size(cm): 50x45
Price:
Sale price1.357,00 DKK

Description

Francesco Di Giorgio Martini's Nativity painting is an Italian Renaissance masterpiece that captures the essence of the biblical Nativity scene. The painting, original size 239 x 209 cm, is currently in the National Gallery of Art in Washington DC

Di Giorgio Martini's artistic style is characterized by his ability to create a sense of depth and perspective in painting. The composition of the work is impressive, with a great amount of detail in each character and object in the scene. The central figure of the Virgin Mary is rendered with impressive realism, and her gaze on the baby Jesus conveys a sense of love and protection.

The use of color in the painting is remarkable, with a soft and warm palette creating a serene and calm atmosphere. Gold and blue tones are used to highlight the importance of baby Jesus, while earthy and green tones are used for background and scene details.

The history of the painting is interesting, as it was commissioned by the Duke of Urbino in the 15th century for the family chapel in the church of San Francesco in Urbino, Italy. The work was transferred to the National Gallery of Art in Washington DC in 1941, where it has been admired by thousands of visitors ever since.

Little-known aspects of the painting include details in the composition, such as the representation of shepherds and angels at the bottom of the work, as well as the inclusion of animals such as an ox and a donkey in the scene. Di Giorgio Martini is also believed to have used real models to create the figure of the Virgin Mary, adding to the realism and emotionality of the work.

In conclusion, the Nativity painting by Francesco Di Giorgio Martini is an impressive work that combines technical and artistic skills to create a moving and realistic Biblical scene. Its little-known artistic style, composition, use of color, and details make this painting an Italian Renaissance masterpiece that continues to be admired for its beauty and significance to this day.

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