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Pinturas::. All people >> religious

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Artista: Benozzo Gozzoli
Benozzo Gozzoli Adoration of the Magi Spain oil painting reproduction


Benozzo Gozzoli Adoration of the Magi Spain oil painting reproduction

Pintura Identificación::  62397
Benozzo Gozzoli
Adoration of the Magi
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
(new21/Benozzo Gozzoli-633699.jpg)

Artista: Sandro Botticelli
Sandro Botticelli Holy Trinity Spain oil painting reproduction


Sandro Botticelli Holy Trinity Spain oil painting reproduction

Pintura Identificación::  62398
Sandro Botticelli
Holy Trinity
1491-93 Tempera on panel, 215 x192 cm Courtauld Institute Galleries, London The altarpiece shows the Holy Trinity with Mary Magdalene, St John the Baptist and Tobias and the Angel The Holy Trinity appears as a vision between the penitent saints Magdalene and John in a bleak desert landscape. The Baptist is inviting the observer to worship the Trinity, and Mary Magdalene is turning to face it full of emotion. The exhausted figure of the penitent, a late work of Donatello's, had a decisive influence on Botticelli's Magdalene. The penitent sinner was the patron saint of the nuns' monastery of the Magdalenes, and this pala or altarpiece was ordered for their church. The figures of Tobias and the angel are very small compared to the others. They might be a reference to the donors of the altar, the guild of doctors and apothecaries: archangel Raphael was their patron saint
(new21/Sandro Botticelli-448446.jpg)

Artista: Lorenzo Ghiberti
Lorenzo Ghiberti Sacrifice of Isaac Spain oil painting reproduction


Lorenzo Ghiberti Sacrifice of Isaac Spain oil painting reproduction

Pintura Identificación::  62399
Lorenzo Ghiberti
Sacrifice of Isaac
1401 Bronze relief Museo Nazionale del Bargello, Florence This panel, together with that made by Filippo Brunelleschi, both depicting the sacrifice of Isaac, have great artistic and historical importance. They are the famous trial pieces presented in a competition for the right to construct the door of the Baptistry. The lyrical elegance of Ghiberti's version undoubtedly expresses more coherently the famous Biblical episode. Ghiberti won the competition. *** Keywords: ************* Author: GHIBERTI, Lorenzo Title: Sacrifice of Isaac , 1401-1450 , Italian Form: sculpture , religious
(new21/Lorenzo Ghiberti-459695.jpg)

Artista: Domenico Ghirlandaio
Domenico Ghirlandaio Annunciation Spain oil painting reproduction


Domenico Ghirlandaio Annunciation Spain oil painting reproduction

Pintura Identificación::  62403
Domenico Ghirlandaio
Annunciation
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio
(new21/Domenico Ghirlandaio-352659.jpg)

Artista: Domenico Ghirlandaio
Domenico Ghirlandaio Birth of St John the Baptist Spain oil painting reproduction


Domenico Ghirlandaio Birth of St John the Baptist Spain oil painting reproduction

Pintura Identificación::  62404
Domenico Ghirlandaio
Birth of St John the Baptist
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence The Birth of St John the Baptist and the Zacharias Writes Down the Name of his Son can be found on the second level of the right wall. The scene is described by Vasari. "... the birth of St John, with a beautiful idea that, while Elisabeth is in bed and being visited by her neighbours and a nurse is suckling the child, a woman is eagerly calling the attention of the visitors to the wonder that has come to her mistress in her old age; and lastly there is a woman bringing fruit and wine from the city, in conformity with the Florentine custom. This is very fine". In the Birth of Saint John the Baptist Ghirlandaio once again created a room flooded with light and air. We can well imagine that the palace rooms of Ghirlandaio's patrons being similar to this. In this picture he makes use of contrasting complementary colours by placing the red bedspread in front of the green wall hanging. In front of the wall hanging, a maid dressed in red and green is carrying a tray with carafes of water and wine for the refreshment of the woman in childbed. The golden orange hues of the pilasters and entablatures form a complementary contrast with the light blue of aged Elizabeth and the young maid coming in from at the far right. Such colour schemes help to create the captivating clarity that characterizes so much of Ghirlandaio's work. It is not just the age of Elizabeth and her maid that contrast, but also their respective auras of stillness and movement. Nowadays it is astonishing to think that Savonarola, the severe preacher of repentance, could have taken exception to this superb maid. She corresponds to the nurse on the far left, who is stretching out her arms eagerly. The two figures form an exciting frame for the quiet scene taking place in-between. In the Birth of John the Baptist, Elizabeth is visited by female representatives of the donor family - as is Anne in the birth scene on the opposite wall. The only figure that can be identified is that of the poet Lucrezia Tornabuoni, who was known for being very virtuous. She was the mother of Lorenzo de' Medici and a friend of the humanist Agnolo Poliziano and Luigi Pulci, portrayed in the Sassetti Chapel together with her son. There is actually nothing in this scene to suggest that it is depicting an event from the story of St John - with the sole exception of the severely weather-beaten halo surrounding Elizabeth's head. In this scene from everyday life, Ghirlandaio surpassed even his beautiful Birth of Mary. In addition to the marvelous basket of fruit, he added another two still-lifes to the picture in order to make it appear more home-like and realistic. On the far left two objects, a brass jug and bowl, that we are already familiar with from the fresco the Last Supper in the church of Ognissanti, and from the frescoes in the Santa Fina Chapel. At the top of the bed's headboard, next to the window, there is a symmetrical arrangement of a box, two pomegranates and a vase, reminiscent of both Saint Jerome's study and the frescoes in the Saint Fina Chapel. All these things once again bring Flemish painting to mind, which during this period made widespread use of everyday secular details as accessories. The miniature depicting the birth of Saint John the Baptist in the Turin/Milan Book of Hours is an outstanding example - a superb work that was most probably painted by Jan van Eyck himself, though its attribution is just as disputed as its date. Author: GHIRLANDAIO, Domenico Title: Birth of St John the Baptist , 1451-1500 , Italian Form: painting , religious
(new21/Domenico Ghirlandaio-242648.jpg)

Artista: Mainardi, Sebastiano
Mainardi, Sebastiano Annunciation Spain oil painting reproduction


Mainardi, Sebastiano Annunciation Spain oil painting reproduction

Pintura Identificación::  62407
Mainardi, Sebastiano
Annunciation
1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious
(new21/Mainardi, Sebastiano-744947.jpg)

Artista: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Shepherds Spain oil painting reproduction


Domenico Ghirlandaio Adoration of the Shepherds Spain oil painting reproduction

Pintura Identificación::  62410
Domenico Ghirlandaio
Adoration of the Shepherds
167 x 167 cm Santa Trinit? Florence "He painted in tempera, as a companion to this work, a Nativity of Christ which must excite the wonder of every thinking man, introducing his own portrait and some heads of shepherds, which are considered divine" (Vasari). The Sassetti Chapel is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it. Ghirlandaio himself appears in the scene, dressed as a shepherd. He is even allowed to come closer to the Christ Child than the donors, who appear in frescoes to the right and left, praying outside the confines of the panel. The artist, who is leading the shepherds, is kneeling and bringing the miracle of the birth of Christ to the attention of both the shepherds and the observers of the picture. His left hand, with which he is pointing to the Christ Child, is finely drawn and is superbly modelled in three dimensions. With his right hand, his painting hand, he is pointing to his chest, as he does in a later fresco in the Tornabuoni Chapel. As Ghirlandaio is pointing both at the child and the garlands on the Roman marble sarcophagus, it is possible that the gesture is saying: "This holy child was painted for you by me, the garland-maker Ghirlandaio." The classical sarcophagus in the picture is not just a manger for the ox and ass. It also has an iconographical significance indicated by the Latin inscription along its front: Ense cadens. Solymo. Pompei Pului[us] Augur Numen. Ait. Quae me conteg[it] Urna Dabit. [While Fulvi(us), augur of Pompey, was falling by the sword in Jerusalem he said: the urn that covers (conceals) me shall bring forth a god]. This is an ancient prophecy by Fulvius. The animals' manger will serve as a crib for the Christ Child. In his Adoration of the Shepherds, Ghirlandaio combines this reference to the Roman classical age with knowledge of Flemish art and turns them into an integrated whole. An historic event that took place a few years before this work was painted clearly left its mark behind on Ghirlandaio's work. An altarpiece ordered by Tommaso Portinari from Hugo van der Goes in Bruges reached Florence in May 1483. Florentine artists saw van der Goes' Adoration of the Shepherds as a shining comet showing new ways of painting. In Ghirlandaio's altarpiece, the shepherds pushing their way into the picture from the right, with their harsh, life-like features, are drawn directly from this Flemish model. Ghirlandaio's landscape in the background also displays features from north of the Alps
(new21/Domenico Ghirlandaio-455374.jpg)

Artista: Domenico Ghirlandaio
Domenico Ghirlandaio Adoration of the Magi Spain oil painting reproduction


Domenico Ghirlandaio Adoration of the Magi Spain oil painting reproduction

Pintura Identificación::  62412
Domenico Ghirlandaio
Adoration of the Magi
1488 Tempera on wood Spedale degli Innocenti, Florence Ghirlandaio (second from the right) gazes out at us from this picture, more modestly than in his other self-portrait (like in the Tornabuoni Chapel or in the Sassetti Chapel). It is thought that the churchman dressed in black in front of him is the man who commissioned the panel painting, Francesco di Giovanni Tesori. Above these two portraits, the Slaughter of the Innocents in Bethlehem is shown. The town beyond this, in which we can see monuments such as the Colosseum, Trajan's Column, the Torre del Milizie, and a pyramid, is meant to be reminiscent of Rome
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Artista: Francois Boucher
Francois Boucher Adoration of the Shepherds Spain oil painting reproduction


Francois Boucher Adoration of the Shepherds Spain oil painting reproduction

Pintura Identificación::  62417
Francois Boucher
Adoration of the Shepherds
1750 Oil on canvas Mus?e des Beaux-Arts, Lyon Boucher had never been a committed artistic believer. Although he had worked in Italy, the Italian tradition did not tempt him into vast imaginative schemes. He never aimed at a heroic vision. He expressed no glorious promises about heaven: either as an Olympian refuge for aristocratic families, or in ordinary Christian terms. Like most French eighteenth-century painters, he could not evolve a satisfactory idiom for religious pictures of any kind; and he was particularly unsuited to the task by the nature of his real abilities. The picture shows one of his rare paintings of religious subject
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Artista: Albani, Francesco
Albani, Francesco Summer Spain oil painting reproduction


Albani, Francesco Summer Spain oil painting reproduction

Pintura Identificación::  62432
Albani, Francesco
Summer
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Summer , 1601-1650 , Italian Form: painting , mythological
(new21/Albani, Francesco-866292.jpg)

Artista: Albani, Francesco
Albani, Francesco Autumn Spain oil painting reproduction


Albani, Francesco Autumn Spain oil painting reproduction

Pintura Identificación::  62433
Albani, Francesco
Autumn
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter.
(new21/Albani, Francesco-864593.jpg)

Artista: Albani, Francesco
Albani, Francesco Winter Spain oil painting reproduction


Albani, Francesco Winter Spain oil painting reproduction

Pintura Identificación::  62434
Albani, Francesco
Winter
1616-17 Oil on canvas Galleria Borghese, Rome Francesco Albani, an exponent of the classical ideal, chose a format for his four tondos which, in his own words, "softened" his pictorial expression. The subject matter is taken from Philostratus (Eikones I,6) who describes the games of cupids throughout the four seasons: throwing apples in spring, the fiery furnace of summer, Venus and Adonis taking their farewell in autumn and sleep in winter. Author: ALBANI, Francesco Title: Winter , 1601-1650 , Italian Form: painting , mythological
(new21/Albani, Francesco-359668.jpg)

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