Alla Antonello da Messinas Oljemålningar

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94654

Annunciation

1474 Type Oil on panel Dimensions 180 cm x 180 cm (71 in x 71 in) cyf

38440

Antonello there measuring, madonna Annunziata

mk137 ca. 1475 oils on wood chalkboard 45x34.5cm Galleria Nazionale della Sicilla, Palermo

53706

Bebadelsen

mk34 about 1465 45x34cm

4819

Christ at the Column (detail)

c. 1475-1479 Oil on wood, 25,8 x 21 cm Mus??e du Louvre, Paris

84319

Christ Blessing

1465(1465) Medium Oil on wood Dimensions 38.7 x 29.8 cm cyf

42904

Christ Crucified

mk170 Dated 1475 Oil on wood

55959

Condottiero

mk247 1475,oil on wood,14x12 in,36x30.5 cm,louvre,paris,france

4822

Crucifixion dfgd

1475 Oil on panel 52.5 x 42.5 cm Koninklijk Museum voor Schone Kunsten, Antwerp

4821

Crucifixion 111

1475 Wood, 42 x 25,5 cm National Gallery, London

87887

Ecce Homo

Date 1474(1474) Medium Oil on wood Dimensions Deutsch: 39,7 x 32,7 cm cjr

94655

Ecce Homo

1475 Type Oil on panel Dimensions 48.5 cm x 38 cm (19.1 in x 15 in) cyf

39584

Madonna with SS Nicholas of Bari,Anastasia

mk150 1475/6 115/56x133.6cm

87926

Maria der Verkundigung

1475(1475) Medium Oil on wood cjr

98161

Maria der Verkundigung

1473(1473) Medium oil on panel Dimensions 43 x 32 cm cyf

42921

Portrai of a Man

mk170 circa 1475 Oil on poplar 35.6x25.4cm

31306

Portrait of a Man

nn07 c.1475 36x25cm

40237

Portrait of a Man

mk156 1475 Oil on panel 36x30cm

63537

Portrait of a Man

1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin The painting is one of the portraits which were famed for their realism. Due to his knowledge of Flemish pictures, the painter had made a decisive contribution to the spreading and perfection in Italy of what was at that time the new medium of oil painting, and normally depicted figures in three quarter life-size as statue-like half-length portraits in front of a barrier. As in this portrait, the face is particularly emphasized by the dark background and simple headgear, with the eyes directed straight at the observer.Artist:ANTONELLO da Messina Title: Portrait of a Man Painted in 1451-1500 , Italian - - painting : portrait

79671

Portrait of a Man

1473(1473) Medium Oil on panel cyf

79859

Portrait of a Man

c.1465-70 Oil on panel cjr

84830

Portrait of a Man

1470(1470) Medium Oil on wood Dimensions 27 x 20.6 cm (10.6 x 8.1 in) cyf

4826

Portrait of a Man jj

c. 1475 Oil on panel, 36 x 25 cm National Gallery, London

4825

Portrait of a Man kjjjkj

c. 1475 Oil on wood Galleria Borghese, Rome

4820

Portrait of a Man (Il Condottiere)

1475 Oil on wood, 35 x 38 cm Mus??e du Louvre, Paris

20075

Portrait of a Man (mk05)

1475 Wood 14 1/4 x 12''(36 x 30 cm)Entered the Louvre in 1865

4824

Portrait of a Man hh

1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin

2881

Portrait of a Young Man

1465 National Gallery, London

79932

Portrat eines Mannes

1474 - 1475 Medium Oil on panel Dimensions Deutsch: 30 x 24 cm cyf

93474

Portrat eines Mannes

1474 - 1475 Porträt eines Mannes Medium oil on panel Dimensions Deutsch: 30 x 24 cm cjr

38473

Portrat of a man

mk137 1475 oils on wood chalkboard 36x30cm muse you Louvre, Paris

53707

Portratt of young man

mk234 aout 1465 35x25cm

55958

Prtrait of a Man

mk247 c.1475,oil on poplar,14x10 in,36x25.5 cm,national gallery,london,uk

33414

Sacra Conversazione

mk86 1475/76 Tempera on wood Saints Nicholas and Anastasia 56x35cm Virgin and Child 115x63cm

21240

Sacra Conversazione (mk08)

Tempera on wood.Saints Dominic and Ursula 57x36cm Vienna ,Kunsthistorisches Museum

3266

Saint Jerome in his Study

c1475-76 National Gallery, London

42923

Saint Jerome in His Study

mk170 circa 1475 Oi lon lime 45.7x36.2cm

23249

Saint Jerome in his Study (nn03)

c 1475-6 Oil on panel h46 x w36.5 cm h18 x w14 1/4in National Gallery,London

90598

Salvator mundi

1465(1465) Medium oil on panel cyf

86646

Salvator mundi, Detail

Date 1465(1465) Medium Oil on wood cjr

4818

San Cassiano Altar

1475-76 Oil on panel Kunsthistorisches Museum, Vienna

40240

San Cassiano Altar

mk156 1475-1476 Oil on panel 115x65cm

2878

San Cassiano Altarpiece

1475-76 Art History Museum, Vienna

4828

St Jerome in his Study

c. 1460 Wood, 46 x 36,5 cm National Gallery, London

33411

St Jerome in His Study

mk86 c.1456 Tempera on wood 46x36cm London,National Gallery

84580

St Jerome in his Study

Date ca. 1460(1460) Medium Oil on wood Dimensions Height: 46 cm (18.1 in). Width: 36 cm (14.2 in). cjr

88443

St Jerome in his Study

1460(1460) Medium Oil on wood cyf

21237

St Jerome in His Study (mk08)

C.1456 Tempera on wood 46x36cm London National Gallery

21239

St Sebasian (mk08)

c,1476 Tempera on wood transferred to canvas 171x86cm Dresden,Gemaldegalerie Alte Meister

33413

St Sebastian

mk86 c.1476 Tempera on wood transferred to canvas 171x86cm Dresden,Gemaldegalerie Alte Meister

40245

St Sebastian

mk156 c.1476 Panel transposed on canvas 171x85cm

91187

St Sebastian

between 1476(1476) and 1477(1477) Medium Oil on canvas transferred from panel Dimensions Height: 171 cm (67.3 in). Width: 85.5 cm (33.7 in). cyf

4827

St Sebastian jj

1476-77 Oil on canvas transferred from panel, 171 x 85,5 cm Gemäldegalerie, Dresden

2882

St.Jerome in his Study

National Gallery, London

41132

The Dead Christ

mk157 1475-76 Oil on wood 117x85cm

4823

The Dead Christ Supported by an Angel

1475-78 Panel, 74 x 51 cm Museo del Prado, Madrid

28606

The Dead Christ Supported by an Angel

mk61 c.1476 Oil on panel 74x51cm

2880

Virgin Annunciate

1465 Galleria Nazionale della Sicilia

33412

Virgin Annunciate

mk86 c.1475 Oil on wood 45x34.5cm Palermo,Galleria Nazionale della Sicilia

40236

Virgin Annunciate

mk156 1475 Oil on panel 45x135cm

86600

Virgin Annunciate

Date c. 1476(1476) Medium Oil on wood Dimensions Height: 45 cm (17.7 in). Width: 34.5 cm (13.6 in). cjr

21238

Virgin Annunciate (mk08)

c.1475 Oil on wood 45x34.5cm Palermo,Galleria Nazionale della sicilia

4830

Virgin Annunciate hhh

c. 1476 Oil on wood, 45 x 34,5 cm Museo Nazionale, Palermo

2879

Virgin of the Annunciation

Pinakothek, Munich

4829

Virgin of the Annunciation fvv

Oil on panel Alte Pinakothek, Munich

Antonello da Messina

1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.

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