Search results
Results from the WOW.Com Content Network
The saints are kneeling most immediately in the foreground, making them larger than the remaining figures and signifying their importance. Saint Cosmas is seen as the primary interlocutor figure as he mirror's the viewer's glance, looking directly at the viewer. This establishes a sense of accessibility to the painting on the viewer's part.
The painting is a sacra conversazione, where holy figures seem to be in conversation and draw the audience into their discussion. [5] Rather than sitting under a canopy, of the Umbrian or Florentine style, [2] the Virgin is seated on clouds, embracing Jesus, while surrounded by angels. They look down upon Sigismondo de' Conti, kneeling in a red ...
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo 's Last Judgement of the 1530s.
On the lower right of the painting, an old man is sleeping near a crucifix. He can be identified as Saint Jerome by his traditional symbols, i.e. the cardinal hat and a skull. [2] The saint's pose may have been intended as an homage to Parmigianino's elder fellow artist Correggio, who was also based in Parma.
Saint Sebastian is a painting of the early Christian saint and martyr Saint Sebastian painted c. 1501–1502 by the Italian High Renaissance artist Raphael. Part of his early works, it is housed in the Accademia Carrara of Bergamo, Italy. [1] In 2022 the painting was included in an exhibition held at the National Gallery in London.
The Angel musicians are two paintings created in the late 15th century to frame Leonardo da Vinci's Virgin of the Rocks.Their purpose was to decorate the side panels of the Altarpiece in the Chapel of the Immaculate Conception, created to decorate a chapel in the Church of San Francesco Grande in Milan.
Saint John the Baptist as a Boy is an oil-on-panel painting by the Italian Renaissance artist Andrea del Sarto, executed c. 1525, now in the Palatine Gallery of the Palazzo Pitti in Florence. [1] Vasari's Lives of the Artists mentions two works by Andrea del Sarto showing half-length figures of John the Baptist as a boy. This is the first of ...
The painting shows a boy slumped against a dark background, where a sheep nibbles at a dull brown vine. The boy is immersed in a reverie: perhaps as Saint John he is lost in private melancholy, contemplating the coming sacrifice of Christ; or perhaps as a real-life street-kid called on to model for hours he is merely bored.