Andrea Schiavone (Andrea Meldolla), Zadar ca. 1510 - Venedig 1563
Die Hochzeit von Amor und Psyche - The Marriage of Cupid and Psyche - Nozze tra Cupido e Psiche (ca. 1540 - 50)
Metropolitan Museum of Art, New York
The painting represents the marriage of Cupid, the son of Venus, with the mortal Psyche, in the presence of Juno, Jupiter, Mars, and other gods of Olympus as narrated by Apuleius in The Golden Ass. Originally an octagon (the four corners are additions), it was the central panel of a ceiling with scenes from the legend of Psyche painted by Schiavone in about 1550 for the Castello di Salvatore di Collalto, in the hills to the north of Venice. Schiavone’s fluid and painterly style and the exaggerated proportions of his figures were inspired by Parmigianino and were in turn important to a younger generation of painters such as Tintoretto.
Source: Metropolitan Museum of Art
Tags: Städel Frankfurt Andrea Schiavone Andrea Meldolla Die Hochzeit von Amor und Psyche The Marriage of Cupid and Psyche Nozze tra Cupido e Psiche Metropolitan Museum of Art New York Renaissance
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Andrea Schiavone (Andrea Meldolla), Zadar ca. 1510 - Venedig 1563
Die Hochzeit von Amor und Psyche - The Marriage of Cupid and Psyche - Nozze tra Cupido e Psiche - Detail (ca. 1540 - 50)
Metropolitan Museum of Art, New York
The painting represents the marriage of Cupid, the son of Venus, with the mortal Psyche, in the presence of Juno, Jupiter, Mars, and other gods of Olympus as narrated by Apuleius in The Golden Ass. Originally an octagon (the four corners are additions), it was the central panel of a ceiling with scenes from the legend of Psyche painted by Schiavone in about 1550 for the Castello di Salvatore di Collalto, in the hills to the north of Venice. Schiavone’s fluid and painterly style and the exaggerated proportions of his figures were inspired by Parmigianino and were in turn important to a younger generation of painters such as Tintoretto.
Source: Metropolitan Museum of Art
Tags: Städel Frankfurt Andrea Schiavone Andrea Meldolla Die Hochzeit von Amor und Psyche The Marriage of Cupid and Psyche Nozze tra Cupido e Psiche Metropolitan Museum of Art New York Renaissance
© All Rights Reserved
Die Kirche "Zu unserer Lieben Frau" ist eine Stiftung der Bamberger Bürger und das gotische Hauptwerk der Stadt. Die Kirche wurde am relativ steilen Kaulberg zwischen 1325 und 1387 errichtet und die topographischen Verhältnisse unterstreichen die Wirkung der himmelwärts gerichteten Architektur.
Das von Jacopo Tintoretto 1547/48 geschaffene Gemälde stellt die Himmefahrt Mariä dar.
Bamberg, der Sitz des Grafengeschlechts der Babenberger, wurde unter Kaiser Heinrich II. (973 - 1024) Bischofsstadt und erhielt mit dem Dom sein architektonisches und geistiges Zentrum. Die im letzten Weltkrieg verschonte Altstadt besitzt den größten unversehrt erhaltenen historischen Stadtkern Deutschlands und gehört seit 1993 zum UNESCO-Weltkulturerbe.
Tags: Bamberg Obere Pfarre Mariä Himmelfahrt Madonna Apostel Jacopo Tintoretto Apostle Mary's assumption assumption Virgin Mary Oberfranken Upper Franconia Bayern Bavaria Deutschland Germany
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Bernardo Bellotto aka Canaletto, Venedig 1721 - Warschau 1780
Piazza di San Giovanni in Laterano, Rom (1743 - 44)
Privatsammlung - Private collection
Das Gemälde zeigt von links nach rechts
Reste des Aquädukts, erbaut von Kaiser Nero
Scala Sancta (Heilige Treppe)
Obelisk des Pharaos Thutmosis III. aus dem Amuntempel in Karnak, aufgestellt unter Papst Sixtus V.
Lateranpalast, erbaut unter Papst Sixtus V.
Lateranbasilika San Giovanni in Laterano
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The painting shows from left to right:
Remains of the aqueduct built by Nero
Scala Sancta (Pontifical Sanctuary of the Holy Stairs)
Obelik of Pharaoh Thutmosis III. from the Amun temple at Karnak, erected by Pope Sixtus V.
Lateran Palace, erected by Pope Sixtus V.
Archbasilica of St. John Lateran
Tags: Bernardo Bellotto Rom Roma Rome Piazza di San Giovanni in Laterano Italien Italy Italia
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Bernardo Bellotto aka Canaletto, Venedig 1721 - Warschau 1780
Ruinen des Forum Romanum, Rom - Ruins of the Forum Romanum, Rome
National Gallery of Victoria, Melbourne
Ruins of the Forum dates from his very first sojourn in Rome. The painting is one of a group of seven large views showing the city’s most famous landmarks.
By the eighteenth century, the Forum – the centre of public life, commerce and religious worship in ancient Rome – was popularly known as the ‘Campo Vaccino’ (cow field). Some of the most famous architectural ruins of antiquity (such as the three prominent columns of the Temple of Castor and Pollux, seen in the foreground of this view) were still visible, though others were wholly or partly buried under the soil of the Campo. Full archaeological excavation of the area did not take place until the nineteenth century, so the Forum of Bellotto’s time remained a sleepy and poetic reminder of the decay of ancient Rome’s former glories.
In the National Gallery of Victoria’s painting, Bellotto contrasts the ancient ruins with the formidable presence of Michelangelo’s bell tower for the Senatorial Palace on the Capitoline Hill, and with the comings and goings of daily life in Rome, including the eager ‘Grand Tourists’ playfully examining the monuments.
Source: National Gallery of Victoria, Melbourne
Tags: Bernardo Bellotto Rom Roma Rome Forum Romanum Campo Vaccino National Gallery of Victoria Melbourne Italien Italy Italia
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