The convulsive "In the Studio" (2201) — with its depiction of two crosshatch paintings (with one of them melted and dripping), along with a tall, narrow, vertical strip of wood leaning into the viewer's space from the bottom of the canvas, and a red-yellow-and-blue wax cast of a hand and forearm (beside a faux-drawing of the same) — inevitably brings to mind the disembodied arms along the predellas of the "Savarin" prints as well as Munch's lithographic self-portrait, creating new chains of meaning among Johns' interlocking works of the mid- to late-1980s.
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The most important artwork of the basilica is the polyptych by Andrea Mantegna, known as San Zeno Altarpiece. Only the upper paintings are original, however, since the predellas, looted together with the former by the French in 1797, were never returned.
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Circa 510 BC. Malibu: Getty Museum. Hydriai by the group resemble those by the Antimenes Painter, feature more widely flayed lips and shallower broader shoulders. The earlier animal frieze predellas and frame lines decorated with ivy leaves are now replaced by palmettes with broad separate leaves. They are organised in rounded loops.
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It has an octagonal ground plan and it is decorated with geometrical motifs. The interior houses several paintings, the most relevant being a Gothic polyptych attributed to the workshop of Domingo Ram, including several predellas and a depiction of St. Mary Magdalene. Other works include six paintings from the early 16th century, attributed to one "Master of Alcañiz".
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In 1523, he again participated with Andrea del Sarto, Franciabigio and Pontormo in the decoration of the antechamber of Giovanni Benintendi.La France 2008, 174-80, cat. 32-33 While he established a reputation as a painter of predellas and small cabinet pictures, he eventually expanded his output to include large altarpieces, such as the Beheading of St. John the Baptist, now in Berlin.
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Almost no details are known about his life.Fondazione Cassa di Risparmio di Lucca, pamphlet on Talada. He is a provincial painter who mixes influences from both the Tuscan Quattrocento and late Gothic period. He is known from pieces derived from a few religious paintings and predellas, including a triptych at the church of Santa Maria Assunta, Borsigliana and a painting at Santa Maria Assunta at Stazzema.
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345px The Entombment of Christ is a 1513–1516 oil on canvas painting by Lorenzo Lotto, now in the Accademia Carrara in Bergamo. It originally formed the central predella panel (one of three) to the artist's Martinengo Altarpiece at the church of Santi Bartolomeo e Stefano. The other predellas were Saint Dominic Reviving Napoleone Orsini and The Stoning of St Stephen. The whole work was commissioned by Alessandro Martinengo Colleoni for the Dominicans in the church of Santo Stefano.
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When that church and its monastery were destroyed to built Venice's city walls in 1561, the altarpiece itself was moved into the new church, but all three predellas were removed and moved elsewhere. The three predella panels were then stolen in 1650, returned and moved to the church's sacristy, where the three panels were split up to different buyers in 1749, destroying the large anchor holding them together. Entombment was sold to its present owner in 1891.
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The San Zeno Altarpiece is a triptych by the Italian Renaissance painter Andrea Mantegna, from c. 1457-1460\. It is located in the Basilica di San Zeno, the main church of Verona. The three predellas, stripped by the French in 1797 along with the main picture (restored to Verona in 1815), have been replaced by copies. The originals are in the Louvre (Crucifixion) and in the Musée des Beaux-Arts in Tours (Resurrection and Agony in the Garden).
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This room has the polyptych of San Rufino (1462) by Foligno artist Nicolò di Liberatore (also known as l'Alunno). In the predella are scenes of the martyrdom of San Rufino, the patron of the city of Assisi, including the miraculous finding of his body and its transfer into the walls of the city. Also in this area are two predellas by Dono Doni (1563) as well as sacred vessels and liturgical vestments from the 17th through the 19th centuries.
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He carried out eight predellas portraying in detail and naturalism images of Evangelists and Doctors of the Church, as well as two boards portraying the "Prayer in the Garden" and the "Flagellation". These paintings, perhaps reflecting the prevailing style in Castile at the time, use gold backgrounds and somewhat rigid compositions. After his death, his assistant, Santos Cruz, continued the work with "the Crucifixion", "the Resurrection" and the "Epiphany". The rest of the scenes were carried out by Juan de Borgoña.
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They often depict moments of intimacy between Christ and his mother, or various saints. His sacral masterpiece and one of the most famous religious works of art of the later Middle Ages is The Legend of St. Sebastian and The Passion of Christ of the so-called Sebastian Altar in St. Florian's Priory (Stift Sankt Florian) near Linz, Upper Austria. When closed the altarpiece displayed the four panels of the legend of St. Sebastian's Martyrdom, while the opened wings displayed the Stations of the Cross. Today the altarpiece is dismantled and the predellas depicting the two final scenes, Entombment and Resurrection were sold to Kunsthistorisches Museum in Vienna in 1923 and 1930.
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Raising of Lazarus by Giovanni di Paolo Raising of Lazarus by Duccio Most of the paintings that Giovanni di Paolo is known from today are in fact panels and fragments from disassembled altarpieces and predellas. Notable examples include series of panels depicting Saint Catherine of Siena, Saint Clare of Assisi, and Scenes from the Life of Saint John the Baptist, which are now all scattered in museums and collections throughout Europe and North America. Giovanni di Paolo is known to have painted four altarpieces for chapels in San Domenic: Christ Suffering and Triumphant (early 1420s), the Pecci Altarpiece (1426), the Branchini Altarpiece (1427), and the Guelfi Altarpiece (1445) which included Paradise now in the Metropolitan Museum of Art, New York. Giovanni di Paolo was influenced by many great artists in trecento and quattrocento Italy. It is believed that he may have owned a model book of other artists’ work he could flip through and use that would fit his paintings.
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