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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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Francesco Petrarca
c. 1450
Fresco transferred to wood, 247 x 153 cm
Galleria degli Uffizi, Florence
Painting ID:: 4757
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Francesco_Petrarca
c. 1450
Fresco transferred to wood, 247 x 153 cm
Galleria degli Uffizi, Florence
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Our Lady of the Assumption with Sts Miniato and Julian
1450
Panel, 150 x 158 cm
Staatliche Museen, Berlin
Painting ID:: 4758
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Our_Lady_of_the_Assumption_with_Sts_Miniato_and_Julian
1450
Panel, 150 x 158 cm
Staatliche Museen, Berlin
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The Youthful David
c. 1450
Tempera on leather on wood, width at bottom 115,6 x 41 cm
National Gallery of Art, Washington
Painting ID:: 4759
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The_Youthful_David
c. 1450
Tempera on leather on wood, width at bottom 115,6 x 41 cm
National Gallery of Art, Washington
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Crucifixion hhh
c. 1450
Panel, 29 x 35 cm
National Gallery, London
Painting ID:: 4760
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Crucifixion__hhh
c. 1450
Panel, 29 x 35 cm
National Gallery, London
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Eve hh
c. 1450
Fresco
Villa Carducci, Soffiano (Florence)
Painting ID:: 4761
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Eve_hh
c. 1450
Fresco
Villa Carducci, Soffiano (Florence)
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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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