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The sitters are Gabriel Vendramin, the collector of works of art, Andrea Vendramin (died 1547), & the latter's seven sons. The reliquary of the True Cross on the altar still exists. It was presented to an earlier Andrea Vendramin, Guardian of the Scuola di S. Giovanni Evangelista, Venice, on behalf of this confraternity in 1369. On one occasion he is said to have rescued it from a canal. The painting of the children, with the exception of the boy holding a puppy on the right, must be by the artist's workshop. ...

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The painting is unusual among Moroni's secular paintings
- the others which survive are portraits. It may be intended as a personification
...

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Tuccia was a Vestal Virgin. When her chastity was questioned she proved her innocence by carrying a sieve full of water from the Tiber to the Temple of Vesta. She was celebrated in Pliny's ' Natural History' (28: 12) & Petrarch's ' Triumph of Chastity'. This panel & 'A Woman Drinking' are obviously related despite their differing size & being lit from opposite directions. They are painted in simulation of gilt bronze against a fictive background of coloured marble. Isabella d' Este had 'feigned bronze' picture by Mantegna in her studiolo, & these may have been for a similar interior. ...

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The Virgin is shown at prayer. In the companion picture Christ is shown holding an orb as ruler of the world. They are posed in this fashion in other pictures which show them in heaven. Many versions of these pictures exist, indicating that they were popu ...

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This picture appears to be an early work by Lorenzo. The Virgin kneels, adoring the Christ Child. This was a well-known formula, but here it seems to adapt a composition current in the workshop of Lorenzo's master, Andrea del Verrocchio, In the backgro ...

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This is the central panel of an altarpiece that is thought to have been on the high altar of the Oratory of San Pietro in Vincoli, Faenza. It shows the Virgin & Child with four angels. The reliefs on the Virgin's throne represent (left) the Presentation in the Temple & (right) the Marriage of the Virgin. Other sections of the altarpiece depict Saint Peter, Saint Philip, Saint John the Evangelist & Saint John the Baptist. There was also originally a separate horizontal panel on top, with a painting of the dead Christ supported by angels. ...

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A studio piece usually dated to the 1490s. The crisp white drapery of the Virgin with its compelling plasticity, looking as if it were starched, & its relative lack of response to the forms covered was characteristic of Bellini (see, for example, the dr ...

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In this early work, the Child, like the Virgin, is holding a cherry, the 'fruit of Paradise', in his left h&. The Child is seated on a book, presumably the Bible. The defined outlines, solid forms & especially the pose of the Virgin & the foreshort ...

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The Christ Child holds an apple. Behind the Virgin hangs an ornate brocade cloth-of-gold of a type Bouts often uses (see also those in ' The Virgin & Child with Saints' & ' The Virgin & Child'). This is a devotional work probably intended for domestic ...

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The minute details in this painting, most notably of light playing on the golden curls & on the silk scarf, are unusually well-preserved. Christ stands upon a sill & the edge of the painting is treated as a window opening. On loan to the Mc Lellan Galle ...

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The Virgin Adoring The Child With Saint Joseph

This painting probably dates from shortly before 1511 at a time when Fra Bartolommeo was in partnership with Mariotto Albertinelli (1475 - 1515). A version of the composition by Albertinelli (Rome, Borghese Gallery) with this date is probably based on Fra

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Supplier: National Gallery
SKU: NG3914

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The Virgin And Child With Saint John National Gallery

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