Tabernacle 1283 Marble Santa Cecilia in Trastevere, Rome The tabernacle on the altar of Santa Cecilia in Trastevere seems to be complete in its state of conservation. According to a recently discovered inscription, it was made by Arnolfo di Cambio in 1293. It forms part of the final moment of an ample and consistent effort at restoration of the entire decorative system of the church of Santa Cecilia, which included the well-known Cavallini frescoes, the liturgical furnishings, and sculptural ornament. The obvious Gothic 'Rayonnant' character of this revision has recently been attributed to the patronage of a French cardinal, while the direction of the whole project has been attributed to Arnolfo, who, working in the last decades of the thirteenth century in the service of the major families, the new preaching orders, and the popes, without a shadow of doubt dominated the panorama of the most innovative Roman trends in the artistic field. The tabernacle repeats the structural complex and decorative scheme of the San Paolo fuori le Mura tabernacle but simplifies and strengthens the Gothic forms, creating a new proportional balance between the parts and revoking the concept of the whole in light of a more mature assimilation of the classical references. With respect to his first interpretation in Rayonnant taste, here Arnolfo reduced and redirected the ascending elements of the base of the cupola and the pendentives of the crown, and in addition attenuated the vertical soaring of the four gables and the trefoil arcades of the baldacchino, but created a notable development in the height of the supporting columns, to which he also added the original solution of cube-shaped dosserets, decorated with Cosmatesque mosaic. Author: ARNOLFO DI CAMBIO Title: Tabernacle , 1251-1300 , Italian Form: sculpture , religious
Gemälde IDENTIFIZIERUNG:: 62429
5699 ago.
Artist: unknow artist Painting: Tabernacle Information: 1283 Marble Santa Cecilia in Trastevere, Rome The tabernacle on the altar of Santa Cecilia in Trastevere seems to be complete in its state of conservation. According to a recently discovered inscription, it was made by Arnolfo di Cambio in 1293. It forms part of the final moment of an ample and consistent effort at restoration of the entire decorative system of the church of Santa Cecilia, which included the well-known Cavallini frescoes, the liturgical furnishings, and sculptural ornament. The obvious Gothic 'Rayonnant' character of this revision has recently been attributed to the patronage of a French cardinal, while the direction of the whole project has been attributed to Arnolfo, who, working in the last decades of the thirteenth century in the service of the major families, the new preaching orders, and the popes, without a shadow of doubt dominated the panorama of the most innovative Roman trends in the artistic field. The tabernacle repeats the structural complex and decorative scheme of the San Paolo fuori le Mura tabernacle but simplifies and strengthens the Gothic forms, creating a new proportional balance between the parts and revoking the concept of the whole in light of a more mature assimilation of the classical references. With respect to his first interpretation in Rayonnant taste, here Arnolfo reduced and redirected the ascending elements of the base of the cupola and the pendentives of the crown, and in addition attenuated the vertical soaring of the four gables and the trefoil arcades of the baldacchino, but created a notable development in the height of the supporting columns, to which he also added the original solution of cube-shaped dosserets, decorated with Cosmatesque mosaic. Author: ARNOLFO DI CAMBIO Title: Tabernacle , 1251-1300 , Italian Form: sculpture , religious
Interior with decoration 1739-64 - Benedictine Abbey, Ottobeuren The most grandiose of the monasteries rebuilt in Germany in the eighteenth century is the Benedictine Monastery of Ottobeuren near the frontier between Swabia and Bavaria; several architect (Simpert Kraemer, Joseph Effner, Johann Michael Fischer) worked on it and it was completed with all the buildings originally projected. The innumerable statues (mainly by Johann Josef Christian), ornamental motifs (by Johann Michael Feuchtmayr), and paintings (ceiling frescoes by Johann Jakob Zeiller) in the church join together rhythmically in that symphonic unity to which the Germans have given the name 'Gesamtkunstwerk.' The huge monastery, of which the church forms a part, is a kind of summing up of German Rococo. Author: CHRISTIAN, Johann Josef Title: Interior with decoration , 1751-1800 , German Form: sculpture , interior
Gemälde IDENTIFIZIERUNG:: 62425
5701 ago.
Artist: Johan Christian Dahl Painting: Interior with decoration Information: 1739-64 - Benedictine Abbey, Ottobeuren The most grandiose of the monasteries rebuilt in Germany in the eighteenth century is the Benedictine Monastery of Ottobeuren near the frontier between Swabia and Bavaria; several architect (Simpert Kraemer, Joseph Effner, Johann Michael Fischer) worked on it and it was completed with all the buildings originally projected. The innumerable statues (mainly by Johann Josef Christian), ornamental motifs (by Johann Michael Feuchtmayr), and paintings (ceiling frescoes by Johann Jakob Zeiller) in the church join together rhythmically in that symphonic unity to which the Germans have given the name 'Gesamtkunstwerk.' The huge monastery, of which the church forms a part, is a kind of summing up of German Rococo. Author: CHRISTIAN, Johann Josef Title: Interior with decoration , 1751-1800 , German Form: sculpture , interior
Antigua Altar 1545-62 Polychrome wood Cathedral, Valladolid Juan de Juni received the commission for the Antigua altarpiece in 1545 and he finished it in 1562. (It was installed in Valladolid Cathedral in 1922.) Juni tried to produce a classical work in an architectural framework - the firt he ever used. Taken separately, the Corinthian columns, entablatures, and niches are based on the classical Italian arrangement, but the general organization, the relationship between the different parts, the proportions of the niches, and above all the importance given to sculpture are closer to Mannerism
Gemälde IDENTIFIZIERUNG:: 62418
5702 ago.
Artist: unknow artist Painting: Antigua Altar Information: 1545-62 Polychrome wood Cathedral, Valladolid Juan de Juni received the commission for the Antigua altarpiece in 1545 and he finished it in 1562. (It was installed in Valladolid Cathedral in 1922.) Juni tried to produce a classical work in an architectural framework - the firt he ever used. Taken separately, the Corinthian columns, entablatures, and niches are based on the classical Italian arrangement, but the general organization, the relationship between the different parts, the proportions of the niches, and above all the importance given to sculpture are closer to Mannerism
Vanitas 52 x 44 cm Mus?e des Beaux-Arts, Marseille The artist specialized in complex 'Vanitas' pieces of dramatic clarity. The general influence on his art is Netherlandish, and it is likely that his unsigned pictures are still classified under the Northern schools. Most of his pictures are dominated by a grisly skull surrounded by numerous other indications of the brevity of life. He was received into the French Academy in 1663 as a portraitist
Gemälde IDENTIFIZIERUNG:: 62372
5711 ago.
Artist: Renard Emile Painting: Vanitas Information: 52 x 44 cm Mus?e des Beaux-Arts, Marseille The artist specialized in complex 'Vanitas' pieces of dramatic clarity. The general influence on his art is Netherlandish, and it is likely that his unsigned pictures are still classified under the Northern schools. Most of his pictures are dominated by a grisly skull surrounded by numerous other indications of the brevity of life. He was received into the French Academy in 1663 as a portraitist
Altarpiece 1597-99 - Capilla de San Jos? Toledo On 9 November 1597, El Greco signed a contract to execute a series of paintings for the newly built Capilla de San Jose (Chapel of Saint Joseph), Toledo. The contract specified that El Greco was to paint the altarpieces himself and design and gild the frames. The centrepiece of the decorative scheme was to be a painting of Saint Joseph and the Infant Christ with The Coronation of the Virgin above it. These two paintings, set in an altarpiece in a Palladian style designed by El Greco, though its surroundings were altered by Baroque additions around 1665, are still in situ; recent cleaning has revealed their masterly quality. In addition, El Greco was commissioned to paint two side altarpieces, Saint Martin and the Beggar hung on the left-hand side of the main altar, while The Virgin and Child with Saints Martina and Agnes was placed directly opposite, on the right-hand side of the altar, where they remained until they were sold in 1906 to the American collector Peter A. B. Widener, from his estate they entered the National Gallery of Art in Washington in 1942. The chapel was consecrated on 24 December 1594. At a later date, two sarcophagi were placed on either side of the main altar. Possibly designed by El Greco or his son Jorge Manuel, they are similar in design to the ark and the obelisk with a ball on top that appear in the background of El Greco's late Purification of the Temple from San Gin?s. Mart?n Ram?rez was buried to the left of the altar while Diego Ort?z and his wife were placed to the right, in each case with a plaque above stating that they were co-founders of the chapel. The two sculptures of David and Salomon, situated on either side of the main altar was possibly also designed by El Greco. Author: GRECO, El Title: Altarpiece , 1551-1600 , Spanish Form: painting , religious
Gemälde IDENTIFIZIERUNG:: 62337
5719 ago.
Artist: GRECO, El Painting: Altarpiece Information: 1597-99 - Capilla de San Jos? Toledo On 9 November 1597, El Greco signed a contract to execute a series of paintings for the newly built Capilla de San Jose (Chapel of Saint Joseph), Toledo. The contract specified that El Greco was to paint the altarpieces himself and design and gild the frames. The centrepiece of the decorative scheme was to be a painting of Saint Joseph and the Infant Christ with The Coronation of the Virgin above it. These two paintings, set in an altarpiece in a Palladian style designed by El Greco, though its surroundings were altered by Baroque additions around 1665, are still in situ; recent cleaning has revealed their masterly quality. In addition, El Greco was commissioned to paint two side altarpieces, Saint Martin and the Beggar hung on the left-hand side of the main altar, while The Virgin and Child with Saints Martina and Agnes was placed directly opposite, on the right-hand side of the altar, where they remained until they were sold in 1906 to the American collector Peter A. B. Widener, from his estate they entered the National Gallery of Art in Washington in 1942. The chapel was consecrated on 24 December 1594. At a later date, two sarcophagi were placed on either side of the main altar. Possibly designed by El Greco or his son Jorge Manuel, they are similar in design to the ark and the obelisk with a ball on top that appear in the background of El Greco's late Purification of the Temple from San Gin?s. Mart?n Ram?rez was buried to the left of the altar while Diego Ort?z and his wife were placed to the right, in each case with a plaque above stating that they were co-founders of the chapel. The two sculptures of David and Salomon, situated on either side of the main altar was possibly also designed by El Greco. Author: GRECO, El Title: Altarpiece , 1551-1600 , Spanish Form: painting , religious
Main Altar c 1571 Polychrome wood Church of St Mary Magdalen, Valladolid Esteban Jordan was a painter and sculptor, perhaps trained first in Italy and then in Berruguete's workshop. He was a Romanist of the Castilian school, representing the official art patronized by Philip II. In 1571 he began work on the main altarpiece of the church of St Mary Magdalen in Valladolid. The architectural structure of the altarpiece is orderly and well-balanced, and the use of sculpture restrained. This Italianate Mannerist composition, however, suffers from a dryness that indicates a workshop production rather than the creation of a master
Gemälde IDENTIFIZIERUNG:: 62289
5728 ago.
Artist: JORDAN, Esteban Painting: Main Altar c Information: 1571 Polychrome wood Church of St Mary Magdalen, Valladolid Esteban Jordan was a painter and sculptor, perhaps trained first in Italy and then in Berruguete's workshop. He was a Romanist of the Castilian school, representing the official art patronized by Philip II. In 1571 he began work on the main altarpiece of the church of St Mary Magdalen in Valladolid. The architectural structure of the altarpiece is orderly and well-balanced, and the use of sculpture restrained. This Italianate Mannerist composition, however, suffers from a dryness that indicates a workshop production rather than the creation of a master
a stage set for act i of puccini s tosca mk270 a stage set for act i of puccini s tosca, set in the roman church of s andrea delle valle.
Gemälde IDENTIFIZIERUNG:: 60398
5840 ago.
Artist: puccini Painting: a stage set for act i of puccini s tosca Information: mk270 a stage set for act i of puccini s tosca, set in the roman church of s andrea delle valle.
puccini at home in the music room of his villa at torre del lago mk270 puccini at home in the music room of his villa at torre del lago, near lucca.
Gemälde IDENTIFIZIERUNG:: 60397
5840 ago.
Artist: puccini Painting: puccini at home in the music room of his villa at torre del lago Information: mk270 puccini at home in the music room of his villa at torre del lago, near lucca.
a set design by carlo ferrario for verdi s grand opera la forza del destino mk270 a set design by carlo ferrario for verdi s grand opera la forza del destino
Gemälde IDENTIFIZIERUNG:: 60387
5840 ago.
Artist: giuseppe verdi Painting: a set design by carlo ferrario for verdi s grand opera la forza del destino Information: mk270 a set design by carlo ferrario for verdi s grand opera la forza del destino
the interior of the teatro san carlo in naples where several of rossini s operas were fist performed mk270 the interior of the teatro san carlo in naples where several of rossini s operas were fist performed.
Gemälde IDENTIFIZIERUNG:: 60297
5842 ago.
Artist: leigh hunt Painting: the interior of the teatro san carlo in naples where several of rossini s operas were fist performed Information: mk270 the interior of the teatro san carlo in naples where several of rossini s operas were fist performed.
