altarpiece

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altarpiece

a work of art set above and behind an altar; a reredos
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005

Altarpiece

A panel, sculpted or painted, situated above and behind an altar.
Illustrated Dictionary of Architecture Copyright © 2012, 2002, 1998 by The McGraw-Hill Companies, Inc. All rights reserved

altarpiece

A decorative screen, painting, or sculpture above the back of an altar.
McGraw-Hill Dictionary of Architecture and Construction. Copyright © 2003 by McGraw-Hill Companies, Inc.
References in periodicals archive ?
Unprecedented loans for this exhibition include the three extraordinary reliquaries (Museo di San Marco, Florence) a magnificent altarpiece of Paradise (Gallerie degli Uffizi, Florence) and the jewel-like Corsini Triptych (Galleria Nazionale d'Arte Antica in Palazzo Corsini, Rome).
Malacura told the Inquirer the retablo were among the few Spanish colonial-period altarpieces extant in Metro Manila.
Moreover, computer stations allowed the viewer to explore the extant altarpiece panels in the context of their original placement in the church of Sant' Agostino in Borgo San Sepolcro.
Despite the wealth of literature that has been written in the last twenty years on altarpieces, on their function, format, structure, patronage, and iconography, no paradigm exists for the use of an altarpiece over an altar to which it has no previous connection.
In a sense, this chapter ties up the many stranded argument Jones presents--for the five altarpieces are related in their functions and shifting receptions throughout the seventeenth century.
They were originally part of the altarpiece of the church and convent of St Marco in Florence, broken up in the Napoleonic wars.
These paintings were predominantly in the form of an altarpiece or devotional panel.
In a way, the Reformation altarpiece could be seen as the end of art, just as Hegel claimed.
Palaces, church interiors and exteriors, and paintings, altarpieces and murals, are explored by the camera and discussed by the narrator.
The Palais des Beaux-Arts in Lille is reputed to have the finest public art collection in France after the Louvre - holdings include many valuable works expropriated from local churches and religious communities during the French Revolution, among them large altarpieces by artists of the calibre of Rubens and Van Dyck.
His father (c1460 - 1524), after whom the son was named, was also a distinguished painter, noted for his altarpieces. The younger Holbein studied and worked in Basel and was led by the artistic depression ensuing from the Reformation to undertake a trip to England (1526 - 28), and finally to settle there in 1530.
Displayed together, three great altarpieces by Pontormo, Rosso Fiorentino, and Bronzino encapsulate not just the expressive scope of the generation of artists following Michelangelo, but also the nature of Andrea's legacy.