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 Young David oil


The Young David
Painting ID::  353
The Young David
c1450/57 National Gallery of Art, Washington DC
c1450/57_ National_Gallery_of_Art,_Washington_DC
   
   
     

Andrea del Castagno Crucifixion and Saints oil


Crucifixion and Saints
Painting ID::  4743
Crucifixion and Saints
1440-41 Fresco Ospedale Santa Maria Nuova, Florence
1440-41 Fresco Ospedale_Santa_Maria_Nuova,_Florence
   
   
     

Andrea del Castagno St John the Baptist oil


St John the Baptist
Painting ID::  4744
St John the Baptist
1442 Fresco San Zaccaria, Venice
1442 Fresco San_Zaccaria,_Venice
   
   
     

Andrea del Castagno God the Father oil


God the Father
Painting ID::  4745
God the Father
1442 Fresco San Zaccaria, Venice
1442 Fresco San_Zaccaria,_Venice
   
   
     

Andrea del Castagno St John the Evangelist  jj oil


St John the Evangelist jj
Painting ID::  4746
St John the Evangelist jj
1442 Fresco San Zaccaria, Venice
1442 Fresco San_Zaccaria,_Venice
   
   
     

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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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