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TITOLO
Predica di San Marco in una piazza di Alessandria d’Egitto
AUTORE
Gentile Bellini e Giovanni Bellini
DATA
1504-1507
MATERIA E TECNICA
Olio su Tela
DIMENSIONI
cm 347 × 770
INVENTARIO
160
SALA
VIII
OPERA ESPOSTA
Adriaen Pietersz. van de Venne (Delft, 1589 approx. - The Hague, 12 November 1662) - winter (1614) Dimensions 43 x 68cm - Gemäldegalerie, Berlin
Instalação ou intervenção arquitetônica que leva o nome "Tome Seu Tempo", do artista dinamarquês Olafur Eliasson. A estrutura foi criada originalmente em 2008, com uma estrutura metálica, um motor, uma unidade de controle, aço e película de espelho. O projeto se adaptou muito bem à Pinacoteca de São Paulo e faz parte da exposição "Seu Corpo da Obra". Trata-se de um gigantesco espelho, em formato circular e em movimento contínuo, com algumas divisões que interferem na imagem dos espectadores que se observam nele. Para ver de fato toda a estrutura é necessário deitar no chão. Isso acaba provocando um efeito muito relaxante e a instalação se transforma numa imensa cama coletiva para os apreciadores desta obra de arte. "Relaxe e Goze", como diria a grande senadora brasileira Marta Suplicy. Armados com suas câmeras fotográficas ou não, os visitantes são muito inventivos e fazem desenhos com seus corpos projetados na superfície espelhada. Uma mostra de como a arte contemporânea pode dizer muitas coisas e propor de fato uma interação criativa com o público, de uma maneira própria aos materiais plásticos vivenciados presencialmente.
Instalación o intervención arquitectónica que lleva el nombre "Take Your Time" por el artista danés Olafur Eliasson. La estructura fue creada originalmente en 2008, con una estructura de metal, un motor, una unidad de control, el acero y la película de vidrio. El proyecto se ha adaptado muy bien a la Pinacoteca de Sao Paulo y es parte de la exposición "Su cuerpo de la obra." Se trata de un espejo gigante, circular y en continuo movimiento, con algunas divisiones que interfieren en la imagen de los espectadores que lo ven. Para ver realmente toda la estructura es necesario tumbarse en el suelo. Esto termina causando un efecto muy relajante y la instalación se convierte en una cama colectiva enorme para los amantes de esta obra de arte. "Relájate y Disfruta", cómo hibla a hablar la gran senadora brasileña Marta Suplicy. Armados con sus cámaras o no, los visitantes son muy inventivos y dibujos se han diseñado con sus cuerpos en la superficie del espejo. Un ejemplo de cómo el arte contemporáneo puede significar muchas cosas y, de hecho, propone una interacción creativa con el público de una manera apropiada a los materiales plásticos con experiencia en persona.
Installation or architectural intervention that carries the name "Take Your Time" by Danish artist Olafur Eliasson. The structure was originally created in 2008, with a metal frame, a motor, a control unit, steel and glass film. The project has adapted very well to the Pinacoteca in Sao Paulo and is part of the exhibition "Your Body of the Work." It is a giant mirror, circular and with continuous movement, with some divisions that interere in the image of the viewers who watch it. To actually see the entire structure is necessary to lie on the floor. This ends up causing a very relaxing effect and the installation becomes a huge collective bed for lovers of this work of art. "Relax and Enjoy", as would speak the great brazilian Senator Marta Suplicy. Armed with their cameras or not, visitors are very inventive and drawings are designed with their bodies on the mirrored surface. An example of how contemporary art can mean many things and in fact propose a creative interaction with the public in a proper way to plastic materials experienced in person.
St. Mark Preaching in Alexandria is an oil painting by Gentile and Giovanni Bellini, dated to 1504-1507, and held in the Pinacoteca di Brera, in Milan.
The work is a huge canvas (telero) destined for the Scuola Grande di San Marco in Venice. It is 26m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.
The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.
The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East (where the Republic had sent him in 1479 in the entourage of a discretionary mission) is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.
It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.
The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco (Great Confraternity of St. Mark) in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.
The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.
The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.
The background of the painting is overpowered by the assortment and distinction of various building structures and models that are reflected by the painted cityscape. In one manner or the other, the various buildings all appear to insinuate a wide range of Eastern Mediterranean architectural types. To indicate just a portion of the implications: The gigantic structure in the focal point of the square, for instance, looks to some extent like Eastern holy places. With its structure of round curves, its marble-shaded façade adornments, and glossy vault covers, it reviews a portion of the primary qualities of early Byzantine holy places. The most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.
This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.
Leonardo da Vinci (1452-1519) Mobile bridges (1490-93) pen, ink and watercolor - Codex Atlanticus - Biblioteca/Pinacoteca Ambrosiana Milan
Un'arma bellica come questa non pare essere stata pensata o progettata prima di Leonardo. Il cuore di questa ingegnosa "invenzione" è costituito da una struttura rotante dentata, munita di otto file di nove canne ciascuna; abbassando e alzando la leva manovrabile dalla parte posteriore dell'arma, la ruota dentata dovrebbe progressivamente avanzare, portando in posizione di tiro le varie file di canne, l'una dopo l'altra. In questo modo si poteva assicurare, in un breve spazio di tempo, lo sparo multiplo di settantadue colpi.
A weapon of war like this does not seem to have been conceived or designed before Leonardo. The heart of this ingenious "invention" consists of a toothed rotating structure, equipped with eight rows of nine barrels each; by lowering and raising the lever operated from the rear of the weapon, the toothed wheel should progressively advance, bringing the various rows of barrels into shooting position, one after the other. In this way, the multiple firing of seventy-two rounds could be assured in a short space of time.
Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - The defeat of Sennacherib (1617) Oil on oak panel - dimensions 97.7 x 122.7 cm - Alte Pinakothek Munich
Si tratta di un episodio piuttosto raro in pittura, l'evento raffigurato è descritto nel Secondo Libro dei re della Bibbia.
Sennacherib, re assiro, aveva cinto d'assedio Gerusalemme, determinato a distruggerla. Ezechia, re di Giuda, invocò l'intervento divino in difesa della città, mentre l'esercito assiro si era acquartierato sotto le mure di Gerusalemme.
La preghiera di Ezechia, come aveva profetato Isaia, trovò ascolto e «in quella notte l'angelo del Signore scese e percosse nell'accampamento degli Assiri centottantacinquemila uomini. Quando i superstiti si alzarono al mattino, ecco, quelli erano tutti morti» (2 Re; 19,35). Sennacherib sciolse l'assedio e tornò a Ninive dove poi morì.
It is a rather rare episode in painting, the event depicted is described in the Second Book of the kings of the Bible.
Sennacherib, Assyrian king, had besieged Jerusalem, determined to destroy it. Hezekiah, king of Judah, invoked divine intervention in defense of the city, while the Assyrian army was quartered under the walls of Jerusalem.
Hezekiah's prayer, as Isaiah had prophesied, was heard and "on that night the angel of the Lord came down and struck one hundred and eighty-five thousand men in the Assyrian camp. When the survivors got up in the morning, behold, they were all dead "(2 Kings; 19:35). Sennacherib lifted the siege and returned to Nineveh where he later died.
Nicola Pisano ((Niccolò di Bartolomeo dell'Abrugia) (1499-1538)
Madonna and Child with St. James of Galicia and St. Helena, 1512-14
Oil on canvas
cm 225 x 173
This painting adorned an oratory under the patronage of Isabella of Aragon, who also endowed it with a relic of the True Cross. Isabella was a guest at the court of Ferrara after her husband repudiated her. This explains the presence both of St. Helena, who rediscovered the cross on which Jesus was crucified, and of the Spanish St. James of Galicia (or Compostella). The composition is not especially original, but the untroubled gestures and subtly melancholic expressions imbue the picture with a pleasing charm.
Saint Tecla and Saint Paul..
Egg tempera on canvas; Franco-Gothic style; uniform blue background and golden nimbus. Work of around the year 1330.
It comes from the Cathedral and decorated the inside of the doors of the primitive reliquary of Santa Tecla, built on the wall to the right of the presbytery by Patriarch D. Juan de Aragón (1334) and below which is his magnificent tomb.
It measures 0.83 x 0.55 m.
SANTA TECLA Y SAN PABLO.
Pintura al temple de huevo sobre tela; estilo franco-gótico; fondo azul uniforme y nimbos dorados. Obra de alrededor del año 1330.
Procede de la Catedral y decoraba la parte interior de las puertas del primitivo relicario de Santa Tecla, construido en el muro de la derecha del presbiterio por el Patriarca D. Juan de Aragón (1334) y debajo del cual tiene su magnífico sepulcro.
Mide 0,83 x 0,55 m.
Milan's most famous antique and modern art gallery, with over 24,000 square meters of surface area.
Galleria nazionale d'arte antica e moderna più famosa di Milano, con oltre 24 mila metri quadri di superficie.
CALVARY. Egg tempera on canvas; Franco-Gothic style; uniform blue background and golden nimbus. Work from around the year 1330. It measures 0.83 x 0.55 m. Twin of the table of Santa Tecla and San Pablo, with the same style and technical characteristics and of the same measurements.
Cathedral Museum, Tarragona, Catalonia.
CALVARIO. Pintura al temple de huevo sobre tela; estilo franco-gótico; fondo azul uniforme y nimbos dorados. Obra de alrededor del año 1330. Mide 0,83 x 0,55 m. Gemela de la tabla de Santa Tecla y San Pablo, con las mismas características de estilo y técnica y de iguales medidas.
Museo catedral , Tarragona, Cataluña.
Ejercicios desde la ciudad. Sala 3, Pinacoteca Universidad de Concepción. 47 mt2
Octubre 2015.
Visita Virtual en 360° pinacoteca360.udec.cl/ren.html
Altarpiece of Saint John and Saint Margaret of Antioquia
Altarpiece worked in a single piece, by an anonymous author, painted in tempera on pine wood and with pastillaje reliefs. It shows the moment of transition between the end of linear Gothic and the arrival of Italianism, around 1350. The central compartments are dedicated to the titular saints: Saint John the Baptist and Saint Margaret of Antioch. The altarpiece is presided over by a Calvary. On the left are three episodes from the life of Saint John and on the right, as many from the life of Saint Margaret. From the old church of Alcover.
Diocesan Museum, Tarragona, Catalonia.
Retablo de san Juan y santa Margarita de Antioquía
Retablo trabajado en una sola pieza, de autor anónimo, pintado al temple sobre madera de pino y con relieves de pastillaje. Evidencia el momento de transición entre el fin del gótico lineal y la entrada del italianismo, hacia 1350. Los compartimentos centrales están dedicados a los santos titulares: san Juan Bautista y santa Margarita de Antioquía. Preside el retablo un Calvario. A la izquierda se muestran tres episodios de la vida de san Juan y a la derecha, otros tantos de la vida de santa Margarita. Procedente de la iglesia antigua de Alcover.
Museo diocesano , Tarragona, Cataluña.
Jacopo Palma il Vecchio, pseudonym of Jacomo Nigretti de Lavalle (Serina, 1480 - Venice, 1528) - Holy Family (1515) - Gemäldegalerie, Berlin
Geertgen tot Sint Jans (Leiden, 1460 - Haarlem, 1490) - Madonna and Child (1487) - oil on oak wood 81 x 52 cm. - Gemäldegalerie, Berlin
Pietro Longhi (1702-1785)
The Tooth Puller, 1746 – 52 (detail)
Oil on canvas
cm 50 x 62
Longhi illustrates daily life in the Venice of his day, adopting a form of genre painting that reveals his acute observation of contemporary society, its habits and its surroundings. His art focuses on all classes of society as we can see in the Tooth Puller, in which aristocrats and plebeians alike display an interest in events in the city. The painting is signed beneath the stool.
ALTARPIECE DEDICATED TO SAN PEDRO APOSTLE.
Egg tempera on panel; gold and dotted backgrounds and nimbus. Work of the painter Ramón de Mur, according to a contract signed on 29-X-1420. It comes from the parish of Vinaixa;
It is made up of a central table with two compartments, with Calvary and Saint Peter with the tiara and the keys and seated on a throne; measures 1.77 x 0.60 m. (Plate X, 1);
two lateral panels, with three compartments, with scenes from the story of Saint Peter: on the left panel, Christ and Peter walking on the water, handing over the keys to Saint Peter and Saint Peter and Saint Paul before Nero in the scene of the flight frustrated by Simon Mago; in the other, Peter is released from prison by an angel, a scene from the Quo vadis? and crucifixion of Saint Peter; each measure 1.60 x 0.54 m.;
a predella with seven compartments, with busts of saints: S. Bernardo, Sta. Catalina, the Virgin Dolorosa, Cristo Doloroso, S. Juan Ev., Sta. Tecla and S. Pablo; measures: 0.31 x 1.75 m.
Gothic art gallery of the cathedral museum, Tarragona, Catalonia.
RETABLO DEDICADO A SAN PEDRO APÓSTOL.
Pintura al temple de huevo sobre tabla; fondos y nimbos dorados y puntillados. Obra del pintor Ramón de Mur, según contrato firmado el 29-X-1420. Procede de la parroquia de Vinaixa;
Está compuesto de una tabla central de dos compartimientos, con Calvario y San Pedro con la tiara y las llaves y sentado en trono; mide 1.77 x 0.60 m. (Lámina X, 1);
dos tablas laterales, de tres compartimientos, con escenas de la historia de San Pedro: en la tabla izquierda, Cristo y Pedro caminando sobre las aguas, entrega de las llaves a San Pedro y San Pedro y San Pablo ante Nerón en la escena del vuelo frustrado de Simón Mago; en la otra, Pedro es liberado de la cárcel por un ángel, escena del Quo vadis? y crucifixión de San Pedro; miden, cada una, 1.60 x 0.54 m.;
una predela de siete compartimientos, con bustos de santos: S. Bernardo, Sta. Catalina, la Virgen Dolorosa, Cristo Doloroso, S. Juan Ev., Sta. Tecla y S. Pablo; medidas: 0.31 x 1.75 m.
Pinacoteca gotica del museo de la catedral, Tarragona, Cataluña.
Table with the Virgin and Child Jesus.
Egg tempera on panel; gold and dotted backgrounds and nimbus. Work attributed to the painter Vidal (1450-1451). Gothic art gallery of the cathedral museum, Tarragona, Catalonia.
Tabla con la Virgen y el Niño Jesus.
Pintura al temple de huevo sobre tabla; fondos y nimbos dorados y puntillados. Obra atribuida al pintor Vidal (1450-1451). Pinacoteca gotica del museo de la catedral, Tarragona, Cataluña.
Altarpiece dedicated to the Virgin
Egg tempera on panel; gold and dotted backgrounds and nimbus. Signed work by Mateo Ortoneda (1420-1430). It comes from the parish of Solivella;
This is one of the side panels with the Adoration of the Magi.
Gothic art gallery of the cathedral museum, Tarragona, Catalonia.
Retablo dedicado a la Virgen
Pintura al temple de huevo sobre tabla; fondos y nimbos dorados y puntillados. Obra firmada de Mateo Ortoneda (1420-1430). Procede de la parroquia de Solivella;
Esta es una de las tablas laterales con la Adoración de los Magos.
Pinacoteca gotica del museo de la catedral, Tarragona, Cataluña.