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Polyptych
A polyptych ( ; Greek: ''poly-'' "many" and ''ptychē'' "fold") is a painting (usually panel painting) which is divided into sections, or panels. Specifically, a "diptych" is a two-part work of art; a "triptych" is a three-part work; a tetraptych or quadriptych has four parts, and so on. Historically, polyptychs typically displayed one "central" or "main" panel that was usually the largest of the attachments; the other panels are called "side" panels, or "wings". Sometimes, as evident in the Ghent and Isenheim works (see below), the hinged panels can be varied in arrangement to show different "views" or "openings" in the piece. The upper panels often depict static scenes, while the lower register, the predella, often depict small narrative scenes. Polyptychs were most commonly created by early Renaissance painters, the majority of whom designed their works to be altarpieces in churches and cathedrals. The polyptych form of art was also quite popular among ukiyo-e printmakers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altarpiece
An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing at the back of or behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate frame for the central image or images. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation. Many altarpieces have been removed from their church settings, and often from their elaborate sculpted frameworks, and are displayed as more simply framed paintings in museums and elsewhere. History Origins and early development Altarpieces seem to have begun to be used during the 11th century, with the possible exception of a few earlier examples. The reasons and forces that led to the develo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ghent Altarpiece
The ''Adoration of the Mystic Lamb'', also called the ''Ghent Altarpiece'' ( nl, De aanbidding van het Lam Gods), is a large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium. It was begun around the mid-1420s and completed by 1432, and it is attributed to the Early Netherlandish painters and brothers Hubert and Jan van Eyck. The altarpiece is considered a masterpiece of European art and one of the world's treasures, it was “the first major oil painting,” and it marked the transition from Middle Age to Renaissance art. The panels are organised in two vertical registers, each with double sets of foldable wings containing inner and outer panel paintings. The upper register of the inner panels represent the heavenly redemption, and include the central classical '' Deësis'' arrangement of God (identified either as Christ the King or God the Father), flanked by the Virgin Mary and John the Baptist. They are flanked in the next panels by an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beaune Altarpiece
The ''Beaune Altarpiece'' (or ''The Last Judgement'') is a large polyptych 1445–1450 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas. It consists of fifteen paintings on nine panels, of which six are painted on both sides. Unusually for the period, it retains some of its original frames. Six of the outer panels (or shutters) have hinges for folding; when closed the exterior view of saints and donors is visible. The inner panels contain scenes from the Last Judgement arranged across two registers. The large central panel spans both registers and shows Christ seated on a rainbow in judgement, while below him, the Archangel Michael holds scales to weigh souls. The lower register panels form a continuous landscape, with the panel on the far proper right showing the gates of Heaven, while the entrance to Hell is on the far proper left. Between these, the dead rise from their graves, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saint Vincent Panels
The ''Saint Vincent Panels'', or the ''Adoration of Saint Vincent'' panels, are a polyptych consisting of six panels that were perhaps painted in the 1450s. They are attributed to the Portuguese painter Nuno Gonçalves, who was active from 1450 to 1471. Traditionally, the polyptych is dated to the 1450s due to the putative prominence of Prince Henry the Navigator among the persons represented in the panels (Henry died in 1460). Controversy concerning the true nature of Henry's presence in the panels – if any – along with the inclusion of figures that can be identified as his brothers, all of whom died before 1450, renders it difficult to assign any secure date for the creation of the panels other than sometime during the ''floruit'' of the painter Gonçalves. The original retable, during its stay in the Cathedral of Lisbon, contained "over twelve" panels, as a source from 1767 states. They were displayed in the cathedral at least until 1690 and were set aside in the cathedral ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyptych Of The Misericordia
The ''Polyptych of the Misericordia'' is a painting conserved in the Museo Civico di Sansepolcro in the town of Sansepolcro, region of Tuscany, Italy. The painting is one of the earliest works of the Italian Renaissance painter Piero della Francesca, who was born in the town. The central panel is of the common motif of the ''Virgin of Mercy'' or ''Madonna della Misericordia''. In 1445, the Compagnia della Misericordia, a confraternity of Borgo San Sepolcro, commissioned Piero, a native of the town, to paint a polyptych for them. According to the taste of the time, the polyptych was to be painted with precious colours and have a gilded background. Piero did not respect the three-year time limit set in the contract—he was busy working on many other projects. The polyptych was only finished seventeen years later, in 1462. The oldest two panels, to the left of the main panel, depict St Sebastian and St John the Baptist. St Sebastian's panel shows a close connection with Masacci ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jan Van Eyck
Jan van Eyck ( , ; – July 9, 1441) was a painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art. According to Vasari and other art historians including Ernst Gombrich, he invented oil painting, Gombrich, The Story of Art, page 240 though most now regard that claim as an oversimplification. The surviving records indicate that he was born around 1380 or 1390, most likely in Maaseik (then Maaseyck, hence his name), Limburg (Belgium), Limburg, which is located in present-day Belgium. He took employment in The Hague around 1422, when he was already a master painter with workshop assistants, and was employed as painter and ''valet de chambre'' to John III, Duke of Bavaria, John III the Pitiless, ruler of the counties of County of Holland, Holland and County of Hainaut, Hainaut. After John's death in 1425, he was later appointed as court pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recanati Polyptych
The Recanati Polyptych (Italian: ''Polittico di Recanati'') is an oil-on-panel painting by the Italian Renaissance painter Lorenzo Lotto, executed in 1506–1508 and housed in the Civic Museum of Villa Colloredo Mels, Recanati, Italy. The work is dated and signed ''Laurent usLotus MDVIII''. Lotto began to work on the piece in 1506 as a devotional for the church of San Domenico in Recanati. The work was seen and described complete and in situ by Giorgio Vasari in his ''Vite'', where he wrote that Lotto "was still young and followed partly the manner of the Bellini, partly that of Giorgione". Volume 3, by Giorgio Vasari, Mrs. J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlo Crivelli
Carlo Crivelli (Venice, c. 1430 – Ascoli Piceno, c. 1495) was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione, and Mantegna. He left the Veneto by 1458 and spent most of the remainder of his career in the March of Ancona, where he developed a distinctive personal style that contrasts with that of his Venetian contemporary Giovanni Bellini. Early life Crivelli was born around 1430–35 in Venice to a family of painters and received his artistic formation there and in Padua. The details of Crivelli's career are still sparse: He is said to have studied under Jacobello del Fiore, who was painting as late as 1436; at that time Crivelli was probably only a boy. He also studied at the school of Vivarini in Venice, then left Venice for Padua, where he is believed to have worked in the workshop of Francesco Squarcione and then, after b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nuno Gonçalves
Nuno Gonçalves (c. 1425 – c. 1491, ''fl.'' 1450–71) was a Portuguese artist whose work initiated the Portuguese Renaissance in painting. He was court painter for Afonso V of Portugal from 1450 to 1471, and in 1471 he was appointed the official painter for the city of Lisbon. His surviving masterpiece is the polyptych known as the Saint Vincent Panels. Life The details of his life are almost completely unknown. As a painter, Nuno Gonçalves was active between 1450 and 1472. In 1450 he was appointed court painter by King Afonso V and in recognition of his contributions, he was knighted by Afonso in 1470. In 1471, Gonçalves was appointed the official painter for Lisbon. There is no information regarding his birth, family, or education. Although his history is obscure now, Gonçalves was recognized in his time as an important and talented artist. Francisco de Holanda, a 16th-century artist and art historian, called Gonçalves one of the foremost painters of his era. Today, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diptych
A diptych (; from the Greek δίπτυχον, ''di'' "two" + '' ptychē'' "fold") is any object with two flat plates which form a pair, often attached by hinge. For example, the standard notebook and school exercise book of the ancient world was a diptych consisting of a pair of such plates that contained a recessed space filled with wax. Writing was accomplished by scratching the wax surface with a stylus. When the notes were no longer needed, the wax could be slightly heated and then smoothed to allow reuse. Ordinary versions had wooden frames, but more luxurious diptychs were crafted with more expensive materials. Art ] As an art term a diptych is an artwork consisting of two pieces or panels, that together create a singular art piece these can be attached together or presented adjoining each other. In medieval times, panels were often hinged so that they could be closed and the artworks protected. In Late Antiquity, ivory notebook diptychs with covers carved in low relie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perugino
Pietro Perugino (, ; – 1523), born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil. Early years He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452. Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lorenzo Lotto
Lorenzo Lotto (c. 1480 – 1556/57) was an Italian painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists. Overview During his lifetime Lotto was a well-respected painter and certainly popular in Northern Italy; he is traditionally included in the Venetian School, but his independent career actually places him outside the Venetian art scene. He was certainly not as highly regarded in Venice as in the other towns where he worked, for he had a stylistic individuality, even an idiosyncratic style (although it fits w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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