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Antonello Da Messina
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Antonello Da Messina
Antonello da Messina (ca. 1430-1479) was one of the most groundbreaking and influential painters of the Quattrocento. No other Italian artist of the fifteenth-century responded in such a direct fashion to the great masters of Bruges and Brussels (including use of their oil technique), to the brilliant Provencal painters, and to the established giants of Italian art, such as Piero della Francesca and Mantegna. In so doing he created unique images with a harmonious and geometrical clarity, yet included exquisite descriptive passages. Although Antonello worked primarily in Sicily, his travels to Naples and Venice were influential to the development of his style, and where he in turn had an enormous impact on painting.
Antonella Da Messina
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Antonello Da Messina and His Workshop
Antonello da Messina (ca. 1430--1479) has long been famous for his mastery of the technique of oil painting, for his role in the dissemination of the Netherlandish style in northern Italy, and for introducing new artistic impulses in Venice in the mid-1470s. Following his premature death in 1479, his son Jacobello took over the workshop and, with three of his cousins, Antonio and Pietro de Saliba and Salvo d'Antonio, continued painting Antonello's compositions for a northern Italian audience from their Venice base for the next decade and a half. In the mid-1490s, they returned to Sicily, where they continued to paint in the master's style well into the sixteenth century. The workshop product...
Antonello Da Messina
This book on one of the most influential painters of the 15th century early Italian Renaissance comprises of an informative essay by the author plus entries on seven works that will be seen for the first time in the United States as part of a focus exhibition at The Metropolitan Museum of Art, New York.
Visualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Spanish Americas
A trans-cultural collection of studies on early modern imagery of the phenomena of pain and suffering and viewers’ potential responses. Authors variously consider pain and suffering as somatic, emotional, and psychological experiences.
The Renaissance Portrait
Published in conjunction with an exhibition held at the Bode-Museum, Berlin, Aug. 25-Nov. 20, 2011, and at the Metropolitan Museum of Art, New York, Dec. 21, 2011-Mar. 18, 2012.
