Gary S. Davis | National Gallery of Art https://www.nga.gov/artworks/provenance/33053-gary-s-davis
Discover works by Gary S. Davis and learn about the artist
lover doctor at his left, Nile & Gregory Corso, friends, Jack Micheline right, Trieste
Dein Suchergebnis zum Thema: Triest
The Crucifixion by Paolo Veneziano https://www.nga.gov/artworks/284-crucifixion
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.
Bacchus and Ariadne by Giovanni Battista Tiepolo https://www.nga.gov/artworks/46060-bacchus-and-ariadne
„Review of Giulio Caprin, Trieste.“
The Coronation of the Virgin by Master of the Washington Coronation https://www.nga.gov/artworks/41702-coronation-virgin
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.
Saint Venantius [right panel] by Puccio di Simone, Allegretto Nuzi https://www.nga.gov/artworks/8-saint-venantius-right-panel
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
Saint Anthony Abbot [left panel] by Puccio di Simone, Allegretto Nuzi https://www.nga.gov/artworks/6-saint-anthony-abbot-left-panel
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
Madonna and Child Enthroned with Saints and Angels, and Saints Anthony Abbot and Venantius [entire triptych] by Puccio di Simone, Allegretto Nuzi https://www.nga.gov/artworks/206126-madonna-and-child-enthroned-saints-and-angels-and-saints-anthony-abbot-and-venantius-entire-triptych
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 Boskovits, Miklós.
Madonna and Child Enthroned with Four Saints and Eighteen Angels [middle panel] by Puccio di Simone, Allegretto Nuzi https://www.nga.gov/artworks/7-madonna-and-child-enthroned-four-saints-and-eighteen-angels-middle-panel
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. National Gallery of Art.