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The Triumph of Judith or The Triumph of Judith with Stories from the Old Testament is a 1703-1704 cycle of fresco paintings on the ceiling of the Tesoro Nuovo chapel in certosa di San Martino in Naples. It is considered one of his masterworks and one of the greatest painted expressions of Italian Baroque art.
The ceiling fresco is 2.8 metres (9.2 ft) tall and 7 metres (23 ft) wide. It is displayed within a painted frame or quadro riportato and depicts from right to left, Aurora (Dawn) in a golden billowing dress with her garlands flying over a dim-lit landscape, leading a blond Apollo in his horse-drawn chariot, surrounded by a chain of female "hours", bringing light to the world.
The subject of Gaulli's ceiling fresco is the Adoration of the Name of Jesus, the story is taken from Saint Paul's Epistle to the Philippians. [7] His words are written on a ribbon, just outside the architectural frame. [7] These words set the scene for Gaulli's fresco and focus on the spreading of faith.
A painted ceiling is a ceiling covered with an artistic mural or painting. They are usually decorated with fresco painting, mosaic tiles and other surface treatments. While hard to execute (at least in situ) a decorated ceiling has the advantage that it is largely protected from damage by fingers and dust.
The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art. The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV , for whom the chapel is named.
Poussin and de La Tour adopted a "classical" Baroque style with less focus on emotion and greater attention to the line of the figures in the painting than to colour. Peter Paul Rubens was the most important painter of the Flemish Baroque style. Rubens' highly charged compositions reference erudite aspects of classical and Christian history.
Illusionistic ceiling painting, which includes the techniques of perspective di sotto in sù and quadratura, is the tradition in Renaissance, Baroque and Rococo art in which trompe-l'œil, perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two ...
It was Carlo Francesco Nuvolone, the elder of the two brothers and a pupil of Cerano, who marked the breaking point, showing in his style the dynamism typical of Baroque art, [117] whose frescoes in the church of Sant'Angelo in Milan are remembered; while Francesco Cairo showed a constant evolution of style, [118] which was affected by his ...