Dein Suchergebnis zum Thema: Roman

The art historical literature generally asserts that the great Sienese painter cited in a document of 1320 as “Petrus quondam Lorenzetti � and who signed himself as “Petrus Laurentii� is to be identified with the Petruccio di Lorenzo paid in 1306 for a panel, now lost, painted for the Sienese government. If that is the case, then his date of birth is unlikely to have been any later than 1280.[1] The prestigious commission presupposes, in fact, that he must have been a well-established artist by this date.
execution, was replaced in the nineteenth century by another bearing a date in Roman

In The Crucifixion with the Converted Centurion , Lucas Cranach the Elder chose to portray a scene of religious redemption. The crucified Christ, silhouetted against a darkened and troubled sky, is at the point of death;
At that moment, a Roman centurion, astride a white charger, recognizes Christ’s divinity

Probably born in Siena, perhaps in 1284 according to uncertain information transmitted by Giorgio Vasari ,[1] Simone must already have been a famous artist when he was commissioned to paint the Maestà fresco in the Sienese seat of government, the Palazzo Pubblico. Signed and dated 1315, it is the earliest surviving of his ascertained works.
Dating to 1321 or the immediately ensuing years (the date in Roman script is perhaps

A note of ambiguity or unease often gives a piquant quality to German adaptations of the Renaissance ideal. Cranach’s painting of a classical nymph represents an Italian theme but gives it a moralizing twist common to late Gothic courtly and amorous subjects.
The nymph reclines beside a spring, perhaps a reference to a legendary ancient Roman

The greatest exponent of Sienese painting between the last quarter of the thirteenth and the first two decades of the fourteenth century, Duccio is documented for the first time in the role of painter in 1278, when he was paid by the Comune of Siena for the decoration of twelve coffers ( casse ) for the conservation of documents. Although this cannot have been a work of any particular artistic distinction, we may assume that the civic authorities would have chosen an artist who was already prominent in the city and in charge of a thriving workshop.
Cimabuesque reminiscences and the pursuit of grandeur suggested by his experience of Roman

A painting may provide a “window� into a different world. Here, the painting is itself a window, and it reveals a world dizzy with color and movement.
_Henri Matisse, roman. 2 vols. 1971:1:140, repro. no.

Fellow, 2010–2013 Nobilibus pinacothecae sunt faciundae: The Inception of the Roman

His interest in classical Roman drapery techniques and in the spatial and dramatic

His interest in classical Roman drapery techniques and in the spatial and dramatic

His interest in classical Roman drapery techniques and in the spatial and dramatic