The Archangel Michael 127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious
Pintura identificación:: 64921
5503 ago.
Artist: unknow artist Painting: The Archangel Michael Information: 127 x 78 cm Museu Nacional d'Art de Catalunya, Barcelona The archangel Michael was, like St. George the dragon-killer, one of the typically warlike saints so greatly approved in the age of chivalry. The Bible tells us that he fought with Satan for the body of Moses and we can read in the Apocalypse how he defeated the dragon with seven heads and ten horns. St. Michael was therefore looked upon as one of the principal patrons of the Church who, having overcome Satan, could protect all innocent souls from the Devil. This painting illustrates the somewhat provincial style of Juan de la Abadia of Huesca. The heritage of the Trecento can be seen in the delicate, girlish countenance of the saint and the brilliant tints of the wings, but blended with it is the elegance associated with the International Gothic style. The figures are wooden and lifeless and the artist's limited knowledge of anatomy may be seen in his representation of the soul; but the carefully arranged pattern of the floor creates the illusion of space, indicating that the artist was aware of the later developments of Gothic art and was to some extent influenced by early Renaissance art. , ABADIA, Juan de la , The Archangel Michael , 1451-1500 , Spanish , painting , religious
Artist: Piero della Francesca Painting: the legend of the true cross, detail Information: the victory of heraclius over chosroes, details
arezzo, san francesco
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Artist: Piero della Francesca Painting: sts andrew and bernardino of siena from the polyptych of the misericordia Information: sansepolcro, museo civico
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Artist: Piero della Francesca Painting: sts sebastian and john the baptist from the polyptych of the misericordia Information: sansepolcro, museo civico
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Artist: Piero della Francesca Painting: madonna della misericordia, central panel of the polyptych of the misericordia Information: sansepolcro, museo civico
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Weingarten Missal 29,2 x 20,3 cm Pierpont Morgan Library, New York In Germany, the Byzantinizing style of manuscripts survived into the thirteenth century. A striking example is the group of manuscripts associated with Berthold, abbot of the Swabian monastery of Weingarten from 1200 to 1232. The most impressive of the group is the Weingarten Missal, from which the Crucifixion represents a page. The faces are close to Byzantine types; and the drapery definitely clings to the figures. , MINIATURIST, German , Weingarten Missal , 1201-1250 , German , illumination , religious
Pintura identificación:: 64862
5504 ago.
Artist: unknow artist Painting: Weingarten Missal Information: 29,2 x 20,3 cm Pierpont Morgan Library, New York In Germany, the Byzantinizing style of manuscripts survived into the thirteenth century. A striking example is the group of manuscripts associated with Berthold, abbot of the Swabian monastery of Weingarten from 1200 to 1232. The most impressive of the group is the Weingarten Missal, from which the Crucifixion represents a page. The faces are close to Byzantine types; and the drapery definitely clings to the figures. , MINIATURIST, German , Weingarten Missal , 1201-1250 , German , illumination , religious
Lament over the Dead Christ 29 x 80.8 cm Biblioth?que Nationale, Paris The folio is from the so-called "Grandes Heures de Rohan" executed by the Master of the Rohan Prayer-book. The picture fills the whole surface of the folio, and also includes, in a separate little frame, a part of the text. The pale, greyish, angular and thin body of the dead Christ, bleeding from five wounds, lies right on the greenish-brown bare ground. Above Him the deathly pale Virgin opens her arms for a last embrace, but would collapse, fainting, onto her dead Son if St John did not support her with an energetic movement. At the same time St John turns his head with a complaining and reproachful countenance towards the monumental torso of God the Father appearing in the top right-hand corner of the picture. The monumentality of God, descending from heavenly heights to earthly proximity, is further increased by His figure being disproportionately larger than the other three figures. Only His complexion is rosy. In his left hand He is holding the sphere, while the expressions of blessing, of appreciation and of sorrow are blended in the movement of His right arm. The background of the scene is like a tapestry of gold and blue patterns on a black ground. The whirl of angels flying about quickly and the flashing of their golden wings provide the basic mood of the scene as an orchestral accompaniment. The main characteristic of the composition is that, while it is based on a strict geometrical framework, it is pervaded in every respect by sharp contrasts and tensions, which are, however, all resolved by the painter. The moment represented, the transitory state of the fall held back, is fraught with tension; it is somewhat eased by the fact that the tip of the Virgin's fingerjust touches the end of Christ's beard. The four heads emphasized by their haloes are placed on the quarter of an arc, the radius of which is the horizontally placed body of Christ, as if that nadir were attracting the other three figures. It is a nadir, but, at the same time, also a centre of gravity, its solidity being ensured by the fact that both ends of the rigid body not only touch the frame on either side, but that at one point the head and halo even break through it. At both ends of the quarter circle two faces are turned towards each other. The heads of Christ and St John, both with their eyelids closed, are turned to God the Father, while the glance of the Virgin and of God the Father rest on the head of Christ. The bodies of the Virgin and of St John seem to be turning into opposite directions from a common trunk. They are both represented in sharp profile, whereas the heads of God the Father and of Christ are shown from a three-quarter view. , MINIATURIST, French , Lament over the Dead Christ , 1401-1450 , French , illumination , religious
Pintura identificación:: 64858
5505 ago.
Artist: unknow artist Painting: Lament over the Dead Christ Information: 29 x 80.8 cm Biblioth?que Nationale, Paris The folio is from the so-called "Grandes Heures de Rohan" executed by the Master of the Rohan Prayer-book. The picture fills the whole surface of the folio, and also includes, in a separate little frame, a part of the text. The pale, greyish, angular and thin body of the dead Christ, bleeding from five wounds, lies right on the greenish-brown bare ground. Above Him the deathly pale Virgin opens her arms for a last embrace, but would collapse, fainting, onto her dead Son if St John did not support her with an energetic movement. At the same time St John turns his head with a complaining and reproachful countenance towards the monumental torso of God the Father appearing in the top right-hand corner of the picture. The monumentality of God, descending from heavenly heights to earthly proximity, is further increased by His figure being disproportionately larger than the other three figures. Only His complexion is rosy. In his left hand He is holding the sphere, while the expressions of blessing, of appreciation and of sorrow are blended in the movement of His right arm. The background of the scene is like a tapestry of gold and blue patterns on a black ground. The whirl of angels flying about quickly and the flashing of their golden wings provide the basic mood of the scene as an orchestral accompaniment. The main characteristic of the composition is that, while it is based on a strict geometrical framework, it is pervaded in every respect by sharp contrasts and tensions, which are, however, all resolved by the painter. The moment represented, the transitory state of the fall held back, is fraught with tension; it is somewhat eased by the fact that the tip of the Virgin's fingerjust touches the end of Christ's beard. The four heads emphasized by their haloes are placed on the quarter of an arc, the radius of which is the horizontally placed body of Christ, as if that nadir were attracting the other three figures. It is a nadir, but, at the same time, also a centre of gravity, its solidity being ensured by the fact that both ends of the rigid body not only touch the frame on either side, but that at one point the head and halo even break through it. At both ends of the quarter circle two faces are turned towards each other. The heads of Christ and St John, both with their eyelids closed, are turned to God the Father, while the glance of the Virgin and of God the Father rest on the head of Christ. The bodies of the Virgin and of St John seem to be turning into opposite directions from a common trunk. They are both represented in sharp profile, whereas the heads of God the Father and of Christ are shown from a three-quarter view. , MINIATURIST, French , Lament over the Dead Christ , 1401-1450 , French , illumination , religious
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