Polyptych


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Related to Polyptych: altarpiece

Polyptych

 

(1) A painting or relief consisting of several panels.

(2) Several pictures with a common subject and unity of color and composition.

References in periodicals archive ?
Some illustrative examples are Andrea da Muranos polyptych in the Gallerie dell'Accademia, Venice, (45) Giovanni Bellini's San Giobbe Altarpiece (1478-80), (46) Vincenzo Civerchio's St Roch and St Sebastian, (47) and Girolamo dai Libri's Saint Sebastian, St Roch and St Job (c.
it also boasts the Van Eyck brothers' 15th century polyptych altarpiece The Adoration of the Mystic Lamb, as well as Saint Bavo Enters The Convent At Ghent by Belgian baroque painter Rubens.
A large polyptych Blue Room is from 2011 and the last work to be made by Turkish artist Ahmet Elhan for the series Places that he has been producing since 2007.
Flesh opens and blood flows" -- a polyptych of eight photographs is a set of eerie, vaguely gothic images of two young women in bed, half wrapped in lace-like translucent fabric.
Big on sculptures featuring tormented souls, it also boasts the Van Eyck brothers'' 15th century polyptych altarpiece The Adoration of the Mystic Lamb, as well as Saint Bavo Enters The Convent At Ghent by Belgian''s most famous baroque painter Rubens.
Big on sculptures featuring tormented souls, it also boasts the Van Eyck brothers' 15th Century polyptych altarpiece The Adoration of the Mystic Lamb, as well as Saint Bavo Enters The Convent At Ghent by Belgian's most famous baroque painter Rubens.
Giovanni e Paolo, school of Giovanni Bellini, polyptych and predella panels; reproduction, Kaftal, Saints in North East Italy, figures 1389, 1394, 1395, 1397, 1398; (5) Vienna, Kunsthistorisches Museum, and Oxford, Ashmolean, Bartolomeo degli Erri, polyptych (formerly at S.
I stood in the room containing the polyptych in five parts, "Analysis of the Rose as Sentimental Despair" (1985), for hours, observing the subtle shifts of light and shadow with tears streaming down my cheeks.
Orvieto Polyptych (1321) (where Mary Magdalene and the Virgin appear in
20) George's evocation of divine artistic powers can be linked to Heredia's "Marsyas," which attributes an Orpheus-like musical talent to the title figure, as well as to Moreau's La Vie de l'Humanite (1886), a ten-part polyptych featuring--as its central panel--Orpheus in the process of charming wild animals with his song.
Images of the Baptism move from the margins to the center of devotional images, as in Niccolo di Pietro Gerini's polyptych of 1387 in the National Gallery, London (fig.
Sano di Pietro's Assunta Polyptych for the Convent of Santa Petronilla in Siena.