LaurieAnnie's photos with the keyword: Madonna

Madonna and Child probably 1440s Jacopo Bellini Italian Object Details Title: Madonna and Child Artist: Jacopo Bellini (Italian, Venetian, active 1424–70) Date: probably 1440s Medium: Tempera on wood, gold ground Dimensions: Overall, with arched top, 34 1/2 x 25 in. (87.6 x 63.5 cm); painted surface 30 1/2 x 21 3/4 in. (77.5 x 55.2 cm) Classification: Paintings Credit Line: Gift of Irma N. Straus, 1959 Accession Number: 59.187 Jacopo Bellini dominated Venetian painting in the middle years of the fifteenth century and was a key figure in the creation of Venetian Renaissance painting. This is one of his rare extant paintings, probably done in the 1440s. Sadly, the surface of the painting has lost most of its pigment. The fine, damaged, frame is original. Text from: www.metmuseum.org/art/collection/search/435645

Madonna and Child probably 1440s Jacopo Bellini Italian Object Details Title: Madonna and Child Artist: Jacopo Bellini (Italian, Venetian, active 1424–70) Date: probably 1440s Medium: Tempera on wood, gold ground Dimensions: Overall, with arched top, 34 1/2 x 25 in. (87.6 x 63.5 cm); painted surface 30 1/2 x 21 3/4 in. (77.5 x 55.2 cm) Classification: Paintings Credit Line: Gift of Irma N. Straus, 1959 Accession Number: 59.187 Jacopo Bellini dominated Venetian painting in the middle years of the fifteenth century and was a key figure in the creation of Venetian Renaissance painting. This is one of his rare extant paintings, probably done in the 1440s. Sadly, the surface of the painting has lost most of its pigment. The fine, damaged, frame is original. Text from: www.metmuseum.org/art/collection/search/435645

Madonna and Child ca. 1505–7 Luca Signorelli (Luca d'Egidio di Luca di Ventura) Italian Object Details Title: Madonna and Child Artist: Luca Signorelli (Luca d'Egidio di Luca di Ventura) (Italian, Cortona, active by 1470–died 1523 Cortona) Date: ca. 1505–7 Medium: Oil and gold on wood Dimensions: 20 1/4 x 18 3/4 in. (51.4 x 47.6 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.13 The artist gave this painting to his daughter as a gift in 1507, possibly to celebrate the birth of a child. A student of ancient art and a master of the human figure, Signorelli was one of the protagonists of Renaissance painting. This picture makes use in the background of highly original decorations partly inspired by motifs popularized by the discovery of the Golden House of Nero in the late fifteenth century. In the upper corners are heads of (left) Domitian and (right) Julius Caesar. Text from: www.metmuseum.org/art/collection/search/437674

Madonna and Child ca. 1505–7 Luca Signorelli (Luca d'Egidio di Luca di Ventura) Italian Object Details Title: Madonna and Child Artist: Luca Signorelli (Luca d'Egidio di Luca di Ventura) (Italian, Cortona, active by 1470–died 1523 Cortona) Date: ca. 1505–7 Medium: Oil and gold on wood Dimensions: 20 1/4 x 18 3/4 in. (51.4 x 47.6 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.13 The artist gave this painting to his daughter as a gift in 1507, possibly to celebrate the birth of a child. A student of ancient art and a master of the human figure, Signorelli was one of the protagonists of Renaissance painting. This picture makes use in the background of highly original decorations partly inspired by motifs popularized by the discovery of the Golden House of Nero in the late fifteenth century. In the upper corners are heads of (left) Domitian and (right) Julius Caesar. Text from: www.metmuseum.org/art/collection/search/437674

Madonna and Child ca. 1505–7 Luca Signorelli (Luca d'Egidio di Luca di Ventura) Italian Object Details Title: Madonna and Child Artist: Luca Signorelli (Luca d'Egidio di Luca di Ventura) (Italian, Cortona, active by 1470–died 1523 Cortona) Date: ca. 1505–7 Medium: Oil and gold on wood Dimensions: 20 1/4 x 18 3/4 in. (51.4 x 47.6 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.13 The artist gave this painting to his daughter as a gift in 1507, possibly to celebrate the birth of a child. A student of ancient art and a master of the human figure, Signorelli was one of the protagonists of Renaissance painting. This picture makes use in the background of highly original decorations partly inspired by motifs popularized by the discovery of the Golden House of Nero in the late fifteenth century. In the upper corners are heads of (left) Domitian and (right) Julius Caesar. Text from: www.metmuseum.org/art/collection/search/437674

Madonna and Child ca. 1290–1300 Object Details Artist: Duccio di Buoninsegna (Italian, active by 1278–died 1318 Siena) Date: ca. 1290–1300 Medium: Tempera and gold on wood Dimensions: Overall, with engaged frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm) Classification: Paintings Credit Line: Purchase, Rogers Fund, Walter and Leonore Annenberg and The Annenberg Foundation Gift, Lila Acheson Wallace Gift, Annette de la Renta Gift, Harris Brisbane Dick, Fletcher, Louis V. Bell, and Dodge Funds, Joseph Pulitzer Bequest, several members of The Chairman's Council Gifts, Elaine L. Rosenberg and Stephenson Family Foundation Gifts, 2003 Benefit Fund, and other gifts and funds from various donors, 2004 Accession Number: 2004.442 This lyrical work inaugurates the grand tradition in Italian art of envisioning the sacred figures of the Madonna and Child in terms appropriated from real life. The Christ Child gently pushes away the veil of his mother, whose sorrowful expression reflects her foreknowledge of his crucifixion. The beautifully modeled drapery enhances their three-dimensional, physical presence and the parapet connects the fictive, sacred world of the painting with the temporal one of the viewer. The bottom edge of the original frame is marked by candle burns. Text from: www.metmuseum.org/art/collection/search/438754

Madonna and Child ca. 1290–1300 Object Details Artist: Duccio di Buoninsegna (Italian, active by 1278–died 1318 Siena) Date: ca. 1290–1300 Medium: Tempera and gold on wood Dimensions: Overall, with engaged frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm) Classification: Paintings Credit Line: Purchase, Rogers Fund, Walter and Leonore Annenberg and The Annenberg Foundation Gift, Lila Acheson Wallace Gift, Annette de la Renta Gift, Harris Brisbane Dick, Fletcher, Louis V. Bell, and Dodge Funds, Joseph Pulitzer Bequest, several members of The Chairman's Council Gifts, Elaine L. Rosenberg and Stephenson Family Foundation Gifts, 2003 Benefit Fund, and other gifts and funds from various donors, 2004 Accession Number: 2004.442 This lyrical work inaugurates the grand tradition in Italian art of envisioning the sacred figures of the Madonna and Child in terms appropriated from real life. The Christ Child gently pushes away the veil of his mother, whose sorrowful expression reflects her foreknowledge of his crucifixion. The beautifully modeled drapery enhances their three-dimensional, physical presence and the parapet connects the fictive, sacred world of the painting with the temporal one of the viewer. The bottom edge of the original frame is marked by candle burns. Text from: www.metmuseum.org/art/collection/search/438754

Madonna and Child Artist: Paolo di Giovanni Fei (Italian, San Quirico, active by 1369–died 1411) Date: 1370s Medium: Tempera on wood, gold ground Dimensions: Overall, with engaged frame, 34 1/4 x 23 1/4 in. (87 x 59.1 cm); painted surface 27 x 16 7/8 in. (68.6 x 42.9 cm) Classification: Paintings Credit Line: Bequest of George Blumenthal, 1941 Accession Number: 41.190.13 Label: This independent panel of the Madonna nursing her child is among the masterpieces of fourteenth-century Sienese painting. It transforms a common, maternal activity into an icon of devotion and is painted with Fei's special feeling for decorative richness and technical refinement. The engaged frame is original, as are the gold-backed, glass medallions with images of the Annunciation, saints, and the head of Christ—a technique known as verre églomisé. The picture may originally have stood on an altar or hung in a domestic interior. Text from: www.metmuseum.org/collection/the-collection-online/search/437248

Madonna and Child probably 1440s Object Details Artist: Jacopo Bellini (Italian, Venetian, active 1424–70) Date: probably 1440s Medium: Tempera on wood, gold ground Dimensions: Overall, with arched top, 34 1/2 x 25 in. (87.6 x 63.5 cm); painted surface 30 1/2 x 21 3/4 in. (77.5 x 55.2 cm) Classification: Paintings Credit Line: Gift of Irma N. Straus, 1959 Accession Number: 59.187 Jacopo Bellini dominated Venetian painting in the middle years of the fifteenth century and was a key figure in the creation of Venetian Renaissance painting. This is one of his rare extant paintings, probably done in the 1440s. Sadly, the surface of the painting has lost most of its pigment. The fine, damaged, frame is original. Text from: www.metmuseum.org/art/collection/search/435645

Santa Teresa alla Kalsa derives its name from an Arab term meaning elected. The church, constructed in 1686-1706 over the former emir's residence, is one of the most outstanding examples of Sicilian Baroque. It has a single, airy nave, with stucco decorations from the early 18th century. Text from Wikipedia: en.wikipedia.org/wiki/Palermo As you can see from the cloth hanging behind the statue in the picture, the church was undergoing extensive renovations on its interior when I visited it.

Madonna, 1958 Salvador Dalí (Spanish, 1904–1989) Oil on canvas; 88 7/8 x 75 1/4 in. (225.7 x 191.1 cm) Gift of Drue Heinz, in memory of Henry J. Heinz II, 1987 (1987.465) Salvador Dalí became an official member of the Surrealist group in 1929, and even after he was expelled by its leader, André Breton, in 1941, his work continued to reflect the influence of Surrealist thought and methodology. Dalí's paintings feature intellectual puzzles and visual ambiguities, and his style is marked by superrealistic illusionism that is used to describe completely unrealistic, fanciful subjects. Madonna is one of several works Dalí made after 1941 that uses classical imagery as the basis for Surrealist invention. Here, he paints two different simultaneous subjects with a profusion of gray and pink dots: a Madonna and Child based on Raphael's Sistine Madonna (Gemäldegalerie, Dresden, after 1513), and a large ear, whose ridged interior surface is defined by the presence of these two figures. Each motif is designed to come into focus at a different distance. At close range, the painting looks completely abstract; from about six feet away, it reveals the Madonna and Child; and from fifty feet, it is what the artist called "the ear of an angel." To the left of the main images is a trompe-l'oeil detail of a red cherry suspended on a string from a torn and folded piece of paper; its shadow is cast onto another piece of paper bearing the signature of the artist. Text from: www.metmuseum.org/toah/ho/11/eusi/ho_1987.465.htm

Madonna, 1958 Salvador Dalí (Spanish, 1904–1989) Oil on canvas; 88 7/8 x 75 1/4 in. (225.7 x 191.1 cm) Gift of Drue Heinz, in memory of Henry J. Heinz II, 1987 (1987.465) Salvador Dalí became an official member of the Surrealist group in 1929, and even after he was expelled by its leader, André Breton, in 1941, his work continued to reflect the influence of Surrealist thought and methodology. Dalí's paintings feature intellectual puzzles and visual ambiguities, and his style is marked by superrealistic illusionism that is used to describe completely unrealistic, fanciful subjects. Madonna is one of several works Dalí made after 1941 that uses classical imagery as the basis for Surrealist invention. Here, he paints two different simultaneous subjects with a profusion of gray and pink dots: a Madonna and Child based on Raphael's Sistine Madonna (Gemäldegalerie, Dresden, after 1513), and a large ear, whose ridged interior surface is defined by the presence of these two figures. Each motif is designed to come into focus at a different distance. At close range, the painting looks completely abstract; from about six feet away, it reveals the Madonna and Child; and from fifty feet, it is what the artist called "the ear of an angel." To the left of the main images is a trompe-l'oeil detail of a red cherry suspended on a string from a torn and folded piece of paper; its shadow is cast onto another piece of paper bearing the signature of the artist. Text from: www.metmuseum.org/toah/ho/11/eusi/ho_1987.465.htm

Artist: Francesco Granacci (Francesco di Andrea di Marco) (Italian, Florentine, 1469–1543) Title: Madonna and Child Date: ca. 1520 Medium: Oil on wood Dimensions: 34 1/8 x 25 3/8 in. (86.7 x 64.5 cm) Classification: Paintings Credit Line: Gift of Mario and Dianne Modestini, in memory of Theodore Rousseau, 2000 Accession Number: 2000.420 Gallery Label: The composition of this picture seems to have been inspired from a sculpture in low relief, most likely by either Donatello or Michelangelo (Granacci had been a fellow pupil with Michelangelo in the workshop of Ghirlandaio.). However, Granacci has made the composition more pictorial by placing the figures in a light-filled room. Another version of the picture by Granacci exists and the same composition was treated by Bacchiacca (Linsky Collection, the Metropolitan Museum). The present picture dates about 1520. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Francesco Granacci (Francesco di Andrea di Marco) (Italian, Florentine, 1469–1543) Title: Madonna and Child Date: ca. 1520 Medium: Oil on wood Dimensions: 34 1/8 x 25 3/8 in. (86.7 x 64.5 cm) Classification: Paintings Credit Line: Gift of Mario and Dianne Modestini, in memory of Theodore Rousseau, 2000 Accession Number: 2000.420 Gallery Label: The composition of this picture seems to have been inspired from a sculpture in low relief, most likely by either Donatello or Michelangelo (Granacci had been a fellow pupil with Michelangelo in the workshop of Ghirlandaio.). However, Granacci has made the composition more pictorial by placing the figures in a light-filled room. Another version of the picture by Granacci exists and the same composition was treated by Bacchiacca (Linsky Collection, the Metropolitan Museum). The present picture dates about 1520. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...