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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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Madonna and Child fff
c. 1450
Fresco
Villa Carducci, Soffiano (Florence)
Painting ID:: 4762
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Madonna_and_Child_fff
c. 1450
Fresco
Villa Carducci, Soffiano (Florence)
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The Holy Trinity, St Jerome and Two Saints
c. 1453
Fresco
SS. Annunziata, Florence
Painting ID:: 4763
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The_Holy_Trinity,_St_Jerome_and_Two_Saints
c. 1453
Fresco
SS. Annunziata, Florence
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St Julian and the Redeemer
c. 1453
Fresco
SS. Annunziata, Florence
Painting ID:: 4764
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St_Julian_and_the_Redeemer
c. 1453
Fresco
SS. Annunziata, Florence
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Crucifixion jju
c. 1455
Fresco, 270 x 347 cm
Sant'Apollonia, Florence
Painting ID:: 4765
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Crucifixion__jju
c. 1455
Fresco, 270 x 347 cm
Sant'Apollonia, Florence
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Crucifixion (detail) gg
c. 1455
Fresco
Sant'Apollonia, Florence
Painting ID:: 4766
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Crucifixion_(detail)_gg
c. 1455
Fresco
Sant'Apollonia, 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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