Pisanello Oil Paintings

Total Page：16

File Type：pdf, Size：1020Kb

Pisanello Oil Paintings Pisanello [Italian painter, 1395-1455] Portrait of a Princess of the House of Este Oil on canvas, 46947-Pisanello-Portrait of a Princess of the House of Este.jpg Oil Painting ID: 46947 | Order the painting Portrait of Emperor Sigismund of Luxembourg Oil on canvas, 46948-Pisanello-Portrait of Emperor Sigismund of Luxembourg.jpg Oil Painting ID: 46948 | Order the painting Portrait of Leonello d'Este Oil on canvas, 46949-Pisanello-Portrait of Leonello d'Este.jpg Oil Painting ID: 46949 | Order the painting The Virgin and Child with Saints George and Anthony Abbot Oil on canvas, 46950-Pisanello-The Virgin and Child with Saints George and Anthony Abbot.jpg Oil Painting ID: 46950 | Order the painting Vision of St Eustace Oil on canvas, 46951-Pisanello-Vision of St Eustace.jpg Oil Painting ID: 46951 | Order the painting Total 1 page, [1] Pisanello (Nationality : Italian painter, 1395-1455) Pisanello (c. 1395 - probably 1455), known professionally as Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the 1/2 early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time who compared him to such illustrious names as Cimabue, Phidias and Praxiteles. Pisanello is known for his resplendent frescoes in large murals, elegant portraits, small easel pictures, and many brilliant drawings. He is the most important commemorative portrait medallist in the first half of the 15th century. He was employed by the Doge of Venice, the Pope in the Vatican and the courts of Verona, Ferrara, Mantua, Milan, Rimini, and by the King of Naples. He stood in high esteem of the Gonzaga and Este families. Pisanello had many of his works wrongly ascribed to other artists such as Piero della Francesca, Albrecht DÃƒÂ¼rer and Leonardo da Vinci, to name a few. While most of his paintings have perished, a good many of his drawings and medals have survived. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-924-1.html 2/2.

Copy Link

Recommended publications

Papers of the British School at Rome Some Drawings from the Antique
Papers of the British School at Rome http://journals.cambridge.org/ROM Additional services for Papers of the British School at Rome: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Some Drawings from the Antique attributed to Pisanello G. F. Hill Papers of the British School at Rome / Volume 3 / January 1906, pp 296 - 303 DOI: 10.1017/S0068246200005043, Published online: 09 August 2013 Link to this article: http://journals.cambridge.org/abstract_S0068246200005043 How to cite this article: G. F. Hill (1906). Some Drawings from the Antique attributed to Pisanello. Papers of the British School at Rome, 3, pp 296-303 doi:10.1017/S0068246200005043 Request Permissions : Click here Downloaded from http://journals.cambridge.org/ROM, IP address: 128.233.210.97 on 12 Mar 2015 PAPERS OF THE BRITISH SCHOOL AT ROME VOL. III. No. 4 SOME DRAWINGS FROM THE ANTIQUE ATTRIBUTED TO PISANELLO BY G. F. HILL, M.A. LONDON: 1905 SOME DRAWINGS FROM THE ANTIQUE ATTRIBUTED TO PISANELLO. A CERTAIN number of the drawings ascribed to Pisanello, both in the Recueil Vallardi in the Louvre and elsewhere, are copies, more or less free, of antique originals.1 The doubts which have been expressed, by Courajod among others, as to the authenticity of some of these drawings are fully justified in the case of those which reproduce ancient coins. Thus we have, on fol. 12. no. 2266 v° of the Recueil Vallardi, a coin with the head of Augustus wearing a radiate crown, inscribed DIVVS AVGVSTVS PATER, and a head of young Heracles in a lion's skin, doubtless taken from a tetradrachm of Alexander the Great.
[Show full text]
Andrea Corsali and the Southern Cross
Andrea Corsali and the Southern Cross Anne McCormick Hordern House 2019 1 In 1515 Andrea Corsali, an Italian under the patronage of the Medici family, accompanied a Portuguese voyage down the African coast and around the Cape of Good Hope, en route to Cochin, India. On his return Corsali’s letter to his patron describing the voyage was published as a book which survives in only a handful of copies: CORSALI, Andrea. Lettera di Andrea Corsali allo Illustrissimo Signore Duca Iuliano de Medici, Venuta Dellindia del Mese di Octobre Nel M.D.XVI. [Colophon:] Stampato in Firenze per Io. Stephano di Carlo da Pavia. Adi. xi.di Dicembre Nel. M.D.XV1. This book included the earliest illustration of the stars of the Crux, the group of stars today known as the Southern Cross. This paper will explore the cultural context of that publication, along with the significance of this expedition, paying attention to the identification and illustration of the stars of the Southern Cross; in particular, I shall investigate why the book was important to the Medici family; the secrecy often attaching to geographical information acquired during the Age of Discovery; Andrea Corsali’s biography; and printing in Florence at this period; and other works issued by the printer Giovanni Stefano from Pavia. Corsali’s discoveries, particularly the ground-breaking astronomical report and illustration of the Southern Cross off the Cape of Good Hope, remained a navigational aid to voyages into the Southern Ocean and on to The East and the New World for centuries to follow, and ultimately even played a part in the European discovery of Australia.
[Show full text]
La Lingua Litteraria Di Guarino Veronese E La Cultura Teatrale a Ferrara Nella Prima Metà Del XV Secolo
Annali Online di Ferrara - Lettere Vol. 2 (2009) 225/256 DOMENICO GIUSEPPE LIPANI La lingua litteraria di Guarino Veronese e la cultura teatrale a Ferrara nella prima metà del XV secolo 1. Etichette e identità L’etichetta è una comoda scorciatoia per riconoscere in un bailamme di oggetti simili lo scarto che irriducibilmente li diversifica, per dare conto di identità plurime ad un primo sguardo, per trovare con rapidità ciò che già si sta cercando. Per questo le etichette riportano l’estremamente peculiare, lo specifico, il distintivo. Ma le etichette, non a caso, si appiccicano, perché sono estranee e superficiali. Quando si voglia non trovare ma veramente cercare, le etichette sono inservibili. La storia del teatro ne è piena. Giusto per fare degli esempi, alle origini della ricomparsa del teatro in Occidente c’è l’etichetta dramma liturgico e all’opposto cronologico, prima dell’esplosione novecentesca, la nascita della regia. Etichette, per l’appunto, che, attaccate per indicare, hanno finito per ridurre al silenzio ogni complessità culturale sottostante. Della sperimentazione teatrale a Ferrara nel Quattrocento, di quella stagione di grande fermento culturale e di radicato progetto politico si è spesso riferito usando l’etichetta di festival plautini, creando così il vuoto prima, dopo e in mezzo alle messe in scena di Plauto e Terenzio. Come se i tempi brevi di quegli eventi spettacolari non fossero intrecciati ai tempi lunghi della vita culturale cittadina. Come ricordava Braudel, però, «tempi brevi e tempi lunghi coesistono e sono inseparabili»1 e voler vedere gli uni prescindendo dagli altri significa fermarsi alla superficie dell’etichetta.
[Show full text]
Flavio Biondo's Italia Illustrata
Week V: Set Reading – Primary Source Flavio Biondo, on the revival of letters, from his Italia illustrata Editor’s Note: Flavio Biondo (1392-1463), also (confusingly) known as Biondo Flavio, was born in Forlì, near Bologna, but much of his career was spent at the papal curia, where he worked as secretary to successive Popes. At the same time, he wrote works of history and of topography. The Italia illustrata, which he worked on in the late 1440s and early 1450s, was intended to describe the geography of the regions of Italy but, in doing so, Biondo discoursed on the famous men of each region and, in the context in the section of his home region of the Romagna, provided a brief history of the revival of letters in his own lifetime. Those who truly savour Latin literature for its own taste, see and understand that there were few and hardly any who wrote with any eloquence after the time of the Doctors of the Church, Ambrose, Jerome and Augustine, which was the moment when the Roman Empire was declining – unless among their number should be put St Gregory and the Venerable Bede, who were close to them in time, and St Bernard, who was much later.1 Truly, Francesco Petrarca [Petrarch], a man of great intelligence and greater application, was the first of all to begin to revive poetry and eloquence.2 Not, however, that he achieve the flower of Ciceronian eloquence with which we see many in our own time are decorated, but for that we are inclined to blame the lack and want of books rather than of intelligence.
[Show full text]
Miscellanies’ in England
The Circulation and Use of Humanist ‘Miscellanies’ in England DAVID RUNDLE Accepted for publication in C. Revest ed., L’essor de la rhétorique humaniste: réseaux, modèles et vecteurs [Mélanges de l’École française de Rome – Mogen Âge, cxxviii] (2016) [The version presented below has the advantage over the published version of having full footnoting, rather than endnotes with author-date citations, followed by a bibliography. At the same time, it has the disadvantage of not providing the two images included in the published article] At inordinatam istam et confusaneam, quasi silvam aut farraginem perhiberi, quia non tractim et continenter sed saltuatim scribimus et vellicatim tantum abest uti doleamus ut etiam titulum non sane alium quam Miscellaneorum exquisiverimus Politian, preface to Miscellaneorum centuria una (1489) MISCELLANY n.s. A mass formed out of various kinds Samuel Johnson, A Dictionary of the English Language (1755) You might be forgiven for assuming from the title that this brief article can be an exhaustive survey of everything there is to know on its topic. After all, England is often presented as living beyond the infection zone which submitted to the studia humanitatis, at least in its first generations, a land where a couple of princes and only a few more bishops showed any interest in the intellectual novelties being wrought in Italy. It is true that the Britanni – penitus toto orbe divisi – offered up far fewer young men than the Germans to be educated at the universities of the peninsula and there to succumb to the new literary fashions. It is also the case that the English presence at the papal curia was less substantial than for those nations which were both more populous and physically closer to the epicentre of western Christendom.
[Show full text]
Altichiero in the Fifteenth Century, RIHA Journal 0073
RIHA Journal 0073 | 12 August 2013 Oblivion Deferred: Altichiero in the Fifteenth Century John Richards Editing and peer review managed by: Claudia Hopkins, Visual Arts Research Institute Edinburgh (VARIE), Edinburgh Reviewers: Flavio Boggi, Tom Tolley Abstract Altichiero was the dominant north Italian painter of the later Trecento. In Padua, in the 1370s and early 1380s, he worked for patrons close to Petrarch and his circle and perhaps in direct contact with the poet himself. By the time of the second edition of Vasari's Vite (1568) the memory of Altichiero's work had suffered significant occlusion, and Vasari's account of him is little more than an appendix to his life of Carpaccio. Only since the later nineteenth century, and particularly in the last fifty or so years, has Altichiero's reputation been restored. It is the purpose of this paper to examine aspects of that reputation throughout the century or so after the painter's death (by April 1393). Contents Introduction Marin Sanuto and Flavio Biondo Michele Savonarola Conclusion Introduction [1] The complex polarities of fame and infamy, fame and death, contemporary reputation and posthumous glory occupied a central place in early renaissance thought, above all in that of Petrarch (1304-74). Not the least of his contributions to renaissance culture was the extension of these polarities to the lives of artists. The main thrust of his piecemeal eulogy of Giotto (1266/7-1337), pronounced in various contexts, was that the painter's reputation was founded on demonstrable substance, and therefore deserved to survive. Dante (c.1265-1321) famously chose to illustrate the shifting nature of celebrity by means of Giotto's eclipse of Cimabue (c.1240-1302) but without commenting on the justice or injustice of the transference of fame involved.1 Petrarch's concerns were rather different.
[Show full text]
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
[Show full text]
Tradição E Transformação
TRADIÇÃO E TRANSFORMAÇÃO A HERANÇA LATINA NO RENASCIMENTO GRUPO REPÚBLICA DAS LETRAS ESTUDO DE TEXTOS RENASCENTISTAS EM LATIM ORGANIZADORES: ELAINE CRISTINE SARTORELLI, RICARDO DA CUNHA LIMA, ROBSON TADEU CESILA, TIAGO AUGUSTO NÁPOLI TRADIÇÃO E TRANSFORMAÇÃO A HERANÇA LATINA NO RENASCIMENTO +80$1,7$6 SÃO PAULO, 2018 SUMÁRIO Agradecimentos 9 Homenagens a Alexandre Prudente Piccolo 13 1. Os Novos Mundos e a Nova Vida do Latim no Renascimento 23 Ricardo da Cunha Lima I. Poesia: Intertextualidade, gênero e Mito 2. Xântias e Fílis, um Amor Lírico à Moda Épica: Modulações na Ode 2.4 de Horácio 45 Alexandre Prudente Piccolo 3. “Para o Fantasma de Marcial”: Emulação e Agudeza no Epigrama Inglês dos Séculos XVI e XVII 61 Lavinia Silvares 4. Lira e Lamento: Safo de Lesbos no De Mulieribus Claris de Giovanni Boccaccio e nas Heroides de Ovídio 99 Talita Janine Juliani 5. Epic Challenges. Basinio da Parma’s Cyris and the Discourse of Genre in Early Humanistic Elegy 121 Christoph Pieper 6. D’Adriana à Ariadna : La Représentation Mythologique de l’Épouse dans l’Œuvre Poétique de Giovanni Pontano (1429-1503) 149 Hélène Casanova-Robin II. Prosa: Filosofia e Literatura de Viagem 7. Preenchendo Lacunas: Paganismo e Antipaganismo no De Voluptate Proemium de Lorenzo Valla 195 Ana Letícia Adami 8. Uma Língua “Velha” para uma Realidade “Nova”: Neologismos Latinos para a Expressão de Realidades Desconhecidas aos Olhos Europeus 227 Bruno Maroneze & Thissiane Fioreto 9. Aeternae Mentis Numen atque Consilium: as Historiae Indicae de Iohannes Petrus Maffeius 245 Leni Ribeiro Leite Abstracts 264 Lista de autores da presente edição 269 Índice de nomes próprios 273 P EPIC CHALLENGES.
[Show full text]
George of Trebizond and Humanist Acts of Self-Presentation
University of Kentucky UKnowledge Theses and Dissertations--History History 2013 Honor, Reputation, and Conflict: George of Trebizond and Humanist Acts of Self-Presentation Karl R. Alexander University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Alexander, Karl R., "Honor, Reputation, and Conflict: George of Trebizond and Humanist Acts of Self- Presentation" (2013). Theses and Dissertations--History. 14. https://uknowledge.uky.edu/history_etds/14 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
[Show full text]
Guarino's Views on History and Historiography
GUARINO'S VIEWS ON HISTORY AND HISTORIOGRAPHY Ian Thomson Indiana University, Bloomington Guarino da Verona (1374-1460) was the most influential educator of the second generation after Petrarch (d. 1374). His career as a teacher of the Latin and Greek humanities began at Florence (1410-14), developed at Venice (1415-19) and Verona (1420-29), and culminated at Ferrara (1430- 60), where after five years as tutor to Leonello d'Este he became Public Professor of Rhetoric in 1436. 1 He also taught many private students (socii or contubernales) in his own boarding school (contubernium). To this "workshop of eloquence," compared by his student Lodovico Carbone to the Trojan horse from which poured forth princes without number/ came students of all ages, including some from England, France, Spain, Portugal, Germany, Poland, Hungary, and even Cyprus. 3 In the middle decades of the fifteenth century, it was undoubtedly the most famous center of humanist education in Europe. Like Vittorino da Feltre, his only peer as a teacher, Guarino never wrote a treatise on education. We must, therefore, rely on the reminiscences of pupils and friends, as well as the few remarks about education that Guarino made in his letters, for what we can deduce about his teaching theory and practice. This article deals with his views on the writing of history and the place of history in a liberal education. For the first our main source is a letter4 he wrote in 1446 to his ex-pupil, Tobia dal Borgo, who had been appointed historiographer to Sigismondo Malatesta of Rimini. Its contents are interesting not only as the mature reflections of the greatest professor of his time, but as a blend of what have been called the "rhetorical" and "scientific" approaches to the writing of history.
[Show full text]
The Revival of Greek Studies in the West I 14Th – 15Th Cent
The Revival of Greek Studies in the West I 14th – 15th cent. Ioannis Deligiannis Democritus University of Thrace • Introduction – Greek in the Middle Ages • The Early Humanism (14th cent.) • 15th cent. – Greek language teaching and learning methods • Chrysoloras’ Erotemata • Guarino da Verona and Battista Guarini • ms. Vat. Urb. Gr. 121 – Italian humanists who studied and/or translated Greek • Guarino Guarini da Verona • Leonardo Bruni • Vittorino da Feltre • Sassolo da Prato • Francesco Filelfo • Lapo da Castiglionchio the younger • Francesco Griffolini d’Arezzo • Lorenzo Valla • Marsilio Ficino • Angelo Poliziano • Other Italian translators Greek in the Middle Ages • Middle Ages Europe: Greek not generally known. • Interest in Latin translations of Greek texts: – Boethius (5th ex. – 6th in.): Aristotle. – John Scottus Eriugena (9th cent.): Gregory of Nyssa, Gregory of Nazianzus, and Maximus the Confessor. – Burgundio of Pisa (12th cent.): John of Damascus, John Chrysostom, Galen. – James of Venice (12th cent.): Aristotle. – Henricus Aristippus (12th cent.): Plato, Euclid, Ptolemy, Aristotle, Gregory of Nazianzus. • 13th cent: a better acquaintance with Greek. • Southern Italy remained the main bridge between Greeks and Latins. • Bartholomew of Messina: Aristotle. • Robert Grosseteste: revision of Burgundio’s translation of John of Damascus, and translations of other works of his, of Dionysius the Areopagite, Aristotle; articles from the Suda Lexicon. • Roger Bacon: wrote a Greek grammar for Latins, significant for the revival of the Greek studies in the West. • William of Moerbeke: translation of Aristotle or revision of existing translations; literal and faithful; classic in the 14th cent. He also translated mathematical treatises (Hero of Alexandria and Archimedes), commentaries of Simplicius, Proclus, etc.
[Show full text]
Paulo Maiora Canamus / 89 SUKANTA CHAUDHURI This Is Not a Passing Phase Succeeded by a Happier Age
Paulo maiora canamus / 89 SUKANTA CHAUDHURI This is not a passing phase succeeded by a happier age. There is fear of more violence to come, in a passage of dense political allusion: Paulo maiora canamus: Hoc superi prohibete nefas: non caedibus hydram Crescentem innumeris patriae sed viscera ferro Appetet, The Transcendence of Pastoral hesperio satiari sanguine gliscit. (Boiardo 674) in the Neo-Latin Eclogue (May the gods forbid such an evil as this, that the sword comes to be plunged into our fatherland's entrails rather than into the hydra, growing with countless acts of slaughter: it is avid to be glutted with western blood.') The fourth of Boiardo's ten Latin eclogues begins with an invocation to Urania, though in rather apologetic vein: Alongside Boiardo's invocation of Urania, heralding a paradoxical vein of political and martial pastoral, we may place an invocation to Calliope in Tu, dea, ... "Amyntas," the first Eclogue by the Dutch Catholic poet Jakob de Slupere or Uranie, mecum silvas habitare casasque Sluperius. This is the more remarkable as there is no epic material in de Ne pudeat... (Boiardo 673) Slupere's poem. Its core is a love-lament, set in an elaborate narrative and reported at several removes, of the shepherd Amyntas, whose beloved Aegle (Let it not shame you, goddess Urania, to dwell with me in country cottages.) is married to the unsavoury Pamphagus. This pastoral lament is set within a real-life, or at least realistic, journey by the poet and his friends. The clear After all, says the poet, Apollo too tended cattle.
[Show full text]