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Agnolo Gaddi

Italian Early Renaissance Painter, ca.1345-1396 Son of Taddeo Gaddi. Through both his brother Giovanni and his father, Agnolo was heir to the Giottesque tradition and to a successful family enterprise, which he directed with enormous success up to the turn of the 15th century. He is first mentioned as a painter in 1369, when he assisted his brother Giovanni and Giovanni da Milano in decorations for Urban V (reg 1362-70) in the Vatican. Although he probably did not assume full responsibility for the workshop until his brother Giovanni death, he must have begun accepting his own commissions as early as the 1370s. The nature of his early work and whether it included an altarpiece dated 1375 (Parma, G.N., 435), however, remains a matter of debate. Logical or likely though it may be, the notion that this early activity developed out of his brother Giovanni still little-known art is hypothetical. Whereas the works grouped around Giovanni name are all small panels, Agnolo was an artist who, like his father, excelled in wall painting. Indeed, three monumental fresco cycles (see below), in the Castellani Chapel (painted c. 1384) and the choir (painted c. 1388-93) of Santa Croce, Florence, and the chapel of the Sacra Cintola (doc. 1393-5) in Prato Cathedral, constitute the artist most notable surviving works and offer a basis for reconstructing the content and chronology of his oeuvre.
Agnolo Gaddi The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  1293
   1390-96 Galleria degli Uffizi, Florence
  1390-96 Galleria degli Uffizi, Florence

 
 
   
      

Andrea Mantegna

Italian 1431-1506 Andrea Mantegna Locations Mantegna was born in Isola di Carturo, close to Padua in the Republic of Venice, second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Francesco Squarcione, Paduan painter. Squarcione, whose original vocation was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was something of a fanatic for ancient Rome: he travelled in Italy, and perhaps Greece, amassing antique statues, reliefs, vases, etc., forming a collection of such works, then making drawings from them himself, and throwing open his stores for others to study. All the while, he continued undertaking works on commission for which his pupils no less than himself were made available. San Zeno Altarpiece, (left panel), 1457-60; San Zeno, VeronaAs many as 137 painters and pictorial students passed through Squarcine's school, which had been established towards 1440 and which became famous all over Italy. Padua was attractive for artists coming not only from Veneto but also from Tuscany, such as Paolo Uccello, Filippo Lippi and Donatello. Mantegna's early career was shaped indeed by impressions of Florentine works. At the time, Mantegna was said to be a favorite pupil; Squarcione taught him the Latin language, and instructed him to study fragments of Roman sculpture. The master also preferred forced perspective, the lingering results of which may account for some Mantegna's later innovations. However, at the age of seventeen, Mantegna separated himself from Squarcione. He later claimed that Squarcione had profited from his work without paying the rights. His first work, now lost, was an altarpiece for the church of Santa Sofia in 1448. The same year Mantegna was called, together with Nicol?? Pizolo, to work with a large group of painters entrusted with the decoration of the Ovetari Chapel in the apse of the church of Eremitani. It is probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun the series of frescoes in the chapel of S. Cristoforo, in the church of Sant'Agostino degli Eremitani, today considered his masterpiece. After a series of coincidences, Mantegna finished most of the work alone, though Ansuino, who collaborated with Mantegna in the Ovetari Chapel, brought his style in the Forl?? school of painting. The now censorious Squarcione carped about the earlier works of this series, illustrating the life of St James; he said the figures were like men of stone, and had better have been colored stone-color at once. This series was almost entirely lost in the 1944 Allied bombings of Padua. The most dramatic work of the fresco cycle was the work set in the worm's-eye view perspective, St. James Led to His Execution. (For an example of Mantegna's use of a lowered view point, see the image at right of Saints Peter and Paul; though much less dramatic in its perspective that the St. James picture, the San Zeno altarpiece was done shortly after the St. James cycle was finished, and uses many of the same techniques, including the classicizing architectural structure.) San Luca Altarpiece, 1453; Tempera on panel; Pinacoteca di Brera, MilanThe sketch of the St. Stephen fresco survived and is the earliest known preliminary sketch which still exists to compare to the corresponding fresco. Despite the authentic look of the monument, it is not a copy of any known Roman structure. Mantegna also adopted the wet drapery patterns of the Romans, who derived the form from the Greek invention, for the clothing of his figures, although the tense figures and interactions are derived from Donatello. The drawing shows proof that nude figures were used in the conception of works during the Early Renaissance. In the preliminary sketch, the perspective is less developed and closer to a more average viewpoint however. Among the other early Mantegna frescoes are the two saints over the entrance porch of the church of Sant'Antonio in Padua, 1452, and an altarpiece of St. Luke and other saints (at left) for the church of S. Giustina, now in the Brera Gallery in Milan (1453). As the young artist progressed in his work, he came under the influence of Jacopo Bellini, father of the celebrated painters Giovanni and Gentile, and of a daughter Nicolosia. In 1453 Jacopo consented to a marriage between Nicolosia to Mantegna in marriage.
Andrea Mantegna The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  2727
   1456-59 Musee du Louvre, Paris
  1456-59 Musee du Louvre, Paris

 
 
   
      

Berswordt Altar

German Gothic Era Painter, active ca.1400]
Berswordt Altar The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  10760
   1400, tempera and gold on wood transferred to canvas, Metropolitan Museum of Art, New York
  1400, tempera and gold on wood transferred to canvas, Metropolitan Museum of Art, New York

 
 
   
      

Palmezzano, Marco

Italian, Approx. 1459-1539 .Italian painter. His earliest work was probably on the fresco decoration (c. 1480-84) of the vault of the sacristy of the treasury in the Santa Casa, Loreto, designed by Melozzo da Forl?. He then probably went to Rome, where he may have painted the fresco in the apse of Santa Croce in Gerusalemme (Longhi). In 1493 Palmezzano is documented working with Melozzo on the fresco decoration in the Feo Chapel,
Palmezzano, Marco The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  19750
   Tempera on panel Galleria degli Uffizi, Florence.
  Tempera on panel Galleria degli Uffizi, Florence.

 
 
   
      
unknow artist The crucifixion painting


The crucifixion
The crucifixion
Painting ID::  27434
   mk56 oil on panel,the reverse stamped with the brand of the Antwerp panelmaker s Guild,and a panel maker s mark
  mk56 oil on panel,the reverse stamped with the brand of the Antwerp panelmaker s Guild,and a panel maker s mark

 
 
   
      

GADDI, Agnolo

Italian Early Renaissance Painter, ca.1345-1396
GADDI, Agnolo The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  29706
   mk67 Tempera on panel 23 1/4x30 5/16in Uffizi,Gallery
  mk67 Tempera on panel 23 1/4x30 5/16in Uffizi,Gallery

 
 
   
      

Marco Palmezzano

Italian Painter and Architect , ca.1460-1539
Marco Palmezzano The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  29780
   mk67 Tempera on panel 44 1/16x35 7/16in Uffizi,Gallery
  mk67 Tempera on panel 44 1/16x35 7/16in Uffizi,Gallery

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  29916
   mk67 Oil on panel 22 7/16x18 1/2in Uffizi,Gallery
  mk67 Oil on panel 22 7/16x18 1/2in Uffizi,Gallery

 
 
   
      

Piero della Francesca

Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.
Piero della Francesca The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  31728
   mk76 Date unknown Tempera on panel 14 3/4x16 3/16in
  mk76 Date unknown Tempera on panel 14 3/4x16 3/16in

 
 
   
      

Piero della Francesca

Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.
Piero della Francesca The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  38148
   mk29 Tempera on panel 37.5x41.1cm
  mk29 Tempera on panel 37.5x41.1cm

 
 
   
      

Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar. German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 ?C 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 C 86).
Lucas Cranach the Elder The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  40288
   mk156 1503 Oil on pine panel 138x99cm
  mk156 1503 Oil on pine panel 138x99cm

 
 
   
      

Jacopo Bassano

Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
Jacopo Bassano The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  40377
   mk156 1562 Oil on panel 315x177cm
  mk156 1562 Oil on panel 315x177cm

 
 
   
      

Hendrick Terbrugghen

1588-1629 Dutch Hendrick Terbrugghen Galleries Dutch painter and draughtsman. He was, with Gerrit van Honthorst and Dirck van Baburen, one of the leading painters in the group of artists active in Utrecht in the 1620s who came to be known as the UTRECHT CARAVAGGISTI, since they adapted Caravaggio subject-matter and style to suit the Dutch taste for religious and secular paintings. Ter Brugghen was an important innovator for later Dutch 17th-century genre painting; his recognition as an unorthodox, but significant influence on the work of Johannes Vermeer and others is a relatively recent, 20th-century phenomenon.
Hendrick Terbrugghen The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  41331
   mk161 Oil on canvas 61x40
  mk161 Oil on canvas 61x40

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  41797
   mk165 National Museum of History and Ethnography of Svanetia
  mk165 National Museum of History and Ethnography of Svanetia

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  41823
   mk165 Byzantine Museum Athens
  mk165 Byzantine Museum Athens

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  41824
   mk165 Church of the Virgin Peribleptos of Ohrid
  mk165 Church of the Virgin Peribleptos of Ohrid

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  41861
   mk165 c.1500 Egg tempera on lime tree panel 85x52cm
  mk165 c.1500 Egg tempera on lime tree panel 85x52cm

 
 
   
      

Albrecht Durer

b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
Albrecht Durer The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  42451
   mk168 1507 115x71mm
  mk168 1507 115x71mm

 
 
   
      

MASTER of the Aix-en-Chapel Altarpiece

French painter (active between 1480-1520)
MASTER of the Aix-en-Chapel Altarpiece The crucifixion painting


The crucifixion
The crucifixion
Painting ID::  42950
   mk170 circa 1495 Oil on oak 107.3x120.3cm
  mk170 circa 1495 Oil on oak 107.3x120.3cm

 
 
   
      
unknow artist The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  44843
   mk176 c.1420-25 canvas transferred from panel
  mk176 c.1420-25 canvas transferred from panel

 
 
   
      

GRECO, El

Greek-born Spanish Mannerist Painter, 1541-1614 Greek painter, designer and engraver, active in Italy and Spain. One of the most original and interesting painters of 16th-century Europe, he transformed the Byzantine style of his early paintings into another, wholly Western manner. He was active in his native Crete, in Venice and Rome, and, during the second half of his life, in Toledo. He was renowned in his lifetime for his originality and extravagance and provides one of the most curious examples of the oscillations of taste in the evaluation of a painter,
GRECO, El The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  62336
   1596-1600 Oil on canvas, 312 x 169 cm Museo del Prado, Madrid Christ on the Cross, at the moment of expiration, with the Virgin and Saint John, and at the foot of the Cross, the Magdalene. Probably originally above the Annunciation, in the retable of the Colegio of Do?a Mar?a. This painting and the Annunciation are the two widest of the series. Already, in Santo Domingo el Antiguo, the artist had sensibly related together in composition the two central paintings of the high altar, the Assumption and Trinity. Again, there is this compositional relationship of the two paintings, but there is also something more in this bringing together of the two so diverse yet intimately related themes of the Virgin's reception of the Holy Ghost, and Christ's giving up of the Holy Ghost. One subject represents one of the Joys of the Virgin, and the other incorporates one of Her Griefs. Each painting is divided horizontally in three. The figure of Christ of the Expiration is a continuation upwards of the central zone of the Annunciation with the Flames and the Dove; the figure of the Archangel Gabriel has its counterpart in the figure of Saint John; and the Virgin of Joy appears above as the Virgin of Grief. This painting of the Crucifixion is one of the great interpretations of the subject in painting and almost inevitably brings to mind two other great Crucifixions, Gr?newald's of the Isenheim Altar and Giotto's of the Arena Chapel. El Greco has introduced more of those symbols embodying spiritual emotions: the clamouring angels with outstretched arms encircling the Body of Christ - strangely recalling Giotto's painting - and the remarkable figure of the angel at the foot of the Cross. Author: GRECO, El Title: The Crucifixion , 1551-1600 , Spanish Form: painting , religious
  1596-1600 Oil on canvas, 312 x 169 cm Museo del Prado, Madrid Christ on the Cross, at the moment of expiration, with the Virgin and Saint John, and at the foot of the Cross, the Magdalene. Probably originally above the Annunciation, in the retable of the Colegio of Do?a Mar?a. This painting and the Annunciation are the two widest of the series. Already, in Santo Domingo el Antiguo, the artist had sensibly related together in composition the two central paintings of the high altar, the Assumption and Trinity. Again, there is this compositional relationship of the two paintings, but there is also something more in this bringing together of the two so diverse yet intimately related themes of the Virgin's reception of the Holy Ghost, and Christ's giving up of the Holy Ghost. One subject represents one of the Joys of the Virgin, and the other incorporates one of Her Griefs. Each painting is divided horizontally in three. The figure of Christ of the Expiration is a continuation upwards of the central zone of the Annunciation with the Flames and the Dove; the figure of the Archangel Gabriel has its counterpart in the figure of Saint John; and the Virgin of Joy appears above as the Virgin of Grief. This painting of the Crucifixion is one of the great interpretations of the subject in painting and almost inevitably brings to mind two other great Crucifixions, Gr?newald's of the Isenheim Altar and Giotto's of the Arena Chapel. El Greco has introduced more of those symbols embodying spiritual emotions: the clamouring angels with outstretched arms encircling the Body of Christ - strangely recalling Giotto's painting - and the remarkable figure of the angel at the foot of the Cross. Author: GRECO, El Title: The Crucifixion , 1551-1600 , Spanish Form: painting , religious

 
 
   
      

Grunewald, Matthias

German Northern Renaissance Painter, ca.1470-1528 .the traditional name of a painter whose real name is believed to have been Nithardt or Neithardt. He was active at Isenheim nr. Colmar c.1514 and in Frankfurt c.1526. Gr??newald's principal work, an elaborate altarpiece of many panels painted for the monastery at Isenheim (Isenheimer Altar), is now in the Colmar museum.
Grunewald, Matthias The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  63715
   1523-24 Oil on wood Kunsthalle, KarlsruheArtist:GR?NEWALD, Matthias Title: The Crucifixion (detail) Painted in 1501-1550 , German - - painting : religious
  1523-24 Oil on wood Kunsthalle, KarlsruheArtist:GR?NEWALD, Matthias Title: The Crucifixion (detail) Painted in 1501-1550 , German - - painting : religious

 
 
   
      

Jan Mostaert

(c. 1475 -1555/1556) was a Dutch painter of portraits and religious subjects, though his most famous creation was the "West Indies Landscape". Although little is known of him, Mostaert was born and lived in Haarlem for most of his life. He worked as portraitist for Margaret of Austria, Regent of the Netherlands. Much of his work was destroyed in the great fire of Haarlem in 1576, and some paintings once attributed to him are now attributed to Adriaen Isenbrant. Mostaert was born in or about 1475 in Haarlem, Netherlands, to a famous noble family. Said to be handsome, eloquent and polite, Mostaert honed his craft under the guidance of Jacob van Haarlem, who may have actually been the anonymous "Master of the Brunswick Diptych". He is also said to be linked to the early Haarlem School of Painting. Mostaert's name first appeared in city records in 1498, the year he married and bought a house in his birthplace. He is also mentioned in Haarlem archives from 1527 to 1554. In 1500 Mostaert was commissioned to paint the shutters for a receptacle housing the relics of Saint Bavo in the Groote Kerk, Haarlem. From this date he began to be listed in the records of the Haarlem Guild of St. Luke, and continued to be frequently listed until 1549. He became deacon of the painters' guild in 1507, and again in 1543 and 1544. His earliest works are noticeably influenced by Geertgen tot Sint Jans, an earlier Haarlem artist. Some believed that Mostaert was actually apprenticed to tot Sint Jans but it is doubtful that the artist had any apprentices or workshop assistants during his career. From tot Sint Jans, Mostaert adopted a refined style and thoughtful compositions for his works, as well as the stiff, angular look of his figures. St. ChristopherBetween 1510 and 1516 Mostaert developed a delicate style where his doll-like figures inhabited bright, blue-skied landscapes, as for example in his "Adoration of the Magi" (c. 1510-15). His refined brushwork is precise, with an almost religious attention to detail. Also of note is the landscape, which demonstrates his leanings towards more romantic views with expansive hills. During the 1520s Mostaert was also influenced by Joachim Patinir's take on landscapes. Mostaert's "St. Christopher", a painting with a landscape that features a river receding into an expansive and hilly background, was once even attributed to Patinir. Mostaert's portrait work of this earlier period includes a piece entitled "Portrait of Abel van den Coulster" (c. 1500-10), in which an elegant, thin-faced man is situated in equally elegant surroundings. Mostaert was known for copying original portraits for some of his courtly commissions but, as is the case with the "Portrait of Abel", he also painted figures from life and added aristocratic touches. He was known for presenting his portrait sitters in three-quarter-length and placing their hands on cushions.
Jan Mostaert The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  86160
   Date ca. 1530 Medium : Oil on panel Dimensions 114.6 x 74.6 cm cjr
  Date ca. 1530 Medium : Oil on panel Dimensions 114.6 x 74.6 cm cjr

 
 
   
      

Fra Carnevale

Italian, active 1445-1484
Fra Carnevale The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  86597
   Date 1450s Medium tempera and Oil on wood Dimensions Height: 103 cm (40.6 in). Width: 67 cm (26.4 in). cjr
  Date 1450s Medium tempera and Oil on wood Dimensions Height: 103 cm (40.6 in). Width: 67 cm (26.4 in). cjr

 
 
   
      

Andrea Solario

Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.
Andrea Solario The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  89091
   1503(1503) Medium oil on wood cyf
  1503(1503) Medium oil on wood cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  89825
   between 1523(1523) and 1524(1524) Medium oil on panel cyf
  between 1523(1523) and 1524(1524) Medium oil on panel cyf

 
 
   
      

Lucas Cranach the Elder

b. 1472, Kronach, d. 1553, Weimar. German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 ?C 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 C 86).
Lucas Cranach the Elder The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91093
   1532(1532) Medium oil on panel Dimensions 30 x 21.5 in (76.2 x 54.6 cm) cyf
  1532(1532) Medium oil on panel Dimensions 30 x 21.5 in (76.2 x 54.6 cm) cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91281
   1515(1515) Medium oil on panel cyf
  1515(1515) Medium oil on panel cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91283
   1515(1515) Medium oil on panel cyf
  1515(1515) Medium oil on panel cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91284
   1515(1515) Medium oil on panel cyf
  1515(1515) Medium oil on panel cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91285
   1515(1515) Medium oil on panel cyf
  1515(1515) Medium oil on panel cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91286
   1515(1515) Medium oil on panel cyf
  1515(1515) Medium oil on panel cyf

 
 
   
      

Matthias Grunewald

German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,
Matthias Grunewald The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  91292
   1502(1502) Medium oil on panel cyf
  1502(1502) Medium oil on panel cyf

 
 
   
      

Jacopo Bassano

Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
Jacopo Bassano The Crucifixion painting


The Crucifixion
The Crucifixion
Painting ID::  95739
   16th century Medium oil on canvas Dimensions 194 x 136.5 cm (76.4 x 53.7 in) cyf
  16th century Medium oil on canvas Dimensions 194 x 136.5 cm (76.4 x 53.7 in) cyf

 
 
   
      
Jacopo Bassano
Italian c1510-1592 Jacopo Bassano Gallery He was apprenticed to his father, with whom he collaborated on the Nativity (1528; Valstagna, Vicenza, parish church). In the first half of the 1530s Jacopo trained in Venice with Bonifazio de Pitati, whose influence, with echoes of Titian, is evident in the Flight into Egypt (1534; Bassano del Grappa, Mus. Civ.). He continued to work in the family shop until his fathers death in 1539. His paintings from those years were mainly altarpieces for local churches; many show signs of collaboration. He also worked on public commissions, such as the three canvases on biblical subjects (1535-6; Bassano del Grappa, Mus. Civ.) for the Palazzo Communale, Bassano del Grappa, in which the narrative schemes learnt from Bonifazio are combined with a new naturalism. From 1535 he concentrated on fresco painting, executing, for example, the interior and exterior decoration (1536-7) of S Lucia di Tezze, Vicenza, which demonstrates the maturity of his technique.
The Crucifixion
16th century Medium oil on canvas Dimensions 194 x 136.5 cm (76.4 x 53.7 in) cyf
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