Download Masaccio: Saint Andrew and The Pisa Altarpiece (Getty Museum Studies on Art) eBook
by Eliot Rowlands
Masaccio’s Pisa Altarpiece. Ser Giuliano and the Carmelites: The Patronage of the Altarpiece.
Masaccio’s Pisa Altarpiece. The Later History of the Altarpiece. He is the author of numerous art-historical publications, including The Collections of the Nelson-Atkins Museum of Art I: Italian Painting, 1300–1800, as well as critical articles in Paragone, Apollo, Gazette des Beaux-Arts, and Burlington Magazine.
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Start by marking Masaccio: Saint Andrew and The Pisa Altarpiece as Want to Read .
Start by marking Masaccio: Saint Andrew and The Pisa Altarpiece as Want to Read: Want to Read savin. ant to Read. The text discusses Masaccio's short life and illustrious career; the commission for the altarpiece; its patron and program; the painting's original location; and the role that the church friars played in the actual commission. Finally, after examining the polyptych's individual panels, the book traces their subsequent history and recounts how art historians came to identify them.
and. The Pisa Altarpiece. i Introduction 9 Masaccio's Life and Work 39 Masaccio's Pisa Altarpiece 69 Ser Giuliano and the Carmelites: The Patronage. Studies on art. To my beloved son, Andrew. of the Altarpiece 86 The Later History of the Altarpiece. 97 Notes 112 Acknowledgments. See the foldout and key at the back of the book for the author's proposed reconstruction of the Pisa Altarpiece. Figure 1 Masaccio (Tommaso di Ser Giovanni di Mone Cassai) (Italian, 1401-1428), Saint Andrew, 1426.
The Pisa Altarpiece (Italian: Polittico di Pisa) was a large multi-paneled altarpiece produced by Masaccio for the chapel of Saint Julian in the church of Santa Maria del Carmine in Pisa. The chapel was owned by the notary Giuliano di Colino, who commissioned the work on February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year.
Published by the Getty Museum, Masaccio: Saint Andrew and the Pisa Altarpiece, by Eliot W. Rowlands (Senior . Saint Andrew (like other known panels) illustrates that artists of this time aspired increasingly to transform the 2D surface into the naturalism of a 3D reality.
Saint Andrew (like other known panels) illustrates that artists of this time aspired increasingly to transform the 2D surface into the naturalism of a 3D reality.
Authors: Eliot Rowlands.
The panels from the top representing St Andrew and St Paul are in the Getty Museum, Malibu, and the in. .On February 19th 1426 Masaccio agreed to paint an altarpiece for a chapel in the church of the Carmine in Pisa for the sum of 80 florins.
The panels from the top representing St Andrew and St Paul are in the Getty Museum, Malibu, and the in the Museo Nazionale, Pisa, respectively. The centrally placed, uppermost Crucifixion is in the Museo Nazionale di Capodimonte, Naples. Madonna with Child and Angels (detail), 1426, egg tempera on poplar, 136 x 73 cm, National Gallery, London. On December 26th of that year the work must have been already completed since payment for it is recorded on this date.
This book deserves a place on the museum-studies reading list andon the bookshelf of anyone seriously interested in the .
This book deserves a place on the museum-studies reading list andon the bookshelf of anyone seriously interested in the culturalplace of museums today. Its lucid, observant essays take aninformed look at a now ubiquitous institution, offering new pointsof view about the nature of the museum experience. Art and its Publics launches a much-needed explorationof art's audiences beginning with McClellan's ‘A BriefHistory of the Art Museum Public,’ an essay which is wellworth the book's price alone. Jeffrey Abt, Wayne StateUniversity.
This achievement, revolutionary in Masaccio's day, is one of the painter's significant contributions to art history.
Ranked by many scholars as the greatest master of early Italian Renaissance painting, Masaccio (1401-1428) was the first artist to use effects of light to create three-dimensional images on a two-dimensional plane. This achievement, revolutionary in Masaccio's day, is one of the painter's significant contributions to art history.