Difference Between Search & Browse Methods in Odoo 17
Week8 - Renaissance Part 2
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2. Titian, Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.
3. ÉDOUARD MANET, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil on canvas, approx. 7’ x 8’ 10”. Musée d’Orsay, Paris.
4. Assumption of the Virgin 1516-18 Oil on wood, 690 x 360 cm Santa Maria Gloriosa dei Frari, Venice
5. “ Occasionally he polished his later images to a sheen; other times he left them loose, almost abstract. Sublimely moving and often downright haunted, these paintings tend to leap across centuries” -NYTimes
7. GIORGIONE DA CASTELFRANCO, The Tempest, ca. 1510. Oil on canvas, 2’ 7” x 2’ 4 3/4”. Galleria dell’Accademia, Venice. Giorgione is credited with establishing atmospheric landscape as a vehicle for human emotions and moods – this leads later to the development of landscape and still life paintings which were rare in the Renaissance
19. SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and Brother, ca. 1555. Methuen Collection, Corsham Court, Wiltshire.
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21. Limbourg brothers (Pol, Hennequin, Herman), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2" x 5 1/2". Musée Condé, Chantilly.
22. LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly.
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24. ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956).
25. ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956).
27. JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.
28. DIRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy Sacrament), Saint Peter’s, Louvain, Belgium, 1464–1468. Oil on wood, approx. 6’ x 5’.
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30. JAN VAN EYCK, detail of Giovanni Arnolfini and His Bride, 1434.
31. JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, approx. 10 1/4" x 7 1/2". National Gallery, London.
32. MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed), Crucifixion (center panel), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510–1515. Oil on panel This altarpiece was designed for a chapel in a hospital devoted to the treatment of illnesses afflicting the skin. The exaggeration of torture helped patients to identify with their own pain.