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In 1408, the Operai del Duomo commissioned the statue. [3] At the time, Donatello was twenty-two [4] and had been active in the workshop of Lorenzo Ghiberti. [5] Donatello's earliest known important commission, the marble David statue was to be placed on the tribune of the dome at one of the buttresses on the north side of Florence Cathedral. [6]
The master painter marries the strict approach to perspective learned during his Florentine education with the lenticular representation more characteristic of Flemish painting, achieving extraordinary results and unmatched originality. It has generally been assumed that this work was commissioned by Federico.
The creation of the work is undocumented. Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace (now called ...
Rembrandt Harmenszoon van Rijn (/ ˈ r ɛ m b r æ n t, ˈ r ɛ m b r ɑː n t /; [2] Dutch: [ˈrɛmbrɑnt ˈɦɑrmə(n)ˌsoːɱ vɑn ˈrɛin] ⓘ; 15 July 1606 [1] – 4 October 1669), usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker, and draughtsman.
The most noticeable self-referencing image trend on the coins and works of art commissioned by Julius II was the "Della Rovere oak." In Italian "rovere" means oak, derived from the Latin robur, meaning strength or oak tree. The Spernadino medal of Giuliano Della Rovere (1488) is a prime example of a representation of the "Della Rovere oak".
In Spring 1882, his uncle, Cornelis Marinus - owner of a renowned gallery of contemporary art in Amsterdam - asked him for drawings of the Hague. Van Gogh's work did not prove equal to his uncle's expectations. Marinus offered a second commission, this time specifying the subject matter in detail, but was once again disappointed with the result.
This was an early example of creating choreography to an existing score rather than to music specifically written for the ballet, a departure from the normal practice at the time. Fokine established an international reputation with his works choreographed during the first four seasons (1909–1912) of the Ballets Russes.
This altarpiece in particular has been described as poetic because of the work's sacred atmosphere invites the viewer into a contemplative space. [17] The artist Giorgione was one of Bellini's pupils. [11] During the time that Bellini was working on the San Zaccaria Altarpiece, Giorgione was completing the Castelfranco Madonna around 1504. [17]