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Female Saint With Two Angels
''Female Martyr with Two Angels'' is a c.1523-1524 oil on panel painting by Parmigianino, now in the Städel Museum in Frankfurt, to which it was donated in 1913 by Baroness Emilie Margarethe Beaulieu-Marconnay, member of a family of bankers and art patrons in the city. Two early copies survive, one in the Galleria nazionale di Parma and the other in the Kunsthistorisches Museum in Vienna, in which a toothed wheel (attribute of Catherine of Alexandria) is added beside the female saint. The Vienna painting was previously considered an autograph work and that in Frankfurt as a copy, but in 1932 art historians reversed their opinion after an X-ray revealed a fine under-drawing under pesanti and re-paintings on the Frankfurt work. All art historians except Copertini (1945-1950) and Frölich-Bum (1953) now hold the Frankfurt work to be autograph. Freedberg dated the work to around 1524 based on comparison with the Doria Madonna (Galleria Doria-Pamphili) and the portrait of Paola Gonz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parmigianino
Girolamo Francesco Maria Mazzola (11 January 150324 August 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino (, , ; "the little one from Parma"), was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. His work is characterized by a "refined sensuality" and often elongation of forms and includes ''Vision of Saint Jerome'' (1527) and the iconic if somewhat anomalous ''Madonna with the Long Neck'' (1534), and he remains the best known artist of the first generation whose whole careers fall into the Mannerist period. His prodigious and individual talent has always been recognised, but his career was disrupted by war, especially the Sack of Rome in 1527, three years after he moved there, and then ended by his death at only 37. He produced outstanding drawings, and was one of the first Italian painters to experiment with printmaking himself. While his portable works have always been keenly collected and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Städel Museum
The Städel, officially the ''Städelsches Kunstinstitut und Städtische Galerie'', is an art museum in Frankfurt, with one of the most important collections in Germany. The Städel Museum owns 3,100 paintings, 660 sculptures, more than 4,600 photographs and more than 100,000 drawings and prints. It has around 4,000 m2 of display and a library of 115,000 books. The Städel was honoured as "Museum of the Year 2012" by the German art critics association AICA. In the same year the museum recorded the highest attendance figures in its history, of 447,395 visitors. In 2020 the museum had 318,732 visitors, down 45 percent from 2019, due to the COVID-19 pandemic. It ranked 71st on the list of most-visited art museums in 2020. History The Städel was founded in 1817, and is one of the oldest museums in Frankfurt's Museumsufer, or museum embankment. The founding followed a bequest by the Frankfurt banker and art patron Johann Friedrich Städel (1728–1816), who left his house, ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kunsthistorisches Museum
The Kunsthistorisches Museum ( "Museum of Art History", often referred to as the "Museum of Fine Arts") is an art museum in Vienna, Austria. Housed in its festive palatial building on the Vienna Ring Road, it is crowned with an octagonal dome. The term ''Kunsthistorisches Museum'' applies to both the institution and the main building. It is the largest art museum in the country and one of the most important museums worldwide. Emperor Franz Joseph I of Austria-Hungary opened the facility around 1891 at the same time as the Natural History Museum, Vienna which has a similar design and is directly across Maria-Theresien-Platz. The two buildings were constructed between 1871 and 1891 according to plans by Gottfried Semper and Baron Karl von Hasenauer. The emperor commissioned the two Ringstraße museums to create a suitable home for the Habsburgs' formidable art collection and to make it accessible to the general public. The buildings are rectangular in shape, with symmetrical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Catherine Of Alexandria
Catherine of Alexandria (also spelled Katherine); grc-gre, ἡ Ἁγία Αἰκατερίνη ἡ Μεγαλομάρτυς ; ar, سانت كاترين; la, Catharina Alexandrina). is, according to tradition, a Christian saint and virgin, who was martyred in the early fourth century at the hands of the emperor Maxentius. According to her hagiography, she was both a princess and a noted scholar who became a Christians, Christian around the age of 14, converted hundreds of people to Christianity and was martyred around the age of eighteen. More than 1,100 years after Catherine's martyrdom, Joan of Arc identified her as one of the saints who appeared to and counselled her.Williard Trask, ''Joan of Arc: In Her Own Words'' (Turtle Point Press, 1996), 99 The Eastern Orthodox Church venerates her as a Great Martyr and celebrates her feast day on 24 or 25 November, depending on the regional tradition. In Catholic Church, Catholicism, Catherine is traditionally revered as one of the F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pesanti
A pentimento (plural pentimenti), in painting, is "the presence or emergence of earlier images, forms, or strokes that have been changed and painted over". The word is , from the verb , meaning 'to repent'. Significance Pentimenti may show that a composition originally had an element, for example, a head or a hand, in a slightly different place, or that an element no longer in the final painting was originally planned. The changes may have been done in the underdrawing of the painting, or by the visible layers of paint differing from the underdrawing, or by the first painted treatment of the element having been over-painted. Some pentimenti have always been visible on the final painting with careful inspection; others are revealed by the increasing transparency that some paint acquires after several centuries. Others, especially in the underdrawing, can only be seen with modern methods such as X-rays and infrared reflectography and photographs. These are able to record photog ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doria Madonna
The ''Doria Madonna'' is a c.1525 oil on panel painting by Parmigianino, now in the Galleria Doria-Pamphili in Rome. Its shape and dimensions show it to form a diptych with the '' Nativity with Angels'' in the same gallery. A smaller autograph version also survives in the Uffizi The Uffizi Gallery (; it, Galleria degli Uffizi, italic=no, ) is a prominent art museum located adjacent to the Piazza della Signoria in the Historic Centre of Florence in the region of Tuscany, Italy. One of the most important Italian museums .... Parmigianino,_madonna_doria.jpg, Rome version Parmigianino,_madonna_doria,_versione_degli_Uffizi.jpg, Uffizi version References {{16C-painting-stub 1525 paintings Collections of the Doria Pamphilj Gallery Paintings of the Madonna and Child by Parmigianino Paintings in the Uffizi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Camera Della Badessa
250px, Overview of the vault frescoes. 250px, Coat of arms of abbess Giovanna. 250px, The fresco of Diana in the fireplace. The ''Camera di San Paolo'' (Italian: "Chamber of St. Paul) or ''Camera della Badessa'' (Italian: "Abbess' Chamber") is a room in the former Monastery of San Paolo, in Parma, northern Italy. It is painted with frescoes by Correggio in the vault (697x645 cm) and over the fireplace. History Giovanna Piacenza, in her first decade as abbess of the monastery, ordered improvements and decorations. In 1514, the vault of her private apartment was decorated by Alessandro Araldi, with biblical and mythological subjects. This, a few years later, led to a similar but more up-to-date project for the adjacent chamber, this time assigned to Correggio, who had moved to Parma around 1519. It is not known how the painter and Giovanna came into contact, although Correggio at the time had familiarity with another Benedictine monastery, that of San Benedetto Po in wha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
