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David.  1473-1475.  Andrea del Verrochhio. (Italian Renaissance painter and sculptor, 1435-1488) and also tutor to Leonardo da Vinci. This bronze sculpute shows a youthful, curly haired David holding a sword with the head of Goliath at his feet. This sculpture is in the Bargello Museum, Florence, Italy.

David. 1473-1475. Andrea del Verrochhio. (Italian Renaissance painter and sculptor, 1435-1488) and also tutor to Leonardo da Vinci. This bronze sculpute shows a youthful, curly haired David holding a sword with the head of Goliath at his feet. This sculpture is in the Bargello Museum, Florence, Italy.

David.
Andrea del Verocchio.
1473-1475.
National Museum of the Bargello.
Florence, Italy.

While Michelangelo’s and Donatello’s Davids are more famous, Bluesky won’t let me post them without an “adult content” warning. 🤣

#travel #photography #art
#sculpture #Renaissance
#ItalianRenaissance

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The Taming of the Shrew (1967)

The Taming of the Shrew (1967)

The Taming of the Shrew (1967)

The Taming of the Shrew (1967)

Elizabeth Taylor was born on this day in 1932! Let's remember her historical costume movie roles like Katharina in The Taming of the Shrew (1967). Find more of her work on FrockFlicks.com at buff.ly/WvBym94

#16thCenturyCostume #ItalianRenaissance #HistoricalCostume #HistoricalMovie #CostumeDrama

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Black and white photograph. An alcove in an art museum, with Italian Renaissance architecture, including classical columns, a domed ceiling, an ornate tiled floor, and a tall, many-paned window. The walls are rounded — few angles and no corners — and near-perfect symmetry reigns throughout the space. Even the framed art is hung in groupings that mirror each other’s physical arrangements.

Black and white photograph. An alcove in an art museum, with Italian Renaissance architecture, including classical columns, a domed ceiling, an ornate tiled floor, and a tall, many-paned window. The walls are rounded — few angles and no corners — and near-perfect symmetry reigns throughout the space. Even the framed art is hung in groupings that mirror each other’s physical arrangements.

Uffizi Gallery, Florence, Italy. October 2025.

#museums #galleries #symmetry #architecturaldesign #italianrenaissance #blackandwhitephotography #classicmono

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Detail from the Vision of St Eustace by Pisanello
#Art #ItalianRenaissance #AnimalsinArt at the National Gallery

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One of my favourites- Piero Della Francesca #ItalianRenaissance #Art #Paintings #NationalGallery

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Painted by Italian artist Girolamo di Benvenuto in Siena, Italy around 1508, this portrait turns luxury into biography via a transparent veil, pearls, and jewel-bright pendant that signal wealth, against an empty black backdrop that keeps attention on her steadiness. 

A young adult woman with very light skin is shown from the chest up. Her body turns slightly while her head tips back toward our right, so she meets us sideways, looking from the corners of brown eyes under faint arched brows. Her features are delicate including a long narrow nose, softly rounded cheeks, and pale pink lips with a hint of dimples and a small cleft chin. Blond hair is drawn back beneath a sheer, gauzy veil that drapes over her shoulders in translucent folds, held by a narrow band around the crown. She wears an asparagus-green gown with a tightly laced bodice over a white chemise. White fabric is pulled through at the shoulders where sleeves would be tied on. The neckline and edges shimmer with gold bands patterned in tiny floral and geometric motifs, echoed by a gold belt at her waist. She wears necklace strand of pearls with a gem-set pendant of red and blue stones ending in three hanging pearls and a second star-linked chain tucked into her bodice. One hand is lifted and lightly cupped near her chest, as if pausing mid-gesture. A painted gold border with knot-like geometry frames the panel.

The lifted, lightly cupped hand feels like a practiced pause or an embodied kind of “voice” in a world where many women’s public speech and movement were constrained. Details of her dress like tight lacing and the suggestion of detachable sleeves show fashion as identity and family investment, often linked to portraits made at the threshold of adulthood, even though this woman’s name is unknown. Some painting owners called her “Petrarch’s Laura,” but the painting itself resists any certainty. Instead, it balances ornament with privacy to leave her dignified, present, and intentionally enigmatic.

Painted by Italian artist Girolamo di Benvenuto in Siena, Italy around 1508, this portrait turns luxury into biography via a transparent veil, pearls, and jewel-bright pendant that signal wealth, against an empty black backdrop that keeps attention on her steadiness. A young adult woman with very light skin is shown from the chest up. Her body turns slightly while her head tips back toward our right, so she meets us sideways, looking from the corners of brown eyes under faint arched brows. Her features are delicate including a long narrow nose, softly rounded cheeks, and pale pink lips with a hint of dimples and a small cleft chin. Blond hair is drawn back beneath a sheer, gauzy veil that drapes over her shoulders in translucent folds, held by a narrow band around the crown. She wears an asparagus-green gown with a tightly laced bodice over a white chemise. White fabric is pulled through at the shoulders where sleeves would be tied on. The neckline and edges shimmer with gold bands patterned in tiny floral and geometric motifs, echoed by a gold belt at her waist. She wears necklace strand of pearls with a gem-set pendant of red and blue stones ending in three hanging pearls and a second star-linked chain tucked into her bodice. One hand is lifted and lightly cupped near her chest, as if pausing mid-gesture. A painted gold border with knot-like geometry frames the panel. The lifted, lightly cupped hand feels like a practiced pause or an embodied kind of “voice” in a world where many women’s public speech and movement were constrained. Details of her dress like tight lacing and the suggestion of detachable sleeves show fashion as identity and family investment, often linked to portraits made at the threshold of adulthood, even though this woman’s name is unknown. Some painting owners called her “Petrarch’s Laura,” but the painting itself resists any certainty. Instead, it balances ornament with privacy to leave her dignified, present, and intentionally enigmatic.

“Ritratto di giovane donna (Portrait of a Young Woman)” by Girolamo di Benvenuto (Italian) - Oil on poplar panel / c. 1508 - National Gallery of Art (Washington, DC) #WomenInArt #NationalGalleryofArt #GirolamodiBenvenuto #Benvenuto #ItalianRenaissance #art #artText #arte #RenaissanceArt #ItalianArt

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Antonello da Messina painting of St Jerome in his study. 1474. Love the architectural detail. Now in the National Gallery #London #ItalianRenaissance #Art #Paintings Jerome’s lion lies in the shade on the right. #Lions

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Book Spotlight: The Relic Keeper by Heidi Eljarbo Inspired by Gerrit van Honthorst’s masterpiece, The Adoration of the Child, and the novel Oliver Twist by Charles Dickens.   Italy, 1620...

Book Spotlight: The Relic Keeper by Heidi Eljarbo. Why not stop by my blog and take a look?
maryannbernal.blogspot.com/2026/01/book...

#HistoricalFiction #Renaissance #ItalianRenaissance #ChristianHistoricalFiction #ArtHistoricalFiction #BlogTour #TheCoffeePotBookClub

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Queering Fine Arts

Discover the broader Queering Fine Arts universe here
www.queeringfinearts.com
#queeringfinearts #RenaissanceArt #ClassicalAntiquity #HomoeroticArt #ArtAndSex #QueerArtHistory #ImaginaryMuseum #ItalianRenaissance

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Join me in welcoming #HistoricalFiction author, Heidi Eljarbo, onto The Whispering Bookworm.

thewhisperingbookworm.blogspot.com/2026/01/on-t...

#HistoricalFiction #Renaissance #16thCentury #ItalianRenaissance #ChristianHistoricalFiction #ArtHistoricalFiction #BlogTour @cathiedunn.bsky.social

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I have a fabulous book for you to take a look at today. it is set in Italy in the 1620s. You won't want to miss this one!

marysbookcase.blogspot.com/2026/01/chec...

#HistoricalFiction #Renaissance #16thCentury #ItalianRenaissance #ArtHistoricalFiction #BlogTour @cathiedunn.bsky.social

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CPA Leagues Martime French Rue La Boetie Paris Bateau the Egyptians

www.cpaphil.com/en/p...

#VintagePostcard #AntiquePostcard #LouvreMuseum #LeonardoDaVinci #LucreziaCrivelli #RenaissanceArt #ItalianRenaissance #ArtPostcard #MuseumPostcard #ClassicArt #FineArtPostcard

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VINTAGE POSTCARD co. Anne Detail Leonardo da Vinci Louvre

www.cpaphil.com/en/p...

#VintagePostcard #AntiquePostcard #LeonardoDaVinci #MonaLisa #LouvreMuseum #RenaissanceArt #ArtPostcard #ClassicArt #MuseumCollection #FineArtPostcard #ItalianRenaissance #ArtHistory


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VINTAGE POSTCARD Museum Of Louvre Leonard de Vinci lucrezia Crivelli

www.cpaphil.com/en/p...

#VintagePostcard #AntiquePostcard #LouvreMuseum #LeonardoDaVinci #LucreziaCrivelli #RenaissanceArt #ItalianRenaissance #ArtPostcard #MuseumPostcard #ClassicArt #FineArtPostcard

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Piero Della Francesca's Baptism of Christ in the National Gallery #NationalGallery #London #ItalianRenaissance #Art

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✨ Italy in the Global Renaissance
Prof. Virginia Cox explores Italy’s Renaissance and its global impact, from Florence to Asia and the Americas. Part of our Renaissance: Journeys of Discovery series.
🔗 www.brlsi.org/whatso...

#BRLSI #Renaissance #ItalianRenaissance #VirginiaCox

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In 1810, the altarpiece was disassembled and brought back to France by Napoleonic troops; the predella (the smaller panels that made up the base of the central panel) remained in Italy and are now in the Uffizi in Florence. This main panel has not been given back. The kneeling saints are St. Augustine on the right and St. Fridianus on the left. On the far left is a self-portrait of Lippi, identified as the young monk looking out at the viewer from behind the railing. Lippi was orphaned at a young age and was placed in the Carmelite friary in Florence; he took holy orders at the age of 16. His artistic talents gave him quite a bit of freedom and attracted the important patronage of Cosimo de’Medici. Fra Filippo Lippi had a large workshop in Florence, where he taught such important Renaissance painters as Sandro Botticelli and his own son Filippino Lippi (I did say that he had quite a bit of freedom as a monk).

In 1810, the altarpiece was disassembled and brought back to France by Napoleonic troops; the predella (the smaller panels that made up the base of the central panel) remained in Italy and are now in the Uffizi in Florence. This main panel has not been given back. The kneeling saints are St. Augustine on the right and St. Fridianus on the left. On the far left is a self-portrait of Lippi, identified as the young monk looking out at the viewer from behind the railing. Lippi was orphaned at a young age and was placed in the Carmelite friary in Florence; he took holy orders at the age of 16. His artistic talents gave him quite a bit of freedom and attracted the important patronage of Cosimo de’Medici. Fra Filippo Lippi had a large workshop in Florence, where he taught such important Renaissance painters as Sandro Botticelli and his own son Filippino Lippi (I did say that he had quite a bit of freedom as a monk).

November's theme: Stolen Art
FRA FILIPPO LIPPI (c. 1406 - 1469), “The Barbadori Altarpiece”, 1438. The Louvre, Paris, France. This is the central panel of an altarpiece commissioned for the Barbadori family chapel in Santo Spirito in Florence, Italy.
#arthistory #art #ItalianRenaissance

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#Art #Exhibition

#Drawing the #ItalianRenaissance:

#TheKing'sGallery, #PalaceofHolyroodhouse, #Edinburgh, #Scotland

17 Oct 2025 - 1 Mar 2026

share.google/rbNiBhHQxXMx...

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full view of the fresco panel with the artist’s self-portrait inserted into scene

https://commons.wikimedia.org/wiki/Category:Stories_of_Saint_Benedict_in_Monte_Oliveto_Maggiore_by_Sodoma

full view of the fresco panel with the artist’s self-portrait inserted into scene https://commons.wikimedia.org/wiki/Category:Stories_of_Saint_Benedict_in_Monte_Oliveto_Maggiore_by_Sodoma

Detail of the artist’s self portrait with his two pet badgers at his feet (one in front wearing a red collar)

Detail of the artist’s self portrait with his two pet badgers at his feet (one in front wearing a red collar)

closeup of the two badgers, one in front in side profile with red collar and with a bird biting the tip of its tail, one behind looking up at its owner

closeup of the two badgers, one in front in side profile with red collar and with a bird biting the tip of its tail, one behind looking up at its owner

#NationalBadgerDay:
#ItalianRenaissance artist Il Sodoma (b. Giovanni Antonio Bazzi, 1477-1549) stuck a self portrait with his pet #badgers into his Stories of St. Benedict fresco cycle! 😂
Scene 3: Benedict Repairs a Broken Colander Through Prayer (Monte Oliveto Maggiore, Tuscany, 1505-8)

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Red drawing of st bartholomew on a brown background. On the right there is a screenshot with basic information about the saint and the symbols he is attributed to

Red drawing of st bartholomew on a brown background. On the right there is a screenshot with basic information about the saint and the symbols he is attributed to

What is it with people and skinning other people alive 🥴🫣
#inkdrawing #stbartholomew #renaissance #italianrenaissance

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"Someone might object, "But you do not express yourself like Cicero". What of it? I am not Cicero. But I think I express my own self."

✒️ Angelo #Poliziano, #ItalianRenaissance humanist scholar, #DOTD 24 September 1494.

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The Assumption of the Virgin

Titian (Tiziano Vecellio), 1515–1518

“From the example of the past, the man of the present acts prudently so as not to imperil the future.”

#italianrenaissance #cinquecento #venetianschool #venetianrenaissance #arthistory

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Renaissance Rey

#rey #reylo #reyloart #sketch #italianrenaissance

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Narcissus, 1599 by Caravaggio - Linda Howes Narcissus, 1599 by Caravaggio - Linda Howes

Check out my Mythology Collection linda-howes.pixels.com/featured/nar...

#Caravaggio #Narcissus #Reflection #Painting #Mythology #Vain #ItalianRenaissance #Baroque #Rome #Italy #wallartforsale

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#LiteraryReview #Book #Review by #AlexanderLee

Man of Glass

#Boccaccio: A #Biography
By #MarcoSantagata (Translated from Italian by Emlyn Eisenach)
University of Chicago Press 424pp £30

#ItalianRenaissance #Literature

literaryreview.co.uk/man-of-glass

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“It is the historian's function, not to make us clever for the next time, but to make us wise forever.”

✒️ #JacobBurckhardt, Swiss cultural historian, #DOTD 8 August 1897. #Art #Culture #History #ItalianRenaissance

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Raffaello Sanzio da Urbino (Raphael) 
(March 28 or April 6, 1483)

#RaphaelArt #RenaissanceMaster
#ItalianRenaissance #RaphaelGenius
#ArtHistory #HighRenaissance #RaphaelPaintings
#ArtisticBrilliance

Raffaello Sanzio da Urbino (Raphael) (March 28 or April 6, 1483) #RaphaelArt #RenaissanceMaster #ItalianRenaissance #RaphaelGenius #ArtHistory #HighRenaissance #RaphaelPaintings #ArtisticBrilliance

Raffaello Sanzio da Urbino (Raphael)
(March 28 or April 6, 1483)

#RaphaelArt #RenaissanceMaster
#ItalianRenaissance #RaphaelGenius
#ArtHistory #HighRenaissance #RaphaelPaintings #ArtisticBrilliance

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🏛 #AntonioDaSangallo the Younger, Italian architect, #DOTD 3 August 1546. #Art #Architecture #ItalianRenaissance

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3,000 years of #women’s #BeautyStandards compressed in 3-minute video zorz.it/zHDnj | #Audra #AncientEgypt #AncientGreece #BodyType #ConceptOfBeauty #ItalianRenaissance #VictorianEngland #history

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