Galleria dell'Accademia - Florence, Italy
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Galleria dell'Accademia - Florence, Italy
David by Michelangelo at Galleria dell'Accademia - Florence, Italy
Galleria dell'Accademia - Florence, Italy
David by Michelangelo at Galleria dell'Accademia - Florence, Italy
David by Michelangelo at Galleria dell'Accademia - Florence, Italy
From the museum label: The painting, considered one of de' Pitati's greatest achievements, was probably devised for the porch of a palazzo or the main hall of a villa. The beggar Lazarus, on the right, is entreating the rich man, lavishly dressed in his finery, who seems to ignore him. The painting was a warning to the Venetian patricians not to imitate the rich man, reminding them of the teachings of the New Testament parable: true wealth will be granted after death by God only to those who have truly earned it.
From the museum label: During the Renaissance, organ shutters were often embellished by paintings. When closed, these shutters displayed the Annunciation--conceived by Giovanni Bellini and perhaps executed by his workshop--while, when opened, they revealed Saints Peter and Paul (the latter now lost). The wall paneling in Mary's room and in Saint Peter's niche recall the lavish fifteenth-century decoration in pavonazzetto marble that is still visible in the church of Santa Maria dei Miracoli where these works were originally placed.
From the museum label: The panel was intended for private devotion and domestic use, as indicated by the intimacy and spontaneity of the gestures between the Virgin and the Child. The Virgin, with her pyramidal structure, stands out against the landscape and is almost leaning against the tree behind her. The way her head is slightly inclined recalls the realism of Dürer's figures.
From the museum label: This is the largest fragment of a far larger canvas, much damaged in the past and divided in the late nineteenth century to be sold in pieces. The entire composition, documented by two extant preparatory sketches (Florence, Uffizi; Genoa, Accademia Ligustica), presents the most significant moment of the parable: punishment being meted out by the king on a guest who arrived at the banquet without his wedding garments, an allusion to those who will not be deemed worthy to enter the Kingdom of Heaven on the Day of Judgement.
From the museum label: An early masterpiece by Titian, datable just before the Padua frescoes documented between 1510 and 1511, the small altarpiece is Giorgionesque in the dreamy attitudes of the protagonists and in the atmospheric setting. The colour unfolds in wide, vibrant backgrounds. The presence of St Roch confirms that the work is an ex voto against the plague, which was raging at the time.
From the museum label: The success of this painting is confirmed by its numerous existing copies. This altarpiece exemplifies Giordano's compositional skills. Built on parallel planes, the scene is crowded but clearly organized, and each character is defined with psychological insight. The picture's accentuated chiaroscuro draws from the Neapolitan model of Caravaggesque painter Jusepe de Ribera, while the dynamic and vibrant brushwork resonates with late-Titianesque echoes. Titian's art had in fact deeply impressed Giordano during his Venetian sojourn.
From the museum label: The idea of a close-up representation striking a distinctly dramatic pose derives from Giovanni Bellini's models. This painting by Cima is remarkable for the solid volumes and marked monumentality of its characters standing in the foreground and occupying most of the pictorial space. Christ's body, offered for viewers to contemplate, is held by the Virgin, Nicodemus, and Saint John the Baptist arranged in a semicircle. Mary of Clopas on the left and Mary Magdalene on the right complete the composition.
