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Trinity, 1564-1568, 122 × 181 cm, Galleria Sabauda, Turin; Crucifixion, 1568, 341 × 371 cm, church of San Cassiano, Venice; Descent into Limbo, 1568, 342 × 373 cm, church of San Cassiano, Venice; Paintings for the chancel of the church of San Rocco, 1567, church of San Rocco, Venice. Saint Roch in Prison Comforted by an Angel, 300 × 670 cm
Holy Trinity is a c.1577–1579 oil on canvas painting by El Greco, one of nine works he produced for the Convent of Santo Domingo el Antiguo (Toledo). Ferdinand VII of Spain acquired it from the sculptor Valeriano Salvatierra in 1832 and it now hangs in the Prado Museum in Madrid.
Pages in category "Paintings of the Holy Trinity" The following 29 pages are in this category, out of 29 total. ... Holy Trinity (El Greco) G. La Gloria (Titian)
The Assumption of the Virgin (1577–1579, oil on canvas, 401 × 228 cm, Art Institute of Chicago) was one of the nine paintings El Greco completed for the church of Santo Domingo el Antiguo in Toledo, his first commission in Spain. In 1577, El Greco migrated to Madrid and then to Toledo, where he produced his mature works. [41]
"The Trinity", a painting by El Greco. Items portrayed in this file depicts. The Holy Trinity. digital representation of. The Holy Trinity. main subject. The Holy ...
Paintings by Jacopo Tintoretto (1518−1594) — a Late Italian Renaissance and Mannerist painter from the Republic of Venice. Pages in category "Paintings by Tintoretto" The following 40 pages are in this category, out of 40 total.
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.
The fresco is located along the middle of the basilica's left aisle. Although the configuration of this space has changed since the artwork was created, there are clear indications that the fresco was aligned very precisely in relationship with the sight-lines and perspective arrangement of the room at the time; particularly a former entrance-way facing the painting; in order to enhance the ...