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
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
combination of Cupid, chariot wheel, and tree trunk derives from a 15th-century Roman
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
Fellow, 2010–2013 Nobilibus pinacothecae sunt faciundae: The Inception of the Roman
Peter Paul Rubens’s enormous painting, based on the Old Testament story of Daniel, puts us right in the lions’ den. The Jewish youth was condemned to spend the night with the brutal beasts for worshipping his God rather than the Persian king Darius.
develop his skills in representing male anatomy, the artist studied ancient Greek and Roman
Larsen-Roman, Lucy. „Letter from America.“
Peter Paul Rubens (1577–1640), one of the greatest masters of the 17th century, painted this masterpiece as a young artist in Rome. Rubens depicted a moment of high drama in this popular Greek myth that was famously recounted in Ovid’s Metamorphoses (c.
Rubens and the Roman Circle: Studies of the First Decade.
friendships with a number of foreign artists who were interested in capturing the Roman
