20) The
predella, from the Santa Lucia de'Magnoli Altarpiece, was painted around 1445 and is now in the Staatliche Museen, Berlin.
80 (Simone Martini, Saint Louis of Toulouse Altarpiece, central
predella panel, Naples, Museo di Capodimonte, 1316-19).
Pero sin duda alguna, las obras maestras correspondientes a este periodo que aqui se glosa, son la
Predella de Urbino y la Caccia de Oxford, de las cuales dimanan todo el ingenio y maestria del Uccello maduro; la estancia del maestro en la corte de Federico da Montefeltro, ha quedado constatada durante el intervalo 1465-1468; en abril de 1469, el pintor ya habia regresado a Florencia.
In Benvenuto di Giovanni's
predella series from 1491 the first panel, The Agony in the Garden, represents the night before crucifixion when Jesus prayed and suffered for the sins of the world in the Garden of Gethsemane.
DY: What is the function of the
predella paintings--the smaller oils done from direct observation--surrounding some of your larger synthetic pictures?
Another series called Screw that has
predella panels describing ominous events, as in medieval altar panels.
Un dialogo che Viola affronta sia dal punto di vista formale, prendendo per esempio spunto per le sue composizioni dalla pala d'altare rinascimentale, o dalla
predella, sia dal punto di vista concettuale, con riflessioni sull'architettura delle chiese toscane, viste come spazi al tempo stesso acustici e visuali.
Let us focus on the
predella of Lucas Cranach's altarpiece.
In other projects ire employed that yew Italian device, the
predella, originally a band of small narrative panels at the base of an altarpiece.
The
predella depicts two grazing goats, facing inward, flanking a panther who stands to the right as he looks out at the viewer.
The entire piece is supported by a
predella on the altar, which raises the retable from the altar table.
Through a thoroughly engaging comparison of Joos van Gent's late fifteenth-century Urbino altarpiece Communion of the Apostles with its
predella entitled Profanation of the Host by Paolo Uccello, the chapter explores the relations and tensions between faith and doubt, between Christians and Jews, between membership in a community and exclusion, and finally "between beliefs and representations" (Gallagher and Greenblatt, 107).
