"this assumption based on the appearance of figures wearing red head-dresses in some other van Eyck works (e.g., the Portrait of a Man (Self Portrait?) and the figure in the background of the Madonna with Chancellor Rolin). The dog is an early form of the breed now known as the Brussels griffon. The painting is signed, inscribed and dated on the wall above the mirror: """"Johannes de eyck fuit hic 1434"""" (""Jan van Eyck was here 1434""). The inscription looks as if it were painted in large letters on the wall, as was done with proverbs and other phrases at"
"the 1434 ""Arnolfini Portrait"". In the early 21st century, Jeffrey Chipps Smith and John Oliver Hand placed it between 1426 and 1428, claiming it as perhaps the earliest extant signed work confirmed as by Jan. At 31 cm × 14 cm, the painting's dimensions are small enough to be almost considered miniature, consistent with most 15th-century devotional diptychs. A reduced size increased portability and affordability, and encouraged the viewer to approach the piece to more closely see its intricate details. The work shows Mary wearing a dark blue robe – the colour traditionally used to emphasise her humanity – over"
"most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami but a chance discovery in 1997 established that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death. It is now believed that the subject is either Giovanni di Arrigo or his cousin, Giovanni di Nicolao Arnolfini, and a wife of either one of them. This is either an undocumented first wife of Giovanni di Arrigo or a second wife of Giovanni di Nicolao, or, according to a recent"
"Giovanni Antonio Boltraffio Giovanni Antonio Boltraffio (or Beltraffio) (1466 or 1467 – 1516) was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci. Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan. His major painting of the 1490s is the ""Resurrection"" (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A ""Madonna and Child"" in the Museo Poldi Pezzoli of Milan, is one of the high"
"It is believed that also on this occasion, either Lorenzo il Magnifico or Lorenzo di Pierfrancesco himself, commissioned Botticelli's ""Allegory of Spring"" to celebrate the wedding - with Mercury representing Lorenzo di Pierfrancesco and Semiramide represented by the central Grace (or possibly Flora). Lorenzo di Pierfrancesco is believed to have later commissioned Botticelli's ""The Birth of Venus"", one of the most famous paintings of the Renaissance. Lorenzo di Pierfranceso was the proprietor of the Villa del Trebbio, inherited from his grandfather Lorenzo the Elder, and Villa di Castello, acquired in 1477 on the instructions of Lorenzo il Magnifico. In 1483,"
"not a marriage. Margaret D. Carroll argues that the painting is a portrait of a married couple that alludes also to the husband's grant of legal authority to his wife. Carroll also proposes that the portrait was meant to affirm Giovanni Arnolfini's good character as a merchant and aspiring member of the Burgundian court. She argues that the painting depicts a couple, already married, now formalizing a subsequent legal arrangement, a mandate, by which the husband ""hands over"" to his wife the legal authority to conduct business on her own or his behalf (similar to a power of attorney). The"
"two portraits of Arnolfini has led to speculation he was a friend of the artist. For many years the two works were not associated, and the identity of the sitters was unknown. Often the London double portrait was taken as a portrait of the artist and his wife, Margaret. In 1857, Crowe and Cavalcaselle linked the London double portrait with the early 16th century inventories of Margaret of Austria, and established the sitters as Giovanni [di Arrigo] Arnolfini and his (possibly already deceased) wife, Giovanna Cenami. Portrait of Giovanni di Nicolao Arnolfini Portrait of Giovanni di Nicolao Arnolfini is a"
"Early Netherlandish Painting (Panofsky) ""Early Netherlandish Painting, Its Origins and Character"", is a 1953 book on art history by Erwin Panofsky, derived from the 1947–48 Charles Eliot Norton Lectures. The book had a wide impact on studies of Renaissance art and Early Netherlandish painting in particular, but also studies in iconography, art history, and intellectual history in general. The book is particularly well-known for its iconographic treatment of Van Eyck's ""Arnolfini Portrait"" as a kind of marriage contract, a hypothesis advanced by Panofsky as early as 1934. The book remains influential despite its reliance on black-and-white reproductions of paintings, which"
"Aldobrandini Wedding The Aldobrandini Wedding (""Nozze Aldobrandini"") fresco is an influential Ancient Roman painting on display in the Vatican Museum. The fresco was discovered about the year 1600 from the masonry of a house near the Arch of Gallienus on the Esquiline Hill. It was in possession of the Aldobrandini family until 1818, when it was purchased by the Vatican authorities. Until the 19th century, this was one of the few and most influential paintings from the early Roman empire, and generated much interest and scholarship including engravings by Pietro Santi Bartoli (1635–1700), and attention by Winckelmann, Karl Böttiger, and"
"proposal, Giovanni di Nicolao's first wife Costanza Trenta, who had died perhaps in childbirth by February 1433. In the latter case, this would make the painting partly an unusual memorial portrait, showing one living and one dead person. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view. Both Giovanni di Arrigo and Giovanni di Nicolao Arnolfini were Italian merchants, originally from Lucca, but resident in Bruges since at least 1419. The man in this painting is the subject"
"with a rich frieze; at the top of is a throne on which the Madonna and Child sit. At the sides, kneeling, are the two donor husband and wife, Giovanni II Bentivoglio and Ginevra Sforza. In the foreground, at the feet of the throne, are their eleven children. On the left are the daughters (from left, Camilla, Bianca, Francesca, Violante - future spouse of Pandolfo IV Malatesta, Laura, Isotta and Eleonora); on the right the four children (Ermes, Alessandro, Anton Galeazzo and the elder one, Annibale). Bentivoglio Altarpiece The Bentivoglio Altarpiece is a painting by the Italian Renaissance painter Lorenzo"
"the possession of the people. Today about six million people visit the painting each year at the Louvre in Paris, where it is part of a French national collection. Lisa del Giocondo Lisa del Giocondo (; née Gherardini ; June 15, 1479 – July 15, 1542) was an Italian noblewoman, member of the Gherardini family of Florence and Tuscany. Her name was given to the ""Mona Lisa"", her portrait commissioned by her husband and painted by Leonardo da Vinci during the Italian Renaissance. Little is known about Lisa's life. Born in Florence and married in her teens to a cloth"
"Filippo Lippi (in the fierce figure of Lawrence) and, in the figure of Herculanus, that of Piero della Francesca's St. Augustine. Sant'Onofrio Altarpiece The Sant'Onofrio Altarpiece is a painting by the Italian Renaissance painter Luca Signorelli, housed in the Museo dell'Opera del Duomo in the Cathedral of Perugia, Italy. It was painted for the church in 1484, commissioned by bishop Jacopo Vagnucci, a native of Cortona, Signorelli's birthplace. The scene portrayed is a Holy Conversation, with a high throne where the Virgin and Child sit, placed over a Classical-style pedestal and crowned by a small engraved arch featuring a festoon"
"court in 1480 and 1484, and gonfaloniere di Giustizia in 1482. In 1485 he signed a contract with painter Domenico Ghirlandaio for a grand cycle of frescoes in what was to become the Tornabuoni Chapel in the church of Santa Maria Novella in Florence. Tornabuoni and his wife, Francesca Pitti, are portrayed as donors in the choir wall. He had been already portrayed by Ghirlandaio in the Sistine Chapel in the ""Vocation of Andrew and Paul"". Giovanni and Lorenzo were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore"
"Giuseppe Marrubini Giuseppe Marrubini or Marubini (1815–1880) was an Italian painter and engraver of the 19th century, active in painting historic and sacred subjects. He was born in Montevarchi in Tuscany, but studied at the Academy of Fine Arts of Florence under Giuseppe Bezzuoli. In 1842, he exhibited ""Manfred bids his wife farewell before leaving to fight Charles of Anjou"". In 1844 he exbibited un episode from the poem ""The Loves of the Angels"" by Thomas Moore. In 1848 he exhibited ""Origins of the Guelfs and Ghibellines in Florence"" at the Promotrice Fiorentina. After 1850, he taught figure design at"
"Bentivoglio Altarpiece The Bentivoglio Altarpiece is a painting by the Italian Renaissance painter Lorenzo Costa the Elder, dating to August 1488. It is displayed in the Bentivoglio Chapel of the church of San Giacomo Maggiore, Bologna, Italy. It was commissioned by Giovanni II Bentivoglio, lord of Bologna, as a thanksgiving for the family’s escape from an attempted massacre by the Malvezzi family . The painting is a large canvas, executed by Costa together with other two works on the chapel's walls, the ""Triumph of Fame"" and the ""Triumph of Death"". It features, above a sumptuous Renaissance architecture, a marble altar"
"by Ghirlandaio, and now known as the Tornabuoni Chapel) since the 14th century. He commissioned the execution of the frescoes from the most famed artist of the city, Domenico Ghirlandaio. The date of the contract is that signed next to the portraits of Sassetti and his wife (December 25, 1480), although the work was not carried out until between 1483 and 1486. The central altarpiece, depicting the ""Adoration of the Shepherds"", is dated 1485. Ghirlandaio portrayed numerous figures of contemporary Florentine society in the scenes. All the work shows the importance of the influence on Ghirlandaio of Flemish school, in"
"1994, when a French naval historian, Jacques Paviot, discovered in the Ducal accounts that the Duke had in 1447 presented two silver pots to ""Jehan Arnoulphin"" on his marriage - by this time Van Eyck had been dead for six years. Jane or Jeanne Arnolfini is documented further until her death in Bruges in 1480. A further two Arnolfinis, each a younger brother of one of the two Giovannis, are possible candidates as the subject of the Van Eyck portraits, as they lived in, or passed through, Bruges; but neither was apparently there in 1434. Giovanni Arnolfini Giovanni di Nicolao"
"Sant'Onofrio Altarpiece The Sant'Onofrio Altarpiece is a painting by the Italian Renaissance painter Luca Signorelli, housed in the Museo dell'Opera del Duomo in the Cathedral of Perugia, Italy. It was painted for the church in 1484, commissioned by bishop Jacopo Vagnucci, a native of Cortona, Signorelli's birthplace. The scene portrayed is a Holy Conversation, with a high throne where the Virgin and Child sit, placed over a Classical-style pedestal and crowned by a small engraved arch featuring a festoon with vegetables. Mary is reading a Bible, while Jesus holds a white lily, symbolizing her virginity and purity. Over a gilded"
"Portrait of Agnolo Doni The Portrait of Agnolo Doni is an oil painting by Italian Renaissance master Raphael, executed between 1506 and 1507. It is currently housed in the Pitti Palace in Florence. The portrait is one of a pair that depict a recently married merchant and his wife. Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect"
"Lisa del Giocondo Lisa del Giocondo (; née Gherardini ; June 15, 1479 – July 15, 1542) was an Italian noblewoman, member of the Gherardini family of Florence and Tuscany. Her name was given to the ""Mona Lisa"", her portrait commissioned by her husband and painted by Leonardo da Vinci during the Italian Renaissance. Little is known about Lisa's life. Born in Florence and married in her teens to a cloth and silk merchant who later became a local official, she was a mother to five children and led what is thought to have been a comfortable and ordinary middle-class"
"is a small full-length double portrait, which is believed to represent the Italian merchant Giovanni di Nicolao Arnolfini and his wife, presumably in their home in the Flemish city of Bruges. It portrays a wedding scene, where the people invited to witness the ceremony can be seen in the convex mirror at the back, the mirror symbolizing the eye of God. In those times people were not always married in the church, it was enough that two witnesses were present to make a wedding legal. A number of symbols can be found in the picture: the fruit, the symbol of"
"painted by, among others, Giotto, Perugino, Raphael, Ventura Salimbeni (1613, his last painting), Domenico Ghirlandaio (1485-90, at the Tornabuoni Chapel), Bernardo Daddi (now in the Royal Collection), Pieter van Lint (1640, Antwerp Cathedral), Tiburzio Baldini, Alfonso Rivarola, Francesco Caccianiga, Niccolò Berrettoni, Giovanni Jacopo Caraglio, Filippo Bellini, Veronese (in San Polo church, Venice), Giulio Cesare Milani, Franciabigio (in the Santissima Annunziata, Florence), and Giacomo di Castro. Marriage of the Virgin The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Mary and Saint Joseph. The marriage is not mentioned in the canonical Gospels but"
"marries a woman of unequal rank. However, the subjects originally thought by most scholars to be represented in this painting, Giovanni Arnolfini and Giovanna Cenami, were of equal status and rank in the courtly system, so the theory would not hold true. On the opposite side of the debate are scholars like Margaret Carroll. She suggests that the painting deploys the imagery of a contract between an already married couple giving the wife the authority to act on her husband's behalf in business dealings. Carroll identifies Arnolfini's raised right hand as a gesture of oath-taking known as """"fidem levare"""", and"
"where he likewise resided for many years, he mentions his long connection with the fortunes of the Medici family, and begs to be allowed to paint an altarpiece for the head of that house. He was a contemporary with Fra Angelico and Fra Filippo Lippi, since those two artists and himself are known to have valued the frescoes of Buonfigli at Perugia. Between 1439 and 1441 he painted a masterpiece of the ""Adoration of the Magi"". Another masterpiece is considered to be the Santa Lucia de' Magnoli Altarpiece (c. 1445–1447), originally in Santa Lucia dei Magnoli, Florence and now in"
"Paolo Veronese Paolo Caliari, known as Paolo Veronese (1528 – 19 April 1588), was an Italian Renaissance painter, based in Venice, known for large-format history paintings of religion and mythology, such as ""The Wedding at Cana"" (1563) and ""The Feast in the House of Levi"" (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the ""great trio that dominated Venetian painting of the ""cinquecento"""" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced"
"a son of the same name, who was also an artist, living in 1550. Onofrio Gabrieli and Fra Carnovale were his pupils. His grandson was Timoteo della Vite. Antonio Alberti Antonio Alberti was an Italian painter, active mainly in the 15th century in his native city of Ferrara, as well as Bologna and Urbino. He painted portraits and sacred subjects. For the sacristy of the church of San Bernardino, outside Urbino, he painted a ""Madonna and Child enthroned"" (1439). He painted frescoes in the Bolognini chapel at San Petronio Basilica in Bologna, consisting of incidents from the ""Passion"", ""Paradise"", and"
"Portrait of Giovanna Tornabuoni The Portrait of Giovanna Tornabuoni is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, year on the cartolina (Italian for a slip of paper in the background). The painting was actually painted after her death, around 1489-90. She has been identified thanks to her other portraits in the Tornabuoni Chapel, where she has the same hair style. It depicts the young woman from the"
"Master of the Baroncelli Portraits The Master of the Baroncelli Portraits (fl. 1480-1490) is the notname for a fifteenth-century Early Netherlandish painter. Active in Bruges around 1480-1490, he is named after a pair of portraits (originally the wings of a triptych) of the Italian banker Pierantonio Baroncelli and his wife Maria Bonciani, which are now in the collection of the Uffizi Gallery in Florence. Only a few other works by the same master are known. A ""Pentecost"", the provenance of which can be traced back to Bruges, ca. 1600, was sold in 2010 at Christie's for £4,185,250. The Master is"
"the ""Madonna and Child"" from the 1360s (New York, Metropolitan Museum of Art); and the ""Ascension of Christ"" of 1344 (Venice, Collezione Vittorio Cini). Guariento is generally viewed as the first artist to successfully combine the volumetric and spatial developments of Florentine painting of the early ""trecento"" with the more linear and abstract Late Gothic and Byzantine manner that had hitherto prevailed in the Veneto. Guariento di Arpo Guariento di Arpo (13101370), sometimes incorrectly referred to as Guerriero, was a 14th-century painter whose career was centered in Padua. The painter is buried in the church of San Bernardino, Padua. Guariento's"
"meaning and significance of the scroll held in his left hand is unknown. It may relate to finance and trade, it might be a type of international credit note that was then just being introduced to European banking. Arnolfini's folded arms would have rested on the original, but now lost, frame. As with van Eyck's other single head portraits, the frame would have contained inscriptions giving the date of completion. Opinion as to the date of the painting has varied, with the likely dates ranging from 1434 to 1438. Today the later date is generally accepted. That van Eyck painted"
"Apsley House work is a copy of it. Mystic Marriage of Saint Catherine (Parmigianino, National Gallery) The Mystic Marriage of St Catherine is a c.1529 oil on panel painting of the mystical marriage of Saint Catherine by Parmigianino, now in the National Gallery, London, who acquired it in 1974. It was engraved by Giulio Bonasone. Vasari wrote of a ""Madonna seen from the side, in a fair pose, with several other figures"" made by Parmigianino for a saddler friend of his in Bologna. That work was first linked to the London work in 1784, though some art historians date it"
"side, wearing precious clothes including a ""gamurra"" vest. On the right, behind her, are a hanging coral necklace (perhaps a rosary), a partly closed prayers book and a Latin inscription, taken from an epigram by the 1st century AD poet Martial. Portrait of Giovanna Tornabuoni The Portrait of Giovanna Tornabuoni is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, year on the cartolina (Italian for a slip of"