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1400: Bernardo Martorell – Spanish painter, working in a late gothic style (died 1452) 1400: Luca della Robbia – Italian sculptor from Florence, noted for his terracotta roundels (died 1482) 1400: Filarete – Florentine Renaissance architect, sculptor and architectural theorist (died 1469)
The most elaborate and artistic painted pictographs being the Rock art of the Chumash people, and petroglyphs those of the Coso people in the Coso Rock Art District. [12] Ancient Northwest Coast art features formline painting on woven items and wood; however, few of these items survived the centuries the temperate rainforest climate.
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It is a 24-hour [1] non-commercial satellite channel broadcasting a mix of various classic arts including animation, architectural art, ballet, chamber, choral music, dance, folk art, museum art, musical theatre, opera, orchestral, recital, solo instrumental, solo vocal, and theatrical play, as well as classic film and archival documentaries.
Quattrocento art shed the decorative mosaics typically associated with Byzantine art along with Christian and Gothic media, as well as styles in stained glass, frescoes, illuminated manuscripts and sculpture. Instead, Quattrocento artists incorporated the more classic forms developed by classical Roman and Greek art.
The earliest is the Heilspiegel Altarpiece of about 1435, which today is mostly in the Kunstmuseum, Basel, and with isolated panels in other collections. The next is the Altarpiece of the Virgin (c. 1440), which has been associated with panels now in Basel, Nuremberg, and Strasbourg ( Saint Madeleine and Saint Catherine , Musée de l'Œuvre ...
Glasgow, Kelvingrove Art Gallery and Museum: Calumny of Apelles: c. 1495: Tempera on panel: 62 × 91 cm: Florence, Uffizi: Last Communion of St. Jerome: c. 1495: Tempera on panel: 34.5 × 25.4 cm: New York, Metropolitan Museum of Art: Portrait of Dante: c. 1495: Tempera on canvas: 54.7 × 47.5 cm: Private collection Lamentation over the Dead ...
Generally, "sculpture of any quality" was more expensive than an equivalent in painting, and when in bronze dramatically so. The painted Equestrian Monument of Niccolò da Tolentino of 1456 by Andrea del Castagno appears to have cost only 24 florins, while Donatello's equestrian bronze of Gattamelata, several years earlier, has been "estimated conservatively" at 1,650 florins.