All Andrea del Castagno Oil Paintings

Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.
 
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Andrea del Castagno Portrait of a Gentleman hh oil on canvas


Portrait of a Gentleman hh
Portrait of a Gentleman hh
Painting ID::  4767 		  Panel, 54 x 40,5 cm National Gallery of Art, Washington
  Panel, 54 x 40,5 cm National Gallery of Art, Washington

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Andrea del Castagno Monument to Niccolo da Tolentino oil on canvas


Monument to Niccolo da Tolentino
Monument to Niccolo da Tolentino
Painting ID::  4768 		  1456 Fresco Duomo, Florence
  1456 Fresco Duomo, Florence

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Andrea del Castagno Farinata degli Uberti (mk08) oil on canvas


Farinata degli Uberti (mk08)
Farinata degli Uberti (mk08)
Painting ID::  21210 		  C.1450 Fresco 245x165cm Florence,Galleria degli Uffizi
  C.1450 Fresco 245x165cm Florence,Galleria degli Uffizi

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Andrea del Castagno Pippo Spano (mk25) oil on canvas


Pippo Spano (mk25)
Pippo Spano (mk25)
Painting ID::  24224 		  1450
  1450

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Andrea del Castagno Abendmahl oil on canvas


Abendmahl
Abendmahl
Painting ID::  29395 		  mk66 um1450 Fresko Cenacolo di S.Apollonia,Florenz
  mk66 um1450 Fresko Cenacolo di S.Apollonia,Florenz

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     Andrea del Castagno
     Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.

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