tiered angels and saints flanking the enthroned Madonna, was probably based on a model
Around 1616 Peter Paul Rubens engaged in a large tapestries series project about the heroic Roman consul Decius Mus. This panel, which is a small sketch or modello for the larger composition, depicted the first episode of that story, which normally consisted of seven or eight scenes.
Lipsius’s writings about the great Stoic philosopher, Seneca, who hailed Decius Mus a model
See these 10 works by trailblazing women artists during your next visit.
sculptures from individually sculpted wax forms based on a body cast of a single child model
When, in December 1391, at the end of a novitiate lasting a year, the painter Piero di Giovanni made his profession in the Camaldolese monastery of Santa Maria degli Angeli in Florence, assuming the name of Don Lorenzo,[1] he must already have been a well-known and esteemed artist in the city and hence no longer very young. Presumed in the older literature to have been born in Siena,[2] he seems to have been trained as an artist in Florence, serving in the bottega of Agnolo Gaddi , with whom he later collaborated in the painting of the predella of the altarpiece in the Nobili Chapel in Santa Maria degli Angeli, formerly dated 1387.[3] Ordained a deacon in 1394, he dedicated himself in the following years to the painting of miniatures, particularly the illumination of the choir-books of his monastery and of other monastic communities (choir-books nos.
Having overcome his first creative phase, essentially derived from the model of Agnolo
Son of Daddo di Simone, Bernardo is recorded for the first time in the registers of the Arte dei Medici e Speziali when he enrolled in the guild (which also included artists) between 1312 and 1320.[1] By this date he must have been a firmly established painter, as the reconstruction of his oeuvre also suggests; presumably, he had been born by the last decade of the thirteenth century, if not earlier.
chromatic harmonies of his compositions, would strongly influence and serve as a model
tiered angels and saints flanking the enthroned Madonna, was probably based on a model
Jacopo Tintoretto was, along with Titian and Paolo Veronese , one of the three giants of 16th-century Venetian painting. No one else came close to matching the sheer number of pictures he provided for Venice’s churches, confraternities, government buildings, and private palaces.
In portraiture, by contrast, Tintoretto favored an understated model based upon prototypes
Its physiognomic difference may reflect a different life model.
In this scene, Nicolaes Pietersz Berchem captures both the beauty of the Italian landscape and the cool, crystalline light that imbues it with its distinctive atmospheric quality. Towering cliffs, surmounted by a round bastion and a sturdy tower, form the dramatic backdrop for the arrival of a Dutch merchant ship in a calm harbor.
noted, it is possible that one of the copies after View of an Italian Port was the model
with which the thirteenth-century painter tried to imitate the early Christian model
