ID de tableau:: 524
Coronation of the Virgin Le couronnement du Vierge Galleria Nazionale, Parma Galerie nationale, Parma Italian 1489-1534
Correggio Locations
ID de tableau:: 2563
Coronation of the Virgin Le Couronnement du Vierge Spoleto Cathedral Spoleto Cathédrale Italian
1406-1469
Fra Filippo Lippi Galleries
ID de tableau:: 2888
Coronation of the Virgin Le Couronnement du Vierge c1500
Notre Dame, Moulins c1500 Notre Dame, Moulins French
Active
1480-1500 Master of Moulins Gallery
ID de tableau:: 3289
Coronation of the Virgin Le Couronnement du Vierge 1502-03
The Vatican 1502-03 Le Vatican Italian High Renaissance Painter, 1483-1520
ID de tableau:: 26701
Coronation of the Virgin le Couronnement du Vierge, mk52 1439-47 Détrempe sur le bois 200x287cm Uffizi, Florence mk52
1439-47
Tempera on wood
200x287cm
Uffizi,Florence
mk52 1439-47 Tempera on wood 200x287cm Uffizi,Florence Italian
1406-1469
Fra Filippo Lippi Galleries
ID de tableau:: 31629
Coronation of the Virgin le Couronnement du Vierge, mk74 215.5x330cm Parma, Galleria Nazionale mk74
215.5x330cm
Parma,
Galleria Nazionale
Italian 1489-1534
Correggio Locations
ID de tableau:: 33443
Coronation of the Virgin le Couronnement du Vierge, mk86 1453/54 Détrempe sur le bois 183x220cm Villeneuve-les-Avignon, Musee de mk86
1453/54
Tempera on wood
183x220cm
Villeneuve-les-Avignon,Musee de l'Hospice
active in Provence 1444-1466
ID de tableau:: 62997
Coronation of the Virgin 1486 Tempera on wood Pinacoteca Comunale, Citta di Castello The Coronation in Citt?di Castello is untypical of Ghirlandaio because of its limited palette: its impact is derived primarily from the contrast of various shades of blue and red with a few yellow highlights. In contrast with the old-fashioned picture in Narni, only the female saints in the centre are kneeling; three holy men are standing on each side of them. This emphasizes the circular glory composed of airy shades of blue, giving the work a dynamic and animated character. The saints on this picture are mainly ones from the Franciscan order. On the far left stands the founder of the order, St Francis of Assisi. This altarpiece is not an autographed work, it was probably made by the workshop. Artist: GHIRLANDAIO, Domenico Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious Italian Early Renaissance Painter, 1449-1494
ID de tableau:: 63097
Coronation of the Virgin 1483 Tempera on panel Sant'Agostino, San Gimignano The picture shows the main altar in the church of Sant'Agostino in San Gimignano with the painting of Piero del Pollaiuolo. Artist: POLLAIUOLO, Piero del Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious Italian, 1443-96
ID de tableau:: 63098
Coronation of the Virgin 1483 Tempera on panel Sant'Agostino, San Gimignano Artist: POLLAIUOLO, Piero del Painting Title: Coronation of the Virgin , 1451-1500 Painting Style: Italian , , religious Italian, 1443-96
ID de tableau:: 63553
Coronation of the Virgin 1438 Tempera on panel, 283 x 303 cm Gallerie dell'Accademia, Venice On a huge multilevel Gothic double throne, Mary sits on Jesus' right, while he places a crown on her head with his right hand. The multitude of figures restrained by the strict frames of architecture emphasize the rigid ceremoniousness of the scene. On the right, patriarchs and apostles, on the left prophets and martyrs, below saints and holy virgins are lined up; they can be recognized by the scrolls in their hands. The most direct participants in the event are the evangelists within the cells of the throne structure and the musical angels in the front. The choir of angels form the mainstay of the heavenly court. There are nine of them in the first row. The two on the ends hold incense-burners, the other have musical instruments. While the others standing behind them cannot be classified into the nine orders of angelic hierarchy, it is certain that those standing on either side of Mary and Jesus are cherubs and seraphs. The seven musical angels are the personification of an exuberant panegyric as they reflect the ceremonial mood of Mary's reception into heaven. Their instruments - two nearly identical psalteries, a viola, a portative organ, a harp, a tambourine and a lute - are mere attributes; they do not constitute a real orchestra. Characteristically, the painter did not use a single wind instrument. The thin row of flowers at the bottom of the painting indicates that the location is the Garden of Eden. The donor of the work, Antonio Correr, the bishop of Ceneda, kneels in the right foreground. He commissioned this work for the high altar of the church from the aging master in whose works we can detect the Byzantine traits of Venetian Gothic. When he worked on this painting, he was probably inspired by Guariento's fresco on the same subject, completed in 1365 for the great council hall (Sala del Maggior Consiglio) of the Palazzo Ducale.Artist:JACOBELLO DEL FIORE Title: Coronation of the Virgin Painted in 1401-1450 , Italian - - painting : religious Italian Early Renaissance Painter, 1370-1439
