Andrea del Castagno

Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.
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Andrea del Castagno Christ in the Sepulchre with Two Angels oil


Christ in the Sepulchre with Two Angels
Painting ID::  64861 		Christ in the Sepulchre with Two Angels
1447 Fresco Sant'Apollonia, Florence The splendid synopias which were discovered when the frescoes in the refectory of the Sant'Apollonia were detached from the walls are today on exhibit alongside the frescoes themselves. They confirm the opinion that Andrea was a quick and lively artist who drew with ease. , ANDREA DEL CASTAGNO , Christ in the Sepulchre with Two Angels (synopia) , 1401-1450 , Italian , painting , religious
   
   
     
Andrea del Castagno Equestrian Statue of Niccolo da Tolentino oil


Equestrian Statue of Niccolo da Tolentino
Painting ID::  94650 		Equestrian Statue of Niccolo da Tolentino
1456 Type Fresco Dimensions 833 cm x 512 cm (328 in x 202 in) cyf
   
   
     
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     Andrea del Castagno
     Italian c1421-1457 Andrea del Castagno Location Italian c1421-1457 Andrea del Castagno Location Italian painter. He was the most influential 15th-century Florentine master, after Masaccio, of the realistic rendering of the figure and the representation of the human body as a three-dimensional solid by means of contours. By translating into the terms of painting the statues of the Florentine sculptors Nanni di Banco and Donatello, Castagno set Florentine painting on a course dominated by line (the Florentine tradition of disegno), the effect of relief and the sculptural depiction of the figure that became its distinctive trait throughout the Italian Renaissance, a trend that culminated in the art of Michelangelo.

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