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The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European ...
G Schiller, Iconography of Christian Art, Vol. II,1972 (English trans from German), Lund Humphries, London, figs 471–75, ISBN 0-85331-324-5; Emile Mâle, The Gothic Image: Religious Art in France of the Thirteenth Century, English translation of 3rd ed, 1913, Collins, London (and many other editions), ISBN 978-0064300322
Giotto, whose greatest work is the cycle of the Life of Christ at the Arena Chapel in Padua, was seen by the 16th-century biographer Giorgio Vasari as "rescuing and restoring art" from the "crude, traditional, Byzantine style" prevalent in Italy in the 13th century.
Beeldenstorm (pronounced [ˈbeːldə(n)ˌstɔr(ə)m]) in Dutch and Bildersturm [ˈbɪldɐˌʃtʊʁm] in German (roughly translatable from both languages as 'attack on the images or statues') are terms used for outbreaks of destruction of religious images that occurred in Europe in the 16th century, known in English as the Great Iconoclasm or ...
In the 16th century, Gabriele Paleotti's Discourse on Sacred and Profane Images became known as the "Catechism of images" for Catholics, given that it established key concepts for the use of images as a form of religious instruction and indoctrination via silent preaching (muta predicatio).
The Ascension, by Dosso Dossi, 16th century.Many Ascension scenes have an upper (Heavenly) and a lower (earthly) part. [1]The Ascension of Jesus to Heaven as stated in the New Testament has been a frequent subject in Christian art, as well as a theme in theological writings.
Gothic cathedrals and churches are religious buildings created in Europe between the mid-12th century and the beginning of the 16th century. The cathedrals are notable particularly for their great height and their extensive use of stained glass to fill the interiors with light.
The Milanese art scene of the late 16th century must therefore be analyzed by considering the city's particular position: while for the Spanish Empire it represented a strategic military outpost, from a religious point of view it was at the center of the conflict between the Catholic and Reformed Churches. Consequently, the greatest ...
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