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・ Crucifix (disambiguation)
・ Crucifix (horse)
・ Crucifix (Michelangelo)
・ Crucifix (Núñez Delgado)
・ Crucifix of Ferdinand and Sancha
・ Crucifix position
・ Crucifix toad
・ Crucifixion
・ Crucifixion (after van Eyck?)
・ Crucifixion (Antonello da Messina)
・ Crucifixion (Bellini)
・ Crucifixion (Corpus Hypercubus)
・ Crucifixion (disambiguation)
・ Crucifixion (Francis Bacon, 1965)
・ Crucifixion (Mantegna)
Crucifixion (Masaccio)
・ Crucifixion (Modena)
・ Crucifixion (Nabil Kanso)
・ Crucifixion (song)
・ Crucifixion (Titian)
・ Crucifixion (van Dyck)
・ Crucifixion and Last Judgement diptych
・ Crucifixion between Sts. Jerome and Christopher
・ Crucifixion darkness
・ Crucifixion Diptych (van der Weyden)
・ Crucifixion in the arts
・ Crucifixion in the Philippines
・ Crucifixion of Jesus
・ Crucifixion of Saint Peter
・ Crucifixion of St. Peter (Caravaggio)


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Crucifixion (Masaccio) : ウィキペディア英語版
Crucifixion (Masaccio)

''Crucifixion'' is a painting by the Italian Renaissance artist Masaccio.
A chapel in Santa Maria del Carmine in Pisa commissioned an altarpiece from Masaccio on February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year. The altarpiece was dismantled and dispersed in the 18th century, but an attempted reconstruction was made possible due to a detailed description of the work by Vasari.〔Giorgio Vasari, ''Le vite de' più eccellenti pittori, scultori ed architettori,'' ed. Gaetano Milanesi, Florence, 1906, II, 292.〕 Eleven pieces have been found as of 2010, and they are insufficient to reliably reconstruct the whole work. The ''Crucifixion'' is one of the surviving panels connected with the Pisa Altarpiece.
The ''Crucifixion'' was placed above the central panel of the altarpiece, which represented the Virgin enthroned with the baby Jesus on her lap, flanked by 2 pairs of angels.〔Jill Dunkerton et al., ''Giotto to Dürer: Early Renaissance Painting in the National Gallery,'' New Haven, 1991, 248-251.〕 Although the panel unnaturalistically represents the narrative against a gold background (a medieval formula for representing sacred scenes), Masaccio creates an effect of reality by depicting the event from below, as the viewer standing before the altar truly saw it. In this way, he attempts to tie the viewer to the scene, to make the sacred accessible to the ordinary Christian.
This is not the crucifixion in the mosaic of the dormition
==Notes==



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