Corciano Altarpiece | |
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Artist | Perugino |
Year | 1513 |
Medium | oil on panel |
Dimensions | 226 cm× 149 cm(89 in× 59 in) |
Location | Parish church of Santa Maria, Corciano |
The Corciano Altarpiece is a 1513 painting by Perugino now in the parish church of Santa Maria in Corciano. [1] It was produced following a past commission for Perugino to decorate the high altar of the parish church in Corciano.
It shows the Assumption of Mary, with Mary herself in a contrapposto pose inside a double mandorla, surrounded symmetrically by seraphim, with two angels praying and two playing musical instruments. On the lower register are the eleven apostles, with only John the Evangelist kneeling. In the background are a clear sky and gilded treeless hills, forming a valley.
Perugino largely used and adapted his existing drawings for the work, reusing angels from the scene of the Baptism of Christ in the Sant'Agostino Altarpiece and arranging the apostles as in the Annunziata Polyptych. The work also has a two-panel predella showing The Annunciation and The Adoration of the Christ Child.
Pinturicchio, or Pintoricchio, also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux.
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Florentine painting or the Florentine School refers to artists in, from, or influenced by the naturalistic style developed in Florence in the 14th century, largely through the efforts of Giotto di Bondone, and in the 15th century the leading school of Western painting. Some of the best known painters of the earlier Florentine School are Fra Angelico, Botticelli, Filippo Lippi, the Ghirlandaio family, Masolino, and Masaccio.
The Coronation of the Virgin or Coronation of Mary is a subject in Christian art, especially popular in Italy in the 13th to 15th centuries, but continuing in popularity until the 18th century and beyond. Christ, sometimes accompanied by God the Father and the Holy Spirit in the form of a dove, places a crown on the head of Mary as Queen of Heaven. In early versions the setting is a Heaven imagined as an earthly court, staffed by saints and angels; in later versions Heaven is more often seen as in the sky, with the figures seated on clouds. The subject is also notable as one where the whole Christian Trinity is often shown together, sometimes in unusual ways. Crowned Virgins are also seen in Eastern Orthodox Christian icons, specifically in the Russian Orthodox church after the 18th century. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject.
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The Last Supper of Jesus and the Twelve Apostles has been a popular subject in Christian art, often as part of a cycle showing the Life of Christ. Depictions of the Last Supper in Christian art date back to early Christianity and can be seen in the Catacombs of Rome.
The Vallombrosa Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, dating to 1500–01. It is housed in the Accademia Gallery of Florence, Italy.
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The San Pietro Polyptych is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.
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The Guimiliau Parish close is located at Guimiliau in the arrondissement of Morlaix in Brittany in north-western France. The parish takes its name from Saint Miliau who was beheaded in 792 on his brother's orders. He is a saint called upon by those suffering from ulcers and rheumatism.
Madonna del Sacco is an oil on panel painting by Perugino, dating to around 1495–1500. It shows the Madonna and Child with the infant John the Baptist and an angel. It is now in the Galleria Palatina in Florence.
The Sant'Agostino Altarpiece is a painting by Perugino, produced in two stages between around 1502 and 1512 and then around 1513 to 1523. The altarpiece's 28, 29 or 30 panels were split up during the Napoleonic suppression of religious houses - most of its panels are now in the Galleria Nazionale dell'Umbria in Perugia. It is notable as the painter's last masterwork before he moved into his late phase producing more provincial commissions.
The Chigi Altarpiece is an altarpiece by Perugino, dating to around 1506–1507. It is named after its commissioner Agostino Chigi, a Sienese banker, for the Chigi family chapel in the church of Sant'Agostino in Siena, where it still hangs.
Assumption of the Virgin is a religious painting by Perugino, showing the Assumption of Mary, dating to 1506 and housed in the Seripandi side chapel of Naples Cathedral. It was restored between 2001 and April 2004. It uses much the same composition as the 1513 Corciano Altarpiece on the same theme.
The Transfiguration Altarpiece is an altarpiece of the Transfiguration of Jesus by Perugino, dating to 1517 and now in the Galleria Nazionale dell'Umbria in Perugia.
The Monteripido Altarpiece is a double-sided altarpiece by Perugino, completed in 1502 for San Francesco al Monte church in Monteripido near Perugia. It is now in the Galleria Nazionale dell'Umbria in Perugia.
The Madonna of Loreto is a c.1507 oil on panel painting by Perugino, now in the National Gallery, London, which bought it in 1879. It shows the Madonna and Child flanked by Jerome (left) and Francis of Assisi (right). Two angels hover over Mary's head holding a crown. It reuses the low parapet from Madonna and Child with St Rose and St Catherine (1492) and probably also involved the master's studio assistants.