The Development of the Italian Schools of Painting, Volume 4M. Nijhoff, 1924 - Painting |
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The Development of the Italian Schools of Painting: Volume IV, Volume 4 Raimond Van Marle Limited preview - 2012 |
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14th century Adoration adorned altar-piece Altichiero angels Annunciation Antonio artist ascribed attributed Avanzo Baldani Barnaba Baronzio belong Bologna Bolognese school Brach Byzantine Caterino centre chapel Child Christ church composition Coronation Correr Museum Crowe and Cavalcaselle crucifix Crucifixion decoration depicted Evangelists executed fecit Ferrara figures of saints Filippini Florentine Francesco frescoes Gallery Giottesque Giotto's Giovanni da Milano Gothic Guariento half-length figures hoc opus holy influence inscription Istr Jacopo Avanzi kneeling L'Arte Lippo Lippo Dalmasio Lombard Lorenzo Lorenzo Veneziano Madonna Maestro Paolo Malvasia manner Maria master mentioned miniature Modena Museum Niccolo Padua painter painting panel Photo Alinari Photo Anderson Photo Minist picture Pietro Pinacoteca pinxit polyptych probably productions Pubbl Rassegna d'Arte representation represented resemblance Riminese School Rimini Saviour scenes shows side Sienese signature Simone style technique throne Toesca Tommaso Tommaso da Modena Treviso triptych Venetian school Verona Veronese Virgin and St wall
Popular passages
Page 229 - Nativity, the Adoration of the Magi, the Presentation in the Temple, Christ found by his Mother, the Assumption and Coronation.
Page 314 - ... Guicciardini says that Memlinc was the pupil of Roger De la Pasture (Van der Weyden) of Tournay, who settled in Brussels in 1435, and judging by the many points of similarity in their works, this may possibly be true. These points of resemblance are, however, almost entirely confined to pictures representing the Adoration of the Magi and the Presentation in the Temple, and it is noteworthy that a triptych by Roger with these subjects and the Annunciation, now in the Gallery at Munich, formerly...
Page 32 - Thou art he that took me out of the womb," where there is in reality no obstetrical idea, but merely the statement that man is born by God's help. The Protevangelium goes on with the story of the visit of the Magi, the Flight into Egypt and the massacre of the Innocents.
Page 172 - A. Venturi, II libro di Giusto per la cappella degli Eremitani in Padova, Le Gallerie Nazionali italiane, IV, 1899.
Page 38 - Anna ; the birth of the Virgin ; the presentation of the Virgin in the Temple ; and her marriage. Inscribed on the back " JUSTUS PINXIT IN ARCHA " (?), and dated 1367 in the front on the plinth below.
Page 481 - Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Massacre of the Innocents, the Flight into Egypt, the Last Judgment and a Funeral Service.
Page 109 - It is very doubtful if the Dalmatian paintings executed in the Venetian manner are the outcome of a Venetian influence; it is more than possible that they are the results of common circumstances producing in two separate districts a similar form of art; au VII, 1926., str. 406: Altough we are...
Page 428 - Franz v. Assisi u. die Anfange der Kunst der Renaissance in Italien, 2ni1 ed., Berlin, 1904, p301.
Page 426 - not the least gifted of the early painters of Bologna, if not the most talented of them all" (Crowe and Ctivalcasel/e, ed.
Page 165 - Temple, the angel appearing to Joachim, the Meeting at the Golden Gate, the Nativity of the Virgin Mary, her Presentation in the Temple and her Marriage.