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Διάσημα έργα ζωγραφικής από το 1443

Μια λίστα των διάσημων έργων τέχνης που δημιουργήθηκε στο έτος 1443


San Marco Altarpiece

2015-09-23

The San Marco Altarpiece (also known as Madonna and Saints) is a painting by the Italian early Renaissance painter Fra Angelico, housed in the San Marco Museum of Florence, Italy. It was commissioned by Cosimo de' Medici the Elder, and was completed sometime between 1438 and 1443. In addition to the main panel depicting the enthroned Virgin and Child surrounded by Angels and Saints, there were 9 predella panels accompanying it, narrating the legend of the patron saints, Saints Cosmas and Damian. [1] Only the main panel and two predella panels actually remain in the Convent of San Marco, Florence, Italy, today. The San Marco Altarpiece is known as one of the best early Renaissance paintings for its employment of metaphor and perspective, Trompe l'oeil, and the intertwining of Dominican religious themes and symbols with contemporary, political messages.





Πορτρέτο μιας πριγκίπισσας (Pisanello)

2015-09-23

Portrait of Princess is a tempera painting on panel attributed to the Italian Late-Gothic master Pisanello. It was probably executed between 1435 and 1449 and is also known as Portrait of a Princess of the House of Este. It is firmly attributed to Pisanello on stylistic grounds and because he stayed in Ferrara in the period, where he also finished a portrait and a celebrative medal of Marquis Leonello d'Este.





Miraflores Altarpiece

2015-09-23

The Miraflores Altarpiece (or Triptych of the Virgin, or The Altar of Our Lady or the Mary Altarpiece) is a c. 1442-5 oil-on-oak wood panel altarpiece by the Early Netherlandish painter Rogier van der Weyden, in the Gemäldegalerie, Berlin since 1850. [1] The three panels are each 71 x 43 cm and show, from left to right, a portrait of the Holy Family, a Pietà (the Virgin cradling the dead body of Jesus) and Christ's appearance to Mary—a chronological reading of the birth, death and resurrection of Jesus, [2] with Mary the focus of both wings. The altarpiece examines Mary's relationship with Christ at different stagesof his life. It is notable for its use of colour, distinguished by its use of whites, reds and blues, and use of line—notably the line of Christ's body in the central panel—and, typically of van der Weyden, its emotional impact. [3]





Ενθρόνιση της Παρθένου (Filippo Λίπι)

2015-09-23

Η ενθρόνιση της Παρθένου (στην ιταλική Incoronazione Maringhi) είναι μια ζωγραφική της στέψης της Θεοτόκου του Ιταλική αναγέννηση Λίπι πλοίαρχος Filippo, με το Παλάτσο Πίτι, Φλωρεντία.





Ευαγγελισμού με δύο γονατιστή δωρητές (Λίπι)

2015-09-23

Ευαγγελισμού της Θεοτόκου είναι μια ζωγραφική από τον ζωγράφο της ιταλικής αναγέννησης Filippo Λίπι. Χρονολογείται από το 1440-45, στεγάζεται στο η Galleria Nazionale d'Arte Antica Palazzo Μπαρμπερίνι, Ρώμη.





Ευαγγελισμός της Θεοτόκου (Λίπι, Μόναχο)

2015-09-23

Απεικονίζει Θεοτόκου ταπεινά να αποδέχεται το ρόλο της ως μητέρα του Ιησού, με το ένα χέρι του στο στήθος της, ενώ το Περιστέρι, σύμβολο του Αγίου Πνεύματος, είναι να δοθεί σε αυτήν. Ο άγγελος είναι γονατιστή δίπλα της, επίσης, με το ένα χέρι στο στήθος του ένα σημάδι χαιρετισμό. Η σκηνή είναι πλαισιωμένα στην μια στοά άνοιγμα σε μια στενή κήπο.





Aix Ευαγγελισμού της Θεοτόκου

2015-09-23

The Aix Annunciation is a painting attributed to the Barthélemy d'Eyck or the so-called Master of the Annunciation of Aix-en-Provance. Executed in 1443-1445, it was originally placed in the Cathédrale Saint-Sauveur, Aix-en-Provence, southern France. Now it is divided between the Église de la Madeleine in the same city (central panel with the Annunciation), the Museum Boijmans Van Beuningen (part of the left panel with the prophet Isaiah) at Rotterdam, the Rijksmuseum of Amsterdam (upper part of the left panel), while the right panel is in the Royal Museum of Fine Arts of Belgium in Brussels. Side panels are painted on both sides, showing Christ on the right and Mary Magdalene on the left (the upper part, on reverse of the Amsterdam panel, does not survive); together they used to form a Noli me tangere scene when the triptych was folded shut.







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