| Property |
Value |
| dbo:abstract
|
- La Pintura del Renacimiento Italiano es la pintura del período que comenzó a finales del siglo XIII y floreció desde principios del siglo XV hasta finales del siglo XVI en la península Itálica, que en ese tiempo ese encontraba dividida en muchas áreas políticas. Los pintores de la Italia Renacentista, recorrían Italia comúnmente ocupando un estatus diplomático y difundiendo ideologías artísticas y filosóficas. La ciudad de Florencia en la Toscana se conoce como el lugar de origen del Renacimiento, en especial de la pintura Renacentista. Se puede encontrar más información en los artículos Renacimiento y Arquitectura del Renacimiento. La Pintura del Renacimiento Italiano se puede dividir en cuatro períodos: Protorrenacimiento (1300–1400), Renacimiento Temprano (1400–1475), Alto Renacimiento (1475–1525) y Manierismo (1525–1600). Estas fechas son aproximadas ya que la vida de cada artista y sus estilos personales traspasaron diferentes períodos. El Proto-Renacimiento comenzó con la vida profesional del pintor Giotto e incluye a Taddeo Gaddi, Orcagna y Altichiero. El Renacimiento Temprano estuvo marcado por el trabajo de Masaccio, Fra Angelico, Paolo Uccello, Piero della Francesca y Verrocchio. En el Alto Renacimiento destacan Leonardo da Vinci, Miguel Ángel, Rafael y Tiziano. El período Manierista incluyó a Andrea del Sarto, Pontormo y Tintoretto. (es)
- La Pintura del Renacimiento Italiano es la pintura del período que comenzó a finales del siglo XIII y floreció desde principios del siglo XV hasta finales del siglo XVI en la península Itálica, que en ese tiempo ese encontraba dividida en muchas áreas políticas. Los pintores de la Italia Renacentista, recorrían Italia comúnmente ocupando un estatus diplomático y difundiendo ideologías artísticas y filosóficas. La ciudad de Florencia en la Toscana se conoce como el lugar de origen del Renacimiento, en especial de la pintura Renacentista. Se puede encontrar más información en los artículos Renacimiento y Arquitectura del Renacimiento. La Pintura del Renacimiento Italiano se puede dividir en cuatro períodos: Protorrenacimiento (1300–1400), Renacimiento Temprano (1400–1475), Alto Renacimiento (1475–1525) y Manierismo (1525–1600). Estas fechas son aproximadas ya que la vida de cada artista y sus estilos personales traspasaron diferentes períodos. El Proto-Renacimiento comenzó con la vida profesional del pintor Giotto e incluye a Taddeo Gaddi, Orcagna y Altichiero. El Renacimiento Temprano estuvo marcado por el trabajo de Masaccio, Fra Angelico, Paolo Uccello, Piero della Francesca y Verrocchio. En el Alto Renacimiento destacan Leonardo da Vinci, Miguel Ángel, Rafael y Tiziano. El período Manierista incluyó a Andrea del Sarto, Pontormo y Tintoretto. (es)
|
| dbo:wikiPageExternalLink
| |
| dbo:wikiPageID
| |
| dbo:wikiPageLength
| |
| dbo:wikiPageRevisionID
| |
| prop-es:align
|
- center (es)
- left (es)
- right (es)
- center (es)
- left (es)
- right (es)
|
| prop-es:alt
|
- Oil painting. A mysterious landscape with Classical ruins. A man stands to the left, and to the right a nude woman feeds a baby (es)
- A chef with a bushy brown beard and waxed oustache wearing his white kitchen attire and a tall chef's hat stands with his hands on his hips as if he has been interrupted in his work. (es)
- A circular terracotta plaque, sculptured in relief and glazed in intense colours of blue and green with white figures and motifs. At the centre the Virgin Mary, watched by John the Baptist, kneels in adoration of the baby Jesus. Little cherubs look on (es)
- Square panel painting, devotional picture. Although in richly coloured paint, and set against a dark forest, the composition of Virgin and Child is very similar to that on the terracotta plaque. (es)
- Oil on panel. The saint is a plump man in a red robe. His red cardinal's hat lies near him on a chair. There are many small details such as books and potplants. A peacock and partidge are walking near the arch that frames the scene (es)
- Square panel. The nativity of Jesus. A ruined building is reused as a stable. At the centre, the Virgin Mary with long red hair and a plain dark blue robe, kneels to worship the tiny newborn Christ Child, who lies on some hay on the floor. Joseph stands to the front left. In the shadows are an ox and a donkey. Three very naturalistic shepherds kneel to the right, while many angels, some in rich brocade cloaks, gather around. In the distance a second scene shows an angel telling the news to the shepherds. (es)
- An portly English officer with a ruddy complexion and black eyebrows, stands in military dress against a background of smoke from a cannon. He holds a very large key in one hand and gestures with the other. (es)
- A fresco showing Adam and Eve leaving the garden of Eden. Adam's weeps into his hands and Eve throws her head back to wail, while trying to cover her naked body. The style is broadly painted with realistic gestures and emotion. (es)
- Square panel. The nativity of Jesus. Some ancient Roman columns are used to support a stable roof. A stone coffin has been reused as a feed trough. To the left, the Virgin Mary in a red dress, blue cloak and sheer veil kneels to worship the Christ Child, who is a plump baby lying in the foreground. Three shepherds, the ox and the donkey are worshipping the child. Beside Mary, Joseph looks up to see a long procession coming, as the Three Wise Men draw near, with their retinue. (es)
- Small bronze sculpture in high relief. The space is crowded with action. At the top of a mountain, Abraham is about to sacrifice his son Isaac, who kneels on an altar. As Abraham wields a knife, an Angel raises his hand to stop the action, and directs him to sacrifice a sheep caught in a bush. At left are two servants and a donkey. (es)
- A fresco showing Adam and Eve tempted by the Devil. Eve holds a piece of fruit while Adam gestures towards it. The figures look slim, youthful and beautiful. Adam is bearded and tanned; Eve is blonde and pretty. (es)
- A pair of large bronze doors, with ornate frames. The doors are divided into ten rectangular sections with decorations between them. Each section contains a relief sculpture telling a story from the Old Testament. The panels and parts of the frames are covered with gold. (es)
- The first of four images. Oil portrait of an elderly man with stern face and short white beard, richly dressed in a robe with huge gold buttons and distinctive cap of office. Each picture shows a three-quarter length figure against a dark background. Each portrait seems to capture a moment in time. (es)
- Oil painting. A flamboyant scene in which an imploring woman is scanty clothing is carried unwillingly out to sea on the back of a large white bull with rolling eyes. They are pursued by a number of cupids. (es)
- Portrait of the king of Spain, who has a long pale face and a curling moustache. He wears a scarlet coat richly embroidered in gold, and has a large collar trimmed with lace. He carries a black broad-brimmed hat. He stands as if he has just stopped for a moment. (es)
- Oil painting. A mysterious landscape with Classical ruins. A man stands to the left, and to the right a nude woman feeds a baby (es)
- A chef with a bushy brown beard and waxed oustache wearing his white kitchen attire and a tall chef's hat stands with his hands on his hips as if he has been interrupted in his work. (es)
- A circular terracotta plaque, sculptured in relief and glazed in intense colours of blue and green with white figures and motifs. At the centre the Virgin Mary, watched by John the Baptist, kneels in adoration of the baby Jesus. Little cherubs look on (es)
- Square panel painting, devotional picture. Although in richly coloured paint, and set against a dark forest, the composition of Virgin and Child is very similar to that on the terracotta plaque. (es)
- Oil on panel. The saint is a plump man in a red robe. His red cardinal's hat lies near him on a chair. There are many small details such as books and potplants. A peacock and partidge are walking near the arch that frames the scene (es)
- Square panel. The nativity of Jesus. A ruined building is reused as a stable. At the centre, the Virgin Mary with long red hair and a plain dark blue robe, kneels to worship the tiny newborn Christ Child, who lies on some hay on the floor. Joseph stands to the front left. In the shadows are an ox and a donkey. Three very naturalistic shepherds kneel to the right, while many angels, some in rich brocade cloaks, gather around. In the distance a second scene shows an angel telling the news to the shepherds. (es)
- An portly English officer with a ruddy complexion and black eyebrows, stands in military dress against a background of smoke from a cannon. He holds a very large key in one hand and gestures with the other. (es)
- A fresco showing Adam and Eve leaving the garden of Eden. Adam's weeps into his hands and Eve throws her head back to wail, while trying to cover her naked body. The style is broadly painted with realistic gestures and emotion. (es)
- Square panel. The nativity of Jesus. Some ancient Roman columns are used to support a stable roof. A stone coffin has been reused as a feed trough. To the left, the Virgin Mary in a red dress, blue cloak and sheer veil kneels to worship the Christ Child, who is a plump baby lying in the foreground. Three shepherds, the ox and the donkey are worshipping the child. Beside Mary, Joseph looks up to see a long procession coming, as the Three Wise Men draw near, with their retinue. (es)
- Small bronze sculpture in high relief. The space is crowded with action. At the top of a mountain, Abraham is about to sacrifice his son Isaac, who kneels on an altar. As Abraham wields a knife, an Angel raises his hand to stop the action, and directs him to sacrifice a sheep caught in a bush. At left are two servants and a donkey. (es)
- A fresco showing Adam and Eve tempted by the Devil. Eve holds a piece of fruit while Adam gestures towards it. The figures look slim, youthful and beautiful. Adam is bearded and tanned; Eve is blonde and pretty. (es)
- A pair of large bronze doors, with ornate frames. The doors are divided into ten rectangular sections with decorations between them. Each section contains a relief sculpture telling a story from the Old Testament. The panels and parts of the frames are covered with gold. (es)
- The first of four images. Oil portrait of an elderly man with stern face and short white beard, richly dressed in a robe with huge gold buttons and distinctive cap of office. Each picture shows a three-quarter length figure against a dark background. Each portrait seems to capture a moment in time. (es)
- Oil painting. A flamboyant scene in which an imploring woman is scanty clothing is carried unwillingly out to sea on the back of a large white bull with rolling eyes. They are pursued by a number of cupids. (es)
- Portrait of the king of Spain, who has a long pale face and a curling moustache. He wears a scarlet coat richly embroidered in gold, and has a large collar trimmed with lace. He carries a black broad-brimmed hat. He stands as if he has just stopped for a moment. (es)
|
| prop-es:archiveurl
|
- https://web.archive.org/web/20120920044914/http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|archivedate=20 de septiembre de 2012 (es)
- https://web.archive.org/web/20120920044914/http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|archivedate=20 de septiembre de 2012 (es)
|
| prop-es:caption
|
- Joshua Reynolds, Barón Heathfield, Lord Warden de Gibraltar, siglo XVIII (es)
- Andrea and Giovanni della Robbia: Virgen con Niño (es)
- Antonello da Messina: San Jerónimo en su gabinete (es)
- Diego Velázquez, Felipe IV de España, Siglo XVII (es)
- Filippo Lippi: Virgen con Niño, 1459 (es)
- Gentile Bellini: La Virgen y el Niño con santos (es)
- Ghiberti: Puertas del Paraíso (es)
- Ghirlandaio: Retablo en la capilla Sassetti (es)
- Giorgione: La Tempestad (es)
- Hugo van der Goes: Tríptico Portinari (es)
- Masaccio: Adán y Eva (es)
- Masolino: Adán y Eva (es)
- Titian: Retrato del Doge Andrea Gritti, Siglo XVIII (es)
- Tiziano: 'El rapto de Europa'' (es)
- William Orpen, Chef del'Hôtel Chatham Siglo XX (es)
- Ghiberti: competencia por las Puertas del Baptisterio (es)
- Joshua Reynolds, Barón Heathfield, Lord Warden de Gibraltar, siglo XVIII (es)
- Andrea and Giovanni della Robbia: Virgen con Niño (es)
- Antonello da Messina: San Jerónimo en su gabinete (es)
- Diego Velázquez, Felipe IV de España, Siglo XVII (es)
- Filippo Lippi: Virgen con Niño, 1459 (es)
- Gentile Bellini: La Virgen y el Niño con santos (es)
- Ghiberti: Puertas del Paraíso (es)
- Ghirlandaio: Retablo en la capilla Sassetti (es)
- Giorgione: La Tempestad (es)
- Hugo van der Goes: Tríptico Portinari (es)
- Masaccio: Adán y Eva (es)
- Masolino: Adán y Eva (es)
- Titian: Retrato del Doge Andrea Gritti, Siglo XVIII (es)
- Tiziano: 'El rapto de Europa'' (es)
- William Orpen, Chef del'Hôtel Chatham Siglo XX (es)
- Ghiberti: competencia por las Puertas del Baptisterio (es)
|
| prop-es:direction
|
- horizontal (es)
- horizontal (es)
|
| prop-es:fechaacceso
| |
| prop-es:first
|
- Christine (es)
- Christine (es)
|
| prop-es:header
|
- La influencia del Renacimiento Italiano (es)
- La influencia del Renacimiento Italiano (es)
|
| prop-es:headerAlign
| |
| prop-es:image
|
- Gentile Bellini Madonna and Child Enthroned late 15th century.jpg (es)
- Cappella brancacci, Tentazione di Adamo ed Eva , Masolino.jpg (es)
- Anbetung der Hirten.jpg (es)
- Fra Filippo Lippi 002.jpg (es)
- Ghiberticompetition.jpg (es)
- Giorgione, The tempest.jpg (es)
- Hugo van der Goes 006.jpg (es)
- Masaccio expulsion-1427 crop.JPG (es)
- Paradies tuer florenz.jpg (es)
- Ritratto del Doge Andrea Gritti - Tiziano 059.jpg (es)
- Tizian 085.jpg (es)
- Tondo Della Robbia Louvre LP3410.jpg (es)
- William Orpen Le Chef de l'Hôtel Chatham, Paris.jpg (es)
- George Augustus Eliott, 1st Baron Heathfield - by Joshua Reynolds - Project Gutenberg eText 19009.jpg (es)
- Diego Velázquez - Phillip IV in Army Dress - WGA24437.jpg (es)
- Antonello da Messina - St Jerome in his study - National Gallery London.jpg (es)
- Gentile Bellini Madonna and Child Enthroned late 15th century.jpg (es)
- Cappella brancacci, Tentazione di Adamo ed Eva , Masolino.jpg (es)
- Anbetung der Hirten.jpg (es)
- Fra Filippo Lippi 002.jpg (es)
- Ghiberticompetition.jpg (es)
- Giorgione, The tempest.jpg (es)
- Hugo van der Goes 006.jpg (es)
- Masaccio expulsion-1427 crop.JPG (es)
- Paradies tuer florenz.jpg (es)
- Ritratto del Doge Andrea Gritti - Tiziano 059.jpg (es)
- Tizian 085.jpg (es)
- Tondo Della Robbia Louvre LP3410.jpg (es)
- William Orpen Le Chef de l'Hôtel Chatham, Paris.jpg (es)
- George Augustus Eliott, 1st Baron Heathfield - by Joshua Reynolds - Project Gutenberg eText 19009.jpg (es)
- Diego Velázquez - Phillip IV in Army Dress - WGA24437.jpg (es)
- Antonello da Messina - St Jerome in his study - National Gallery London.jpg (es)
|
| prop-es:isbn
| |
| prop-es:last
|
- Sciacca (es)
- Sciacca (es)
|
| prop-es:title
|
- Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1500 (es)
- Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1500 (es)
|
| prop-es:url
|
- http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|year=2012|publisher=Getty Publications (es)
- http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|year=2012|publisher=Getty Publications (es)
|
| prop-es:urlarchivo
|
- https://web.archive.org/web/20120920044914/http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|fechaarchivo=20 de septiembre de 2012 (es)
- https://web.archive.org/web/20120920044914/http://shop.getty.edu/products/florence-at-the-dawn-of-the-renaissance-978-1606061268|fechaarchivo=20 de septiembre de 2012 (es)
|
| prop-es:width
|
- 140 (xsd:integer)
- 150 (xsd:integer)
- 163 (xsd:integer)
- 170 (xsd:integer)
- 174 (xsd:integer)
- 175 (xsd:integer)
- 180 (xsd:integer)
- 181 (xsd:integer)
- 183 (xsd:integer)
- 200 (xsd:integer)
- 232 (xsd:integer)
- 235 (xsd:integer)
|
| dct:subject
| |
| rdfs:comment
|
- La Pintura del Renacimiento Italiano es la pintura del período que comenzó a finales del siglo XIII y floreció desde principios del siglo XV hasta finales del siglo XVI en la península Itálica, que en ese tiempo ese encontraba dividida en muchas áreas políticas. Los pintores de la Italia Renacentista, recorrían Italia comúnmente ocupando un estatus diplomático y difundiendo ideologías artísticas y filosóficas. (es)
- La Pintura del Renacimiento Italiano es la pintura del período que comenzó a finales del siglo XIII y floreció desde principios del siglo XV hasta finales del siglo XVI en la península Itálica, que en ese tiempo ese encontraba dividida en muchas áreas políticas. Los pintores de la Italia Renacentista, recorrían Italia comúnmente ocupando un estatus diplomático y difundiendo ideologías artísticas y filosóficas. (es)
|
| rdfs:label
|
- Pintura renacentista de Italia (es)
- Pintura renacentista de Italia (es)
|
| owl:sameAs
| |
| prov:wasDerivedFrom
| |
| foaf:isPrimaryTopicOf
| |
| is dbo:wikiPageRedirects
of | |
| is owl:sameAs
of | |
| is foaf:primaryTopic
of | |
