Information om | Engelska ordet ALTARPIECES

Exempel på hur man kan använda ALTARPIECES i en mening

• His grandfather, Mikael Toppelius, was a painter noted for his murals and altarpieces in churches in Ostrobothnia.
• Von Kulmbach then apprenticed with Albrecht Dürer and after Dürer retired from painting altarpieces in 1510 Kulmbach took over most of his commissions.
• He is buried adjacent to one of his finest altarpieces in the church of St Mary, also known as Stadtkirche Wittenberg.
• In late medieval and Renaissance altarpieces, where the main panel consisted of a scene with large figures, it was normal to include a predella below with a number of small-scale narrative paintings depicting events from the life of the dedicatee, whether the Life of Christ, the Life of the Virgin or a saint.
• He also received numerous commissions for altarpieces for churches (in Rome, Brescia, Lucca and Parma, for example) as well as for mythological and allegorical subjects.
• He also painted mythological, allegorical and biblical subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching.
• From the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form.
• Large polyptychs were most commonly created as altarpieces in churches and cathedrals, although smaller diptychs and triptychs could be personal works for the rich, for example the royal Wilton Diptych, a very personal work made for Richard II of England.
• In the years immediately before 1730 the Venetian painter Giambattista Pittoni painted five altarpieces for the side altars of the central nave: The Annunciation, The Adoration of the Magi, Madonna and Child with St.
• Considered to be the leading Netherlandish Romanist, Van Scorel moved to Ghent for painting contracts before returning to Utrecht for the same reason, where he died in 1562, leaving behind a wealth of portraits and altarpieces.
• High church Anglicanism tends to be closer than low church to Roman Catholic and Eastern Orthodox teachings and spirituality; its hallmarks are relatively elaborate music, altarpieces, and clergy vestments and an emphasis on sacraments.
• Paintings in situ include two large and important altarpieces by Titian, the Assumption of the Virgin on the high altar and the Pesaro Madonna in a chapel.
• Other, undated altarpieces are in Anghiari (Santo Stefano), Dijon (Musée des Beaux-Arts), Florence (Galleria dell'Accademia), San Gimignano (Museo Civico) and San Giovanni Valdarno (Museo della Basilica di Santa Maria delle Grazie).
• The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs.
• Michiel Coxie the Elder, Michiel Coxcie the Elder or Michiel van Coxcie, Latinised name Coxius (1499 – 3 March 1592), was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints.
• His studio was prodigious and he painted frescoes for the Church of Santa Chiara (1752–1754), five canvases for the Chapel in Caserta Palace (now lost), as well as many others including for the Benedictines of Aversa (1761), a History of Saint Francis of Paola for the Sanctuary of Saint Maria di Pozzano of Castellammare di Stabia (1762–1763), and many other altarpieces.
• Moretto excelled more in sedate altarpieces than in narrative action, and more in oil painting than in fresco, although he painted fine frescoes depicting the idle daughters of Count Martinengo in one of the palaces near Brescia.
• Conspicuously absent from his oeuvre, however, are altarpieces - possibly due to the Napoleonic invasions that deconsecrated many churches and convents in Northern Italy.
• Santi went on to contribute a Sacra Conversazione for the Ognissanti and painted two altarpieces for Santa Croce in Florence: a crowded but monumental Resurrection (1570–74), and a creatively inspired and decorous Supper at Emmaus (1574).
• He realised altarpieces in the Chiesa degli Incurabili and the Chiesa di San Nicolò da Tolentino and painted a tondo representing an Allegory of Sculpture for the reading room of the Biblioteca Marciana.

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