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 Stories of Christ's Passion oil painting


Stories of Christ's Passion
1447 Fresco, 453 x 975 cm
Painting ID::  32209 		Andrea del Castagno
Stories of Christ's Passion
1447 Fresco, 453 x 975 cm
   
   
     
Andrea del Castagno Stories of Christ's Passion (synopia) oil painting


Stories of Christ's Passion (synopia)
1447 Synopia
Painting ID::  32210 		Andrea del Castagno
Stories of Christ's Passion (synopia)
1447 Synopia
   
   
     
Andrea del Castagno Last Supper (detail) oil painting


Last Supper (detail)
1447 Synopia
Painting ID::  32211 		Andrea del Castagno
Last Supper (detail)
1447 Synopia
   
   
     
Andrea del Castagno Last Supper (detail) oil painting


Last Supper (detail)
1447 Fresco
Painting ID::  32212 		Andrea del Castagno
Last Supper (detail)
1447 Fresco
   
   
     
Andrea del Castagno Christ in the Sepulchre with Two Angels oil painting


Christ in the Sepulchre with Two Angels
1447 Fresco
Painting ID::  32213 		Andrea del Castagno
Christ in the Sepulchre with Two Angels
1447 Fresco
   
   
     
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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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