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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Andrea del Castagno The Last Supper oil


The Last Supper
Painting ID::  44851 		The Last Supper
mk176 1447 Refractory wall of Sant Apollonia Florence
mk176 1447 Refractory_wall_of_Sant_Apollonia Florence
   
   
     
Andrea del Castagno The last communion oil


The last communion
Painting ID::  45682 		The last communion
mk186 1447 Florence church Sant' Apollonia
mk186 _1447_Florence_church_Sant'_Apollonia
   
   
     
Andrea del Castagno Boccaccio oil


Boccaccio
Painting ID::  55943 		Boccaccio
mk247 c.1450,detached fresco,98.375x60.675 in,250x154cm,uffizi,florence,ltaly
   
   
     
Andrea del Castagno Embrace the Son of the Virgin with Angels oil


Embrace the Son of the Virgin with Angels
Painting ID::  58143 		Embrace the Son of the Virgin with Angels
mk261 Florence, Ukrainian Fiji art museum, Kong Dini ?? Boner Corsi 2.
   
   
     
Andrea del Castagno Spano oil


Spano
Painting ID::  58299 		Spano
mk261 Florence approximately in 1449 mural 250 x 154 centimeter Fuluolun Sawu Fiji art museum.
   
   
     
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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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