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The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. [1] It is considered "one of the most dynamic prints ever made". [2]
The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
The Horses of Neptune, illustration by Walter Crane, 1893. Horse symbolism is the study of the representation of the horse in mythology, religion, folklore, art, literature and psychoanalysis as a symbol, in its capacity to designate, to signify an abstract concept, beyond the physical reality of the quadruped animal.
Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
In 2008, a curator at the Louvre discovered several faint sketches believed to have been made by Leonardo on the back of the painting. [2] [3] [4] Infrared reflectography was used to reveal a "7–by–4 inch drawing of a horse's head", which had a resemblance to sketches of horses that Leonardo had made previously before drawing The Battle of ...
The tondo is painted in tempera on a wood panel, and the painted surface has a diameter of 137.3 cm (54 1/16 in.). The National Gallery of Art dates it to "c. 1440/1460". [3] Art historians are agreed that the painting was produced over a considerable period, with significant changes in the composition, and contributions from a number of hands.
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The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence.The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which ...