Горбутович Татьяна (gorbutovich) wrote,
Горбутович Татьяна
gorbutovich

Благовещение. XIV век

Паоло Венециано



Благовещение, фрагмент. Паоло Венециано. Около 1348-1350. Музей Гетти, США / The Annunciation. Paolo Veneziano (Italian (Venetian), active 1333 - 1358). Italy (Place created). Date: about 1348-1350. J. Paul Getty Museum. Source

Венецианский живописец Паоло Венециано работал между 1333 и 1358 годами.


2.

Благовещение. Паоло Венециано. Около 1348-1350. Музей Гетти, Лос-Анджелес, Калифорния, США / The Annunciation. Paolo Veneziano (Italian (Venetian), active 1333 - 1358). Italy (Place created). Date: about 1348 - 1350. Medium: Tempera and gold leaf on panel. Dimensions: Framed [outer dim]: 22.5 × 27 × 2.5 cm. Inscriptions: Inscription: Left panel inscribed, "AVE / GR[ATI]A.PL[E] / NA.D[OMI]N[U]S / TECVM". Object Number: 87.PB.117. J. Paul Getty Museum. Source. Original (4095 x 3370)

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, with the Getty Museum's Annunciation panels forming the apex.

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. Paolo Veneziano skillfully placed his figures within the difficult confines of the small trapezoidal space. The depiction of Mary's throne presented a challenge to the artist, but he set it at an angle thus, giving a sense of depth. He used the space above Gabriel by sweeping the angel's wings upwards so that the feathery ends touch the point where the frame meets the panel. The Virgin's facial features, her hieratic pose, and the decorative patterning of her dress and the cloth of honor draping her throne all illustrate Byzantine conventions of the past. But the figure of Gabriel shows a more modern influence: The innovations of Giotto and other Tuscan artists are seen in the way Veneziano has given the figure a weightiness and bulk achieved through sculptural modeling.

Про сюжет Благовещение: Arzamas // История искусства в одном сюжете: Благовещение. Как художники разных эпох понимали Благовещение? Разбираемся с помощью лилии, книги, веревки, единорога и других символов. Автор Анна Киселева, 2017-04-07.


Ранее:
Да будет мне по слову твоему, 2017-01-20
Физиология от Фомы Аквинского, 2017-01-18


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Tags: 14 век, Благовещение, Венеция, живопись, средние века, сюжеты
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