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San Marco altartavla
The San Marco Altarpiece (also known as Madonna and Saints) is a painting by the Italian early Renaissance painter Fra Angelico, housed in the San Marco Museum of Florence, Italy. It was commissioned by Cosimo de' Medici the Elder, and was completed sometime between 1438 and 1443. In addition to the main panel depicting the enthroned Virgin and Child surrounded by Angels and Saints, there were 9 predella panels accompanying it, narrating the legend of the patron saints, Saints Cosmas and Damian.  Only the main panel and two predella panels actually remain in the Convent of San Marco, Florence, Italy, today. The San Marco Altarpiece is known as one of the best early Renaissance paintings for its employment of metaphor and perspective, Trompe l'oeil, and the intertwining of Dominican religious themes and symbols with contemporary, political messages.
Porträtt av en prinsessa (Pisanello)
Portrait of Princess is a tempera painting on panel attributed to the Italian Late-Gothic master Pisanello. It was probably executed between 1435 and 1449 and is also known as Portrait of a Princess of the House of Este. It is firmly attributed to Pisanello on stylistic grounds and because he stayed in Ferrara in the period, where he also finished a portrait and a celebrative medal of Marquis Leonello d'Este.
The Miraflores Altarpiece (or Triptych of the Virgin, or The Altar of Our Lady or the Mary Altarpiece) is a c. 1442-5 oil-on-oak wood panel altarpiece by the Early Netherlandish painter Rogier van der Weyden, in the Gemäldegalerie, Berlin since 1850.  The three panels are each 71 x 43 cm and show, from left to right, a portrait of the Holy Family, a Pietà (the Virgin cradling the dead body of Jesus) and Christ's appearance to Mary—a chronological reading of the birth, death and resurrection of Jesus,  with Mary the focus of both wings. The altarpiece examines Mary's relationship with Christ at different stagesof his life. It is notable for its use of colour, distinguished by its use of whites, reds and blues, and use of line—notably the line of Christ's body in the central panel—and, typically of van der Weyden, its emotional impact. 
Kröningen av Virgin (Filippo Lippi)
Kröningen av oskulden (i italienska Incoronazione Maringhi) är en målning av kröningen av Jungfru av den italienska renässansen master Filippo Lippi, i Uffizi, Florens.
Bebådelsen med två knästående givare (Lippi)
Bebådelsen är en målning av italiensk renässans målare Filippo Lippi. Daterad till 1440-45, ligger det i Galleria Nazionale d'Arte Antica av Palazzo Barberini, Rom.
Bebådelsen (Lippi, Munich)
Den skildrar jungfru ödmjukt acceptera sin roll som mor till Jesus, med en hand på hennes bröst, medan duvan, symbolen för den Helige Anden, ges till henne. Ängeln knä bredvid henne, också med en hand på hans bröst en hälsning tecken. Scenen ramas in i en portik öppning till en nära trädgård.
The Aix Annunciation is a painting attributed to the Barthélemy d'Eyck or the so-called Master of the Annunciation of Aix-en-Provance. Executed in 1443-1445, it was originally placed in the Cathédrale Saint-Sauveur, Aix-en-Provence, southern France. Now it is divided between the Église de la Madeleine in the same city (central panel with the Annunciation), the Museum Boijmans Van Beuningen (part of the left panel with the prophet Isaiah) at Rotterdam, the Rijksmuseum of Amsterdam (upper part of the left panel), while the right panel is in the Royal Museum of Fine Arts of Belgium in Brussels. Side panels are painted on both sides, showing Christ on the right and Mary Magdalene on the left (the upper part, on reverse of the Amsterdam panel, does not survive); together they used to form a Noli me tangere scene when the triptych was folded shut.