1title: Cappella tornabuoni, 12, Nascita di san giovanni battista, dettaglio
artist: Domenico ghirlandaio
medium: fresco
current location: Institution:Cappella Tornabuoni, Santa Maria Novella, Florence
source: book
credit: book
license:Public domain
2title: Cappella tornabuoni, 14, San Giovanni Battista nel deserto
artist: Domenico ghirlandaio
date: between 1486 and 1490
medium: Fresco
current location: Institution:Cappella Tornabuoni
source: book
credit: book
license:Public domain
3title: Cappella tornabuoni, 12, Nascita di san giovanni battista, dettaglio 2
artist: Domenico ghirlandaio
source: book
credit: book
license:Public domain
4title: Domenico Ghirlandaio Étude Imposition du nom de Jean
artist: Domenico ghirlandaio
date: 15th century
medium: fr Encre brune à la plume
dimensions: Size cm 18.4 26.3
current location: :Museum:British Museum <!-- location within the museum -->
source: ''Domenico ghirlandaio : artiste et artisan'', de Jean K. Cadogan, traduit de l'anglais par Lise-Éliane Pomier, Paris : Flammarion, 2002. ISBN|2-0801-0849-2
credit: Domenico ghirlandaio : artiste et artisan, de Jean K. Cadogan, traduit de l'anglais par Lise-Éliane Pomier, Paris : Flammarion, 2002. ISBN 2-0801-0849-2
license:Public domain
5title: Atelier de Francesco Granacci San Giovanni Battista testimone orsi
artist: Workshop of Francesco Granacci
date: circa 1506/1507
medium: Technique oil and=gold panel
dimensions: Size cm 75.6 209.6
current location: Institution:Metropolitan Museum of Art Gallery 608
source: metmuseum.org|110001010
credit: Metropolitan Museum of Art, online collection (The Met object ID 110001010)
license:Public domain
6title: A new history of painting in Italy, from the second to the sixteenth century (1864) (14578873589)
artist: Sandro Botticelli
date: 1864
source: link
credit: link
description: Small Allegorical painting (from the description of a picture by Apelles) relating to CALUMNY in the Uffizi at Florence; by S Botticelli.
Identifier: newhistoryofpain02crow (find matches)
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
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Text Appearing Before Image:
ecture ; whilst the figures in their gipsy wildness, althoughthey are here and there admirably draped, remind us thatvehemence of action may be carried too far. During his later career, Botticelli no doubt producedmany more fine works. He certainly received great com-missions. That entrusted to him and to ghirlandaio topaint in the Sala delP Udienza of the Public Palace atFlorence in 1482, is on record,2 though it is not ascer-tained that he carried out the work intended for him.It is ascertained with sufficient certainty that he executedfour panels illustrating Boccaccios fable of Nastagiodegli Onesti for the wedding of Pierfrancesco di Gio-vanni Bini with Lucrezia Pucci in 1487; and these piecesare described by the annotators of Vasari as a happy 1 This fresco is on the wall tothe right of the entrance. 2 Uffizi. Scuola Toscana.No. 1192. The picture belonged to Fabio Segni. The verses quotedby Vasari are no longer on thebasement. Vide Vas. Vol. V. p.p. 122 3. 3 Gaye. Vol. I. p. 578.
Text Appearing After Image:
Chap. XVIII. SANDROS IMPROVIDENCE. 423 mixture of difficult conceits, beautiful colour and naturalelegance in the figures.1 An honourable commission in/every respect to Botticelli was that entrusted to him infl491 by the influence of Lorenzo de; Medici, in com-pany with Domenico and David ghirlandaio, to executethe mosaics of the cappella 8. Zanobi in S. M. delFiore; and it is sincerely to be regretted that the ob-literation of that work, which was interrupted at Loren-zos death, should preclude our judging Sandros abilityin a branch of art which he had hitherto not been knownto practise.2 His continued presence in Florence is, afterthis time, proved by casual circumstances, — by a letteraddressed through him to Lorenzo de Medici by MichaelAngelo in 1496,3 — his income tax paper of 1498, inwhich he describes himself as residing with his brotherSimone in the popolo S. Lucia of Ognissanti,4 and hisopinion given in 1503 as to the place best fitted forMichael Angelos David.5 But from
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title: Bärtiger Mönch in das Studium alter Folianten vertieft (SM 13350z)
artist: Giovanni battista Tiepolo
date: Unknown date
medium: Item Q93184 de 1=Tinte en 1=ink
dimensions: de 1=Blatt: Durchmesser min 122 mm, Durchmesser max 128 mm en 1=Blatt: minimum diameter 122 mm, maximum diameter 128 mm de 1=Montierung: 179 x 150 mm en 1=Montierung: 179 x 150 mm
current location: Institution:Städel
source: link
credit: link
license:
CC BY-SA 4.0
_(14578873589).jpg){kind=small}
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