Rogier van der Weyden, initially known as Roger de le Pasture, was an early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces, and commissioned single and diptych portraits. He was highly successful in his lifetime; his paintings were exported to Italy and Spain, and he received commissions from, amongst others, Philip the Good, Netherlandish nobility, and foreign aristocrats. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. His reputation was slowly rebuilt during the 200 years that followed; today he is known, with Robert Campin and van Eyck, as the third of the three great Early Netherlandish artists, and widely as the most influential Northern painter of the 15th century.
Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. He was raised in the household of Jacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned. An older brother, Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law was Andrea Mantegna.
Renaissance art is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.
BartolomeoMontagna was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.
Giovanni Santi was an Italian painter and decorator, father of Raphael Sanzio. He was born in 1435 at Colbordolo in the Duchy of Urbino. He studied under Piero della Francesca and was influenced by Fiorenzo di Lorenzo. He was court painter to the Duke of Urbino and painted several altarpieces among other things. He died in Urbino.
Crucifixion is an ancient method of execution.
The Annunciation is the biblical episode of the announcement by the archangel Gabriel to Mary that she would become the mother of Jesus.
The decade of the 1450s in art involved many significant events, especially in sculpture.
The decade of the 1440s in art involved some significant events.
Saint Jerome in the Wilderness is an unfinished painting by the Italian Renaissance artist Leonardo da Vinci, dated c. 1480–1490. A recent study linked to the Lady with an Ermine carried out by Leonardo da Vinci at the same time supports this hypothesis. The composition of the painting has been drafted in monochrome onto the primed wooden panel. At an unknown date after Leonardo's death, the panel was cut into five pieces before eventually being restored into its original form.
Saint Jerome in His Study may refer to the following artworks depicting Saint Jerome:
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.
The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.
St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.
Saint Jerome in the Wilderness is a painting in tempera on panel, measuring 51 by 40 cm and attributed to Andrea Mantegna. It dates to between 1448 and 1451 and is now in the São Paulo Museum of Art.
Pietà or The Dead Christ Supported by the Virgin Mary and Saint John the Evangelist is a painting in tempera on panel of c. 1465–1470 by the Italian Renaissance artist Giovanni Bellini, now in the Pinacoteca di Brera in Milan.
St. Jerome and the Lion is an oil on oak panel painting by Rogier van der Weyden or his studio from c. 1450–1465, showing Jerome and a lion. It is now in the Detroit Institute of Arts. This painting was part of a renewed interest in depictions of St. Jerome.
A cartellino is an illusionistic portrayal of a written note included in painting, mostly from the with a legend that records the name of the artist, the date, the subject, or some other relevant information about the work. About 500 Renaissance paintings include a cartellino, but the device has been adopted by some later artists.
