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    Ο Χριστός στις Τέχνες

    Ο Χριστός στις Τέχνες
    Το Πρόσωπο του Χριστού




    #2
    Ο Χριστός στις Τέχνες

    Ο Χριστός στις Τέχνες
    Το Πρόσωπο του Χριστού


    The Doubting of St. Thomas, Neues Palais, Potsdam.


    Caravaggio
    (Michelangelo Merisi)
    (1573-1610)

    Caravaggio was an Italian baroque painter who was the best exemplar of naturalistic painting in the early 17th century. His use of models from the lower classes of society in his early secular works and later religious compositions appealed to the Counter Reformation taste for realism, simplicity, and piety in art. Equally important is his introduction of dramatic light-and-dark effects—termed chiaroscuro—into his works.

    Originally named Michelangelo Merisi, Caravaggio was born September 28, 1573, in the Lombardy hill town of Caravaggio, from which his professional name is derived. He may have spent four years as apprentice to Simone Peterzano in Milan before going to Rome in 1593, where he entered the employ of the Mannerist painter Giuseppe Cesari, also known as the Cavaliere d'Arpino, for whom he executed fruit and flower pieces (now lost). Among his best-known early works are genre paintings (scenes from everyday life) with young men—for example, The Musicians (1591?-1592, Metropolitan Museum, New York City)—which were done for his first important patron, Cardinal Francesco del Monte. Scenes such as the Fortune Teller (1594, versions in the Louvre, Paris, and the Museo Capitolino, Rome) were especially appealing to the artist's followers.


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      #3
      Ο Χριστός στις Τέχνες

      Ο Χριστός στις Τέχνες
      Το Πρόσωπο του Χριστού


      The Supper at Emmaus, 1600-01, The National Gallery at London.


      Caravaggio
      (Michelangelo Merisi)
      (1573-1610)

      Caravaggio was an Italian baroque painter who was the best exemplar of naturalistic painting in the early 17th century. His use of models from the lower classes of society in his early secular works and later religious compositions appealed to the Counter Reformation taste for realism, simplicity, and piety in art. Equally important is his introduction of dramatic light-and-dark effects—termed chiaroscuro—into his works.

      Originally named Michelangelo Merisi, Caravaggio was born September 28, 1573, in the Lombardy hill town of Caravaggio, from which his professional name is derived. He may have spent four years as apprentice to Simone Peterzano in Milan before going to Rome in 1593, where he entered the employ of the Mannerist painter Giuseppe Cesari, also known as the Cavaliere d'Arpino, for whom he executed fruit and flower pieces (now lost). Among his best-known early works are genre paintings (scenes from everyday life) with young men—for example, The Musicians (1591?-1592, Metropolitan Museum, New York City)—which were done for his first important patron, Cardinal Francesco del Monte. Scenes such as the Fortune Teller (1594, versions in the Louvre, Paris, and the Museo Capitolino, Rome) were especially appealing to the artist's followers.


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        #4
        Ο Χριστός στις Τέχνες

        Ο Χριστός στις Τέχνες
        Το Πρόσωπο του Χριστού


        Pietà, 1499, marble sculpture, Vatican.


        Pieta (detail). 1499. Marble. St. Peter's, Vatican.


        Pieta (detail). 1499. Marble. St. Peter's, Vatican.


        Michelangelo - (1475-1564)

        Michelangelo was one of the most inspired creators in the history of art and, with Leonardo da Vinci, the most potent force in the Italian High Renaissance. As a sculptor, architect, painter, and poet, he exerted a tremendous influence on his contemporaries and on subsequent Western art in general.

        A Florentine—although born March 6, 1475, in the small village of Caprese near Arezzo—Michelangelo continued to have a deep attachment to his city, its art, and its culture throughout his long life. He spent the greater part of his adulthood in Rome, employed by the popes; characteristically, however, he left instructions that he be buried in Florence, and his body was placed there in a fine monument in the church of Santa Croce.


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          #5
          Ο Χριστός στις Τέχνες

          Ο Χριστός στις Τέχνες
          Το Πρόσωπο του Χριστού


          The Miracle of Christ Healing the Blind, 1575, oil on canvas, The Metropolitan Museum of Art, New York.


          El Greco - (1541-1614)

          El Greco was a "Spanish" Mannerist painter, whose work, with that of Francisco de Goya and Diego Velázquez, represents the acme of Spanish art.

          El Greco (meaning “The Greek”) was born in Iráklion, Crete (then a possession of the Republic of Venice), in 1541 and was named Domenikos Theotokopoulos. Details of his early life and training are sketchy, but he probably first studied painting in his native city. Although no works from his first years survive, they were probably painted in the late Byzantine style popular in Crete at the time. Reminiscences of this style are seen in his later work. He was an erudite man, whose taste for classical and contemporaneous literature seems to have developed in his youth.


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            #6
            Ο Χριστός στις Τέχνες

            Ο Χριστός στις Τέχνες
            Το Πρόσωπο του Χριστού


            Christ Driving the Traders from the Temple, National Gallery at London.


            El Greco - (1541-1614)

            El Greco was a "Spanish" Mannerist painter, whose work, with that of Francisco de Goya and Diego Velázquez, represents the acme of Spanish art.

            El Greco (meaning “The Greek”) was born in Iráklion, Crete (then a possession of the Republic of Venice), in 1541 and was named Domenikos Theotokopoulos. Details of his early life and training are sketchy, but he probably first studied painting in his native city. Although no works from his first years survive, they were probably painted in the late Byzantine style popular in Crete at the time. Reminiscences of this style are seen in his later work. He was an erudite man, whose taste for classical and contemporaneous literature seems to have developed in his youth.


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              #7
              Ο Χριστός στις Τέχνες

              Ο Χριστός στις Τέχνες
              Το Πρόσωπο του Χριστού


              Resurrection, approx. 1584-94, Museo del Prado, Madrid.


              El Greco - (1541-1614)

              El Greco was a "Spanish" Mannerist painter, whose work, with that of Francisco de Goya and Diego Velázquez, represents the acme of Spanish art.

              El Greco (meaning “The Greek”) was born in Iráklion, Crete (then a possession of the Republic of Venice), in 1541 and was named Domenikos Theotokopoulos. Details of his early life and training are sketchy, but he probably first studied painting in his native city. Although no works from his first years survive, they were probably painted in the late Byzantine style popular in Crete at the time. Reminiscences of this style are seen in his later work. He was an erudite man, whose taste for classical and contemporaneous literature seems to have developed in his youth.


              Comment


                #8
                Ο Χριστός στις Τέχνες

                Ο Χριστός στις Τέχνες
                Το Πρόσωπο του Χριστού


                The Disrobing of Christ, 1583-84, canvas, Pinakothek at Munich.


                El Greco - (1541-1614)

                El Greco was a "Spanish" Mannerist painter, whose work, with that of Francisco de Goya and Diego Velázquez, represents the acme of Spanish art.

                El Greco (meaning “The Greek”) was born in Iráklion, Crete (then a possession of the Republic of Venice), in 1541 and was named Domenikos Theotokopoulos. Details of his early life and training are sketchy, but he probably first studied painting in his native city. Although no works from his first years survive, they were probably painted in the late Byzantine style popular in Crete at the time. Reminiscences of this style are seen in his later work. He was an erudite man, whose taste for classical and contemporaneous literature seems to have developed in his youth.


                Comment


                  #9
                  Ο Χριστός στις Τέχνες

                  Ο Χριστός στις Τέχνες
                  Το Πρόσωπο του Χριστού


                  The Lamentation of Christ, 1524, wood, Musée du Louvre, Paris.


                  Huber, Wolfgang
                  (German, 1485-1553)

                  Wolf Huber came from a family of artists and probably was an apprentice in his native city of Feldkirch, Austria. He made contact with Albrecht Altdorfer by 1510 and was also influenced by Durer, Mantegna, and Bellini. Huber set up a workshop in Passau, Germany and was appointed court painter to the Bishop of Passau. He created an altarpiece in Feldkirch in 1521. Eight years later, Huber became the architect for the local count, Graf Nicoluas of Salm and several years later was appointed Passau�s official architect. In addition to painting and architecture, Huber also created woodcuts and landscape drawings.

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                    #10
                    Ο Χριστός στις Τέχνες

                    Ο Χριστός στις Τέχνες
                    Το Πρόσωπο του Χριστού


                    The Mocking of Christ, approx. 1503, pine panel, Pinakothek at Munich.


                    Matthias Grünewald - (1475-1528)

                    Matthias Grünewald was a German painter whose work, along with that of the German artist Albrecht Dürer, represents the supreme accomplishment of the Renaissance in northern Europe.

                    Misnamed by 17th century sources, Grünewald may have originally been named Matthias, Mathias, or Mathis Gothardt-Neithardt, and was born in Würzburg, possibly in 1475. In about 1519 he married, thereafter often signing his work with his name and his wife's surname, Niethart, or with a monogram of the intertwined initials M, G, and N. Documents place him in Seligenstadt from 1501 to 1521 as the owner of a workshop. By 1509 he had become court painter to the archbishop of Mainz, and by the second decade of the century he was also accepting commissions in Isenheim and Aschaffenburg. Because of his Protestant sympathies, he was forced to move, first to Frankfurt in 1526 and then to Halle in 1527; he died in Halle in August of the following year. His surviving work consists of only ten paintings—several of them polyptychs (multipaneled altarpieces)—and about 35 drawings, in various European and American collections. Unlike many of his contemporaries, Grünewald did not engrave or make prints. His earliest unquestioned painting is the vivid, emotionally charged Mocking of Christ (1503, Alte Pinakothek, Munich), which, with its distortions and brilliant color, foreshadows his mature work.


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                      #11
                      Ο Χριστός στις Τέχνες

                      Ο Χριστός στις Τέχνες
                      Το Πρόσωπο του Χριστού


                      Crucifixion, 1510-15.


                      Matthias Grünewald - (1475-1528)

                      Matthias Grünewald was a German painter whose work, along with that of the German artist Albrecht Dürer, represents the supreme accomplishment of the Renaissance in northern Europe.

                      Misnamed by 17th century sources, Grünewald may have originally been named Matthias, Mathias, or Mathis Gothardt-Neithardt, and was born in Würzburg, possibly in 1475. In about 1519 he married, thereafter often signing his work with his name and his wife's surname, Niethart, or with a monogram of the intertwined initials M, G, and N. Documents place him in Seligenstadt from 1501 to 1521 as the owner of a workshop. By 1509 he had become court painter to the archbishop of Mainz, and by the second decade of the century he was also accepting commissions in Isenheim and Aschaffenburg. Because of his Protestant sympathies, he was forced to move, first to Frankfurt in 1526 and then to Halle in 1527; he died in Halle in August of the following year. His surviving work consists of only ten paintings—several of them polyptychs (multipaneled altarpieces)—and about 35 drawings, in various European and American collections. Unlike many of his contemporaries, Grünewald did not engrave or make prints. His earliest unquestioned painting is the vivid, emotionally charged Mocking of Christ (1503, Alte Pinakothek, Munich), which, with its distortions and brilliant color, foreshadows his mature work.


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                        #12
                        Ο Χριστός στις Τέχνες

                        Ο Χριστός στις Τέχνες
                        Το Πρόσωπο του Χριστού


                        Christ and the Woman with the Issue of Blood, 1565-70, oil on canvas, Art History Museum, Vienna.


                        Paolo Veronese - (1528-1588)

                        Paolo Veronese was an Italian Renaissance painter; one of the great masters of the Venetian school. Originally named Paolo Caliari, he was called Veronese from his native city of Verona. He learned painting in Verona from Antonio Badile, a capable exponent of the conservative local tradition. That tradition remained fundamental to Veronese's style throughout his career, even after he moved to Venice in 1553.

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                          #13
                          Ο Χριστός στις Τέχνες

                          Ο Χριστός στις Τέχνες
                          Το Πρόσωπο του Χριστού


                          Christ & the Woman of Samaria, detail of Christ, 1580-82, oil on canvas, Art History Museum, Vienna.


                          Paolo Veronese - (1528-1588)

                          Paolo Veronese was an Italian Renaissance painter; one of the great masters of the Venetian school. Originally named Paolo Caliari, he was called Veronese from his native city of Verona. He learned painting in Verona from Antonio Badile, a capable exponent of the conservative local tradition. That tradition remained fundamental to Veronese's style throughout his career, even after he moved to Venice in 1553.

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                            #14
                            Ο Χριστός στις Τέχνες

                            Ο Χριστός στις Τέχνες
                            Το Πρόσωπο του Χριστού


                            Pietà, 1576-82, oil on canvas, The Hermitage at St. Petersburg.


                            Paolo Veronese - (1528-1588)

                            Paolo Veronese was an Italian Renaissance painter; one of the great masters of the Venetian school. Originally named Paolo Caliari, he was called Veronese from his native city of Verona. He learned painting in Verona from Antonio Badile, a capable exponent of the conservative local tradition. That tradition remained fundamental to Veronese's style throughout his career, even after he moved to Venice in 1553.

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                              #15
                              Ο Χριστός στις Τέχνες

                              Ο Χριστός στις Τέχνες
                              Το Πρόσωπο του Χριστού


                              Christ Giving the Keys to St. Peter 1480-81 - Fresco, Sistine Chapel, Vatican, Rome.


                              Perugino
                              (Pietro Vannucci, Italian, 1450-1524)

                              born c. 1450, Città della Pieve, near Perugia, Romagna
                              died February/March 1523, Fontignano, near Perugia

                              EARLY WORK

                              Nothing is known for certain of Perugino's early training, but he may have been a pupil of Fiorenzo di Lorenzo (c. 1440-1525), a minor painter in Perugia, and of the renowned Umbrian Piero della Francesca (c. 1420-92) in Arezzo, in which case he would have been a fellow pupil of one of his most famous contemporaries, Luca Signorelli. The two men were acquainted, and an occasional influence from Signorelliis visible in Perugino's work, notably in the direction of an increased hardness of drawing (e.g., Crucifixion and Saints, c. 1480-1500; Uffizi, Florence). In Florence, where he is first recorded in 1472, he almost certainly worked in the shop of the important painter and sculptor Andrea del Verrocchio, where the young Leonardo da Vinci was apprenticed.


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