Attributed to Altichiero (1369-1384)
third quarter of the fourteenth century
tempera on panel
Mary Magdalen in Ecstasy, c. 1606
Oil on canvas
106.5 × 91 cm (41.9 × 35.8 in)
Private collection, Rome
Adoration of the three kings, - circa 1461
Tempera on canvas
Height: 76 cm (29.92 in.), Width: 77 cm (30.31 in.)
Galleria degli Uffizi (Italy - Florence)
The Adoration of the Child, between 1518 and 1520
Oil on canvas
Height: 81 cm (31.9 in). Width: 67 cm (26.4 in).
Birth of Christ, with St. Elizabeth and John the Baptist and sleeping Josef., circa 1515
Oil on panel
77 × 99 cm (30.3 × 39 in)
Brera 's picture gallery
The Tribute to Caesar
Oil on canvas
130 x 191 cm
Galleria degli Uffizi, Firenze
Coronation of the Virgin, c. 1434-1435
Tempera on wood
112 × 114 cm (44.1 × 44.9 in)
The Coronation of the Virgin, between circa 1430 and circa 1435
Tempera on panel
213 × 211 cm (83.9 × 83.1 in)
Saint Ursula (Latin for 'little female bear') is a Romano-British Christian saint. Her feast day in the pre-1970 General Roman Calendar is October 21. Because of the lack of definite information about the anonymous group of holy virgins who on some uncertain date were killed at Cologne, their commemoration was omitted from the General Roman Calendar when it was revised in 1969, but they have been kept in the Roman Martyrology.
Her legend, probably not historical, is that she was a princess who, at the request of her father King Dionotus of Dumnonia in south-west Britain, set sail to join her future husband, the pagan governor Conan Meriadoc of Armorica, along with 11,000 virginal handmaidens. After a miraculous storm brought them over the sea in a single day to a Gaulish port, Ursula declared that before her marriage she would undertake a pan-European pilgrimage. She headed for Rome with her followers and persuaded the Pope, Cyriacus (unknown in the pontifical records, though from late 384 there was a Pope Siricius), and Sulpicius, bishop of Ravenna, to join them. After setting out for Cologne, which was being besieged by Huns, all the virgins were beheaded in a massacre. The Huns' leader shot Ursula dead, in about 383 (the date varies). More
The Master of 1456 owes his name to the series of twenty-four panels detailing, in thirty episodes, the life of Saint Ursula in the Basilica of Saint Ursula, Cologne. The last panel, depicting the saint’s Martyrdom, is dated 1456.
Infra-red imaging Conducted by Art Analysis Research reveals detailed underdrawing in chalk throughout, seemingly in two stages, since some is done with a thicker heavier chalk (see fig. 1).4 Tree-ring analysis conducted by Ian Tyers reveals that the panel comprises two planks of Baltic oak from the same tree, likely plausible use from circa 1507 to circa 153.
Jesus and the woman taken in adultery — known as Pericope Adulterae — is a famous passage (pericope) from verses 7:53-8:11 of the Gospel of John. The passage describes a confrontation between Jesus and the scribes and Pharisees over whether a woman, caught in an act of adultery, ought to be stoned as per the Law of Moses. Jesus shames the crowd into dispersing, and averts the execution.
Although in line with many stories in the Gospels and probably primitive, certain critics argue that it was "certainly not part of the original text of St John's Gospel." On the other hand, the Council of Trent, held between 1545 and 1563, declared that the Latin Vulgate (which contains the passage) was authentic and authoritative.
The parable, and its messages of suspension of judgment when one is not blameless and tempering justice with mercy, have endured in Christian thought. Both "let him who is without sin, cast the first stone" and "go, and sin no more" have found their way into common usage.
Cornelis Engebrechtsz., also known as Cornelis Engelbrechtsz. (c.1462–1527) was an early Dutch painter. He was born and died in Leiden, and is considered the first important painter from that city. Engebrechtsz. taught a number of other Leiden painters, including Lucas van Leyden, Aertgen van Leyden and Engebrechtsz.' own sons Cornelis, Lucas, and Pieter Cornelisz. Kunst. Lucas van Leyden is considered his most important pupil, eclipsing Engebrechtsz. in popularity.
Work by Engebrechtsz. is in the collection of the Rijksmuseum Amsterdam, the Kunsthistorisches Museum in Vienna, the J. Paul Getty Museum in Los Angeles, the Alte Pinakothek in Munich and the Metropolitan Museum of Art in New York, among others. More
This is the left wing of a small triptych commissioned in Paris at the end of the 1440s or around 1450 by Dreux Budé, who is here portrayed kneeling with his son. The central panel of the Crucifixion is in the J. Paul Getty Museum, Los Angeles, and the right wing, depicting the Resurrection and including the sitter’s wife Jeanne Peschard and her daughters presented by Saint Catherine, is in the Musée Fabre at Montpellier.1 The three panels were re-united for the first time in the Chicago exhibition, and the triptych is reproduced here in its original form.
André d'Ypres, died in Mons (Hainaut) in 1450, was a painter and illuminator of the fifteenth century, a native of Amiens, born in Flanders and moved to Paris. Most art historians agree to see in him the Master of Dreux Bude.
Jan Gossaert (c. 1478 – 1 October 1532) was a Flemish painter also known as Jan Mabuse (the name he adopted from his birthplace. Little is known of his early life. One of his earliest biographers, Karel van Mander, claimed he was from a small town in Artois or Henegouwen (County of Hainaut) called Maubeuge or Maubuse. Other scholars have determined he was the son of a bookbinder who received his training at Maubeuge Abbey, while the RKD mentions there is evidence to support a claim that he was born in Duurstede Castle. He is registered in the Antwerp Guild of Saint Luke in 1503] From 1508-9 he traveled to Rome and in 1509-17 he is registered in Middelburg. According to Van Mander he was one of the first Flemish artists to bring back the Italian manner of painting with lots of nudity in historical allegories. From 1517-24 he is registered at Duurstede Castle where according to the RKD, he had Jan van Scorel as pupil. From 1524 onwards he returned to Middelburg as court painter to Adolf of Burgundy.
He was a contemporary of Lucas van Leyden, and was influenced by artists who came before him, such as Rogier van der Weyden, the great master of Tournai and Brussels, and like him, his compositions were usually framed in architectural backgrounds. More
Luis de Morales (1512 - 9 May 1586) was a Spanish painter born in Badajoz, Extremadura. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion.
Influenced, especially in his early work, by Raphael Sanzio and the Lombard school (fr) school of Leonardo, he was called by his contemporaries "The Divine Morales", because of his skill and the shocking realism of his paintings, and because of the spirituality transmitted by all his work.
His work has been divided by critics into two periods, an early stage under the influence of Florentine artists such as Michelangelo and a more intense, more anatomically correct later period similar to German and Flemish renaissance painters. More
Ecce homo ("behold the man") are the Latin words used by Pontius Pilate in the Vulgate translation of John 19:5, when he presents a scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion. More
Michele Tosini (1503–1577) was an Italian painter of the Renaissance and Mannerist period, who worked in Florence. Tosini began painting in the early 16th-century Florentine style of Fra Bartolommeo and Andrea del Sarto. His acceptance of Mannerism was slow, but by the 1540s the influence of Francesco Salviati and Agnolo Bronzino was visible in his work. After 1556, Tosini served as an assistant to Giorgio Vasari in the decoration of the Salone dei Cinquecento in the Palazzo Vecchio in Florence. Through Vasari's example, Tosini adopted a vocabulary derived from the work of Michelangelo and painted some of his best-known works in this manner. He executed several important commissions late in his career: the fresco decoration of three city gates of Florence (1560s), the altar in the chapel at the Villa Caserotta (1561), near San Casciano Val di Pesa, and the paintings on the sides and back of the tabernacle of the high altar of Santa Maria della Quercia (1570), Viterbo. According to Vasari, Tosini headed a large workshop that executed numerous altarpieces and paintings. He was also a notable portraitist. Tosini was a mentor to Bernardino Poccetti. More
Acknowledgement: Old Master & British Paintings,