Art - 115/220N FRANCO

This was painted by Tintoretto alone, without assistance from his studio. The depiction of Mary with a crown of stars above the sickle moon as the Woman of the Apocalypse and Immaculata, appearing to the Evangelists as if in a vision, is typical of Counter-Reformation veneration of Mary. It has an Italian style with a triangular form making it very central to the piece. It was painted with wet fresco and oil paints on canvas.
This panel depicting the Baptism of Christ, is a replica of the original panel after restoration. Ghiberti’s bronze panel, although still in a medieval quatrefoil shape, is considered one of the earliest examples of Italian Renaissance art. Ghiberti selected the moment in the narrative when Christ is praying, the heavens opened, and the Holy Spirit descended like a dove
The style of this piece is Renaissance/ Altarpiece. The Baptism of Christ was mainly done by Verrochio using tempera on wood. The painting depicts St. John the Baptist during the baptism of the Lord Jesus Christ Two angels on the left side of the painting complete the four figures in the artwork. The scene illustrated by the painting includes God’s extended arms painted with golden rays and dove with its wings widely spread, a halo with cruciform is painted on top of Jesus’ head and another halo on top of St. John the Baptist.
The techniques he used meant carving on marble in very low relief The circumstances of this piece are not known, but it has been suggested that it may have been carved for the altar of the Brancacci Chapel in the Carmine in Florence, the painted decoration of which omits this important scene, or for the base of the St Peter niche on Orsanmichele, in a similar arrangement to the St George.
In a note dating from 1530 the Venetian patrician and art lover Marcantonio Michiel mentions a portrait painted by Raphael of the poet and humanist Pietro Bembo, which he saw in Bembo's house in Padua. The picture was painted in Urbino sometime between 1504 and 1506: in other words it is one of Raphael's early works. As such, the tight space, the motif of the parapet, and the somewhat unnatural positioning of the hands resting on it still betray the influence of Netherlandish models and of Perugino. Bembo became one of the leading figures of Renaissance literary life primarily with his poems written in the style of Petrarch, his treatise on love, Gli Asolani, and his linguistic-stylistic work entitled Prose.
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