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Paintings of saints by Bartolomé Esteban Murillo (12 P) Pages in category "Paintings of saints" The following 52 pages are in this category, out of 52 total.
Ecstasy of Saint Cecilia Between Saints Paul, John Evangelist, Augustine and Mary Magdalene: Pinacoteca Nazionale di Bologna, Italy: Oil on panel transferred to canvas 236 x 139 c. 1515: Portrait of Bindo Altoviti: National Gallery of Art, Washington, United States: Oil on panel 59,7 x 43,8 1515–1516: Christ Falls on the Way to Calvary
Paintings from the Renaissance period in Western Europe, considered to have begun in the 14th century in Italy and the 16th century in northern Europe. See also Early Renaissance painting and Renaissance Classicism
Italian Renaissance painting saw a great increase in military art by the leading artists, battle paintings often featuring near-contemporary scenes such as the huge set of three canvases of The Battle of San Romano (c. 1445) by Paolo Uccello, and the abortive Battle of Cascina (1504–1506) by Michelangelo and Battle of Anghiari by Leonardo da ...
Renaissance art (1350 – 1620 [1]) is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. [2]
The Crucifixion of Saint Peter is a fresco painting by the Italian Renaissance master Michelangelo Buonarroti (c. 1546–1550). It is housed in the Cappella Paolina, Vatican Palace, in the Vatican City, Rome. It is the last fresco executed by Michelangelo.
Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers.
Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black. The original impression of the burnished silver would have been dazzling.