's pagan father locked her in a tower. She converted to Christianity, and against his wishes built in her tower a chapel, its three windows symbolizing of the Trinity. Enraged, her father had her beheaded. Here she is depicted standing triumphantly on the armor-clad corpse of her father, who has been killed by a bolt of lightning. His hands are hanging down over the cornice, where they are casting illusory shadows. Artist: GHIRLANDAIO, Domenico Painting Title: St Barbara , 1451-1500 Painting Style: Italian , , religious
(new21/GHIRLANDAIO, Domenico-486839.jpg)

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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico St Jerome oil painting picture wholesale

Painting ID:: 63002
GHIRLANDAIO, Domenico
St Jerome
1471 Fresco Parish Church of Sant'Andrea, Cercina St Jerome, wearing a torn penitential robe, is looking across at St Barbara. His wiry, semi-naked body seems to have been ravaged by the hardships of his hermit life. In his right hand he is holding a stone with which to beat himself. His stance is reminiscent of classical contrapposto, his right foot protruding out of the space of the niche across the painted cornice. Artist: GHIRLANDAIO, Domenico Painting Title: St Jerome , 1451-1500 Painting Style: Italian , , religious
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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Portrait of the Donor Nera Corsi Sassetti oil painting picture wholesale

Painting ID:: 63003
GHIRLANDAIO, Domenico
Portrait of the Donor Nera Corsi Sassetti
1485 Fresco Santa Trinit? Florence "In two pictures on either side he painted Francesco Sassetti kneeling, and Madonna Nera, his wife and her children, the latter being in the scene above where the boy is raised to life, with some beautiful maidens of the same family" (Vasari). The two donors are in prayer on either side of the altar, as if they are taking part in the Adoration of the Shepherds depicted on the altarpiece. Linking the frescoes and the central panel painting in this way, Ghirlandaio creates what is almost a triptych. Astonishingly enough, the wife, Nera Corsi Sassetti, is occupying the traditionally more distinguished position on the right of the religious scene. At the base is the painted inscription: A.D. MCCCCLXXX. XV decembris. This could be the initial date of the work whose conclusion is in the great altarpiece with the Nativity, dated 1485. Artist: GHIRLANDAIO, Domenico Painting Title: Portrait of the Donor Nera Corsi Sassetti , 1451-1500 Painting Style: Italian , , portrait
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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Birth of Mary oil painting picture wholesale

Painting ID:: 63004
GHIRLANDAIO, Domenico
Birth of Mary
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence "... One of (the women) holds the Child in her arms and makes it laugh by smiling, with a feminine grace truly worthy of a work of this great genius, each figure being distinguished in its various expressions" (Vasari). Here Ghirlandaio succeeds in convincingly continuing the rear wall of the real chapel, which has windows, into the depth of the picture, where there is also a painted window. As a result, part of the frieze of dancing putti playing instruments is in the light, and part in shadow. The figures of the nurses are also captivatingly vivid the joy of the lovely woman holding the child lights up her bright face. And the marvelous moving figure of the woman pouring water gives the picture a look of everyday life. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of Mary (detail) , 1451-1500 Painting Style: Italian , , religious
(new21/GHIRLANDAIO, Domenico-562537.jpg)

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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Birth of St John the Baptist oil painting picture wholesale

Painting ID:: 63005
GHIRLANDAIO, Domenico
Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence Here a beautiful unknown woman from the donor's immediate circle is looking at us. She is holding a small cloth in her hands, which are elegantly clasped in front of her stomach, and dressed in a gentle pink, a hue picked up in her cheeks. Two women wearing white head-dresses accompany her; the elder is probably the donor's sister, Lucrezia Tornabuoni, who died before the picture was painted. She was the mother of Lorenzo il Magnifico and sister of Giovanni. Artist: GHIRLANDAIO, Domenico Painting Title: Birth of St John the Baptist (detail) , 1451-1500 Painting Style: Italian , , religious
(new21/GHIRLANDAIO, Domenico-458943.jpg)

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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Baptism of Christ oil painting picture wholesale

Painting ID:: 63006
GHIRLANDAIO, Domenico
Baptism of Christ
1473 Fresco Sant'Andrea a Brozzi, San Donnino The fresco is in the tympanum above the Madonna and Child with Saints. Two angels are kneeling on the left bank of the river Jordan, shown as a little flat stream flowing towards us. They are holding the clothes of the person being baptized, who is clad only in a loincloth. Christ is standing in water up to his ankles. St John the Baptist, in a fur robe, is gathering up his cloak and stepping carefully on to a stone to baptize Christ. This fresco, because of its poorer quality, is frequently attributed to assistants from Ghirlandaio's workshop. It is a loose copy of the famous panel painting which Verrocchio painted with the help of his assistant Leonardo da Vinci. Ghirlandaio added the two praying angels on the right of his composition, and these, together with the corresponding figures on the other side of the river, form a compositional frame for the work.. This assumption that clear symmetrical balance is important shows that the artist was still rather conservative. Artist: GHIRLANDAIO, Domenico Painting Title: Baptism of Christ , 1451-1500 Painting Style: Italian , , religious
(new21/GHIRLANDAIO, Domenico-945345.jpg)

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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Death and Assumption of the Virgin oil painting picture wholesale

Painting ID:: 63007
GHIRLANDAIO, Domenico
Death and Assumption of the Virgin
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the final scene, painted in the large pointed tympanum on the left wall of the chapel, two events, the Death and Assumption of the Virgin, are depicted in one picture. In this last story "... is the Passing of Our Lady and her Assumption, with troops of angels, a number of figures, landscapes and other ornaments, in which Domenico's easy and skilful style usually abounds" (Vasari). The composition and execution of this poorly preserved fresco are poorer than in the other pictures in the chapel. In its solemn character the scene is comparable with the considerably better Obsequies in the Saint Fina and the Sassetti chapels. Mary's body is lying on a bier in an open space, mourned by the grieving Apostles. Four angels are carrying long candles or palm leaves. The dead Mary's pale face is old, her cheeks sunken. But in a glory above her, a young and beautiful Virgin with a rosy face is being carried up to heaven by angels to meet her son. Artist: GHIRLANDAIO, Domenico Painting Title: Death and Assumption of the Virgin , 1451-1500 Painting Style: Italian , , religious
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Artist: unknow artist

unknow artist Bust of a woman oil painting picture wholesale

Painting ID:: 63009
unknow artist
Bust of a woman
1688-89 Marble, life-size Palazzo Pitti, Florence Portraiture broadened considerably during the late Baroque period. Complementary to the imaginary portraits of anti-heroic types was the celebration of ideal beauty in female busts loosely based upon Classical prototypes. These were often commissioned to adorn palace interiors and are related to garden sculpture in that they strike Classical poses without being specifically related to a given prototype. The bust by Piamontini on the staircase of Palazzo Pitti in Florence epitomize this trend: their heads are vaguely Classical but their drapery retains a flicker of Baroque agitation. Artist: PIAMONTINI, Giuseppe Painting Title: Bust of a woman , 1651-1700 Painting Style: Italian , sculpture Type: portrait
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Artist: GHIRLANDAIO, Domenico

GHIRLANDAIO, Domenico Adoration of the Magi oil painting picture wholesale

Painting ID:: 63010
GHIRLANDAIO, Domenico
Adoration of the Magi
1488 Tempera on wood, 285 x 240 cm Spedale degli Innocenti, Florence Vasari writes about the painting: "In the church of the Innocenti he painted in tempera a much-admired picture of the Magi, containing some fine heads and varied physiognomies of people both young and old, notably a head of the Virgin, displaying all the modesty, beauty and grace which art can impart to the Mother of God". There are so many saints in this Adoration that it is not easy to make out the three Magi. On the left, Saint John the Baptist is kneeling and pointing to the Madonna. The orphans of the Spedale are represented by two of the innocent boys who were killed during the Slaughter of the Innocents in Bethlehem, kneeling in the foreground. There are gaping bloody wounds to their faces, arms and necks. In this Adoration of the Magi, Ghirlandaio's carefully thought out use of colour is particularly impressive: Ghirlandaio distributes the glowing colours evenly. Mary in the centre is wearing a blue cloak over a red dress. The oldest king kneeling in front of her is wearing a variation of these colours combined with yellow. To the left of Mary, the youngest king holding the valuable goblet in his hand - he almost looks like Saint John the Evangelist - is also dressed in blue, yellow and red. The figure standing on the right edge of the picture wearing an expensive hat repeats this combination of colours, though now the blue and yellow are reversed. In the second figure from the right, wearing the blue hat, the Madonna's colours of red and blue are visible again, and they are repeated in clothes of the bearded man wearing a turban on the left edge of the picture. Between the Madonna and the man with the blue hat on the right, the artist creates a yellow highlight, though with a weaker blue accent, in the figure of Joseph. This row of figures alone produces a rhythm of colour from left to right: red and blue; yellow, blue and red; red and blue; yellow and blue; red and blue; yellow, blue and red. The work represents one of Ghirlandaio's most important "easel" works. Here too the assistants were at work. Indeed, in the scene of the Slaughter of the Innocents in the background, Berenson recognized the hand of Bartolomeo di Giovanni, the author of the stories from the predella. Artist: GHIRLANDAIO, Domenico Painting Title: Adoration of the Magi , 1451-1500 Painting Style: Italian , , religious
(new21/GHIRLANDAIO, Domenico-869486.jpg)

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Artist: Michelangelo Buonarroti

Michelangelo Buonarroti Tomb of Giuliano de' Medici oil painting picture wholesale

Painting ID:: 63011
Michelangelo Buonarroti
Tomb of Giuliano de' Medici
1526-33 Marble, 630 x 420 cm Sagrestia Nuova, San Lorenzo, Florence Michelangelo received the commission for the Medici Chapel in 1520 from the Medici Pope Leo X (1513-23). The Pope wanted to combine the tombs of his younger brother Giuliano, Duke of Nemours, and his nephew Lorenzo, Duke of Urbino, with those of the "Magnifici", Lorenzo and his brother Giuliano, who had been murdered in 1478; their tombs were then in the Old Sacristy of San Lorenzo. The plans for the chapel which we still have, shows us that the Pope allowed Michelangelo a great freedom in his task. Not much of this vast plan was in fact carried out, yet it is enough to give us an idea of what Michelangelo's overall conception must have been. Each of the Dukes' tombs is divided into two areas, and the border is well marked by a projecting cornice. In the lower part are the sarcophagi with the mortal remains of the Dukes, on which lie Twilight and Dawn, Night and Day as the symbol of the vanity of things. Above this temporal area, the nobility of the figures of the Dukes and the subtlety of the richly decorated architecture which surrounds them represent a higher sphere: the abode of the free and redeemed spirit. Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici , 1501-1550
(new21/Michelangelo Buonarroti-334853.jpg)

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Artist: Michelangelo Buonarroti

Painting ID:: 63012
Michelangelo Buonarroti
Tomb of Giuliano de' Medici
1526-33 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici (detail) , 1501-1550
(new21/Michelangelo Buonarroti-952577.jpg)

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Painting:: people