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In the first several centuries of large Christian churches being built, the altar tended to be further forward (towards the congregation) in the sanctuary than in the later Middles Ages (a position to which it returned in the 20th century) and a large altarpiece would often have blocked the view of a bishop's throne and other celebrants, so decoration was concentrated on other places, with ...
Jan van Eyck, The Arnolfini Portrait, 1434, National Gallery, London Rogier van der Weyden, The Descent from the Cross, c. 1435, Museo del Prado, Madrid. Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. [1]
Altarpieces seem to have begun to be used during the 11th century, with the possible exception of a few earlier examples. They became more common in the 13th century because of new liturgical practices—the priest and congregation were now on the same side of the altar, leaving the space behind the altar free for the display of a holy image ...
The left half of the painting depicts John the Baptist (the patron saint of the Order of Saint John) preaching to a crowd while pointing at Jesus, who stands close to the middle. The right half shows Saint George , a Saint George's Cross prominently displayed on his chest, slaying the dragon under the eyes of the princess.
According to Costantino D'Orazio, this possible mechanism denotes "a futuristic work, like the mobile altarpieces that were particularly fashionable in the 17th century". [32] However, Pietro C. Marani points out that the panel of La Vierge aux rochers conserved in London shows no trace of a hinge or hanging system that could confirm this ...
The Infant Jesus on his left shoulder is naked and holds onto his hair. By St Christopher’s right leg kneels a pilgrim with a lantern, with which he lights St Christopher on his journey. This scene is common in the late Middle Ages and is derived, for example, from a copperplate engraving (1495) or woodcut (1500-1502) by Abrecht Dürer. [6]
Lorenzo Lotto (c. 1480 – 1556/57) was an Italian Renaissance painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits.
In the immediate postwar period the altarpiece, with its strong overtones of violent sensation and emotion, became a natural source of inspiration for many painters in the influential Expressionist school, such as George Grosz and Otto Dix. [6] [7] It also provided the basis for Paul Hindemith's modernist opera Mathis der Maler. In the later ...