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 Queen Esther oil


Queen Esther
Painting ID::  4752 		Queen Esther
c. 1450 Fresco transferred to wood Galleria degli Uffizi, Florence
   
   
     
Andrea del Castagno The Cumean Sibyl oil


The Cumean Sibyl
Painting ID::  4753 		The Cumean Sibyl
c. 1450 Fresco transferred to wood, 250 x 154 cm Galleria degli Uffizi, Florence
   
   
     
Andrea del Castagno Queen Tomyris oil


Queen Tomyris
Painting ID::  4754 		Queen Tomyris
c. 1450 Fresco transferred to wood, 245 x 1554 cm Galleria degli Uffizi, Florence
   
   
     
Andrea del Castagno Dante Allighieri oil


Dante Allighieri
Painting ID::  4755 		Dante Allighieri
c. 1450 Fresco, transferred to wood, 250 x 154 cm Galleria degli Uffizi, Florence
   
   
     
Andrea del Castagno Giovanni Boccaccio oil


Giovanni Boccaccio
Painting ID::  4756 		Giovanni Boccaccio
c. 1450 Fresco transferred to wood, 250 x 154 cm Galleria degli Uffizi, Florence
   
   
     
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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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