Andrea Vicentino, (1539-1614) The Crusaders Conquering the City of Zara in 1202 Oil on canvas Sala del Maggior Consiglio, Venezia, Italy
Andrea Vicentino (c. 1542–1617) was an Italian painter of the late-Renaissance or Mannerist period. He was a pupil of the painter Giovanni Battista Maganza. Born in Vicenza, he was also known as Andrea Michieli or Michelli. He moved to Venice in the mid-1570s and registered in the “Fraglia” or guild of Venetian painters in 1583. He worked alongside Tintoretto at the Palazzo Ducale in Venice, helping paint Arrival of Henry III at Venice (c. 1593) at the Sala delle Quattro Porte of the Ducal palace, as well as works in the Sala del Senato and dello Scrutinio. He also painted the altarpiece of Madonna of the Rosary (c. 1590) for the cathedral of Treviso, God the Father with Three Theological Virtues (1598) for the church in Gambara, and St Charles Borromeo (c. 1605) for a church in Mestre.Paintings by him exist in a number of galleries including the ‘Raising of Lazarus’ at the National Museum of Fine Arts in Valletta, Malta. More on Andrea Vicentino
The Siege of Zara or Siege of Zadar (10–24 November 1202) was the first major action of the Fourth Crusade and the first attack against a Catholic city by Catholic crusaders. The crusaders had an agreement with Venice for transport across the sea, but the price far exceeded what they were able to pay. Venice set the condition that the crusaders help them capture Zadar (or Zara), a constant battleground between Venice on one side and Croatia and Hungary on the other, whose king, Emeric, pledged himself to join the Crusade…
Spanish School. First half of the 16th century The Annunciation Oil on panel 41 x 31 cm Private collection
The Virgin appears kneeling in front of a table decorated with a red cloth with gold trim.. The arrival of the archangel has caused the Virgin to put down her book and turn her face to observe the unexpected visitor. Saint Gabriel, is in the act of approaching the Virgin. In his left hand he grasps a golden sceptre topped with a kind of fleur-de-lys: it is the messenger’s staff. He extends his right arm pointing with his index and middle fingers towards the sky to emphasise the fact that the message he brings comes directly from God.
Mary brings her left hand to her chest as a sign of compliance with the divine message, while with her right she still holds a page of the book she was reading. More on this painting
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua, meaning “YHWH is salvation”.
According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
Spanish School, 16th Century. In the sixteenth century when Spain became a world power with vast possessions and sources of wealth in the New World, as well as possessions dotted about Europe, it might have been expected that a vigorous national school of painting would emerge, transforming the somewhat tentative or imitative character that painting in Spain had shown up to then. It turned out otherwise. For most of the 16th century, painting remained spiritless. Both the Emperor Charles V and his son Philip II of Spain were patrons with a feeling for art, but the great Venetians, especially Titian, claimed most of their interest. Philip also highly approved of the fantasies of Hieronymus Bosch (1450-1516) – although the top Spanish clergy suspected heresy in these strange pictures from the Netherlands. More on Spanish School, 16th Century
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Carlo Dolci, FLORENCE 1616 – 1687 The Penitent Magdalene Oil on copper 20.3 x 26 cm.; 8 x 10 1/4 in Private collection
In this intimate copper, destined for private devotion, we find the Magdalene repenting in the wilderness, her alluring nakedness reminding us of her unchaste past. Her breasts are exposed and the blue folds of her robes reveal her leg up to the thigh in a scene that, for all its allusion to the vanity of life and repentance, must, surely, have also been a celebration of the female form. More on this painting
Carlo (or Carlino) Dolci (25 May 1616–17 January 1686) was an Italian painter of the Baroque period, active mainly in Florence, known for highly finished religious pictures, often repeated in many versions.
As a boy and throughout his life, he was called “Carlino” (little Carlo), possibly because of his short stature and humble character. He was also extremely pious. If not diligently practicing drawing or developing his painter’s craft, he often could be found praying in Santa Maria Novella…
Carlo Dolci, FLORENCE 1616 – 1687 The Penitent Magdalene Oil on copper 20.3 x 26 cm.; 8 x 10 1/4 in Private collection
In this intimate copper, destined for private devotion, we find the Magdalene repenting in the wilderness, her alluring nakedness reminding us of her unchaste past. Her breasts are exposed and the blue folds of her robes reveal her leg up to the thigh in a scene that, for all its allusion to the vanity of life and repentance, must, surely, have also been a celebration of the female form. More on this painting
Carlo (or Carlino) Dolci (25 May 1616–17 January 1686) was an Italian painter of the Baroque period, active mainly in Florence, known for highly finished religious pictures, often repeated in many versions.
As a boy and throughout his life, he was called “Carlino” (little Carlo), possibly because of his short stature and humble character. He was also extremely pious. If not diligently practicing drawing or developing his painter’s craft, he often could be found praying in Santa Maria Novella…
Attributed to Jacques du Broeucq, (1505-1584), Southern Netherlandish, circa 1550 VIRGIN OF THE ANNUNCIATION Alabaster 41cm., 16 1/8 in. Private collection
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning “YHWH is salvation”.
According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
Girolamo Viscardi (1467-1522) ia a Genoese sculptor whose work played an important role in the introduction of the Italian Renaissance style to France around 1500. Girolamo was first employed by Antonio della Porta before collaborating with Giovanni and Michele d’Aria on a tomb monument. During the French occupation of Genoa from 1499, Girolamo began to receive commissions from France, including in 1507 the sculptural decoration for the church of Sainte-Trinité in Fécamp. More on Girolamo Viscardi
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The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning “YHWH is salvation”.
According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
John William Waterhouse (April 6, 1849 – February 10, 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading to his sobriquet “the modern Pre-Raphaelite”. Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.
Born in Italy to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace the Pre-Raphaelite style of painting despite the fact that it had gone out of fashion in the British art scene several decades before. More on John William Waterhouse
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Shepherds were tending their flocks out in the countryside near Bethlehem, when they were terrified by the appearance of an angel. The angel explains that he has a message of good news for all people, namely that “Today in the town of David a Savior has been born to you; he is the Messiah, the Lord. This will be a sign to you: You will find a baby wrapped in cloths and lying in a manger. More on the Annunciation to the Shepherds
The Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.
Antwerp took over from Bruges as the main trading and commercial center of the Low Countries around 1500. Painters, artists and craftsmen joined the Guild of Saint Luke, which educated apprentices and guaranteed quality. More Ecole Anversoise
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Late 15th century carved wooden figure of the Virgin of Mercy, presumably Central German
Detail
The crowned Virgin is depicted in contrapposto, wearing a long richly draped gold cloak and holding the nude Christ Child in Her left arm, the right arm would have formerly held a sceptre, which is now lacking. Two angels to the left and right of the Virgin extend Her cloak to shelter fourteen figures kneeling in prayer. On the left we see a Pope, Cardinal, Bishop, monks, and a nun as representatives of the ecclesiastical caste, and on the right the worldly order is depicted in the guise of a King, knight, and soldiers. More on this carving
Late 15th century carved wooden figure of the Virgin of Mercy, presumably Central German
The Virgin of Mercyis a subject in Christian Art, showing a group of people sheltering for protection under the outspread cloak, or pallium, of the Virgin Mary. It was especially popular in Italy from the 13th to 16th centuries, often as a specialised form of votive portrait, and is also found in other countries and later art, especially Catalonia and Latin America. In Italian it is known as the Madonna della Misericordia (Madonna of Mercy). More on The Virgin of Mercy
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A late 14th century French carved ivory relief of the Crucifixion
A diptych is any object with two flat plates attached at a hinge. From the Middle Ages many panel paintings took the diptych form, as small portable works for personal use; Eastern Orthodox ones may be called “travelling icons”. Although the tryptych form was more common, there were also ivory diptychs with religious scenes carved in relief, a form found first in Byzantine art before becoming very popular in the Gothic period in the West, where they were mainly produced in Paris. These suited the mobile lives of medieval elites. More on diptychs
High-relief depiction with a plain border, formerly the right wing of a hinged diptych. The piece depicts numerous figures attendant at the Crucifixion. We see Christ being offered the sponge and Longinus with the lance below him. The mourning Virgin is depicted on the left with Saint John and Mary Magdalene, two prophets are seen on the right, and in the upper arches we see two angels with symbols of the sun and moon.. More on this carving
When ivory reappeared in northern Europe in the mid-thirteenth century, artists and patrons quickly renewed the art of ivory carving. Instead of a revival of earlier forms, however, the Gothic period saw the revival of a new range of ivory object types: statuettes and statuette groups for the church or the private home; small paneled objects called diptychs (two panels), triptychs (three panels), and polyptychs (many panels) with scenes in low relief that unfold for private meditation; and luxury objects for personal use, such as combs, mirror backs, writing tablets, and caskets. The golden age of Gothic ivory carving spanned a century and a half, from about 1230 to 1380, at which point the supply of ivory to northern Europe again dwindled. More on Ivory Carving in the Gothic Era
The crucifixion of Jesus occurred in 1st century Judea, most probably between the years 30 and 33 AD. Jesus’ crucifixion is described in the four canonical gospels, referred to in the New Testament epistles, attested to by other ancient sources, and is established as a historical event confirmed by non-Christian sources.
According to the canonical gospels, Jesus, the Christ, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with gall to drink, before being crucified. He was then hung between two convicted thieves and according to Mark’s Gospel, died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating “Jesus of Nazareth, King of the Jews” in three languages. They then divided his garments among them, but cast lots for his seamless robe. After Jesus’ death they pierced his side with a spear to be certain that he had died. More on the crucifixion
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Late 14th century French carved ivory diptych with the Annunciation and the Crucifixion
A diptych is any object with two flat plates attached at a hinge. From the Middle Ages many panel paintings took the diptych form, as small portable works for personal use; Eastern Orthodox ones may be called “travelling icons”. Although the tryptych form was more common, there were also ivory diptychs with religious scenes carved in relief, a form found first in Byzantine art before becoming very popular in the Gothic period in the West, where they were mainly produced in Paris. These suited the mobile lives of medieval elites. More on diptychs
The panel on the left depicts the annunciation to Mary with the angel Gabriel and the dove of the Holy Spirit and on the right the Crucifixion with the Virgin and John the Baptist, both scenes beneath Gothic arch borders. More on this carving
When ivory reappeared in northern Europe in the mid-thirteenth century, artists and patrons quickly renewed the art of ivory carving. Instead of a revival of earlier forms, however, the Gothic period saw the revival of a new range of ivory object types: statuettes and statuette groups for the church or the private home; small paneled objects called diptychs (two panels), triptychs (three panels), and polyptychs (many panels) with scenes in low relief that unfold for private meditation; and luxury objects for personal use, such as combs, mirror backs, writing tablets, and caskets. The golden age of Gothic ivory carving spanned a century and a half, from about 1230 to 1380, at which point the supply of ivory to northern Europe again dwindled. More on Ivory Carving in the Gothic Era
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning “YHWH is salvation”.
According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion.More The Annunciation
The crucifixion of Jesus occurred in 1st century Judea, most probably between the years 30 and 33 AD. Jesus’ crucifixion is described in the four canonical gospels, referred to in the New Testament epistles, attested to by other ancient sources, and is established as a historical event confirmed by non-Christian sources.
According to the canonical gospels, Jesus, the Christ, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with gall to drink, before being crucified. He was then hung between two convicted thieves and according to Mark’s Gospel, died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating “Jesus of Nazareth, King of the Jews” in three languages. They then divided his garments among them, but cast lots for his seamless robe. After Jesus’ death they pierced his side with a spear to be certain that he had died. More on the crucifixion
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I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.
I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.
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