Ο Χριστός στις Τέχνες

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Last Supper, 1495-98, fresco Santa Maria dell Grazie, Milan.

Leonardo da Vinci
(1452-1519)

Leonardo da Vinci was a Florentine artist, one of the great masters of the High Renaissance, who was also celebrated as a painter, sculptor, architect, engineer, and scientist. His profound love of knowledge and research was the keynote of both his artistic and scientific endeavors. His innovations in the field of painting influenced the course of Italian art for more than a century after his death, and his scientific studies—particularly in the fields of anatomy, optics, and hydraulics—anticipated many of the developments of modern science.

http://cgfa.sunsite.dk/vinci/vinci_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Nativity, 1643, oil on canvas, Musée des Beaux-Arts at Lille.

Philippe de Champaigne
(1602-1674)

Philippe de Champaigne was a French painter, born and trained in Brussels, Belgium. Arriving in Paris in 1621, he collaborated with Nicolas Poussin in decorating the Luxembourg Palace. Champaigne then worked for the queen mother, Marie de Medicis, for Louis XIII, and after 1635 primarily for the king's chief minister, Cardinal Armand Richelieu, for whom he decorated the Palais Royal, the dome of the Sorbonne, and other buildings. Champaigne painted colorful historical and religious scenes influenced by Peter Paul Rubens, and he excelled at portraits in the realistic, perceptive Flemish tradition, as in Cardinal Richelieu (1637?, National Gallery, London).

http://cgfa.sunsite.dk/champaigne/champaigne_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Last Supper, canvas, Musée du Louvre, Paris.

Philippe de Champaigne
(1602-1674)

Philippe de Champaigne was a French painter, born and trained in Brussels, Belgium. Arriving in Paris in 1621, he collaborated with Nicolas Poussin in decorating the Luxembourg Palace. Champaigne then worked for the queen mother, Marie de Medicis, for Louis XIII, and after 1635 primarily for the king's chief minister, Cardinal Armand Richelieu, for whom he decorated the Palais Royal, the dome of the Sorbonne, and other buildings. Champaigne painted colorful historical and religious scenes influenced by Peter Paul Rubens, and he excelled at portraits in the realistic, perceptive Flemish tradition, as in Cardinal Richelieu (1637?, National Gallery, London).

http://cgfa.sunsite.dk/champaigne/champaigne_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Dead Christ, wood, Musée du Louvre, Paris.

Philippe de Champaigne
(1602-1674)

Philippe de Champaigne was a French painter, born and trained in Brussels, Belgium. Arriving in Paris in 1621, he collaborated with Nicolas Poussin in decorating the Luxembourg Palace. Champaigne then worked for the queen mother, Marie de Medicis, for Louis XIII, and after 1635 primarily for the king's chief minister, Cardinal Armand Richelieu, for whom he decorated the Palais Royal, the dome of the Sorbonne, and other buildings. Champaigne painted colorful historical and religious scenes influenced by Peter Paul Rubens, and he excelled at portraits in the realistic, perceptive Flemish tradition, as in Cardinal Richelieu (1637?, National Gallery, London).

http://cgfa.sunsite.dk/champaigne/champaigne_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Jesus Healing the Blind of Jericho, detail, 1650,
oil on canvas, Musée du Louvre, Paris.

Nicolas Poussin
(1594-1665)

Nicolas Poussin was a French painter who was the founder and greatest practitioner of 17th-century French classical painting. His work symbolizes the virtues of logic, order, and clarity, and it has influenced the course of French art up to the present day.

Poussin was of peasant extraction, born near Les Andelys, Normandy, in June 1594. He studied painting in Paris and perhaps also Rouen. In 1624 he went to Rome, where, except for an 18-month sojourn in Paris from 1640 to 1642, he lived for the rest of his life. His early work in Rome reflects the crowded compositions and animated surfaces of mid-16th century Mannerism. About 1630 his style began to change as he drew away from the emerging exuberant baroque style and devoted himself entirely to his passion for the antique, concentrating on biblical and mythological subjects.

http://cgfa.sunsite.dk/poussin/poussin_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Christ and the Woman Taken in Adultery, detail, 1653,
oil on canvas, Musée du Louvre, Paris.

Nicolas Poussin
(1594-1665)

Nicolas Poussin was a French painter who was the founder and greatest practitioner of 17th-century French classical painting. His work symbolizes the virtues of logic, order, and clarity, and it has influenced the course of French art up to the present day.

Poussin was of peasant extraction, born near Les Andelys, Normandy, in June 1594. He studied painting in Paris and perhaps also Rouen. In 1624 he went to Rome, where, except for an 18-month sojourn in Paris from 1640 to 1642, he lived for the rest of his life. His early work in Rome reflects the crowded compositions and animated surfaces of mid-16th century Mannerism. About 1630 his style began to change as he drew away from the emerging exuberant baroque style and devoted himself entirely to his passion for the antique, concentrating on biblical and mythological subjects.

http://cgfa.sunsite.dk/poussin/poussin_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Last Supper - National Gallery of Scotland in Edinborough

Nicolas Poussin
(1594-1665)

Nicolas Poussin was a French painter who was the founder and greatest practitioner of 17th-century French classical painting. His work symbolizes the virtues of logic, order, and clarity, and it has influenced the course of French art up to the present day.

Poussin was of peasant extraction, born near Les Andelys, Normandy, in June 1594. He studied painting in Paris and perhaps also Rouen. In 1624 he went to Rome, where, except for an 18-month sojourn in Paris from 1640 to 1642, he lived for the rest of his life. His early work in Rome reflects the crowded compositions and animated surfaces of mid-16th century Mannerism. About 1630 his style began to change as he drew away from the emerging exuberant baroque style and devoted himself entirely to his passion for the antique, concentrating on biblical and mythological subjects.

http://cgfa.sunsite.dk/poussin/poussin_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Christ's Blessing, 1460, wood, Musée du Louvre at Paris.

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Pietà, Brera Gallery at Milan.

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Pietà,
(original cymatium of the Pesaro Altarpiece), 1470s,
Vatican Pinacoteca.

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

The Lamentation over the Body of Christ, 1500,
tempera on wood, The Uffizi at Florence.

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Crucifixion
Correr Museum, Venice
between 1455 and 1460

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Transfiguration
Correr Museum, Venice
between 1455 and 1460

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Dead Christ Supported by Two Angels
Correr Museum, Venice
between 1455 and 1460

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm

[Yaryalitsa]

Ο Χριστός στις Τέχνες

Ο Χριστός στις Τέχνες
Το Πρόσωπο του Χριστού

Pietà
Correr Museum, Venice
between 1455 and 1460

Giovanni Bellini
(1426-1516)

Giovanni Bellini was a Venetian painter who was the presiding genius of early Renaissance painting in Venice, and an artist of world rank. He was the son of Jacopo and (probably younger) brother of Gentile Bellini.

Born in Venice, Giovanni Bellini began as an assistant in his father's workshop and continued painting into his mid-80s, gaining steadily in achievement and recognition. His first phase as an artist was strongly influenced by his formidable brother-in-law, the Paduan painter Andrea Mantegna, from whom he took a sculpturesque figure style; a sense for the potential eloquence of contour line; and occasional compositional ideas, as in the early Agony in the Garden (1460s, National Gallery, London). These are, however, infused with Bellini's own subtle perception of color and light, an exceptional sensitivity to the natural landscape, and a human empathy far more direct and tender than Mantegna's.

http://cgfa.sunsite.dk/bellini/bellini_bio.htm