The Assumption of the Virgin, celebrated on August 15, is an especially important holiday in Siena. Niccolò di ser Sozzo, one of the city's renowned fourteenth-century illuminators, painted it on numerous occasions. Tempera, ink, and gold on parchment, 57.5 x 40.4 cm.
An Italian illuminated choir-book leaf showing the Trinity within a decorated initial T. Tempera, ink, and gold on parchment, leaf 56.8 x 39.5 cm, with the initial letter about 14.3 x 14.2 cm.
A decorated letter R cut from a choir book (antiphonary) showing the Resurrection of Christ. Tempera and gold on parchment by an Italian artist, sheet 19.8 x 17.9 cm.
This spectacular example of goldsmith's work has been attributed to Giovannino de Grassi, an artist active in northern Italy.
Italian antiphonary leaf with Saint John the Evangelist and Saint John the Baptist in an historiated initial M, in tempera, ink and gold on parchment. The leaf measures about 56.7 x 39.6 cm.
Musical angels herald the heavenly coronation of the Virgin in this elegant and refined carving. Its original context is uncertain, but it was possibly made as an independent devotional image or as part of an altar decoration.
This scene of the Resurrection, along with 11 additional embroideries of the life of Christ, may have formed an altar frontal, a hanging decorating the front of an altar. Originally, expensive gold thread covered the background, but it was removed and probably melted down for its monetary value.
This leaf came from a book of hours, a devotional book popular in the Middle Ages. They contained prayers that a devoted individual would use throughout the day.
This sculpture reflects the influence of Bon and may have been carved by a follower of his in the third quarter of the century. It is a fine example of Italian Renaissance sculpture that would have held a commanding position in an architectural context.
In his left hand the Christ Child holds a swallow. Swallows were thought to hibernate during winter in nests of mud. Their re-emergence in spring symbolized the Resurrection of Christ.
This monumental tondo, among Filippino's most significant works, was commissioned by Neapolitan cardinal Oliviero Carafa, a leading political and ecclesiastical figure.
Pen and brown ink, with brush and brown wash, with black chalk, heightened with lead white (partly discolored), on tan laid paper, laid down on gray wove paper.
Glazed terracotta. Dimensions: 67 × 44.5 cm (26 3/8 × 17 1/2 in.)
Jesus Christ rising from a marble tomb holding the cross of St. George, Christ is flanked by angels, and surrounded by frightened soldiers.
Pen and brown ink, with brush and gray wash, heightened with lead white (oxidized), on blue laid paper, tipped onto cream laid paper
Carlo Crivelli’s vivid style married the beautiful with the grotesque. Here, the Virgin Mary and Saint John the Evangelist gaze in anguish at Jesus on the cross.
These three panels belong to a series from the base (predella) of a large altarpiece and constituted the first extensive narrative cycle of Catherine of Siena, a Sienese mystic as well as minister to the poor and plague-stricken.
Guido Reni was an Italian painter of the Baroque period, although his works showed a classical manner, similar to Simon Vouet, Nicholas Poussin and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects.
The Virgin Mary, known as "the rose without thorns" for having been born free of original sin, holds the symbolic flower while sitting upon the Throne of Wisdom. The scroll held by an angel reads: "Come over to me, all ye that desire me, and be filled...
Donato de’ Bardi’s style brings together Netherlandish and French influences, focusing on refined detail and careful study of light. At the center of this painting, which is still in its original frame, Donato captures the sheltering affection between the infant Christ and Madonna. Gesturing to the goldfinch in his...
Donato de’ Bardi’s style blends Netherlandish and French influences, emphasizing refined detail and careful study of light. Free DownloadThis image is in the public domain.crucifixion.jpg376 KBdownload-circle Please SUBSCRIBE or DONATE to help keep this site free!...
This work plays with our expectations of the flatness of the painted surface. Using a technique of gilded gesso, the artist gave Saint Nicholas’s miter and the crowns of the holy figures a raised surface. The Virgin’s robes and the intricate, angled throne also create a sense of...
These three panels are from an altarpiece painted for a Dominican church in the Marchigian town of Ascoli Piceno. It is possible that the child was originally shown reaching for a flying bird, his frequent attribute. The cracked marble dais is a recurrent feature of Crivelli's work. On...
Foppa was the founder of Renaissance painting in Milan, where he worked for the dukes. In addition to major fresco cycles and altarpieces, he also painted touching images of the Madonna and Child for private devotion. This one dates to about 1480 and shows them before a rose hedge—the...
