The 20 Artworks of Giovanni Da Milano

For the decoration of the loggia, Raphael devised the scheme and provided the compositions for the narratives, while the actual work was delegated to the most senior assistants. Giulio Romano took charge of the figurative scenes with Gianfrancesco Penni collaborating on the preparation of the cartoo...

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'Gregorio Fernandez (or Hernandez) is cited for the first time in 1605, as a sculptor in Valladolid; he died in that city in 1636. Fernandez, one of the masters of the Castilian school, was an independent genius who owed nothing to Italian influence. He excelled in the representation of the Christia...

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At left, Christ addresses Saint Peter; in the center, the resurrected Christ stands on the sealed tomb, surrounded by sleeping soldiers; at right, the risen Christ tells Mary Magdalen that he cannot yet be touched ('Noli me tangere'). The theme of apprehending the miraculous or divine through sight ...

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Although from Milan, Giovanni was primarily active in Florence, where the refined naturalism of his figures was influential to artists working in the decades after the Black Death (the most fatal pandemic recorded in human history). The lunette-shaped picture above this doorway was probably set into...

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'This extraordinary panel is widely admired for its brilliant colours, curious iconography, and mystical vitality At the left, God the Father, supported by 12 blue cherubim, flies downward, pointing with his right hand at a circular ''mappamondo'', which fills the lower half of the scene. The repres...

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'This statue by István Ferenczy, ''Shepherdess'' or as he preferred to call it, ''Awakening of the Arts'', may be regarded as the symbolic beginning of the revival of Hungarian sculpture. This excellent piece of nineteenth-century sculpture represents the birth of fine arts and more precisely the bi...

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'Ever since Duccio's Maesta, Sienese painters had found in the two parts of the altarpiece - the large-scale icon, and the small narrative panels - quite different expressive possibilities. The predella was the territory of the contingent, of dramatic action unfolding in time, in the city street or ...

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Together with Sassetta, Giovanni di Paolo was one of the leading Sienese painters in the fifteenth century. So strong was the hold on Sienese art of its great fourteenth-century masters - Duccio and his followers - that both Giovanni di Paolo and Sassetta consistently harked back to earlier models.G...

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