TIMELINE OF WORLD HISTORY
 

Loading
 
 
 
 
 

 
 
 
 
 
 
 
Antonello da Messina
 
 
 
 
 
 
CONTENTS
  BACK NEXT    
 
 
 
Gothic and Early Renaissance
 
 
 
Antonello da Messina
 
 
Antonello da Messina, (born c. 1430, Messina, Sicily—died c. Feb. 19, 1479, Messina), painter who probably introduced oil painting and Flemish pictorial techniques into mid-15th-century Venetian art. His practice of building form with colour rather than line and shade greatly influenced the subsequent development of Venetian painting.

Little is known of Antonello’s early life, but it is clear that he was trained in Naples, then a cosmopolitan art centre, where he studied the work of Provençal and Flemish artists, possibly even that of Jan van Eyck. His earliest known works, a “Crucifixion” (c. 1455; Museum of Art, Sibiu, Rom.) and “St. Jerome in His Study” (c. 1460; National Gallery, London), already show Antonello’s characteristic combination of Flemish technique and realism with typically Italian modelling of forms and clarity of spatial arrangement.

In 1457 Antonello returned to Messina, where he worked until 1474. The chief works of this period, the polyptych of 1473 and the “Annunciation” of 1474 (both in the Museo Nazionale, Messina), are relatively conservative altarpieces commissioned by the church, but the “Salvator Mundi” (1465; National Gallery, London), intended for private devotions, is bold and simple, showing a thorough understanding of the human form and the depiction of personality. It was but a short step from the “Salvator Mundi” to such incisive characterizations of human psychology as seen in “Portrait of a Man” (c. 1472; National Gallery, London), a work that presaged the uncanny vitality and meticulous realism of such panels as “Portrait of a Condottiere” (1475; Louvre, Paris), which established his reputation in northern Italy. During this period Antonello might have traveled to Rome and come into contact with the works of Fra Angelico and Piero della Francesca.

From 1475 to 1476 Antonello was in Venice and possibly Milan. Within a short time of his arrival in Venice, his work attracted so much favourable attention that he was supported by the Venetian state, and local painters enthusiastically adopted his oil technique and compositional style. In “St. Sebastian” (c. 1476; Gemäldegalerie, Dresden, Ger.), his most mature work, Antonello achieved a synthesis of clearly defined space, monumental, sculpture-like form, and luminous colour, which was one of the most decisive influences on the evolution of Venetian painting down to Giorgione’s day. In 1476 he was again in Messina, where he completed his final masterpiece, “The Virgin Annunciate” (c. 1476; Galleria Nazionale, Palermo).

Encyclopædia Britannica

 
 
 
 
 



Christ at the Column (detail)
c. 1475-1479
Musee du Louvre, Paris




Crucifixion
1475
Koninklijk Museum voor Schone Kunsten, Antwerp

 



San Cassiano Altar
1475-76
Kunsthistorisches Museum, Vienna



Portrait of a Man (Il Condottiere)
1475
Musee du Louvre, Paris



Crucifixion
1475
National Gallery, London



The Dead Christ Supported by an Angel
1475-78
Museo del Prado, Madrid

 
 
 
 



St Sebastian
1476-77
Gemaldegalerie, Dresden



St Jerome in his Study
c. 1460
National Gallery, London



Virgin Annunciate
c. 1476
Museo Nazionale, Palermo


Portrait of a Man
1474
Staatliche Museen, Berlin



Portrait of a Man
1474
Staatliche Museen, Berlin



Portrait of a Man
c. 1475
Galleria Borghese, Rome



Portrait of a Man
c. 1475
National Gallery, London

 
 
 

 
 
 
CONTENTS
  BACK NEXT