Dein Suchergebnis zum Thema: Triest

Michelangelo Muraro first coined the conventional name for this artist in 1969 and gathered under it a group of paintings previously attributed in the main to Paolo Veneziano .[1] Muraro also conjectured that the anonymous master might be identifiable with Marco, brother of Paolo, who, according to a document of 1335, must have been a highly esteemed painter at this time, though none of his works have come down to us under his name. However, judging from his stylistic characteristics, the anonymous Master of the Washington Coronation must have belonged to a generation preceding that of Paolo and his brother.
, or the anonymous master of the altar-frontal in the basilica of San Giusto in Trieste

Originally, this painting had an arched top, the contour of which can still be traced in the different appearance of the gilding, which shows that the corners were added much later to transform the panel into a rectangle. Changes like this underscore the fact that early Italian paintings were experienced very differently by their contemporaries than by today’s museum-goers, who are accustomed to single, usually rectangular, paintings hanging by themselves on pristine walls.
Chiara di Trieste e l’orientamento paleologo nell’arte di Paolo Veneziano.

"Review of Giulio Caprin, Trieste."

This Coronation of the Virgin may be the first time the subject, which originated in the West, appears in Venetian art. Some of the earliest representations were carved above cathedral doorways in France—and certain elements in the Gallery’s painting—its elaborate halos, for example—share in the decorative elegance of Gothic art.
Trieste, 2005: 130 n. 84, fig. 40. De Marchi, Andrea, ed.

The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Trieste, 1968: 219 n. 57. 1971 Pittura nel Maceratese dal Duecento al tardo gotico

The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists:
Trieste, 1968: 219 n. 57. 1971 Pittura nel Maceratese dal Duecento al tardo gotico

The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This triptych was painted by two artists:
Trieste, 1968: 219 n. 57. 1971 Pittura nel Maceratese dal Duecento al tardo gotico

The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. The partnership of the two artists here— Puccio painted the center and right-hand panel of this tryptych and Allegretto the left—is a bit unusual, since they were not based in the same city.
Trieste, 1968: 219 n. 57. 1971 Pittura nel Maceratese dal Duecento al tardo gotico