Pesquisando por: "Madonna and Child (tempera and gold leaf on panel)" - Fotoarena - Agência de fotojornalismo

3BNNBT5 Polyptych with Saint James Major, Madonna and Child, and Saints; Bartolomeo Vivarini (Italian (Venetian), about 1432 - 1499); 1490; Tempera and gold leaf on panel; Framed [outer

3A05AXR Madonna and Child Cosimo Rosselli (Italian, 1439-1507) (Painter) ca. 1480 (Renaissance) tempera and gold leaf on wood panel (Renaissance Europe )

2SXYGPC Madonna and Child Francesco Squarcione (Italian, ca. 1395-after 1468) (Artist) 1430-1450 (Renaissance) tempera and gold leaf on wood panel (Renaissance Europe )

2SXYGNC Madonna and Child Filippo Lippi (Italian, ca. 1406-1469) (Artist) ca. 1446-1447 (Renaissance) tempera and gold leaf on wood panel (Renaissance Europe )

2SXYFRY Madonna and Child with the Four Evangelists Andrea di Bartolo (Italian, active 1389-1428) (Artist) ca. 1400-1410 (Renaissance) tempera and gold leaf on panel (Renaissance Europe )

3BFN1K3 Madonna and Child with eight angels by Pietro Lorenzetti, 1340, tempera on panel, Uffizi Gallery, Florence, Italy.

3BFN0B1 Painting of Madonna and Child enthroned with Annunciation, by Corso di Buono, late 13th century, tempera and gold on panel, Italy.

2XKAMC5 Madonna and Child with Saints Julian and Lawrence is a c. 1423–1425 tempera and gold leaf on panel painting by the Italian late medieval artist Gentile da Fabriano.

2T8DNFX Antonio Vivarini, Madonna and Child, painting in tempera on panel with gold leaf, 1435-1445

2RC92G7 Sano di Pietro, Madonna and Child, with Saints Jerome, John the Baptist, Bernardino and Bartholomew, painting in gold leaf and tempera on panel, 1450-1481

2HJ1705 The Crucifixion ca. 1315 Segna di Buonaventura Italian This panel and another in the Lehman Collection portraying the Madonna and Child (1975.1.1) formed a diptych (two panels hinged together so they could open and close) and would have been used for private devotion. The radiant beauty of the Virgin’s court, enhanced by the ornamental detail, contrasts with the tragic drama of the Crucifixion, thus offering the worshipper two very different images on which to meditate. These panels reveal Segna di Buonaventura’s appropriation of the language and motifs of his master, Duccio. The greatest Sien

2H8YA8A Gentile da Fabriano, Nativity, about 1420–1422; Tempera and gold leaf on panel; Los Angeles United States

PR0MNW Madonna and Child; Master of St. Cecilia, Italian, active about 1290 - 1320, 1290–1295; Tempera and gold leaf on panel

M6Y5GF Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Bar

M6Y5FX Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Bar

M6Y5H0 Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Bar

M6Y5FN Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Bar

GK7659 Miami Florida,Coral Gables,University of Miami,Lowe Art Museum,art artwork,exhibit exhibition collection,European collection,Italian,altarpiece,panel,

3BJMN68 Lippi, Filippo; Virgin and Child (centre), Saint John the Baptist (left) Saint George or Saint Ansanus (right); The Fitzwilliam Museum; http://www.artuk.org/artworks/virgin-and-child-centre-saint-john-the-baptist-left-saint-george-or-saint-ansanus-right-5737

3BJM693 Gerini, Niccolo di Pietro; Virgin and Child; The Fitzwilliam Museum; http://www.artuk.org/artworks/virgin-and-child-5744

2E347MR Madonna and Child with Angels, Giovanni dal Ponte, Florence, 1410s, tempera and gold leaf on panel - Blanton

2E347NB Madonna and Child with Angels, Giovanni dal Ponte, Florence, 1410s, tempera and gold leaf on panel, detail - Blanton

2E347NE Madonna and Child, attributed to Michelino da Besozzo, Milan, c. 1428-1429, tempera and gold leaf on wood panel - Blanton

J8G47R This 'Madonna and Child' painting, attributed to Michelino da Besozzo, was created in Milan around 1428-1429. It features tempera and gold leaf on wood panel, showcasing early Renaissance religious art.

J8G47P Madonna and Child with Christ, with St Peter and Gabriel, and St Paul and the Virgin, Simone dei Crocifissi, Bologna, c. 1330 1399, tempera on gold panel Blanton Museum of Art Austin, Texas DSC07691

MP6J5N . English: Madonna and Child. Pseudo-Pier Francesco Fiorentino. After 1455. North Carolina Museum of Art via Google Cultural Institute. Tempera and gold leaf on panel. w40.6 x h61 cm . After 1455. Pseudo-Pier Francesco Fiorentino Alternative names Imitatori di Lippi e Pesellino Description Italian painter Work period 1460-1500 Work location Florence Authority control : Q18577975 WGA: PSEUDO-PIER FRANCESCO FIORENTINO RKD: 63379 839 Madonna and Child - Pseudo-Pier Francesco Fiorentino - Google Cultural Institute

P7PK1F N/A. N/A 371 The Virgin and Child, Master of the Saints Cosmos and Damian Madonna, Italy, 1265-1285, tempera on panel - Fogg Art Museum, Harvard University - DSC01084

2M921Y4 Virgin and Child with Four Angels and the Redeemer Zanobi Strozzi (Italian, Florentine, 1412-1468). Virgin and Child with Four Angels and the Redeemer, ca. 1450. Tempera and tooled gold on panel, 31 x 20 1/4 in. (78.7 x 51.4 cm). European Art ca. 1450

3BJP798 The 'Virgin and Child with Music-Making Angels' (circa 1385-1415) by the Master of the Straus Madonna features the Virgin Mary holding the Christ Child surrounded by angels playing music. It is painted in the late medieval style.

EDYYXC Madonna and Child; Master of St. Cecilia, Italian, active about 1290 - 1320; 1290 - 1295; Tempera and gold leaf on panel

2H0Y1K1 The Madonna of Humility with the Temptation of Eve, c. 1400. Olivuccio di Ciccarello (Italian, Marche, 1360/65-1439). Tempera and gold on wood panel; framed: 191.5 x 99 x 11 cm (75 3/8 x 39 x 4 5/16 in.); unframed: 181.5 x 88.6 cm (71 7/16 x 34 7/8 in.). The Madonna is seated humbly on the ground nursing her child. Saint George and the Archangels Gabriel and Michael kneel nearby, while Christ’s disciples appear radiating from the Madonna’s halo in the form of stars. In contrast with the Virgin’s purity, Eve lies in the lower part of the painting. Coaxed by the serpent, she raises the forbidde

P5CDNJ N/A. English: Madonna and Child, Nardo di Cione, Italian, circa 1350, tempera and gold leaf on panel. Milwaukee Art Museum. 31 December 2011. Jonathunder 349 CioneMadonnaChild

2YE8RD9 Madonna and Child Bartolomeo Vivarini, Italian, c.1432–c.1499 c.1460 Tempera and gold leaf on panel

3AJ1D19 This Madonna and Child painting, likely by Francesco Squarcione or Giorgio Schiavone, reflects the early Renaissance style with tempera and gold on panel. The artwork, depicting the Virgin and Child, exemplifies religious iconography and features elegant, detailed brushwork typical of 15th-century Italian religious art.

2M9285E Christ Blessing Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Christ Blessing, mid 14th century. Tempera and tooled gold on panel, 8 x 9 in. (20.3 x 22.9 cm). Previously known only through a nineteenth-century engraving, this panel was discovered at a country auction in Dorset, England, in March 2000. Scholars then identified the panel as the missing pinnacle of Nardo di Cione’s altarpiece Madonna and Child with Saints Zenobius, John the Baptist, Reparata, and John the Evangelist, on view nearby. As the pinnacle to the larger panel, Christ Blessing would have been located direc

2M92B1R Madonna and Child Pietro di Giovanni d'Ambrogio (Italian, School of Siena, active 1428-1449). Madonna and Child, 1440s. Tempera and tooled gold on poplar panel, 38 1/2 x 20 7/8 x 1 5/8 in. (97.8 x 53 x 4.1 cm). This painting is the cut-down central panel of a triptych, or three-panel work, which would have included two “wings” in addition to this main image, as well as a predella below. The depiction of the Madonna and Child conforms to a well-known early fifteenth-century Sienese format: the Child is partly draped, supported in an almost standing position by the Madonna, who holds one of his

3BP46KR A section of the Tarlati Polyptych, a complex altarpiece by the Italian Sienese Gothic painter Pietro Lorenzetti, depicting the Madonna and Child, saints, and narrative scenes in tempera and gold on panel. Located at the church of Santa Maria della Pieve in Arezzo, Tuscany. The altarpiece is named after its patron Guido Tarlati, Bishop of Arezzo, who died in 1327.

3BJP89W Neri di Bicci’s 15th-century painting, 'The Madonna and Child with Saints Jerome and John the Baptist,' features Mary and Christ with two saints. The artwork is done in tempera and gold on a panel with an arched top.

3BJP7FK Niccolò di Pietro’s *Virgin and Child Enthroned with Eight Angels* (circa 1410) is a tempera on panel depicting the Virgin Mary with the Christ Child, surrounded by eight angels. The painting highlights the use of gold leaf and detailed religious symbolism.

3BJN0XE Sano di Pietro’s 'Madonna and Child Surrounded by Saint John, Saint Bernardino of Siena, and Angels' is a tempera and gold ground painting on panel, depicting the Virgin Mary, Christ Child, and holy figures.

3B4X6E9 This 16th-century icon by Michael Damaskinos depicts the Virgin Hodegetria, a revered Christian image of Mary holding the Christ Child, painted with tempera and gold leaf.

3AYGMHN A serene depiction of a mother figure holding a child, set against a lush, natural backdrop. The soft glow surrounding them suggests a divine presence, while the intricate details in the foliage enhance the peaceful atmosphere. Upper Rhenish: Madonna and Child, Unidentified artist, Upper Rhenish, Last quarter of 15th century, Oil and tempera (?) with gold leaf on panel, This German painting presents the Virgin Mary gazing warmly at the infant Christ as she offers him a piece of red fruit. The gesture seems to humanize the figures, who are set into a lush landscape stretching back into the

3AJKTR2 This 1700 painting by Stephanos Tzangarolas portrays the Virgin Mary and Child Christ, showcasing the religious iconography of the Greek Orthodox tradition. The use of tempera and gold leaf creates a radiant depiction, with detailed rendering of the figures and backgrounds.

3AJJE0H The artwork by Taddeo Gaddi (1300–1366) depicts the Madonna and Child enthroned, surrounded by saints John the Baptist, Peter, Paul, Zenobius, and two angels. Below, two donors are featured. Created around 1330, the tempera and gold on panel painting is housed in the Royal Castle in Warsaw.

3AJDDG2 Vincenzo Foppa's 1450-1455 painting 'Madonna and Child with a Pomegranate and Five Angels' features tempera and gold leaf on panel, showcasing a central religious figure with accompanying angels.

3AJBGPD This 15th-century icon by Andreas Ritzos, titled 'Madonna and Child with Saints,' is housed in the Hermitage Museum. It features Mary and the Christ Child with Saints Francis of Assisi and Vincent Ferrer, executed in tempera and gold leaf on panel.

3A29NAF The 'Madonna del Poggio' by Benozzo Gozzoli, created in tempera and gold on panel, portrays the Virgin Mary with the infant Christ, framed by sacred symbols of the Renaissance era.

2YK17TC Title: The Virgin and Child Artist: Bernardo Daddi Year: ca. 1340 - 1345 Medium: Tempera and gold on panel Dimensions: 84 x 54.8 cm Location: Thyssen-Bornemisza Collection, on deposit with the Museu Nacional d'Art de Catalunya (MNAC)

2YBDGPF Madonna and Child with Musical Angels, about 1410. Additional Info: The Virgin Mary, enthroned as Queen of Heaven, is surrounded by angels, some in attitudes of prayer, others playing musical instruments and singing. Twisting in his mother’s lap, the infant Christ reaches for a lily, a symbol of Mary’s purity, and clutches a goldfinch, an allusion to his future Crucifixion.

2YBDGK9 Madonna of Humility, about 1345-1350. Additional Info: Set against a gold background, the Madonna and Child sit enclosed in a Gothic frame with pointed arches and decorative twisting columns.

2YBDFR6 Madonna and Child, 1290-1295. Additional Info: The Virgin Mary, hieratic and still, looks out toward the viewer while gently supporting Christ with her left arm. The smiling infant gazes lovingly toward her and playfully stretches out his arm, grabbing the edge of her gold-trimmed, blue cloak. The star over the Madonna's forehead refers to her title "Star of the Sea," the meaning of the Jewish form of her name, Miriam.

2YBDFFB The Annunciation, about 1340-1345. These panels once formed the pinnacles of the wings of a now-dismembered portable altarpiece. A double-tiered central panel originally depicted the Madonna and Child below a Crucifixion. The triple-tiered side panels featured pairs of standing saints. Kneeling, the Archangel Gabriel greets the Virgin at the moment of Christ's Incarnation. In the form of a dove, the Holy Spirit descends, flying close to the Virgin's face.

2TBM0CC Madonna and Child, 1345-1349. The head of a large workshop, Bernardo Daddi was one of the most prolific painters of 14th-century Florence. This work is the central panel of a polyptych, or multi-panel altarpiece, and would have been flanked by images of saints. The painter gave the Madonna and Child a physical, three-dimensional presence by making their fingers disappear behind the fabric of their clothing. Christ's right arm also extends behind the Virgin's left shoulder. The linear decoration cut into the haloes and the minimal use of punch-work in the gold ground is typical of Florentine pa

2TBM02T Virgin and Child with Saints Augustine, Nicholas (?), Catherine (?), Lucy, and Angels, c1340-1345. This magnificent enthroned Virgin and Child with four saints and two angels originally formed the center of a folding triptych, a three-part painting. The delicate punch-work in the haloes, costumes, and borders is typical of Sienese panel painting, and are effects derived from metalwork. Pietro Lorenzetti excelled at investing his sacred pictures with human qualities, such as the Christ Child's playful interaction with the bishop-saint on his right. The twisting pose of the Christ Child and the

2TBKYRN Reliquary Tabernacle with the Virgin and Child, c1350. The object's thirty-four clear glass windows, enamel-like colors, and gilded architecture give it the appearence of a sacred vessel fashioned from precious materials. The gabled enclosure around the central painting of Christ and the Virgin explicitly draws on forms usually associated with tabernacles or shrines that were erected over an altar to display relics or the consecrated Host. The frame, covered with gold leaf, suggests the shape of a chapel filled with heavenly light and contains saints' relics within glass-covered cavities. Each

2TBKYP6 Madonna and Child, late 1450s. The Madonna holds the Christ in a tender embrace beneath a starry sky and before an elaborately-patterned gold cloth of honor hanging like a curtain behind them. The figures look down as if seeking direct eye contact with the devotees who would have originally knelt in prayer before the painting, presumably in their home. In representing the Christ Child nude, the artist is demonstrating his skill in depicting the human body while also alluding to the miracle of the Incarnation, or that God has become flesh and blood.

2TBKYNT Madonna and Child with Saints and Angels, c1470. The Madonna holds the Christ Child and is flanked by two angels and Saints Jerome (at the left) and Bernardino of Siena (at the right). Bernardino (1380-1444) holds up a tablet monogrammed with the name of Christ. The monogram is partly covered by Jesus' head to show us its true meaning.

2TBKXKX Virgin and Child, with the Crucifixion and the Annunciation, and the Coronation of the Virgin and the Presentation in the Temple, c1340-1348. The central scene of this altarpiece depicts the enthroned Madonna and Child flanked by angels. The Christ Child holds a tiny European goldfinch, a symbol of his resurrection. The bird is tethered, a reminder that, in the 14th century, such animals were kept as pets by children. Angels present Mary with chalices of white flowers, alluding to her purity. On the left appear the Annunciation and the Crucifixion, while Christ's Presentation in the Temple and

2TBKXK6 Madonna and Child, the Crucifixion, and Saints, c1380-1389.

2T6CXKY Madonna and Child, 1430-1450.

2T6CXKX Madonna and Child, c1446-1447. This tender devotional image of the Madonna and Child before a gold curtain functioning as a cloth of honor retains its original frame in the shape a window frame in a newly stylish format that looked back to classical antiquity for its vocabulary.

2T6CXGJ Madonna and Child, c1480. Against a shimmering gold background patterned with a elegant floral motif, the Madonna embraces the Infant Christ and presses her cheek against his. She gently wraps her veil around the Child’s nude body as he turns around and looks out at the viewer. With this action, the Christ Child seems to ask the viewer to pray, an appropriate request given the painting’s original function as the focus for private devotion in a domestic interior.

2T6CXGH Communion and Consecration of Santa Francesca Romana, c1445. Francesca (1384-1440) was a Roman abbess famous for her mystical visions, of which she left a written account. This panel, together with three others , probably framed a portrait of her placed at her tomb in the church of Santa Maria Nova near the Roman Forum. The painting, which stood behind a small altar, was executed most likely in 1445, when the case of the mystic's canonization was presented before the pope.

2P69T76 Benvenuto di Giovanni, Virgin and Child, c. 1465–70, tempera and gold on panel.

2P69T5K Sandro Botticelli and Studio, Virgin and Child with Saint John the Baptist, c. 1490, tempera, oil, and gold on panel.

2M92E7A Madonna and Child with Saints James Major and John the Evangelist, altarpiece Sano di Pietro (Italian, Sienese, 1405-1481). Madonna and Child with Saints James Major and John the Evangelist, altarpiece, early 1460s. Tempera and gold on panel, Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm). Here, the Virgin and infant Christ are seated on a throne with a cloth of honor draped behind them. The saints flanking the Virgin hold symbolic objects—James Major a pilgrim’s staff and John the Evangelist his book, referring to his authorship of the Fourth Gospel and the Book of Revelation. The gold

2M92E3P Madonna and Child with Saints James Major and John the Evangelist, altarpiece Sano di Pietro (Italian, Sienese, 1405-1481). Madonna and Child with Saints James Major and John the Evangelist, altarpiece, early 1460s. Tempera and gold on panel, Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm). Here, the Virgin and infant Christ are seated on a throne with a cloth of honor draped behind them. The saints flanking the Virgin hold symbolic objects—James Major a pilgrim’s staff and John the Evangelist his book, referring to his authorship of the Fourth Gospel and the Book of Revelation. The gold

2M92B0M Madonna and Child Pietro di Giovanni d'Ambrogio (Italian, School of Siena, active 1428-1449). Madonna and Child, 1440s. Tempera and tooled gold on poplar panel, 38 1/2 x 20 7/8 x 1 5/8 in. (97.8 x 53 x 4.1 cm). This painting is the cut-down central panel of a triptych, or three-panel work, which would have included two “wings” in addition to this main image, as well as a predella below. The depiction of the Madonna and Child conforms to a well-known early fifteenth-century Sienese format: the Child is partly draped, supported in an almost standing position by the Madonna, who holds one of his

2M92B08 Madonna and Child Pietro di Giovanni d'Ambrogio (Italian, School of Siena, active 1428-1449). Madonna and Child, 1440s. Tempera and tooled gold on poplar panel, 38 1/2 x 20 7/8 x 1 5/8 in. (97.8 x 53 x 4.1 cm). This painting is the cut-down central panel of a triptych, or three-panel work, which would have included two “wings” in addition to this main image, as well as a predella below. The depiction of the Madonna and Child conforms to a well-known early fifteenth-century Sienese format: the Child is partly draped, supported in an almost standing position by the Madonna, who holds one of his

2M92863 Christ Blessing Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Christ Blessing, mid 14th century. Tempera and tooled gold on panel, 8 x 9 in. (20.3 x 22.9 cm). Previously known only through a nineteenth-century engraving, this panel was discovered at a country auction in Dorset, England, in March 2000. Scholars then identified the panel as the missing pinnacle of Nardo di Cione’s altarpiece Madonna and Child with Saints Zenobius, John the Baptist, Reparata, and John the Evangelist, on view nearby. As the pinnacle to the larger panel, Christ Blessing would have been located direc

2M9285C Christ Blessing Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Christ Blessing, mid 14th century. Tempera and tooled gold on panel, 8 x 9 in. (20.3 x 22.9 cm). Previously known only through a nineteenth-century engraving, this panel was discovered at a country auction in Dorset, England, in March 2000. Scholars then identified the panel as the missing pinnacle of Nardo di Cione’s altarpiece Madonna and Child with Saints Zenobius, John the Baptist, Reparata, and John the Evangelist, on view nearby. As the pinnacle to the larger panel, Christ Blessing would have been located direc

2M9285H Christ Blessing Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Christ Blessing, mid 14th century. Tempera and tooled gold on panel, 8 x 9 in. (20.3 x 22.9 cm). Previously known only through a nineteenth-century engraving, this panel was discovered at a country auction in Dorset, England, in March 2000. Scholars then identified the panel as the missing pinnacle of Nardo di Cione’s altarpiece Madonna and Child with Saints Zenobius, John the Baptist, Reparata, and John the Evangelist, on view nearby. As the pinnacle to the larger panel, Christ Blessing would have been located direc

2M9261E Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M92631 Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M9260R Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M9260T Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M92614 Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925WX Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925WD Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925TM Madonna of Humility Sano di Pietro (Italian, Sienese, 1405-1481). Madonna of Humility, early 1440s. Tempera and tooled gold and silver on panel with engaged frame, 20 7/8 x 14 1/4 in. (53 x 36.2 cm). This early Madonna is unusual in Sano’s prolific career in that it shows not only the graceful linear forms that characterize Sienese painting, but also the powerful effect of Florentine realism in the pliant muscularity of the Child and the sense of observed reality in the head of the Madonna. The Madonna of Humility refers to images of the Virgin seated modestly on the ground (usually, as here,

2M925X1 Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925T1 Madonna of Humility Sano di Pietro (Italian, Sienese, 1405-1481). Madonna of Humility, early 1440s. Tempera and tooled gold and silver on panel with engaged frame, 20 7/8 x 14 1/4 in. (53 x 36.2 cm). This early Madonna is unusual in Sano’s prolific career in that it shows not only the graceful linear forms that characterize Sienese painting, but also the powerful effect of Florentine realism in the pliant muscularity of the Child and the sense of observed reality in the head of the Madonna. The Madonna of Humility refers to images of the Virgin seated modestly on the ground (usually, as here,

2M925TB Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing) Maso di Banco (Italian, Florentine School, 1341-1346). Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing), ca. 1336. Tempera and tooled gold on poplar panel in original engaged frame, Center panel: 30 1/8 x 11 3/4 in. (76.5 x 29.8 cm). This folding triptych (a painting on three panels) is filled with multiple figures and sce

2M925WA Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925RY Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing) Maso di Banco (Italian, Florentine School, 1341-1346). Triptych: Madonna with Saints and Christ Blessing (Center); The Nativity and the Annunciate Angel (Left Wing); Crucifixion and the Virgin Annunciate (Right Wing), ca. 1336. Tempera and tooled gold on poplar panel in original engaged frame, Center panel: 30 1/8 x 11 3/4 in. (76.5 x 29.8 cm). This folding triptych (a painting on three panels) is filled with multiple figures and sce

2M925W6 Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925WG Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M925W3 Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist Nardo di Cione (Italian, Florentine, active 1343-1356/1366). Madonna and Child Enthroned with Saints Zenobius, John the Baptist, Reparata and John the Evangelist, mid 14th century. Tempera and tooled gold on panel, 77 1/2 x 39 1/2 in. (196.9 x 100.3 cm). In 1348, the bubonic plague killed more than half the population of Florence, causing profound social, economic, and psychic devastation. In the plague’s aftermath Nardo di Cione painted this large altarpiece, likely for the Duomo, the most im

2M921Y2 Virgin and Child with Four Angels and the Redeemer Zanobi Strozzi (Italian, Florentine, 1412-1468). Virgin and Child with Four Angels and the Redeemer, ca. 1450. Tempera and tooled gold on panel, 31 x 20 1/4 in. (78.7 x 51.4 cm). European Art ca. 1450

2M921XW Virgin and Child with Four Angels and the Redeemer Zanobi Strozzi (Italian, Florentine, 1412-1468). Virgin and Child with Four Angels and the Redeemer, ca. 1450. Tempera and tooled gold on panel, 31 x 20 1/4 in. (78.7 x 51.4 cm). European Art ca. 1450

2HKMC4J Art inspired by Madonna and Child with Saints (The Sterbini Triptych), attributed to the Master of San Lucchese, Italian, 14th century, Orcagna (Andrea di Cione), Italian, active 1343-1368, c.1345, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, open, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

2HKMBHY Art inspired by Madonna and Child Enthroned with Angels, Spinello Aretino, Italian, c.1350-c.1410, c.1390, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, 53 x 25 in. (134.6 x 63.5 cm, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

2HKMB48 Art inspired by Madonna and Child, Bartolomeo Vivarini, Italian, active c.1440-after 1500, c.1460, Tempera and gold leaf on panel, Made in Venice, Veneto, Italy, Europe, Paintings, 17 3/8 x 11 1/4 in. (44.1 x 28.6 cm, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

2HKMAJD Art inspired by Madonna and Child Enthroned with Sts. Christopher, Blaise, Sebastian, and Francis, Lorenzo di Niccolò (di Martino), Italian, active 1392-1412, c.1410-12, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, with frame at highest point: 71, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

2HK64NT Inspired by Madonna and Child with Saints (The Sterbini Triptych), attributed to the Master of San Lucchese, Italian, 14th century, Orcagna (Andrea di Cione), Italian, active 1343–1368, c.1345, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, open: 16 x 17 1/2 in, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

2HK64B8 Inspired by Madonna and Child Enthroned with Angels, Spinello Aretino, Italian, c.1350–c.1410, c.1390, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, 53 x 25 in. (134.6 x 63.5 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

2HK6436 Inspired by Madonna and Child, Bartolomeo Vivarini, Italian, active c.1440–after 1500, c.1460, Tempera and gold leaf on panel, Made in Venice, Veneto, Italy, Europe, Paintings, 17 3/8 x 11 1/4 in. (44.1 x 28.6 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

2HK63MR Inspired by Madonna and Child Enthroned with Sts. Christopher, Blaise, Sebastian, and Francis, Lorenzo di Niccolò (di Martino), Italian, active 1392–1412, c.1410–12, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, with frame at highest point: 71 x 75 3/4 x 6 in. (, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

2HB2RWA Madonna and Child with Saints (The Sterbini Triptych), attributed to the Master of San Lucchese, Italian, 14th century, Orcagna (Andrea di Cione), Italian, active 1343–1368, c.1345, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, open: 16 x 17 1/2 in. (40.6 x 44.5 cm

2HB2RRK Madonna and Child Enthroned with Angels, Spinello Aretino, Italian, c.1350–c.1410, c.1390, Tempera and gold leaf on panel, Made in Florence, Tuscany, Italy, Europe, Paintings, 53 x 25 in. (134.6 x 63.5 cm