Painting ID:: 63084
Nativity 1488-94 Fresco, 443 x 552 cm Sant'Agostino, Siena Francesco di Giorgio painted two scenes, the Nativity and The Birth of the Virgin, for the decoration of the chapel of family Bichi. Executed with a particular grisaille technique, the frescoes are the culmination of the artist's career as a painter. Artist: FRANCESCO DI GIORGIO MARTINI Painting Title: Nativity , 1451-1500 Painting Style: Italian , , religious
Painting ID:: 63947
Nativity 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Nativity , 1451-1500 , Flemish , painting , religious Netherlandish Northern Renaissance Painter, ca.1410-1473
Painting ID:: 64138
Nativity 1500-05 Oil on oak panel with integrated frame, diameter 27,7 cm Sint-Janshospitaal, Damme This little work is a copy of Memling's Nativity in Cologne (Museum fer Angewandte Kunst) turned into a tondo. Both the composition and the colour scheme correspond. Joseph is wearing a red cape and Mary a dark blue one (which has now almost turned black) with a white garment underneath. This suggests that the prototype was still to be seen in or around Bruges. A few smaller details have been altered: the donkey is turning towards its manger on the right and the Virgin has a round aureole and a dark border to the neckline of her garment. Both these last details point to the early sixteenth century. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1501-1550 , Flemish , painting , religious
Painting ID:: 64145
Nativity 1475-1500 Oil on oak panel, 35,8 x 30,5 cm Detroit Institute of Arts, Detroit The composition was inspired by the central panel of the Bladelin triptych (Berlin, Staatliche Museen) by Rogier van der Weyden. But as with Memling, the Virgin is here in an attitude of prayer (Nativity, Prado, Madrid; Floreins triptych, Memlingmuseum, Bruges). Formerly attributed to Van der Weyden and the Master of the Legend of St Catherine, it came to be regarded as a Bruges work by most art historians who expressed a view about it. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1451-1500 , Flemish , painting , religious
Painting ID:: 64177
Nativity 1400 Tempera on wood, 33 x 21 cm Museum Mayer van den Bergh, Antwerp This small panel originally belonged to a polyptych which was probably conceived as a portable altarpiece or devotional painting, as it could be folded up to a size that would fit readily into a small box or leather pouch. Other panels from the polyptych representing St Christopher and the Resurrection are also in the same museum. The iconography of St Joseph in the Nativity panel is unusual. What we find here is the story of 'Joseph's stockings'. Jesus' father sits at the bottom of the panel, cutting up one of his leggings. Certain Middle Dutch and German Christmas carols tell that the Christ Child was swaddled in cloth cut from this undergarment. Aachen Cathedral once owned a relic said to be 'Joseph's Stockings', which were the subject of intense veneration in around 1400. It is likely, therefore, therefore, that this little panel was produced in the Aachen area (or at least the region between the Meuse and Rhine), probably some time around 1400. , Artist: UNKNOWN MASTER, Flemish , Nativity , 1401-1450 , Flemish , painting , religious
Painting ID:: 64990
Nativity 1200-50 Wood Museu Nacional d'Art de Catalunya, Barcelona The picture shows a detail of an altar frontal from Betese (L?rida). The Neo-Byzantine style of the first half of the thirteenth century is evident in the altar frontal Betesa. This example is from Catalonia, since work of this kind is seldom found in Aragon and Castile. , UNKNOWN MASTER, Spanish , Nativity , 1201-1250 , Spanish , painting , religious
Painting ID:: 94757
Nativity 1529-1530
Type Oil on canvas
Dimensions 256.5 cm ?? 188 cm
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Correggio Italian 1489-1534
Correggio Locations
Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael. Nativity 1529-1530
Type Oil on canvas
Dimensions 256.5 cm ?? 188 cm
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