ART 7

 

A R T  

Ambrogio Lorenzetti Madonna mit dem Kinde.tif
 

Andrea di Bartolo Diptych Annunciation c. 1383 Museum of Fine Arts, Budapest.

 

Anonimo maestro di cultura pisana, Pannello con figura di angelo, inizio del secolo xiv
Mongolo1984 - Own work

 

Bhadrakali, bronze, 14th century, Government Museum, Chennai (1)

 Richard Mortel from Riyadh, Saudi Arabia - Bhadrakali, bronze, 14th century, Government Museum, Chennai 

Bhadrakali, bronze, 14th century, Government Museum, Chennai (2) 

Richard Mortel from Riyadh, Saudi Arabia - Bhadrakali, bronze, 14th century, Government Museum, Chennai

 

Bhadrakali, bronze, 14th century, Government Museum, Chennai (3) 

Richard Mortel from Riyadh, Saudi Arabia - Bhadrakali, bronze, 14th century, Government Museum, Chennai

 

 

Capella degli Scrovegni (Padova)
 

Capella degli Scrovegni - Padua Parete destra 02

© José Luiz Bernardes Ribeiro

 

Compianto sul Cristo morto di Giotto di Bondone de la Capilla Scrovegni

Gennadii Saus i Segura and one more author - Own work

 

Giotto di Bondone - No. 40 The Seven Virtues - Prudence

 Created: 1306

 

 

Giotto di Bondone - No. 41 The Seven Virtues - Fortitude

Created: 1306

 

Giotto di Bondone - No. 42 The Seven Virtues - Temperance
 Created: 1306

 

Giotto di Bondone - No. 43 The Seven Virtues - Justice 

 Created: 1306
 

 

Giotto di Bondone - No. 45 The Seven Virtues - Charity

  Created: 1306

 

Giotto di Bondone - No. 46 The Seven Virtues - Hope

  Created: 1306

 

 

Giotto - Scrovegni - -47- - Desperation.

Created: between circa 1305 and circa 1306

Giotto di Bondone - No. 48 The Seven Vices - Envy

 Created: 1306

 

Giotto di Bondone - No. 49 The Seven Vices - Infidelity
Created: 1306

 

Giotto - Scrovegni - -51- - Wrath
Created: 1306

 

Giotto di Bondone - No. 52 The Seven Vices - Inconstancy
Created: 1306

 

Giotto di Bondone - No. 53 The Seven Vices - Foolishness
  Created: 1306

 

Giotto di Bondone (1267-1337), Cappella degli Scrovegni a Padova, Allegorie delle Virtù: Fides (Fede, Faith).
Created: 1306 

Giotto di Bondone - Decorative bands

Created: between 1304 and 1306

Identifier: giotto00dese (find matches) Title: Giotto Year: 1905 (1900s) Authors: De Selincourt, Basil, 1876- Subjects: Giotto, 1266?-1337 Publisher: London : Duckworth and Co. New York, C. Scribner's Sons Contributing Library: Harold B. Lee Library Digitizing Sponsor: Brigham Young University View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: nights and ladies too muchdelighted in. Nevertheless, Giottos main idea abouthim is clearly that he sits in the gate ^ pacifically, witha cloak thrown over his chain armour (you can just seethe links of it appear at his throat) and a plain citizenscap for a helmet, and his sword sheathed, while allrobbery and violence have way in the wild places abouthim—he heedless. The types of feature and expression chosen for Justiceand Injustice are peculiarly suggestive when consideredin mutual opposition. Both are distinguished andintellectual ; but the one broad and placid, serenelymeditating upon large and distant issues, the other alertand keen, watching sharply for the immediate materialadvantage. Faith and Infidelity. Faith is very nobly represented. She is a tall figure,but the staff in her right band, which the Cross sur-mounts, is taller than she. Its end rests upon a brokenidol, which Faith further spurns with her right foot.The first words of the Creed appear upon a scroll, that i I Text Appearing After Image: Photo, Alinari\ INFIDELITY iArena ChapelTo face p. 159 THE ARENA CHAPEL AT PADUA 159 is raised in her left hand, and instead of falling, seems,of its own accord, to rise as it unrolls. This heavenwardtendency is a marked characteristic of the whole figure,and with the crown or mitre, which rises to a peak aboveher head, sets her in clear relation to the spirit, which,in church architecture, finds expression in the spire.Two angels bend from heaven to converse with her.Its key hangs at her waist. She treads upon cabalisticbooks, and slits in her robe are probably to be taken assigns of martyrdom. Infidelity offers a perfect contrast. According toRuskin and Lord Lindsay he totters upon his feet, anidea reasonable enough in itself, and repeated by laterwriters; but surely not the idea Giotto intended toconvey. Infidelity, like Injustice, is regarded by Giottoas a peculiarly masculine vice, with sordid self-satisfactionfor its essence. He presents to the world a miniatureidol of his own m Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Identifier: giotto00dese (find matches) Title: Giotto Year: 1905 (1900s) Authors: De Selincourt, Basil, 1876- Subjects: Giotto, 1266?-1337 Publisher: London : Duckworth and Co. New York, C. Scribner's Sons Contributing Library: Harold B. Lee Library Digitizing Sponsor: Brigham Young University View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: may be of value inguiding the mind to the central idea, and may oftenawaken associations of the most far-reaching kind, butif the realisation of the central idea itself is incomplete,no combination of accessories, however ingenious, canproduce a genuine work of art. The equipment ofGiottos Fortitude could hardly be made more sug-gestive than he has made it. A lion-skin is tiedby the paws about her waist and shoulders, and thejaw rests as helmet upon her head; her tower-likeshield presents a lion rampant to the foe whose arrowsand javelins it has already shattered; heavily coatedwith steel and leather, she stands on the watch, withweapon prepared to strike. Yet fortitude is not theeffect conveyed: the face is of a brutal type, and theform so large and coarse as to command horror ratherthan respect. This seems the figure of one for whomdanger can have no meaning, rather than of one whoestimates it at its true worth. Yet Giottos intentionbecomes clearer after consideration of the vice he Text Appearing After Image: Photo, Ali7iari\ \_Arena Chapel TEMPERANCE To face p. 155. THE ARENA CHAPEL AT PADUA 155 opposes to Fortitude, which is not Fear or Cowardice,but Inconstancy. He pictures her in the attempt tobalance herself upon a wheel that rolls down a slopepaved with smooth marble; a part of her dress iscaught up by the wind into the likeness of a secondwheel behind her head; she throws one arm up, theother down, in a futile effort to gain the equilibrium;her limbs are limp, and the expression of her facevacant. This is clearly the image of one who is at themercy of every breath of circumstance, whereas Fortitudestands rooted to earth with a rock-like resolution. Temperance and Wrath. Giotto is not content to follow the custom of histime and suggest a Temperance opposed only toGluttony, bearing a pitcher of water in her hand: hisconception, as Ruskin points out, is far nearer to theGreek a-wtjipoavvn, moderator of all the passions. Heuses a delicate and complex symbolism to enforce thisidea. A bit Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

 

Interno della chiesa di Nostra Signora d'Ungheria, affreschi, dopo il 1390. Nel Medioevo l'intero santuario era decorato con affreschi, cosa rara presso i francescani. Il loro stile mostra la pittura del primo Rinascimento italiano (trecento). - Piazza Fő, Keszthely, Contea di Zala, Ungheria. Globetrotter19 - Opera propria

 

Kali
Mostra temporanea intorno alla Donazione Lamairesse. Granito, XIV o XVII secolo. G.Garitan - Opera propria

 

Maestro di Giano, Figura virile stante, attivo a Genova tra 1307 - 1312 circa 01.
 Mongolo1984 - Own work

 

Maestro di Giano, Figura virile stante, attivo a Genova tra 1307 - 1312 circa 02.
 Mongolo1984 - Own work
 

Padova: Cristo morto, affresco di Giotto nella cappella dell’Annunziata (xilografia).

 Giotto - Strafforello Gustavo, La patria, geografia dell’Italia. Provincie di Verona, Vicenza e Padova. Unione Tipografico-Editrice, Torino, 1903.

 

Pavimento della cappella degli affreschi della chiesa di San Domenico Maggiore di Napoli. In primo piano la lastra tombale di Giovanni Francesco Brancaccio 

IlSistemone - Own work

 

Pietro Cavallini - Crucifixion
Created: circa 1308 

 

Raising of Lazarus  
Giotto di Bondone - Scenes with decorative bands Created: between 1303 and 1305

 

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 01.

  Sailko - Own work

 

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 02.

  Sailko - Own work

 

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 03.

  Sailko - Own work

 

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 04.

  Sailko - Own work

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 05.

  Sailko - Own work

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 06.

  Sailko - Own work

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 10.

  Sailko - Own work

 

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 11.

  Sailko - Own work

"San Domenico Maggiore - Cappella Brancaccio" 

Affreschi di pietro cavallini (1308-09 ca.) 12.

  Sailko - Own work

 

 

 

Scultore campionese (Maestro di Giano), Madonna col Bambino, attivo a Genova 1307-1312 circa 01
Mongolo1984 - Own work

Scultore campionese (Maestro di Giano), Madonna col Bambino, attivo a Genova 1307-1312 circa 02
Mongolo1984 - Own work

 

Scultore campionese (Maestro di Giano), Madonna col Bambino, attivo a Genova 1307-1312 circa 03
Mongolo1984 - Own work
 

Seconda campata navata destra, Cappella Brancaccio o degli affreschi

 Effems - Own work 

"San Domenico Maggiore - Cappella Brancaccio"

 

Sepolcro di Anastasia Ilario (m 1934) nella Cappella degli affreschi (o Brancaccio) - Chiesa di San Domenico Maggiore di Napoli 

IlSistemone - Own work

 

Taddeo di Bartolo-Vierge et Enfant
 Created: circa 1390

 

Taddeo di bartolo, Virgin and Child with St John the Baptist and St Andrew.
 Created: circa 1395

 

The lamentation over the dead Christ
Fresque de Giotto, chapelle des Scrovegni à Padoue

Filo gèn' and one more author - Own work 

 

Tile with Niche Design
Created: early 14th century

 

Velemer, Chiesa della Santissima Trinità. ©© Andor Derzsi Elekes, Budapest, 2015, La copia e l'uso della fotografia è consentito dall'autore senza compenso. La licenza copre anche l'uso commerciale. Tuttavia, chiede che il suo nome sia indicato durante l'uso. Tutte le immagini e i filmati della serie Metapolisz sono sotto Creative Commons. può essere utilizzato anche per scopi commerciali - a scopo di lucro. Riferimento consigliato: Andor Elekes Derzsi: Metapolisz DVD line http://nektar.oszk.hu/en/manifestation/2623913 Andor Elekes Derzsi - Opera propria