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#Art: Giuditta e Oloferne (c. 1554)
#Artist: #GiorgioVasari (b. 1511/d. 1574; #๐Ÿ‡ฎ๐Ÿ‡น)
#ArtMovement/Style: #Mannerism #LateRenaissance
Medium: Oil on panel
108 x 79.7 cm (42 1/2 x 31 3/8 in)

#DailyArt #TalkArt #Artsy
#ArtPost #FineArt

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It was said of El Greco that he painted with a piece broken off a wooden cross, without making any corrections, so that "every patch of paint corresponds to God's will." The story is not factual, yet it speaks volumes: it is as if the febrile visions evolved from the roughly defined, impetuous forms at the touch of some mystic power. Yet it is not, after all, God's hand at work, but the painter's passionate faith and talent, which forged a new organic unity from Christendom's two great painting traditions. Domenikos Theotokopoulos from Crete was already a recognized master of the old-style icon painting before he was captivated by the modern western style of Titian and Tintoretto. Wherever fate took him, to Venice, to Rome, and finally to Spain, in his soul he remained "El Greco," "the Greek."

A former harlot, Magdalene turned to Jesus's most devoted believer. Following Titian, Greco condensed her story into the single moment of ecstasy: the moment when she, meditating in the wilderness on death and immortality, converts. While for Titian her passionate revelation is accompanied by erotic overtones, here the blinding beam of light seems to purify her, almost uplifting her from the bonds of corporeality. The skull, which refers to earthly mortality, has rolled out of her hand, and behind her ivy, symbol of eternal life, stretches heavenwards. The dawn landscape, bathed in cold moonlit pale tones, is a delicate echo of the emanating experience of spiritual catharsis.

It was said of El Greco that he painted with a piece broken off a wooden cross, without making any corrections, so that "every patch of paint corresponds to God's will." The story is not factual, yet it speaks volumes: it is as if the febrile visions evolved from the roughly defined, impetuous forms at the touch of some mystic power. Yet it is not, after all, God's hand at work, but the painter's passionate faith and talent, which forged a new organic unity from Christendom's two great painting traditions. Domenikos Theotokopoulos from Crete was already a recognized master of the old-style icon painting before he was captivated by the modern western style of Titian and Tintoretto. Wherever fate took him, to Venice, to Rome, and finally to Spain, in his soul he remained "El Greco," "the Greek." A former harlot, Magdalene turned to Jesus's most devoted believer. Following Titian, Greco condensed her story into the single moment of ecstasy: the moment when she, meditating in the wilderness on death and immortality, converts. While for Titian her passionate revelation is accompanied by erotic overtones, here the blinding beam of light seems to purify her, almost uplifting her from the bonds of corporeality. The skull, which refers to earthly mortality, has rolled out of her hand, and behind her ivy, symbol of eternal life, stretches heavenwards. The dawn landscape, bathed in cold moonlit pale tones, is a delicate echo of the emanating experience of spiritual catharsis.

The Penitent Mary Magdalene by El Greco, 1576-1577, Museum of Fine Arts, Budapest (Budapest, Hungary)

#ArtHistory #Mannerism #LateRenaissance #SpanishPeriod

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"Autumn" is one of Arcimboldo's four seasonal portraits, representing the harvest season. It is a composite head constructed entirely from fruits, vegetables, and other objects associated with autumn, such as pumpkins, gourds, chestnuts, and grapes. The figure's face is formed by a pumpkin, with mushroom serving as the nose and various leaves and fruits creating the hair and beard. The overall effect is a whimsical and surreal representation of nature's abundance.

"Autumn" is one of Arcimboldo's four seasonal portraits, representing the harvest season. It is a composite head constructed entirely from fruits, vegetables, and other objects associated with autumn, such as pumpkins, gourds, chestnuts, and grapes. The figure's face is formed by a pumpkin, with mushroom serving as the nose and various leaves and fruits creating the hair and beard. The overall effect is a whimsical and surreal representation of nature's abundance.

Autumn by Giuseppe Arcimboldo, 1573, Musรฉe du Louvre (Paris, France)

#ArtHistory #LateRenaissance #Mannerism

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Late Renaissance painting of a young female poulty vendor selling a a chicken to a young man at her market stall. Caption reads: No harm, no fowl.

Late Renaissance painting of a young female poulty vendor selling a a chicken to a young man at her market stall. Caption reads: No harm, no fowl.

No harm, no fowl

Alejandro de Loarte, The Poultry Vendor, 1626, Museo del Prado #ArtHistory #LateRenaissance

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๐ŸŽจ 'Dama con l'unicorno (Lady with the Unicorn)' (1605)
by Barbara Longhi (Italian, 1552-1638)

#Mannerism #LateRenaissance #MythologicalPainting
#Painting #Art

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Titian was the greatest painter of
16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting that embody the development of art during his epoch.

Titian was the greatest painter of 16th-century Venice, and the first painter to have a mainly international clientele. During his long career, he experimented with many different styles of painting that embody the development of art during his epoch.

Self-portrait by Titian, 1550-1562, Gemรคldegalerie (Berlin, Germany)

#ArtHistory #LateRenaissance #Mannerism

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๐ŸŽจ 'Self-Portrait of the Painter with the Colosseum in the Background' (1553)
by Maerten van Heemskerck

#Mannerism
#LateRenaissance #Painting #Art ##SelfPortrait

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๐ŸŽจ 'Eleonora di Toledo col figlio Giovann (Eleanora da Toledo with her Son Giovanni)' (1544 - 1545)
by Agnolo Bronzino

#Mannerism #Painting #LateRenaissance #Portrait #Art

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๐ŸŽจ 'Malatesta Baglioni' (c.1537)
by Parmigianino

#Mannerism #Painting #LateRenaissance #Portrait #Art

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๐ŸŽจ 'Saint Barbara' (c.1522)
by Parmigianino

#Mannerism #Painting #LateRenaissance #Art
#ReligiousPainting

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๐ŸŽจ 'The Penitence of St. Jerome' (c.1527)
by Jacopo Pontormo

#Mannerism #Painting #LateRenaissance
#ReligiousPainting #Art

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๐ŸŽจ 'Portrait of Maria Salviati with Giulia de Medici' (c.1537)
by Jacopo Pontormo

#Mannerism #Painting #LateRenaissance #Portrait #Art

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๐ŸŽจ 'Cosimo de' Medici' (c.1505)
by Agnolo Bronzino

#Mannerism #Painting #LateRenaissance #Portrait #Art

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๐ŸŽจ 'Portrait of Stefano IV Colonna' (1546)
by Agnolo Bronzino

#Mannerism #Painting #LateRenaissance #Portrait #Art

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๐ŸŽจ 'Vulcan's Forge' (1565)
by Giorgio Vasari

#Mannerism #Painting #LateRenaissance
#MythologicalPainting #Art

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๐ŸŽจ 'Judith and Holofernes' (c.1554)
by Giorgio Vasari

#Mannerism #Painting #LateRenaissance
#ReligiousPainting #Art

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๐ŸŽจ Lorenzo de Medici 'The Magnificent' (c.1533 - c.1534)
by Giorgio Vasari

#Mannerism #Portrait #LateRenaissance #Painting #Art

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๐ŸŽจ 'Portrait of Laura Battiferri' (c.1552)
by Agnolo Bronzino

#Mannerism #Portrait #LateRenaissance #Painting #Art

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๐ŸŽจ 'Portrait of Andrea Doria as Neptune' (c.1552)
by Agnolo Bronzino

#Mannerism #Art #Portrait #Painting #LateRenaissance

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๐ŸŽจ 'Women playing instruments'
by Tintoretto

#Mannerism
#LateRenaissance #Painting

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๐ŸŽจ 'Portrait of Andrea Doria as Neptune' (c.1552)
by Agnolo Bronzino

#Mannerism
#LateRenaissance
#Portrait #Painting

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๐ŸŽจ 'Lady Godiva' (1586)
by Adam van Noort

#Mannerism
#LateRenaissance #HistoryPainting

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๐ŸŽจ 'A Dinner in the Forest'
(1600 - 1613)
by Otto van Veen

#Mannerism #LateRenaissance

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๐ŸŽจ 'Water' (1566)
by Giuseppe Arcimboldo

#Art #Mannerism
#LateRenaissance
#TheElements
#AllegoricalPainting

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๐ŸŽจ 'Fire' (1566)
by Giuseppe Arcimboldo

#Mannerism #Art
#TheElements
#LateRenaissance
#AllegoricalPainting

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๐ŸŽจ 'Air' (1566)
by Giuseppe Arcimboldo

#Mannerism #Art
#LateRenaissance
#TheElements
#AllegoricalPainting

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๐ŸŽจ 'Earth' (1570)
by Giuseppe Arcimboldo
#Mannerism #Art
#TheElements
#LateRenaissance
#AllegoricalPainting

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๐ŸŽจ 'Winter' (1573)
by Giuseppe Arcimboldo

#Mannerism
#LateRenaissance
#AllegoricalPainting
#Seasons #Art #Artist

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๐ŸŽจ 'Autumn' (1672)
by Giuseppe Arcimboldo

#Mannerism
#LateRenaissance
#Seasons #Art #Artist
#AllegoricalPainting

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๐ŸŽจ 'Summer' (1563)
by Giuseppe Arcimboldo

#Mannerism
#LateRenaissance
#Seasons
#AllegoricalPainting

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