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The Last Judgment (Italian: Il Giudizio Universale) [1] is a fresco by the Italian Renaissance painter Michelangelo covering the whole altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity.
Last Judgement (Venusti) The Last Judgement Triptych (Klontzas) The Last Judgement (Vasari and Zuccari) The Last Judgment (Bosch, Bruges) The Last Judgment (Bosch, Vienna) The Last Judgment (Fra Angelico, Florence) The Last Judgment (Bosch, Munich) The Last Judgment (Moskos) The Last Judgment (Kavertzas) The Last Judgment (Klontzas) The Last ...
The Last Judgment is a triptych by the Early Netherlandish artist Hieronymus Bosch, created after 1482. The triptych is now in the Academy of Fine Arts in Vienna, Austria. The outside of the shutters panel are painted in grisaille on panel, while the inside shutters and the center panel are painted in oil. The left and right panels measure 167. ...
Michelangelo, nonetheless, is one of the artists who gave rise to the notion of “late style”: the idea that the artist’s vision gets truer and more personal the older they get.
The Last Judgment is a triptych created by a follower of Hieronymus Bosch. Unlike the other two triptychs with the same name, in Vienna and in Bruges, only a fragment of this one exists today. It resides at the Alte Pinakothek in Munich. [1] After being damaged, this fragment was heavily repainted, then the paint was removed in 1936.
The Last Judgment is a triptych of disputed authorship, either by the Early Netherlandish master Hieronymus Bosch, his workshop, or a collaboration between artist and workshop. It was created after 1486. It is one of eight surviving triptychs by Bosch. [1] The triptych currently resides at the Groeningemuseum in Bruges, Belgium.
Colalucci describes Michelangelo as having employed the best possible fresco techniques, as described by Vasari. [12] Most of the paint was well adhered and required little retouching. The plaster, or intonaco, on which the paintings were executed was found, for the most part, to be secure, as previous restorers had fixed it in places with ...
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