Altarpiece

In Barnaby Nygren’s article, Fra Angelico 's San Marco Altarpiece and the Metaphors of Perspective, the rediscovery of linear perspectives and how it altered the planar space for those artist who worked in two-dimensions was methodically analyzed. Reviewing historical data and art works, Nygren revealed that artwork created prior to the 15th century was typically a religious endeavor designed to prompt devout worship through visual recollection of spiritual events. In essence, it was religious short-hand

from architecture to sculptures, paintings, pictures and even flower gardens. There are many styles and techniques used by artists to capture the eye of a viewer and draw them into the artwork. One such art piece that has this effect is: Mérode Altarpiece (Triptych of the Annunciation) by Robert Campin (Master of Flémalle), circa 1425-1430s. This beautiful triptych was painted in oil on oak panels, with the center panel measuring 25 1/4 x 24 7/8” and each side panel measuring approximately 25 3/8

to me throughout the entire experience was David Ghirlandaio’s Altarpiece showing the Virgin and Child, with Saints Apollonia and Sebastian. The work of art specifically depicts an example of a sacra conversazione such as the ones we have looked at in class. This piece was made specifically in the 1490’s or the Early Renaissance time period and directly came from Florence, Italy where it was commissioned by the church as an altarpiece. Ghirlandaio specifically used tempera and gold on panel for this

common to think that religious enlightenment, as part of these Renaissance Reformation, affected and inspired the prolificacy of altarpieces under such influence. However, were Renaissance

Giovanni Di Paolo’s (and workshop) circa 1420 through 1482 altarpiece Virgin and Child with Saints is beautifully preserved and miraculously intact. The three main panels depict St. Nicolas of Bari, Virgin and Child with a kneeling Monk, St. Galganus and the Angel Gabriel. Other smaller panels show St. Dominic, St. Bartholomew, St. Francis of Assisi and St. John, while the three pinnacles show Christ flanked by Gabriel and by the Virgin of Annunciation set in golden backgrounds. This work of art

Piero della Francesca’s art has always been intriguing to the eyes of the lookers, analysers, every art pieces containing lots of symbolism and meanings. The Altarpiece Madonna and child with Saints adored by Frederico da Montefeltro was one of the work. Piero della Francesca was born in 1412 and was involved in the Early Renaissance movement. His style involved the use of humanism, geometric forms and use of perspective to create art. From what I saw in the piece Enthroned Madonna and Child with

this gallery are the two versions of The Virgin of the Rocks (also known as The Madonna of the Rocks). These two altarpieces are being showcased in particular in this exhibition because they share a location in the same Milanese church, the San Francesco Grande, and most importantly the same artist (although this has been debated), Leonardo Da Vinci, painted both versions of the altarpiece. Further, another reason why they are being portrayed in this exhibition is due to the debates over their authenticity

renovating the International Gothic style, and creating a more naturalistic style that spawned dozens of copiers, and inspired artists to strive for a more realistic, original view of the human body. He mastered both portrait artwork and religious altarpieces in a style of oil painting he invented. It conjured a movement of painting, which would soon change the European art scene as he passed away. Religious painting also took hit of Eyck’s artwork as it introduced the realism style religious figures

on the wall of the Church of Santa Maria Novella in Florence, Italy. Brunelleschi’s experiments on linear perspective and architecture had an influence on Masaccio’s art. The second work of art is an oil painting on wood panel titled “Isenheim Altarpiece” by artist Grunewald in c. 1510-1515. It was located in the chapel of the St. Anthony abbey hospital near Colmar, Germany. The hospital treated patients with

purchased for the home by wealthy patrons. Each artistic work was used to tell a different story and presented in a way which would reflect the ideas and opinions of the church and the surrounding community. Two paintings from the period, the Mèrode Altarpiece by Campin and the Holy Trinity by Masaccio, are both religious works which have a similar purpose, and can be compared by their specific time period and content, the artist who created the pieces and their intentions, and the techniques which were