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Veneto-Cretan, 16th century Mantelsaum der Muttergottes in Assistvergoldung. Alte Restaurierung der vertikalen Egg tempera on wood, gesso ground. Against a gold background. Minimal restored. On the reverse inventory number (of a collection?) "693 GW". Maphorion. Der Saum des Chitons ist mit Perlen und Edelsteinen besetzt. Ihr Blick wendet 64 x 50 cm Christusknabe, der in seiner Linken den Reichsapfel hält. Er wendet sich, seine Rechte im Depicted seated, the Mother of God supporting Christ with her right hand. Himself seated on her lap, blessing, bearing the globus cruciger and turned towards the Baptist. The Mother of God is wearing the traditional maphorion. The facial features accentuated with delicate white brushstrokes. The vestments painted with saturated colours, accentuated by gold decorative details. Qualität. Die auch hier sehr intime menschlich-emotionale Darstellung der miteinander The Cretan School was an important school of icon painting, also known as Post-Byzantine art. After the Fall of Constantinopel in 1453 the leading Byzantine artists were leaving the capital in order to settle in Crete. Crete became the central force in Greek icon painting during the 15th, 16th and 17th century. While Crete was under Venetian rule, the Cretan artists developed a particular style of painting under the influence of both Eastern and Western artistic traditions and movements. By the late 15th century, Cretan artists had established a distinct icon-painting style, distinguished by the precise outlines, the modelling of the flesh with dark brown underpaint and dense tiny highlights on the cheeks of the faces, the bright colours in the garments, the geometrical treatment of the drapery, and, finally the balanced articulation of the composition.
Veneto-Kretisch, 16. Jh.
Catalogueprice: 30.000 - 40.000 €
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