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Italo-Byzantine is a style term in art history, mostly used for medieval paintings produced in Italy under heavy influence from Byzantine art. [2] It initially covers religious paintings copying or imitating the standard Byzantine icon types, but painted by artists without a training in Byzantine techniques.
The only place where the Byzantine Rite remained in Italy was the Monastery of Grottaferrata, an Italo-Greek foundation, which had become steadily latinized through the centuries. The Albanians of Sicily and Calabria, from the eighteenth to the present, were bringing the monastery back to life, where most of its monks, abbots and students were ...
Byzantine Italy was made up of those parts of the Italian peninsula under the control of the Byzantine empire after the fall of the Western Roman Empire (476). The last Byzantine outpost in Italy, Bari was lost in 1071. Chronologically, it refers to: Praetorian prefecture of Italy (540/554–584) Exarchate of Ravenna (584–751)
The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period. The altarpiece represents a formalized representation of an icon, still retaining the ...
Byzantine artisans were used in important projects throughout Italy, and what are called Italo-Byzantine styles of painting can be found up to the 14th century. Italo-Byzantine style initially covers religious paintings copying or imitating the standard Byzantine icon types, but painted by artists without a training in Byzantine techniques.
Although heavily influenced by Byzantine models, Cimabue is generally regarded as one of the first great Italian painters to break from the Italo-Byzantine style. [5] Compared with the norms of medieval art, his works have more lifelike figural proportions and a more sophisticated use of shading to suggest volume.
The Cambrai Madonna, (anonymous), c. 1340.Tempera on cedar panel. 35.7 cm x 25.7 cm. Cambrai Cathedral, France.. The Cambrai Madonna, also called the Notre-Dame de Grâce, produced around 1340, is a small Italo-Byzantine, possibly Sienese, [1] replica of an Eleusa (Virgin of Tenderness) icon.
Coppo di Marcovaldo (c. 1225 – c. 1276) [1] was a Florentine painter in the Italo-Byzantine style, active in the middle of the thirteenth century, whose fusion of both the Italian and Byzantine styles had great influence on generations of Italian artists.