Antonello da Messina
1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.

 

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Antonello da Messina San Cassiano Altarpiece oil painting   

Painting ID::  2878
Antonello da Messina
San Cassiano Altarpiece
1475-76 Art History Museum, Vienna

   
   
     

 

 

Antonello da Messina Virgin of the Annunciation oil painting   

Painting ID::  2879
Antonello da Messina
Virgin of the Annunciation
Pinakothek, Munich

   
   
     

 

 

Antonello da Messina Virgin Annunciate oil painting   

Painting ID::  2880
Antonello da Messina
Virgin Annunciate
1465 Galleria Nazionale della Sicilia

   
   
     

 

 

Antonello da Messina Portrait of a Young Man oil painting   

Painting ID::  2881
Antonello da Messina
Portrait of a Young Man
1465 National Gallery, London

   
   
     

 

 

Antonello da Messina St.Jerome in his Study oil painting   

Painting ID::  2882
Antonello da Messina
St.Jerome in his Study
National Gallery, London

   
   
     

 

 

Antonello da Messina Saint Jerome in his Study oil painting   

Painting ID::  3266
Antonello da Messina
Saint Jerome in his Study
c1475-76 National Gallery, London

   
   
     

 

 

Antonello da Messina San Cassiano Altar oil painting   

Painting ID::  4818
Antonello da Messina
San Cassiano Altar
1475-76 Oil on panel Kunsthistorisches Museum, Vienna

   
   
     

 

 

Antonello da Messina Christ at the Column (detail) oil painting   

Painting ID::  4819
Antonello da Messina
Christ at the Column (detail)
c. 1475-1479 Oil on wood, 25,8 x 21 cm Mus??e du Louvre, Paris

   
   
     

 

 

Antonello da Messina Portrait of a Man (Il Condottiere) oil painting   

Painting ID::  4820
Antonello da Messina
Portrait of a Man (Il Condottiere)
1475 Oil on wood, 35 x 38 cm Mus??e du Louvre, Paris

   
   
     

 

 

Antonello da Messina Crucifixion 111 oil painting   

Painting ID::  4821
Antonello da Messina
Crucifixion 111
1475 Wood, 42 x 25,5 cm National Gallery, London

   
   
     

 

 

Antonello da Messina Crucifixion  dfgd oil painting   

Painting ID::  4822
Antonello da Messina
Crucifixion dfgd
1475 Oil on panel 52.5 x 42.5 cm Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

Antonello da Messina The Dead Christ Supported by an Angel oil painting   

Painting ID::  4823
Antonello da Messina
The Dead Christ Supported by an Angel
1475-78 Panel, 74 x 51 cm Museo del Prado, Madrid

   
   
     

 

 

Antonello da Messina Portrait of a Man hh oil painting   

Painting ID::  4824
Antonello da Messina
Portrait of a Man hh
1474 Oil on wood, 32 x 26 cm Staatliche Museen, Berlin

   
   
     

 

 

Antonello da Messina Portrait of a Man  kjjjkj oil painting   

Painting ID::  4825
Antonello da Messina
Portrait of a Man kjjjkj
c. 1475 Oil on wood Galleria Borghese, Rome

   
   
     

 

 

Antonello da Messina Portrait of a Man  jj oil painting   

Painting ID::  4826
Antonello da Messina
Portrait of a Man jj
c. 1475 Oil on panel, 36 x 25 cm National Gallery, London

   
   
     

 

 

Antonello da Messina St Sebastian jj oil painting   

Painting ID::  4827
Antonello da Messina
St Sebastian jj
1476-77 Oil on canvas transferred from panel, 171 x 85,5 cm Gemäldegalerie, Dresden

   
   
     

 

 

Antonello da Messina St Jerome in his Study oil painting   

Painting ID::  4828
Antonello da Messina
St Jerome in his Study
c. 1460 Wood, 46 x 36,5 cm National Gallery, London

   
   
     

 

 

Antonello da Messina Virgin of the Annunciation fvv oil painting   

Painting ID::  4829
Antonello da Messina
Virgin of the Annunciation fvv
Oil on panel Alte Pinakothek, Munich

   
   
     

 

 

Antonello da Messina Virgin Annunciate hhh oil painting   

Painting ID::  4830
Antonello da Messina
Virgin Annunciate hhh
c. 1476 Oil on wood, 45 x 34,5 cm Museo Nazionale, Palermo

   
   
     

 

 

Antonello da Messina Portrait of a Man (mk05) oil painting   

Painting ID::  20075
Antonello da Messina
Portrait of a Man (mk05)
1475 Wood 14 1/4 x 12''(36 x 30 cm)Entered the Louvre in 1865

   
   
     

 

  1  2  3  4     Next

 

Antonello da Messina
1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.