Jun 12
after 1515 Attributed to Lucas Cranach the Elder - Catherine of Mecklenburg, Duchess of Saxony
(Thiel Gallery)
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after 1515 Attributed to Lucas Cranach the Elder - Catherine of Mecklenburg, Duchess of Saxony
(Thiel Gallery)
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Elements of an Armour, Northern Italian, 1510
From the Philadelphia Museum of Art
Julius Caesar
Andrea di Pietro di Marco Ferrucci Italian
ca. 1512–14
"Ferrucci’s pleasing Julius Caesar exemplifies the delicately ornate, a l’antica style of Florentine sculpture fashionable in the fifteenth and early sixteenth centuries. While the face is strikingly naturalistic and portrait-like, the profuse amount of surface detail seems to disperse rather than unify form and to reduce the scale of the sculpture rather than create a sense of monumentality. The innovations of Michelangelo’s Brutus emerge when it is compared to Ferrucci’s bust. Ten years older than Michelangelo, Ferrucci was described by Vasari as one of those marvelous "sculptors who without knowing at all how to draw on paper nevertheless brings their works to a fine and praiseworthy finish with their chisels." He became head of the workforce at San Lorenzo in 1524, where his expertise in carving marble proved valuable to Michelangelo."
which outfit would you rather wear? (ca. 1510s)
left 💚❤️💛
right 🤍💚🩷💙
discovered via @cuties-in-codices ❤️🩷
Knight, Death and the Devil - art by Albrecht Dürer (1513)
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Michelangelo (1475-1564), Judith and Holofernes, 1508-1512, fresco, Sistine Chapel (x).
Title: A Bishop Saint Blessing Artist: Vittore Carpaccio (Italian [Venetian], 1465-1526) Date: 1514 Genre: religious art (Roman Catholic Christianity) Period: Renaissance (Cinquecento) Movement: Venetian School Medium: oil on panel Location: Philbrook Museum of Art, Tulsa, OK, USA
Vittore Carpaccio, a pupil of Gentile Bellini, painted a number of altarpieces for churches in his native Venice. He was known for his bold use of color and his skill at portraying crowded urban scenes, reflecting the wealthy, prosperous Venetian Republic of his day. However, he received criticism for a perceived conservatism in his style, looking back in some respects to the medieval period, which has led to his relative eclipse in art history compared to his contemporaries such as Giovanni Bellini.
In this painting, a bishop, shown full-length and in full regalia with miter and crozier, holds up his right hand in a gesture of blessing. His identity is unknown.
Source details and larger version.
