Art and Art History Collection (Saskia)
The Art and Art History Collection from Saskia Ltd., Cultural Documentation features a wide range of digital images with an emphasis on the history of Western art. There are 3,645 images in this collection. Image sets include: The Dresden Collection, Brueghel and Rubens, Ancient Greek Art (Architecture and Sculpture), Ancient Art (Minoan and Roman), Roman Art, Michelangelo, Italian Renaissance, Realism, Impressionism, Post-Impressionism, and Contemporary Architecture. Images from art history textbooks include: Gardner, Expanded Gardner, Stokstad, Gilbert, Hartt, Cunningham, and Reich.
Access note: Only thumbnail images and descriptive information are available to non-USF users. Full access to this collection is available only to authorized users on the USF network on campus or via VPN. For more information or to report technical issues please contact us.
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting. In the centre are the worldly pleasures and sins.
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a hereticel sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Some art critics believe that Bosch may have painted this work as an illustration of the beliefs of a heretical sect, called the Adamites -from the nakedness of Adam- which believed in nudism and free sexual relations. In general, however, it is thought that, as is the case throughout Bosch's work, that it is a moral satire on the destiny of human nature, with a great number of symbols that still have not been satisfactorily interpreted.
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The Garden of Earthly Delights (central panel) Garden of Delights
Unknown
The picture shows the Garden of Delights. The enigmatic and strange fantasies that people the work of Bosch earned him enormous fame even in his own lifetime, and his creations were widely imitated. But nothing either in his own or in his contemporaries' work equals the invention of the Garden of Earthly Delights triptych, justly his most famous painting. These may be illustrations of proverbs: for instance, the pair of lovers in the glass bubble would recall the proverb 'Pleasure is as fragile as glass'. This approach also provides a link between these fantasies.
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The Garden of Earthly Delights (central panel) (detail) Garden of Delights
Unknown
Various attempts have been made to relate these fantasies to the realities of his own day. For instance, some of the sexually related visions have been related to the creed of the Adamites, a hereticel sect of the day advocating, at least in theory, sexual freedom like that in Eden. But the most promising line has been to recognize many of them as illustrations of proverbs. This approach also provides a link between these fantasies and Bosch's other work, such as the Cure of Folly or Haywain, and between Bosch's later work and Bruegel's in the middle of the sixteenth century: though without Bosch's satanic profusion, Bruegel also made illustrations of proverbs in this way.
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The Garden of Earthly Delights Garden of Delights
Unknown
The three paintings in this triptych are the most wonderfully imaginative and enigmatic series of exotic scenes ever depicted in the history of art. Endlessly provocative, almost like some pictorial and philosophical puzzle, the subject matter defies categorization and resists definition altogether. The left panel shows Eve in the Garden of Eden and the right shows the terrors of hell. The center panel is just bewildering beyond description.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle. The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle. The hunters are making their way back to the low-lying village with their meagre bounty, a pack of hounds at their heels. Their backs are turned towards us. That, along with the perspective of the row of trees, draws the observer down into the distance, on to the remote, icy mountains on the horizon, and at the same time out of the whole cycle.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The winter idyll is completed by a busy swarm of small figures in the distant plain. The painting belongs to a series of painting representing the Months. The paintings were commissioned by a collector in Antwerp.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
The winter idyll is completed by a busy swarm of small figures in the distant plain. The painting belongs to a series of painting representing the Months. The paintings were commissioned by a collector in Antwerp.
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Hunters in the Snow; Winter The Hunters in the Snow; January
Unknown
Because of its unforgettably inventive form and colouring, the closing (not opening) painting of Bruegels series of the seasons is the most well-known and most popular of the pictures in this cycle.
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The Hunters in the Snow; Winter (detail) The Hunters in the Snow; January
Unknown
What was then understood as an illustration of seasonal labour a pig being singed in front of an inn comes across only as a secondary scene at the left edge of the painting.
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Hunters in the Snow : Winter The Hunters in the Snow; January
Unknown
What was then understood as an illustration of seasonal labour a pig being singed in front of an inn comes across only as a secondary scene at the left edge of the painting.
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Louvre: Cour CarrTe, Wing of Henri II
Unknown
View of upper central fatade showing sculptural treatment
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House of Jacques Coeur (1395-1456)
Unknown
Close det: statue of Jacques Coeur looking out from a a false window
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House of Jacques Coeur (1395-1456)
Unknown
Main detail, entrance pavilion with statue of Jacques Coeur from front center
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House of Jacques Coeur (1395-1456)
Unknown
Main detail, entrance pavilion with statue of Jacques Coeur from front left
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Lorenzetti's portrait of the tyrant as a rapist (above) draws on the traditional view of the covetous tyrants, who lusts for the daughters and the wives of his subject. This accusation can also be found in Savonarola and Machiavelli. Also shown are arbitrary arrest, assault & killing in the streets, all to depict the loathsomeness of the government.
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Allegory of Bad Government (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
At the centre of the dais sits Tyrannia, with the appearence of a demon, with horns and fangs. The figure of Tyranny has flowing woman's hair, a cloak with gold embroidery and precious stones, a gold cup in her hand and a goat, the traditional symbol of lust, at her feet.
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Ambrogio Lorenzetti frescoed the side walls of the Council Room (Sala dei Nove) of the City Hall (Palazzo Pubblico) of Siena. The subject of the frescoes are the Good and Bad Government and their effects on the lives .The Allegory of the Bad Goverment is situated on the wall opposite to Allegory of Good Government. At the centre of the dais sits Tyrannia, with the appearence of a demon, with horns and fangs. The figure of Tyranny has flowing woman's hair, a cloak with gold embroidery and precious stones, a gold cup in her hand and a goat, the traditional symbol of lust, at her feet. Below is the vanquised Justitia: the scales are broken and scattered around her on the ground. Around Tyranny's throne are gathered the Vices.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see some peasants tilling the ground; in the distance is a port whence vessels are sailing away. All these various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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The Effects of Good Government in the Countryside (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The countryside around Siena is the setting for farming, trade and hunting scenes.
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Allegories of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. One is the dancing maidens central to the allegory of a harmonious government This is one of many entertaining scence furnishing information about Sienese life and customs in the Middle Ages.
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Effects of Good Government on the Countryside (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The countryside around Siena is the setting for farming, trade and hunting scenes.
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The Effects of Good Government (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. One of which is a wedding party passing a small Siena shop.
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Allegories of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
This detail from Ambrogio Lorenzetti
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see dances, banquets, children at school, weddings, some peasants leading their asses to market. All these various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The general idea is resolved into a multitude of anecdotes. We see some peasants leading their asses to market. These various scenes are most entertaining and furnish much information about Sienese life and customs in the Middle Ages.
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Effects of Good Government on the City Life (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Effect of the Good Goverment is situated on the longer wall of the room. This panoramic fresco represents several scenes indicating the life of Siena and its environment in the 14th century. This detail shows the centre of the city. In the middle the dancing young women probably represent the nine Muses. There are several genre like scenes in the picture (shops, chatting men, riders, working men on the roof etc.).
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Effects of Good Government on the City Life (detail) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Effect of the Good Goverment is situated on the longer wall of the room. This panoramic fresco represents several scenes indicating the life of Siena and its environment in the 14th century. This detail shows the centre of the city. In the middle the dancing young women probably represent the nine Muses. There are several genre like scenes in the picture (shops, chatting men, riders, working men on the roof etc.)
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Allegory of Bad Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The vanquised Justitia: the scales are broken and scattered around her on the ground. The grim and threatening presence of a diabolical tyrant is a symbol of
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by the procession of the councillors.
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Allegory of Magnanimity protected by band of soldiers Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The verses inscribed beneath this part of the fresco indicate that is intended to represent government founded on justice. The ideas on which it is based are derived from medieval texts such as the Latin constitution of Siena written in 1262. These documents drew upon the work of Roman political theorists. The central value emphasized good government must strive to preserve perpetual peace. "Peace being the central virtue of civic life, the question that chiefly preoccupies these writers is how to ensure that numerous enemies are conquered. Among her foes the most obvious is of course said to be guerra or war. But the most insidious--to which they usually devote far more attention--is generally described as discordia or civic disunity."
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The two plating children are the sons of Remus, Ascius snd Senius, the founders of Siena according to the Roman legends.To the left are the procession of the councillors.
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Allegory of Good Government : Peace Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The middle fresco displays under a dogmatic form the ideal of democracy. The Virtues which direct the State are seated on a platform; this is the tribunal or the legislative assembly. The most famous of these figures is that of Peace, which, reclining on her throne in magnificent drapery and resting on her arms, is certainly imitated from an antique medal or statue (such imitations are not rare in the thirteenth century: cf. the sculptures of Capua, the work of Giovanni Pisano, and some statues at Reims).
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Allegory of Justice Allegories of Good and Bad Government and the effects of good and bad government
Unknown
Allegory of Justice: Commutatitve at left, Distributive at right: Concordia below w prominent citizensThe Allegory of the Good Goverment is situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary Siena are represented. Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by the procession of the councillors. The upper band indicates the heavenly sphere with the floating bodyless ghosts of the virtues. On the far left of the fresco the figure of Justice is repated as she is balancing the scales held by Wisdom.
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Allegories of Good Government : Allegories of Siena (Common Good), Magnanimity, Temperance and Justice Allegories of Good and Bad Government and the effects of good and bad government
Unknown
When Lorenzetti painted his Allegory of Good Government, Siena's oligarchic administration was about to be overthrown by a popular revolt, so perhaps his image of a responsible realm governed according to the rules of Justice and Concord is a little exaggerated.
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Allegory of Good Government : Allegories of Peace, Fortitude, Prudence and Siena (common good) Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The middle fresco displays under a dogmatic form the ideal of democracy. The Virtues which direct the State are seated on a platform; this is the tribunal or the legislative assembly. The most famous of these figures is that of Peace, which, reclining on her throne in magnificent drapery and resting on her arms, is certainly imitated from an antique medal or statue (such imitations are not rare in the thirteenth century: cf. the sculptures of Capua, the work of Giovanni Pisano, and some statues at Reims). But the other figures are little more than abstractions and can be identified only with the adventitious aid of a multitude of inscriptions, devices, and phylacteries.
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Allegory of Good Government Allegories of Good and Bad Government and the effects of good and bad government
Unknown
The enthroned man on the right side of the middle band represents the city of Siena and embodies the Good Government. Around his head the four letters C S C V (Commune Saenorum Civitatis Virginis) explain his identity. At his feet the two plating children are the sons of Remus, Ascius snd Senius, the founders of Siena according to the Roman legends. On both sides of Siena the virtues of Good Government are represented by six crowned, stately female figures: Peace, Fortitude and Prudence on the left, Magnanimity, Temperance and Justice on the right. On the far left of the fresco the figure of Justice is repated as she is balancing the scales held by Wisdom.
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
Unknown
Saint John the Evangelist
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
Unknown
Saints Nicholas and Bartholomew
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Christ on the Cross with Virgin and St. John and Sts. Nicholas, Bartholomew, Florentius and Luke
Unknown
Saints Florentius and Luke
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
From the Chapel of Sant'Ansano in the Cathedral of Siena. A late work in which the precious enamel of the colour and the vibrant undulation of the line are carried to the very highest degree. The two lateral saints, St Ansanus and St Margaret, were painted on Simone's design by his pupil and brother-in-law Lippo Memmi.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Madonna of the Holy Trinity (detail) The Madonna in Majesty (Maest
Unknown
The iconography represents the Madonna enthroned with Child and angels. In the lower part are four biblical figures, the prophets Jeremiah and Isaiah under lateral arches, Abraham and King David under the chair of the throne. This Madonna still shows the influence of the Byzantine tradition. There is an unprecedented tension in the profiles and in the attempt to create spatial depth, which is rendered by superimposing the figures and in the concave structure at the base of the throne behind the figures of the prophets. The architectural structure of the throne becomes a sort of robust spatial scheme which creates a three-dimensional effect, while the edges of the painting seem to compress and hold in the bodies.
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Madonna of the Holy Trinity The Madonna in Majesty (Maest
Unknown
The iconography represents the Madonna enthroned with Child and angels. In the lower part are four biblical figures, the prophets Jeremiah and Isaiah under lateral arches, Abraham and King David under the chair of the throne. This Madonna still shows the influence of the Byzantine tradition. There is an unprecedented tension in the profiles and in the attempt to create spatial depth, which is rendered by superimposing the figures and in the concave structure at the base of the throne behind the figures of the prophets. The architectural structure of the throne becomes a sort of robust spatial scheme which creates a three-dimensional effect, while the edges of the painting seem to compress and hold in the bodies.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details.
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Annunciation with Saints Ansanus and Margherita (detail) The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attibuited the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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Annunciation with Saints Ansanus and Margherita The Annunciation and two Saints
Unknown
The altarpiece was executed between 1329 and 1333 for the chapel of Sant'Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attibuited the two lateral figures: saint Ansano - patron of Siena - and saint Giulitta. On the gold background the figures of Angel Gabriel and the Virgin enhances Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains beginning words of the Annunciation.
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The Peruzzi Altarpiece (deatial)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (deatial)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece (detail)
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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The Peruzzi Altarpiece
Unknown
By endowing his figures with realistic mass and expressive gestures and features, Giotto helped to establish the more natural style that ushered in the Italian Renaissance. The inclusion of St. John the Evangelist, St. John the Baptist, and St. Francis of Assisi has led to the hypothesis that the altarpiece was painted for the Peruzzi family chapel, which was dedicated to St. John the Baptist and St. John the Evangelist, in the Franciscan church of Santa Croce in Florence. In the middle of the fifteenth century, the sculptor Lorenzo Ghiberti recorded four paintings and four chapels painted by Giotto in this church, but it cannot be determined whether the Museum's altarpiece was one of the paintings to which he referred.
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Rucellai Madonna (detail)
Unknown
The picture's name derives from the Rucellai Chapel of Santa Maria Novella where it remained, after being moved to several different places inside the church, from 1591 to 1937, the year of the Giotto exhibition. It was then transferred to the Uffizi. The panel was commissioned in 1285. The detail shows the angel at lower right. The iconographical interpretation is new in that the angels holding up the throne no longer form the crowning part of a solemn and magnificent background but are all looking towards the Virgin in attitudes of intense emotional participation.
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Rucellai Madonna (detail)
Unknown
The painting has been the subject of much controversy among critics. The design of the frame decorated with roundels, the three pairs of angels flanking the throne and the sweeping gesture of the Child's blessing hand, show undeniable similarities to Cimabue's Maest
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Rucellai Madonna (detail)
Unknown
The sweeping gesture of the Child's blessing hand shows undeniable similarity to Cimabue's Maest
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Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict (detail) Badia Polyptych
Unknown
Saint Nicolas suffered much for his faith until the accession of Emperor Constantine and the proclamation of Christianity as the official Imperial religion. His charisma and zealous assault on the Arian heresy made him an exceptional figure. Two episodes from his rich legend stand out: his giving a dowry to three virgins, thus he saved them from a dishonorable fate of prostitutes, and resurrection of three children (or students, or soldiers) chopped into pieces and thrown into a brine tab by an innkeeper, who wanted to serve them as a meat meal to his guests.
