View allAll Photos Tagged Signorelli
Ferdinad Heilbuth (1826-89) - The painter Luca Signorelli at the corpse of his son slayed by a rival, 1859
Obverse: Laureate head of Nero right. At right, incised palm. NEROCLAVDIVSCAESARAVGGERPMTRPIMPPP Reverse: Hunter to right, spearing boar. In field, shield.
Provenance
By date unknown: Henry Platt Hall Collection; by 1950: with Glendining & Co., Ltd., 7 Blenheim Street, New Bond Street, London W1 (auction of the Hall Collection, November 16-17, 20-21, lot 2141 [from the Signorelli Collection and from Von Schennis sale, 1913, lot 1536 and Cantoni sale, November 1920, lot 1294]); by 1971: with Münzen und Medaillen A.G., Malzgasse 25, Basel, Switzerland; purchased by MFA from Münzen und Medaillen, A.G., September 15, 1971
Credit Line
Theodora Wilbour Fund in memory of Zoë Wilbour
Roman, Imperial Period, Mid–late 4th century A.D.
Mint
Rome
Dimensions
Diameter: 38.5 mm. Weight: 22.93 gm. Die Axis: 7
Accession Number
1971.291
Medium or Technique
Bronze
Monte Oliveto Maggiore.
The Great Cloister 1426-1443.
Fresco cycle on the Life of Saint Benedict, by Sodoma (1505) and Luca Signorelli (1495).
Europe 2018 (day 5), August 19, 2018.
Firenze / Florence.
Galleria degli Uffizi / Uffizi Gallery.
Sacra Famiglia / Holy Family (c. 1486-1490), Luca Signorelli (1455-1523).
©2018 - Lewis Brian Day. All rights reserved.
Not to be reproduced in any format or via any platform without express written permission.
Copyright protection asserted.
Shots of the Sodoma/Signorelli frescoes of scenes from the life of St Benedict in the Cloister at Monteoliveto Maggiore (1503 to 1508). They repay viewing at original size.
The church of San Nicolo in Cortona was built in about 1440. It has a high altarpiece by Luca Signorelli and a delicate wood-coffered ceiling.
Rider from the Cooperative Extension Service team in front of the Jack Stephens Center at the University of Arkansas-Little Rock, near the finish line of the Bike to Work commute. (U of A System Division of Agriculture photo by Mary Hightower)
Inside the Palazzo Communale the City Collection, as the Municipal Arts collection is also called, includes works of artists from Bologna. Among these are works of Canova, Gentileschi, Hayez, Signorelli, Tintoretto. The display includes silverware, glassware, lace and much more. Most of the paintings are from the 14th to the 19th century.
MONTE OLIVETO MAGGIORE
ligt even ten zuiden van Asciano in de Italiaanse provincie Siena (regio Toscane).
In het midden van deze Crete Senesi, in het meest dorre deel ervan, ligt tussen hoge, donkere cipressen de abdij. Ze werd in 1313 gesticht door enkele edelen uit Siena die heimwee hadden naar de eenvoud van de benedictijner kloosterregel. Amper zes jaar later erkende de paus de orde van de Olivetanen.
Gesteund door bemiddelde lieden werd de abdij een soort elite kluizenarij in Midden Toscane. In de 15e eeuw werd een ambitieus bouwprogramma uitgevoerd, waardoor het klooster een monument van de Quattrocento architectuur en kunst werd. Het mooie asymmetrische poorthuis, versierd met een terracotta van Andrea della Robbia vormt een waardige toegang tot het geheel. Het interieur van de goed geproportioneerde abdijkerk uit 1417 heeft een uitzonderlijk stel koorbanken van ingelegd hout. Ze zijn het werk van de grootmeester in dit genre, Fra Giovanni da Verona en vertegenwoordigen het beste wat er in Italië op dit vlak is te zien. De grootste schat van het klooster is evenwel de grote kruisgang die versierd is met 36 fresco's die het leven van de heilige Benedictus van Nursia uitbeelden. Negen ervan zijn het werk van Luca Signorelli (1497-1499), de overige van Il Sodoma (na 1505)
Alhoewel Napoleon het klooster in 1810 ophief, werkt hier nog steeds een groep paters, gespecialiseerd in het herstellen van oude boeken. Sinds 1899 valt de abdij met het omliggende gebied als territoriale abdij onder direct gezag van de Heilige Stoel.
Inside the Palazzo Communale the City Collection, as the Municipal Arts collection is also called, includes works of artists from Bologna. Among these are works of Canova, Gentileschi, Hayez, Signorelli, Tintoretto. The display includes silverware, glassware, lace and much more. Most of the paintings are from the 14th to the 19th century.
There are evident influences from Florence in the painting, but the crowded figures and their complex, foreshortened poses look forward to Signorelli's frescoes in the chapel of San Brizio in the cathedral at Orvieto.
The cloister at Monteoliveto Maggiore where the Sodoma/Signorelli frescoes (1503 to 1508) of scenes from the life of St Benedict are located.
Edición especial Día de la Mujer de Uterinando, acontecimiento por mujeres, organizado por el colectivo EPTM (Encuentro Permanente de Teatristas de Morón Independientes)
Exposición:
Nina Signorelli Heim
Agustina Patrón
Gabriela Pascual
Por la sala pasarón:
Miriam De Luca y Laura Rodríguez con "Vidita Cruel"
Ayelén Rodríguez con "Plusvalía, explosión de la explotación"
una performance en trapecio
Cecilia Moreno Ocampo - Vane Conedera
Claudio Sanabria - Jeremías García en "La maté porque era mía"
Maicha Zaballa y Lucía Méndez con
"Suripantas, humor musical"
Ana González Seligra y Mercedes Di Napoli
danzando y cantando contra la trata
Y Ciela Asad compartirá sus poemas
-------------------------------
Foto y Edición: Damián Ríos
Shots of the Sodoma/Signorelli frescoes of scenes from the life of St Benedict in the Cloister at Monteoliveto Maggiore (1503 to 1508). They repay viewing at original size.
PANYNJ Table - Front:( L-R) Ida Perich; Denise Berger; Amanda Rogers;
Back: (L-R) Kelly Eustice; Beth Siegel; Robert Foreman; Tahvia Francis; Thomas Amoia; Bruno Signorelli
LESSON -- Aly Signorelli talks about performing a pre-ride safety checkist during the March 30 session of Friday Ride Day, an employee wellness initiative at the University of Arkansas Cooperative Extension Service that also includes members of the UALR staff. (U of Arkansas System Division of Agriculture photo by Mary Hightower)
Edición especial Día de la Mujer de Uterinando, acontecimiento por mujeres, organizado por el colectivo EPTM (Encuentro Permanente de Teatristas de Morón Independientes)
Exposición:
Nina Signorelli Heim
Agustina Patrón
Gabriela Pascual
Por la sala pasarón:
Miriam De Luca y Laura Rodríguez con "Vidita Cruel"
Ayelén Rodríguez con "Plusvalía, explosión de la explotación"
una performance en trapecio
Cecilia Moreno Ocampo - Vane Conedera
Claudio Sanabria - Jeremías García en "La maté porque era mía"
Maicha Zaballa y Lucía Méndez con
"Suripantas, humor musical"
Ana González Seligra y Mercedes Di Napoli
danzando y cantando contra la trata
Y Ciela Asad compartirá sus poemas
-------------------------------
Foto y Edición: Damián Ríos
National Gallery, London.
Coriolanus persuaded by his Family to spare Rome
about 1509, Luca Signorelli.
This painting is part of the group: Three Frescoes from Palazzo del Magnifico, Siena.
In this major altarpiece by Luca Signorelli, the enthroned Madonna and Child is accompanied by four saints, two of whom stand upon the base which supports her throne. A lute-playing angel, seated beneath the Virgin, intently tunes his instrument. Below a transparent glass with flowers casts a shadow, revealing the light source from the left.
Edición especial Día de la Mujer de Uterinando, acontecimiento por mujeres, organizado por el colectivo EPTM (Encuentro Permanente de Teatristas de Morón Independientes)
Exposición:
Nina Signorelli Heim
Agustina Patrón
Gabriela Pascual
Por la sala pasarón:
Miriam De Luca y Laura Rodríguez con "Vidita Cruel"
Ayelén Rodríguez con "Plusvalía, explosión de la explotación"
una performance en trapecio
Cecilia Moreno Ocampo - Vane Conedera
Claudio Sanabria - Jeremías García en "La maté porque era mía"
Maicha Zaballa y Lucía Méndez con
"Suripantas, humor musical"
Ana González Seligra y Mercedes Di Napoli
danzando y cantando contra la trata
Y Ciela Asad compartirá sus poemas
-------------------------------
Foto y Edición: Damián Ríos
U of Arkansas Cooperative Extension Service team pauses in front of the state Capitol during a stop on its National Bike to Work Day ride on May 18, 2012. The team has been training for eight weeks as part of an employee wellness initiative. (University of Arkansas System Division of Agriculture photo by Mary Hightower)
The picture shows the wainscoting to the right of the entry. In the tondo a young man wearing turban, identified as Empedocles, a Greek philosopher (ca. 490-430 BC), leans out of the window to watch the Apocalypse. On a small tablet set in among the grotesques, the painter's initials "LS" can be seen.
If we look carefully at the anthropomorphic decorations, crowded with naked bodies in an incredible variety of poses, or the convulsive violence (that Scarpellini has compared to action painting) that runs through some of the foliage patterns or the groups of tritons and naiads like an electric current, we can really begin to understand Signorelli's great ability as a draughtsman, a talent that is further confirmed by his drawing production.
This theatre, with a cafe outside, is on the Piazza Signorelli just a short uphill walk from the City Hall.
Artwork: Saint Michael (Whole and details)
Artist: Piero della Francesca (born Piero di Benedetto; c. 1415[1] – 12 October 1492)
Location: National Gallery of London
The painting was commissioned in 1454 by Angelo di Giovanni di Simone d’Angelo as the altarpiece for Sant' Agostino in Sansepolcro (formerly Borgo Santo Sepolcro)
About
Born: Sansepolcro, Italy
Died: 12 October 1492, Sansepolcro, Italy
Periods: Italian Renaissance, Italian Renaissance painting
Parents: Romana di Perino da Monterchi, Benedetto de' Franceschi
Known for: Painting, Fresco
Influenced: Pietro Perugino, Luca Signorelli, Melozzo da Forlì, Elisa Maria Boglino (Wikipedia)
Movement style: Early Renaissance
#therenaissanceexperiencereligious
The Archangel Michael led an army of angels to battle against the devil and cast him down from heaven (Revelation 12: 9). Piero shows him as a beautiful, youthful soldier. He clutches the severed head of the devil, represented as a snake with pointy ears.
The panel was part of a polyptych (multi-panelled altarpiece) made for the church of Sant‘Agostino in Piero’s hometown of Borgo Sansepolcro. It was placed to the immediate left of the central panel, now lost, which depicted the Virgin and Child. The lower right corner of the panel includes part of the step of the Virgin’s throne and part of her cloth of gold cloak. The other side panels are in collections around the world.
Michael may have been included to honour the patron, Angelo di Giovanni. The archangel was very popular with the citizens of Sansepolcro, who made pilgrimages to Monte Sant’ Angelo in southern Italy, where he was thought to have appeared miraculously.
Source description: www.nationalgallery.org.uk/paintings/piero-della-francesc...
Photos credit 1️⃣ZebraPhotography and me Constanta-Liliana Cld at National Gallery of London
#constancecldrhistoryofartseenbyme
The abbey was founded in 1313 and it became a wealthy abbey. It has a cloister with frescos by Luca Signorelli and Il Sodoma.
Europe 2018 (day 5), August 19, 2018.
Firenze / Florence.
Galleria degli Uffizi / Uffizi Gallery.
Madonna col Bambino / Madonna and Child (c. 1490), Luca Signorelli (1455-1523).
©2018 - Lewis Brian Day. All rights reserved.
Not to be reproduced in any format or via any platform without express written permission.
Copyright protection asserted.