1.
1490s in art
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The decade of the 1490s in art involved some significant events. The Renaissance is in full swing during the 1490s, and Leonardo da Vinci is painting in realistic, in music, many new musical styles are being created, including the motet and madrigal, replacing an emphasis on chanting with polyphony and homophony. Christopher Columbuss explorations of the New World captivates the artistic imagination of artists and the public. 1490, July 13 – John of Kastav finishes a cycle of frescoes in the Holy Trinity Church,1496 – Juan de Flandes joins the court of Isabella I of Castile. Peters Basilica, Rome, in Carrara marble c,1490, Giovanni Bellini paints two Sacred Conversations and a presumed portrait of Bartolomeo dAlviano c. 1490–1497, Leonardo da Vinci or one of his school paints La belle ferronnière c,1495, Gerard David paints Triptych of the Sedano family c. 1490–1500, Giovanni Bellini paints the Holy Allegory and Portrait of a Gentleman c,1495, Pedro Berruguete paints Saint Dominic Presiding over an Auto-da-fe c. 1495, Jan Provoost paints a Crucifixion c, 1495–1496, Leonardo da Vinci probably draws the Portrait of a Young Fiancée for the Sforziada c.1495 and beyond, followers of Martin Schongauer paint the colossal Buhl Altarpiece c. 1496, Juan de Flandes paints Portrait of an Infanta and Herodias Revenge c,1495, Albrecht Dürer - The Holy Family with the Dragonfly 1497, Albrecht Dürer - The Four Witches c. 1498, Albrecht Dürer Apocalypse Saint Michael Fighting the Dragon The Temptation of the Idler or The Dream of the Doctor c
2.
1500s in architecture
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C.1500 - Chateau de Blois largely rebuilt. 1500 - St. Annes Church, Vilnius is completed,1501 Expansion of Holyrood Palace, Edinburgh. Chichester Cross is built in Chichester, England, Construction of the Jerónimos Monastery at Belém in Portugal begins, it will take 100 years to complete. Construction of spire of St James Church, Louth, Lincolnshire, England begins, 1501/2 - Construction of the Ducal Palace of Vila Viçosa in the Duchy of Braganza begins. 1502 Tempietto, San Pietro in Montorio, Rome, designed by Donato Bramante, is built, Construction of St. Marys Church, Gdańsk, begun in 1379 by Heinrich Ungeradin, is completed with the installation of vaulting by Heinrich Haetzl. Vladislav Hall in Prague Castle, designed by Benedikt Rejt, is completed, Expansion of Great Malvern Priory in England is completed. 1504 - Matsumoto Castle in Japan built,1505 - Archangel Cathedral in Moscow begun. 1505–1508 - Fondaco dei Tedeschi on the Grand Canal rebuilt by Fra Giovanni Giocondo,1506 - Construction of St. Peters Basilica in Rome to the design of Bramante begins. Construction of the church of Santa Maria di Loreto, Rome, rebuilding of Wawel Castle in Kraków begins. 1508 Church of San Rocco, Venice, designed by Bartolomeo Bon, Church of Santa Maria della Consolazione is begun. 1509 Palazzo Loredan on the Grand Canal, begun by Mauro Codussi in 1481, is completed, fugger Chapel of St. Annes Church, Augsburg, Swabia, is begun. 1503, November 1 - Pope Julius II becomes Pope, he will be patron to Bramante, Raphael, 1506/07 - Conrad Pflüger, Swabian architect
3.
Pope Julius II
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Pope Julius II, nicknamed The Fearsome Pope and The Warrior Pope, born Giuliano della Rovere, was Pope from 1 November 1503 to his death in 1513. In addition to a military policy, he personally led troops into battle on at least two occasions. There is disagreement about Juliuss year of birth, for some sources put it as late as 1453, Giuliano della Rovere was the son of Rafaello della Rovere. Francesco della Rovere was his uncle and he was educated among the Franciscans by his uncle, who took him under his special charge and later sent him to a Franciscan friary in Perugia with the purpose of obtaining knowledge of the sciences. After his uncle was elected Pope Sixtus IV, della Rovere was promoted to be cardinal, taking the title as that formerly held by his uncle. With his uncle he obtained great influence, and in addition to the archbishopric of Avignon he held no fewer than eight bishoprics, including Lausanne from 1472. In June 1474, della Rovere led an army to Todi and Spoleto, around this time, in 1483, an illegitimate daughter was born, Felice della Rovere. Della Rovere, jealous and angry, accused Borgia of being elected over him, in 1494 he joined Charles VIII of France who was undertaking a military expedition into Italy. This was, in Andrew Greeleys view, almost certainly by means of bribery with money, but also, per Ott, Ullman, and Hughes, with promises. Giuliano Della Rovere thenceforth took the name of his fourth century predecessor, Julius I, indeed, on the day of his election, he declared I will not live in the same rooms as the Borgias lived. He desecrated the Holy Church as none before and he usurped the papal power by the devils aid, and I forbid under the pain of excommunication anyone to speak or think of Borgia again. His name and memory must be forgotten and it must be crossed out of every document and memorial. All paintings made of the Borgias or for them must be covered over with black crepe, all the tombs of the Borgias must be opened and their bodies sent back to where they belong—to Spain. The Borgias apartments remained sealed until the 19th Century, the combination was, however, at first little more than nominal, and was not immediately effective in compelling the Venetians to deliver up more than a few unimportant places in the Romagna. With a campaign in 1506, he led an army to Perugia and Bologna. The refusal of Pope Clement VII to grant the annulment led to the English Reformation, the same year, he founded the Swiss Guard to provide a constant corps of soldiers to protect the Pope. On Palm Sunday,1507, Julius II entered Rome, both as a second Julius Caesar, heir to the majesty of Romes imperial glory, and in the likeness of Christ, whose vicar the pope was, and who in that capacity governed the universal Roman Church. Julius, who modelled himself after his namesake Caesar, would lead his army across the Italian peninsula under the imperial war-cry
4.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
5.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
6.
Giovanni Bellini
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Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini and he is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and his sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian. Giovanni Bellini was born in Venice and he was brought up in his fathers house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and his paintings from the early period are all executed in the old tempera method, the scene is softened by a new and beautiful effect of romantic sunrise color. Giovannis early works have often been linked both compositionally and stylistically to those of his brother-in-law, Andrea Mantegna, none of the masters works of this kind, whether painted for the various schools or confraternities or for the ducal palace, have survived. As is the case with a number of his brother, Gentiles public works of the period, the still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with Titians Peter Martyr, after 1479–1480 much of Giovannis time and energy must also have been taken up by his duties as conservator of the paintings in the great hall of the Doges Palace. Of the other, the class of his work, including both altar-pieces with many figures and simple Madonnas, a considerable number have fortunately been preserved. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity, the full splendour of Venetian color invests alike the figures, their architectural framework, the landscape and the sky. An interval of years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to separate the San Giobbe Altarpiece. Formally, the works are similar, so a comparison between serves to illustrate the shift in Bellinis work over the last decade of the 15th century. Both pictures are of the Holy Conversation type, both show the Madonna seated on a throne, between classicizing columns. Both place the holy figures beneath a golden mosaicked half dome that recalls the Byzantine architecture in the basilica of St. Mark. Stylistically, the lighting in the San Zaccaria piece has become so soft, Giovannis use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. The San Zaccaria is considered perhaps the most beautiful and imposing of all Giovannis altarpieces, and is dated 1505, the last ten or twelve years of the masters life saw him besieged with more commissions than he could well complete. In 1505 she endeavoured through Cardinal Bembo to obtain from him another picture, what the subject of this piece was, or whether it was actually delivered, we do not know. In 1513 Giovannis position as master in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils
7.
San Zaccaria Altarpiece
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The San Zaccaria Altarpiece is a painting by the Italian Renaissance painter Giovanni Bellini, executed in 1505 and located in the church of San Zaccaria, Venice. They are St. Peter the Apostle, St. Catherine of Alexandria, St. Lucy, the colors and light show the new adherence of Bellini to Giorgiones color and mood style. The egg above Marys head is a symbol of the creation, the lucerne below recalls Andrea Mantegnas San Zeno Altarpiece. Santa Cristina al Tiverone Altarpiece Olivari, Mariolina
8.
Hieronymus Bosch
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Hieronymus Bosch was a Dutch/Netherlandish draughtsman and painter from Brabant. He is widely considered one of the most notable representatives of Early Netherlandish painting school and his work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, little is known of Boschs life, though there are some records. He spent most of it in the town of s-Hertogenbosch, where he was born in his grandfathers house, the roots of his forefathers are in Nijmegen and Aachen. His pessimistic and fantastical style cast a wide influence on art of the 16th century. His paintings have been difficult to translate from a point of view. Today he is seen as a hugely individualistic painter with deep insight into humanitys desires, attribution has been especially difficult, today only about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of which is The Garden of Earthly Delights, Hieronymus Bosch was born Jheronimus van Aken. He signed a number of his paintings as Jheronimus Bosch, the name derives from his birthplace, s-Hertogenbosch, which is commonly called Den Bosch. Little is known of Boschs life or training, nothing is known of his personality or his thoughts on the meaning of his art. Boschs date of birth has not been determined with certainty and it is estimated at c.1450 on the basis of a hand drawn portrait made shortly before his death in 1516. The drawing shows the artist at an age, probably in his late sixties. Bosch was born and lived all his life in and near s-Hertogenbosch and his grandfather, Jan van Aken, was a painter and is first mentioned in the records in 1430. It is known that Jan had five sons, four of whom were also painters, Boschs father, Anthonius van Aken, acted as artistic adviser to the Illustrious Brotherhood of Our Blessed Lady. It is generally assumed that either Boschs father or one of his uncles taught the artist to paint, Bosch first appears in the municipal record on 5 April 1474, when he is named along with two brothers and a sister. In 1463,4,000 houses in the town were destroyed by a catastrophic fire and he became a popular painter in his lifetime and often received commissions from abroad. In 1488 he joined the highly respected Brotherhood of Our Lady, a religious group of some 40 influential citizens of s-Hertogenbosch
9.
St. Jerome at Prayer (Bosch)
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St. Jerome at Prayer is a painting of St. Jerome by Hieronymus Bosch, thought to have been completed c. Today it is housed at the Museum of Fine Arts in Ghent, the work is known only from its acquisition by the museum in 1908. As for most of Boschs works, dating has long disputed. However, dendochronologic analysis has proved that it has been painted not after 1482, St. Jerome was a frequent subject of 15th century European art, depicted in his studio or during his penitence in the desert. Bosch for this picture adopted the latter iconography, although his saint is prone instead of kneeling and he is praying with a crucifix in his arms, also an unusual gesture of communion with Christ. Jerome lies on a rock located under a kind of shell-like cave and he is surrounded by his traditional symbols, but Bosch, as common in his works, also added some bizarre elements, such as the bony pig or the spherical shell emerging from the pool. This could symbolize the world floating towards decay, an owl and little owl are depicted on a branch, they allude, respectively, to heresy and the struggle against heresy. The Ten Commandments tables can be seen above the cave, the landscape is wide, in green tones
10.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
11.
Three Graces (Raphael)
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The Three Graces is an oil painting by Italian painter Raphael, housed in the Musée Condé of Chantilly, France. The date of origin has not been determined, though it seems to have been painted at some point after his arrival to study with Pietro Perugino in about 1500. According to James Patrick in 2007s Renaissance and Reformation, the painting represents the first time that Raphael had depicted the nude form in front. The image depicts three of the Graces of classical mythology, julia Cartwright in Early Work of Raphael proposes that the painting bears far more influence of the school of Ferrara than classical sculpture, making clear that the statue was not Raphaels model. Some art historians disagree with Panofskys conclusion, cole presents the figures as handmaidens of Venus, holding the golden apples with which she is associated and affirming the proper connection of Virtus and Amor. The Three Graces remain a motif in pop culture
12.
Tilman Riemenschneider
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Tilman Riemenschneider was a German sculptor and woodcarver active in Würzburg from 1483. He was one of the most prolific and versatile sculptors of the period between late Gothic and Renaissance, a master in stone and limewood. Tilman Riemenschneider was born around the year 1460 at Heiligenstadt im Eichsfeld in present-day Thuringia, when Riemenschneider was about five years old, his father was involved in a violent political conflict, the Mainzer Stiftsfehde, so the family had to leave Heiligenstadt and all their possessions. They resettled in Osterode, where his father became Master of the Mint, Riemenschneider likely came to Würzburg for the first time at the age of 18 in 1478/9. His uncle served as notary and financial advisor to the bishop there, around 1473, Riemenschneider learned the trade of sculpting and woodcarving, likely in Swabia or the Upper Rhine — possibly in Strasbourg and/or Ulm. At that time, the statutes of the guild of sculptors required that a travel to many different workshops to gain experience. Very little is known about this period of his life, but he came in contact with the work of Martin Schongauer. In 1483, he settled in Würzburg, on 7 December 1483, he joined the Saint Lukes Guild of painters, sculptors, and glass workers as a painters assistant. On 28 February 1485, he married Anna Schmidt, a widow of a goldsmith with three sons. This marriage not only brought him property, but it meant that he could end his apprenticeship. Also in 1485, Riemenschneider became a citizen of Würzburg, which made it possible to attain the status of master craftsman and his earliest confirmed work is the gravestone of Eberhard von Grumbach in the Pfarrkirche at Rimpar. This may be the type of work he started out with before obtaining large church commissions and he started to receive numerous orders from the town councils of Würzburg and neighboring towns. In 1490, the council of Münnerstadt ordered an altarpiece for the altar of St Maria Magdalena, the parish church. In 1491, the council of Würzburg ordered two life-sized stone figures of Adam and Eve for the south portal of the councils church. In 1494, Riemenschneiders first wife died, leaving him with three stepsons and a daughter, in keeping with the times and his status, he remarried in 1497, Anna Rappolt. She bore him two daughters and three sons, all of whom seem to have inherited their fathers artistic talent, in 1495, he created the statue of Mary with child. More high-profile work followed, In 1496 Riemenschneider received the order to carve the tomb of Prince-Bishop Rudolf von Scherenberg at Würzburg Cathedral and it was delivered in 1499, the same year in which an order arrived for the Imperial tomb at Bamberg Cathedral. By 1500, he had developed a reputation as an artist and had become a wealthy Würzburg citizen
13.
Madonna del Prato (Bellini)
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Madonna del Prato is a 1505 painting of the Virgin Mary and the Christ Child by Giovanni Bellini, now in the National Gallery in London. Originally painted as oil and egg tempera on wood, it was transferred to canvas in 1949 and it presents a medieval iconography of the Virgin of humility seated before a full and shining rural panorama, with both the devotional aspect and the landscape aspect given equal prominence. Full of small details of life, this landscape contributes to the intimate. The vulture in the tree also possibly symbolises death, the figures poses invite meditation on Jesuss death and passion, recalling Pietà compositions with the dead adult Jesus in his mothers lap
14.
The Hermit Saints
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The Hermit Saints is an oil on panel triptych by Hieronymus Bosch, dating from around 1493. It is housed at the Gallerie dellAccademia, Venice, the triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, in 1919 it was returned to Venice. The work has been damaged, perhaps by a fire, in particular in the central part, the sky, the landscape. The date of 1493 has been confirmed by dendochronologic analysis, each of the three panels portrays a different Christian anchorite saint. In the center is Saint Jerome, kneeling in the desert, the setting is an altar resembling a sculpted Roman sarcophagus, located within a ruined oratory. The reliefs depicts scenes connected to the theme, such as Judith and Holophernes, a knight. In the lower part is a man diving into a beehive and covering himself with honey and this detail is depicted in a drawing housed in the Albertina in Vienna. All around are symbols of evil, scattered in a desert and dark landscape and they include, at left, a column with an idolater adoring the atmospheric phenomena, skeletons, monstrous animals fighting each other and dried bush. At right are instead Jeromes traditional symbols, the red cardinals hat, the left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, the saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. The right panel shows Saint Giles, who is praying in a grotto, the saint has been shot by an arrow, originally destined to the fawn at his feet. The landscape, the dark of the triptych, is dominated by a sharp rock. The scientists at The Bosch Research and Conservation Project investigated all the aspects of this triptych. Bosch employed the pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion. Hieronymus Bosch, Hermit Saints Triptych, ColourLex Hermit Saints Triptych at The Bosch Research and Conservation Project
15.
Triptych
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A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme
16.
Vittore Carpaccio
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Vittore Carpaccio was a Venetian painter of the Venetian school, who studied under Gentile Bellini. He is best known for a cycle of nine paintings, The Legend of Saint Ursula and his style was somewhat conservative, showing little influence from the Humanist trends that transformed Italian Renaissance painting during his lifetime. He was influenced by the style of Antonello da Messina and Early Netherlandish art, Carpaccio was born in Venice, the son of Piero Scarpazza, a leather merchant. Carpaccio, or Scarpazza, as the name was rendered, came from a family originally from Mazzorbo. Documents trace the family back to at least the 13th century and his principal works were executed between 1490 and 1519, ranking him among the early masters of the Venetian Renaissance. He is first mentioned in 1472 in a will of his uncle Fra Ilario, upon entering the Humanist circles of Venice, he changed his family name to Carpaccio. He was a pupil of Lazzaro Bastiani, who, like the Bellini and Vivarini, was the head of an atelier in Venice. Carpaccios earliest known works are a Salvator Mundi in the Collezione Contini Bonacossi. These works clearly show the influence of Antonello da Messina and Giovanni Bellini - especially in the use of light and colors - as well as the influence of the schools of Ferrara and Forlì. In 1490 Carpaccio began the famous Legend of St. Ursula, the subject of the works, which are now in the Gallerie dellAccademia, was drawn from the Golden Legend of Jacopo da Varagine. In 1491 he completed the Glory of St. Ursula altarpiece, indeed, many of Carpaccios major works were of this type, large scale detachable wall-paintings for the halls of Venetian scuole, which were charitable and social confraternities. Three years later he took part in the decoration of the Scuola Grande di San Giovanni Evangelista, in the opening decade of the sixteenth century, Carpaccio embarked on the works that have since awarded him the distinction as the foremost orientalist painter of his age. From 1502 to 1507 Carpaccio executed another notable series of panels for the Scuola di San Giorgio degli Schiavoni which served one of Venices immigrant communities, unlike the slightly old-fashioned use of a continuous narrative sequence found in the St. Jerome, St. George and St. Trifon. Moreover, several of the scenes deal directly with cross-cultural issues, for example, St. Jerome, translated the Greek Bible to Latin in the fourth century. Then the St. George story addressed the theme of conversion, according to the Golden Legend, George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon. Horrified that her family would do such a thing, George brings the dragon back to her town. The St. George tale was popular during the renaissance. Carpaccios depiction of the event thus has a history, less common is his rendition of the baptism moment
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Holy Family and donors (Carpaccio)
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The Holy Family and donors is a painting by the Italian Renaissance artist Vittore Carpaccio. It is in the Museu Calouste Gulbenkian, in Lisbon, Portugal and it shows the Holy Family on the left, and two donors in rich clothes on the right, all adoring the Christ Child in the centre. In the background is a landscape with the Magi riding towards the main scene
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Piero di Cosimo
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Piero di Cosimo, also known as Piero di Lorenzo, was a Florentine painter of the Italian Renaissance. Vasari has many stories of his eccentricity, and the subjects have an individual. He trained under Cosimo Roselli, whose daughter he married, and he was also influenced by Early Netherlandish painting, and busy landscapes feature in many works, often forests seen close at hand. Several of his most striking secular works are in the landscape format used for paintings inset into cassone wedding chests or spalliera headboards or panelling. He was apparently famous for designing the temporary decorations for Carnival, from him, most probably, Cosimo acquired the love of landscape and the intimate knowledge of the growth of flowers and of animal life. The manner of Hugo van der Goes is especially apparent in the Adoration of the Shepherds and he journeyed to Rome in 1482 with his master, Rosselli. Inspired to the Vitruvius account of the evolution of man, Pieros mythical compositions show the presence of hybrid forms of men and animals, or the man learning to use fire. The multitudes of nudes in these shows the influence of Luca Signorelli on Pieros art. He also resisted any cleaning of his studio, or trimming of the trees of his orchard, he lived, wrote Vasari. The death of his master Roselli may also have affected Pieros morose elder years, the Immaculate Conception with Saints, at the Uffizi, and the Holy Family, at Dresden, illustrate the religious fervour to which he was stimulated by Savonarola. With the exception of the background in Rossellis fresco of the Sermon on the Mount, in the Sistine Chapel. Piero di Cosimo exercised considerable influence upon his fellow pupils Albertinelli and Bartolomeo della Porta, Vasari gave Pieros date of death as 1521, and this date is still repeated by many sources, including the Encyclopædia Britannica. However, contemporary documents reveal that he died of plague on 12 April 1522, madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari tempera and oil on panel, St. Louis Art Museum, media related to Piero di Cosimo at Wikimedia Commons Italian Paintings, Florentine School, a collection catalog containing information about di Cosimo and his works
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Portrait of a Venetian Woman
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Portrait of a Young Venetian Woman is a small bust-length oil on elm panel painting by the German artist Albrecht Dürer from 1505. It was executed, along with a number of other high-society portraits, the woman wears a patterned gown with tied-on sleeves that show the chemise beneath. Her hair frames her face in soft waves, and back hair is confined in a small draped cap. It is similar in pose and colour tone to his c 1507 A German Woman from Venice, one shows the model with a plunging neckline, the other with bare shoulders. During his visit to Italy Dürer became fascinated by and befriended Giovanni Bellini, the Franconian artists influence can be seen in this works soft modeling, dramatic lighting and vivid colours and tones. The work was not identified as a Dürer original until it was found in a private Lithuanian collection in 1923, the identity of the sitter is lost, however, in dress and hairstyle, she appears to be Venetian, rather than Germanic. The portrait is unfinished, a number of elements, noticeably the black bow above her chest, are not as described as other passages
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Giorgione
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Giorgione was an Italian painter of the Venetian school in the High Renaissance from Venice, whose career was ended by his death at a little over 30. Giorgione is known for the poetic quality of his work. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art, what little is known of Giorgiones life is given in Giorgio Vasaris Lives of the Most Excellent Painters, Sculptors, and Architects. The painter came from the town of Castelfranco Veneto,40 km inland from Venice. His name sometimes appears as Zorzo, the variant Giorgione may be translated Big George. Contemporary documents record that his gifts were recognized early, in 1500, when he was only twenty-three, he was chosen to paint portraits of the Doge Agostino Barbarigo and the condottiere Consalvo Ferrante. In 1504, he was commissioned to paint an altarpiece in memory of another condottiere, Matteo Costanzo, in the cathedral of his native town, Castelfranco. In 1507, he received, at the order of the Council of Ten, very little of this work survives today. Vasari mentions an important event in Giorgiones life, and one which influenced his work and he was very closely associated with Titian, while Vasari says Giorgione was Titians master, Ridolfi says that they both were pupils of Giovanni Bellini, and lived in his house. They worked together on the Fondaco dei Tedeschi frescoes, and Titian finished at least some paintings of Giorgione after his death, Giorgione also introduced a new range of subjects. In the Venetian mainland, Giorgionismo strongly influenced Morto da Feltre, Domenico Capriolo, Giorgione died, probably of the plague then raging, by October,1510. October 1510 is also the date of a letter by Isabella dEste to a Venetian friend, asking him to buy a painting by Giorgione, significantly, the reply a month later said the painting was not to be had at any price. His name and work continue to exercise a spell on posterity, for his home town of Castelfranco, Giorgione painted the Castelfranco Madonna, an altarpiece in sacra conversazione form—Madonna enthroned, with saints on either side forming an equilateral triangle. This gave the background an importance which marks an innovation in Venetian art. Giorgione began to use the very refined chiaroscuro called sfumato—the delicate use of shades of color to depict light, whether Vasari is correct in saying he learned it from Leonardos works is unclear—he is always keen to ascribe all advances to Florentine sources. Leonardos delicate color modulations result from the tiny disconnected spots of paint that he derived from Illuminated manuscript techniques. These gave Giorgiones works the magical glow of light for which they are celebrated, Most central and typical of all of Giorgiones extant works is the Sleeping Venus now in Dresden. It was first recognized by Giovanni Morelli, and is now accepted, as being the same as the picture seen by Marcantonio Michiel
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The Three Philosophers
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The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione. It shows three philosophers - one young, one middle-aged, and one old, the work was commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died, one of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was finished by Sebastiano del Piombo, the Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel, who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical, an old bearded man, possibly a Greek philosopher, an Arab philosopher, in the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus grotto. Various interpretations about Giorgiones picture have been proposed, the old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, the young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the concept of Platos Cave New hypotheses about the figures, their identities. In a note about the picture G. C, williamsom, early in the 20th century, stated that It represents Evander and his son Pallas showing to Aeneas the future site of Rome. The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick. It has been suggested that the figure of the man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras - Pherecydes of Syros, Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, on the sheet held by the oldest philosopher the word eclipsis and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming and this painting is now displayed at the Kunsthistorisches Museum in Vienna. While working on this picture, David Teniers the Younger made tiny separate copies of each, in the original painting the old man holds only a script. This possibly could have been an allusion to the weapon of Poseidon, the god of the sea in classical mythology, page at Giorgione and Titian King Solomon and the Temple Builders
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Leonardo da Vinci
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He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time. Sometimes credited with the inventions of the parachute, helicopter and tank, many historians and scholars regard Leonardo as the prime exemplar of the Universal Genius or Renaissance Man, an individual of unquenchable curiosity and feverishly inventive imagination. Much of his working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded to him by Francis I of France, Leonardo was, and is, renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait, Leonardos drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a type of armoured fighting vehicle, concentrated power, an adding machine. Some of his inventions, however, such as an automated bobbin winder. A number of Leonardos most practical inventions are nowadays displayed as working models at the Museum of Vinci. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, today, Leonardo is widely considered one of the most diversely talented individuals ever to have lived. Leonardo was born on 15 April 1452 at the hour of the night in the Tuscan hill town of Vinci. He was the son of the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary, and Caterina. Leonardo had no surname in the modern sense – da Vinci simply meaning of Vinci, his birth name was Lionardo di ser Piero da Vinci, meaning Leonardo. The inclusion of the title ser indicated that Leonardos father was a gentleman, little is known about Leonardos early life. He spent his first five years in the hamlet of Anchiano in the home of his mother and his father had married a sixteen-year-old girl named Albiera Amadori, who loved Leonardo but died young in 1465 without children. When Leonardo was sixteen, his father married again to twenty-year-old Francesca Lanfredini, pieros legitimate heirs were born from his third wife Margherita di Guglielmo and his fourth and final wife, Lucrezia Cortigiani. Leonardo received an education in Latin, geometry and mathematics. In later life, Leonardo recorded only two childhood incidents, one, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face
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The Battle of Anghiari (painting)
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Its central scene depicted four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440. Many preparatory studies by Leonardo still exist, the composition of the central section is best known through a drawing by Peter Paul Rubens in the Louvre, Paris. Rubens succeeded in portraying the fury, the emotions and the sense of power that were presumably present in the original painting. Similarities have been noted between this Battle of Anghiari and the Hippopotamus Hunt painted by Rubens in 1616, the search was discontinued in September 2012, without any further progress having been made, due to conflict among the involved parties. In 1504 Leonardo da Vinci was given the commission by gonfaloniere Piero Soderini, at the same time his rival Michelangelo, who had just finished his David, was designated the opposite wall. This was the time that Leonardo da Vinci and Michelangelo worked together on the same project. The painting of Michelangelo depicted an episode from the Battle of Cascina, however Michelangelo did not stay in Florence long enough to complete the project. He was able to finish his cartoon, but only began the painting and he was invited back to Rome in 1505 by the newly appointed Pope Julius II and was commissioned to build the Popes tomb. He drew a scene of a violent clash of horses and a battle of men fighting for the flag in the Battle of Anghiari. This painting was to be his largest and most substantial work, since he had a bad experience with fresco painting, he wanted to apply oil colours on the wall. He began also to experiment with such a thick undercoat, that after he applied the colours, trying to dry the painting in a hurry and save whatever he could, he hung large charcoal braziers close to the painting. Only the lower part could be saved in a state, the upper part couldnt dry fast enough. Michelangelos and Leonardos unfinished paintings adorned the room together for almost a decade. The cartoon of Michelangelos painting was cut in pieces by Bartolommeo Bandinelli out of jealousy in 1512, the centerpiece of The Battle of Anghiari was greatly admired and numerous copies were made for decades. Vasari himself painted new frescoes on the now-extended walls, in the upper part of Vasaris fresco,12 meters above the ground, a Florentine soldier waves a green flag with the words Cerca trova. These enigmatic words are suggested to be a hint from Vasari, Seracini believes it is unlikely that Vasari would have willingly destroyed da Vincis work. Vasaris concealment and preservation of another painting, Masaccios Holy Trinity, using non-invasive techniques, such as a high-frequency, surface-penetrating radar and a thermographic camera, Seracini made a survey of the hall. Among other findings, he discovered that Vasari had built a wall in front of the original east wall
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Lorenzo Lotto
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Lorenzo Lotto was an Italian painter, draughtsman and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other North Italian cities. He painted mainly altarpieces, religious subjects and portraits, while he was active during the High Renaissance, his nervous and eccentric posings and distortions represent a transitional stage to the first Florentine and Roman Mannerists of the 16th century. During his lifetime, Lorenzo Lotto was a painter and certainly popular in Northern Italy. He is traditionally included in the Venetian School, but his independent career actually places him outside the Venetian art scene and he was certainly not as highly regarded in Venice as in the other towns where he worked. He had a stylistic individuality, even an idiosyncratic style, after his death, he gradually became neglected and then almost forgotten. This could be attributed to the fact that his oeuvre now remains in lesser known churches or in provincial museums. Born in Venice, he worked in Treviso, in the Marches, in Rome, in Bergamo, in Venice, in Ancona and finally, as a Franciscan lay brother, little is known of his training. As a Venetian he was influenced by Giovanni Bellini as he had a knowledge of contemporary Venetian painting. Though Bellini was doubtless not his teacher, the influence is clear in his early painting Virgin, however, in his portraits and in his early painting Allegory of Virtue and Vice he shows the influence of Giorgiones Naturalism. As he grew older his style changed, perhaps evolving, from a detached Giorgionesque classicism, to a more vibrant dramatic setpiece, more reminiscent of his contemporary from Parma, Correggio. The competition for a painter would have been too great with established names such as Giorgione, Palma the Elder. Nevertheless, Giorgio Vasari mentions in the part of his book Vite that Lotto was a friend of Palma the Elder. In Treviso, a town within the domain of the republic of Venice. The already mentioned painting Allegory of Virtue and Vice was intended as an cover of his portrait of the bishop. The painting St. Jerome in the Desert shows his youthful inexperience as a draughtsman, at the same time he gives an early impression of his skill as a miniaturist. He painted his first altarpieces for the parish church San Cristina al Tiverone, in 1508 he began the Recanati Polyptych altarpiece for the church of San Domenico. This two-tiered, rather conventional painted polyptych consists of six panels, as he became a respected painter, he came to the attention of Bramante, the papal architect, who was passing through Loreto. Lorenzo Lotto was invited to Rome to decorate the papal apartments, nothing survives of this work, as it was destroyed a few years later
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Allegory of Virtue and Vice (Lotto)
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The Allegory of Virtue and Vice is a painting by the Italian High Renaissance painter Lorenzo Lotto, dating to 1505. It is housed in the National Gallery of Art in Washington, DC, the painting originally formed the protective cover of the Portrait of Bernardo de Rossi, the bishop of Treviso who was Lottos patron at the time. The painting is a scene with the bishops coat of arms lying on a tree in the center of the composition. The tree divides the latter in two corresponding to its two branches, one green and one dried. The former is associated to the allegory of Virtue, featuring a playing with books. The theme is derived from an engraving by Albrecht Dürer. Portrait of Bishop Bernardo de Rossi Pirovano, Carlo
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Portrait of Bishop Bernardo de' Rossi
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The Portrait of Bishop Bernardo de Rossi is a painting by the Italian High Renaissance painter Lorenzo Lotto, dating to 1505. It is housed in the National Museum of Capodimonte of Naples, the portrait was brought to Parma by Bernardo de Rossi when he fled there in 1524. Here it became part of the Farnese collection, which was transferred to Naples in 1760, the painting shows the donors bust from three-quarters, the face looking at the seer. The curly hair is getting out from the black biretta. The roll is perhaps an allusion to the sentence against the conjurers who had attempted to de Rossis life two years before. The Allegory has an inscription on its reverse which describes the portrait, Allegory of Virtues and Vices Portrait of a Young Man with White Drape Pirovano, Carlo
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Andrea Previtali
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Andrea Previtali was an Italian painter of the Renaissance period, active mainly in Bergamo. He is also called Andrea Cordelliaghi, Previtali was a pupil of the painter Giovanni Bellini. Other works of his are in the Accademia Carrara, Previtali gained notice in 1937 in the United Kingdom for not being Giorgione. Kenneth Clark, then Director of the National Gallery, London and he paid £14,000 for them, which was a very high price at the time, despite opposition from his curators. The authoritative ascription of them to Previtali was published in 1938 in the Burlington Magazine by G. M. Richter, based on research by Philip Pouncey, a curator. Previtalis masterpiece is an Annunciation, which stands over the altar of the little-known church of Santa Maria del Meschio in Vittorio Veneto. Ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters, woodfall & Kinder, Angel Court, Skinner Street, London, Digitized by Googlebooks from Oxford University copy on Jun 27,2006. Http, //www. nationalgallery. org. uk/paintings/research/scenes-from-tebaldeos-eclogues James Stourton, Kenneth Clark, Life, Art and Civilization
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Madonna and Child Enthroned with Saints (Raphael)
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The Madonna and Child Enthroned with Saints, also known as the Colonna Altarpiece, is a painting by the Italian High Renaissance artist Raphael, c. It is housed in the Metropolitan Museum of Art of New York City and it is the only altarpiece by Raphael in the United States. The collection of Metropolitan Museum of Art also contains a painting of the Agony in the Garden from the predella of the altarpiece. Other panels from the predella can be found in the collections of the National Gallery, London, the Isabella Stewart Gardner Museum, in Boston, a preparatory drawing by Raphael for the composition of the agony in the garden is in the collection of the Morgan Library New York. The Altarpiece was the last Raphael altar in private hands when J. P. Morgan purchased it in the early 20th century for a record price, sources Linda Wolk-Simon, Raphael at the Metropolitan, The Colonna Altarpiece, Exh. cat. Metropolitan Museum of Art, New York 2006
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Madonna del Granduca
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The Madonna del Granduca is a Madonna painting by the Italian renaissance artist Raphael. It was probably painted in 1505, shortly after Raphael had arrived in Florence, the influence of Leonardo da Vinci, whose works he got to know there, can be seen in the use of sfumato. The painting belonged to Ferdinand III, Grand Duke of Tuscany, from whom it got its name
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