BRAMANTINOItalian High Renaissance Painter, ca.1460-1530 | |||
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Crucifixion ID de tableau:: 63534 Voir la galerie dans Suède |
Crucifixion 1515 Oil on canvas, 372 x 270 cm Pinacoteca di Brera, Milan This painting may have come from the church of S. Maria di Brera. At one time it was probably an organ shutter. It was formerly attributed to Bramante. A late work, this painting reveals Bramantino's background. His roots were in the art of Ercole de' Roberti, the most energetically emotional fifteenth- century painter in northern Italy. It is from this source that Bramantino drew his highly dramatic style, which led him to freeze the tragedy of the Crucifixion within a framework of lucid abstraction. At the same time he seized the opportunity to seek out new means of formal expression. The crosses of the two thieves are arranged in terms of a centralized perspective, creating a space almost like an interior, and leading directly to the background where typical Bramantino buildings are silhouetted against an evening sky. (One of the buildings resembles the Trivulzio mausoleum, which was designed by the artist.) The marked bisymmetry of the painting, with angel and demon, sun and moon, is less structured in the choral rhythm of the foreground. The Madonna's grief is represented within the circle described by the hands of the saints, while the Magdalene lifts her arms toward the cross as if to raise it up to heaven. A strict intellectual approach dominates the colour scheme, in which subdued olive greens, golden grays and browns predominate.Artist:BRAMANTINO Title: Crucifixion Painted in 1451-1500 , Italian - - painting : religious 1515_Oil_on_canvas,_372_x_270_cm_Pinacoteca_di_Brera,_Milan_This_painting_may_have_come_from_the_church_of_S._Maria_di_Brera._At_one_time_it_was_probably_an_organ_shutter._It_was_formerly_attributed_to_Bramante._A_late_work,_this_painting_reveals_Bramantino's_background._His_roots_were_in_the_art_of_Ercole_de'_Roberti,_the_most_energetically_emotional_fifteenth-_century_painter_in_northern_Italy._It_is_from_this_source_that_Bramantino_drew_his_highly_dramatic_style,_which_led_him_to_freeze_the_tragedy_of_the_Crucifixion_within_a_framework_of_lucid_abstraction._At_the_same_time_he_seized_the_opportunity_to_seek_out_new_means_of_formal_expression._The_crosses_of_the_two_thieves_are_arranged_in_terms_of_a_centralized_perspective,_creating_a_space_almost_like_an_interior,_and_leading_directly_to_the_background_where_typical_Bramantino_buildings_are_silhouetted_against_an_evening_sky._(One_of_the_buildings_resembles_the_Trivulzio_mausoleum,_which_was_designed_by_the_artist.)_The_marked_bisymmetry_of_the_painting,_with_angel_and_demon,_sun_and_moon,_is_less_structured_in_the_choral_rhythm_of_the_foreground._The_Madonna's_grief_is_represented_within_the_circle_described_by_the_hands_of_the_saints,_while_the_Magdalene_lifts_her_arms_toward_the_cross_as_if_to_raise_it_up_to_heaven._A_strict_intellectual_approach_dominates_the_colour_scheme,_in_which_subdued_olive_greens,_golden_grays_and_browns_predominate.Artist:BRAMANTINO_Title:_Crucifixion___Painted_in__1451-1500___,__Italian__-_-_painting__:_religious |
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Holy Family ID de tableau:: 63536 Voir la galerie dans Suède |
Holy Family 1520 Poplar panel, 61 x 47 cm Pinacoteca di Brera, Milan Constructed on a series of triangular rhythms heightened by the violent tension of the drapery, which seems to absorb the figures, the composition has a rarefied atmosphere. Every gesture assumes an almost hieratic dignity, and every figure tends to take on an architectonic fixity. The figure of the Christ Child violently escapes from this formal severity. The audacious, almost explosive gesture of his arms seems to introduce the more serene and contemplative effect of the background, in which unreal, almost stage-set buildings stand out against the luminous sky. The buildings recall Bramantino's work as an architect and architectural theoretician. Of his work in this field, only the mausoleum for the Trivulzio family in Milan has survived.Artist:BRAMANTINO Title: Holy Family Painted in 1451-1500 , Italian - - painting : religious 1520_Poplar_panel,_61_x_47_cm_Pinacoteca_di_Brera,_Milan_Constructed_on_a_series_of_triangular_rhythms_heightened_by_the_violent_tension_of_the_drapery,_which_seems_to_absorb_the_figures,_the_composition_has_a_rarefied_atmosphere._Every_gesture_assumes_an_almost_hieratic_dignity,_and_every_figure_tends_to_take_on_an_architectonic_fixity._The_figure_of_the_Christ_Child_violently_escapes_from_this_formal_severity._The_audacious,_almost_explosive_gesture_of_his_arms_seems_to_introduce_the_more_serene_and_contemplative_effect_of_the_background,_in_which_unreal,_almost_stage-set_buildings_stand_out_against_the_luminous_sky._The_buildings_recall_Bramantino's_work_as_an_architect_and_architectural_theoretician._Of_his_work_in_this_field,_only_the_mausoleum_for_the_Trivulzio_family_in_Milan_has_survived.Artist:BRAMANTINO_Title:_Holy_Family___Painted_in__1451-1500___,__Italian__-_-_painting__:_religious |
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Madonna del Latte ID de tableau:: 83561 Voir la galerie dans Suède |
Madonna del Latte Date ca. 1490(1490) Medium Oil and tempera on wood Dimensions Height: 46 cm (18.1 in). Width: 35 cm (13.8 in). cjr Date_ca._1490(1490) _ Medium_Oil_and_tempera_on_wood _ Dimensions_Height:_46_cm_(18.1_in)._Width:_35_cm_(13.8_in). _ cjr |
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The Adoration of the Magi ID de tableau:: 84579 Voir la galerie dans Suède |
The Adoration of the Magi Date ca. 1498(1498) Medium Oil on wood Dimensions Height: 56.8 cm (22.4 in). Width: 55 cm (21.7 in). cjr Date_ca._1498(1498) _ Medium_Oil_on_wood _ Dimensions_Height:_56.8_cm_(22.4_in)._Width:_55_cm_(21.7_in). _ cjr |
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Madonna del Latte ID de tableau:: 87401 Voir la galerie dans Suède |
Madonna del Latte . 1490(1490) Medium Oil and tempera on wood cyf ._1490(1490) _ Medium_Oil_and_tempera_on_wood _ cyf |
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| BRAMANTINO | ||||||||||
| Italian High Renaissance Painter, ca.1460-1530 | ||||||||||
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