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Anthony of Sienna (?–2 January 1585) was a Portuguese Dominican theologian, so called because of his great veneration for Saint Catherine of Siena. [1] He was born near Braga in Portugal. He studied at Lisbon, Coimbra, and Louvain, eventually coming to teach philosophy at Louvain. There he was made Doctor of Theology in 1571, and in 1574 was ...
Simone Martini, Annunciation with St. Margaret and St. Ansanus, 1333. The Sienese school of painting flourished in Siena, Italy, between the 13th and 15th centuries.Its most important artists include Duccio, whose work shows Byzantine influence, his pupil Simone Martini, the brothers Pietro and Ambrogio Lorenzetti and Domenico and Taddeo di Bartolo, Sassetta, and Matteo di Giovanni.
Pierre-Paul Prud'hon (French pronunciation: [pjɛʁ pɔl pʁydɔ̃], 4 April 1758 – 16 February 16, 1823) was a French Romantic painter and draughtsman best known for his allegorical paintings and portraits such as Madame Georges Anthony and Her Two Sons (1796). He painted a portrait of each of Napoleon's two wives.
Arachne: In Greek mythology, a woman who challenged Athena to a contest of skill in weaving. Athena destroyed her work and converted the woman into a spider. Depicted on the pavement in Purgatory as an example of arrogance. Purg. XII, 43. Arcolano of Siena: A member of the Maconi family, he was a member of the notorious Sienese Spendthrift Club.
Matthias Grünewald, inner right wing of the Isenheim Altarpiece depicting the Temptation of St. Anthony, 1512-1516 (oil on panel). The Temptation of Saint Anthony is an often-repeated subject in the history of art and literature, concerning the supernatural temptation reportedly faced by Saint Anthony the Great during his sojourn in the Egyptian desert.
Donatello's Feast of Herod (1423–1427), baptismal font, Battistero di San Giovanni (Siena) The Feast of Herod is a bronze relief sculpture created by Donatello circa 1427. It was made for the font of the Siena Baptistery of San Giovanni in Italy. It is one of Donatello's earliest relief sculptures, and his first bronze relief. [1]
The rendering of the magnificent women's clothes is particularly notable. The scene is considered one of the best executed in the chapel. Unlike the previous scene, nearly all the portraits show a great care: they were probably executed by the master himself, while the less well executed are probably painted by his assistants.
The title, The Temptation of St. Anthony, provides clues as to the meaning of the painting and its iconography. In this painting various temptations appear to Saint Anthony (the naked man in the painting). The temptations are led by Satan depicted in the form of a horse, who is seen by Dalí as at once beautiful, terrible and impossible ...