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 Portrait of a Gentleman hh oil


Portrait of a Gentleman hh
Painting ID::  4767
Portrait of a Gentleman hh
Panel, 54 x 40,5 cm National Gallery of Art, Washington
Panel,_54_x_40,5_cm National_Gallery_of_Art,_Washington
   
   
     

Andrea del Castagno Monument to Niccolo  da Tolentino oil


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

Andrea del Castagno Farinata degli Uberti (mk08) oil


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

Andrea del Castagno Pippo Spano (mk25) oil


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

Andrea del Castagno Abendmahl oil


Abendmahl
Painting ID::  29395
Abendmahl
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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