Der Maler von Florenz Vom dreizehnten bis zum sechzehnten Jahrhundert. Bild, das seine klare, leuchtende Farbe remarkablefor und für die schönen Engel - Gesichter, Filippino zu wiederholen liebt. Die sametransparent Farbtöne, die gleiche exquisite Boy - Engel, erscheinen in dem großen Bild der Vision von St. Bernard, die er im Jahre 1487 gemalt, um ofPiero Del Pugliese für eine Kapelle im Dorf ofCampora, der Zugehörigkeit zu der Badia von Florenz. Während der Belagerung der Stadt, im Jahre 1529, altarbild wasremoved für Sicherheit an der Badia, wo es immer noch theornament des alten Schrein. Hier Filippino ha

• Bildanbieter: The Reading Room / Alamy Stock Foto
• Bild-ID: 2AKJG87
• Dateigröße: 7,2 MB (525,6 KB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 1541 x 1622 px | 26,1 x 27,5 cm | 10,3 x 10,8 inches | 150dpi

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Dieses Bild ist ein gemeinfreies Bild. Dies bedeutet, dass entweder das Urheberrecht dafür abgelaufen ist oder der Inhaber des Bildes auf sein Urheberrecht verzichtet hat. Alamy berechnet Ihnen eine Gebühr für den Zugriff auf die hochauflösende Kopie des Bildes.

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The painters of Florence from the thirteenth to the sixteenth century . picture, which is remarkablefor its clear, luminous colour and for the lovely angel-faces that Filippino loves to repeat. The sametransparent hues, the same exquisite boy-angels, appear in the great picture of the Vision of St.Bernard, which he painted in 1487, by order ofPiero del Pugliese for a chapel in the village ofCampora, belonging to the Badia of Florence. Duringthe siege of the city, in 1529, this altar-piece wasremoved for safety to the Badia, where it is still theornament of that ancient shrine. Here Filippino hasfar excelled his fathers version of the same subject, and never succeeded in rendering so beautiful an ex-pression as that of St. Bernard as, sitting at his desk, he gazes in love and yearning at the mild Virgin-facewhich has suddenly dawned upon his prayer. To thesame date we may ascribe the Madonna in S. Spirito, with the fine portraits of the donor, Tanai de Nerli, and his wife, who are presented to her by St. Martinand St. Katherine, and a distant view of the Porta. THE VISION OF ST. BERNARD (BADIA)—FILIPPINO LIPPI. {To/ace page 218 1504] VISIT TO ROME 219 S. Frediano, with Tanai alighting from his horse andembracing his little girl. By this time the fame of Filippino had reachedthe ears of Matthias Corvinus, the art-loving Kingof Hungary, who married Beatrice of Aragon, andemployed Leonardo to paint pictures, and Benedettoda Majano to make intarsias, and the young Floren-tine artist received an invitation to this monarchscourt. This, however, he declined, but agreed topaint two altar-pieces, in one of which he introducedthe kings portrait, and which he sent to Hungarywhen he left Florence for Rome, in September 1488.He had been already strongly recommended byLorenzo de Medici to Cardinal Caraffa, who hadsent to Florence for a painter to decorate a chapelin the church of S. Maria Minerva in Rome, andwho was so much pleased with Filippino when hesaw him, that he declared he w

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• bookcentury1900
• bookdecade1900
• bookyear1901
• buchunterlagenmaler