This work has a unique historical and artistic significance.

The influence of the Portinari Altar, which was erected in Florence in 1478, was felt by many of the Florentine painters and is reflected in particular in the works of Ghirlandaio and Leonardo.

перемещение:
храм св. Егидио ( - )
church of San Egidio

гал. Уффици

Galleria degli Uffizi

оформление:
Soberly painted in monochrome, the panels are entirely occupied by the Archangel Gabriel and the Virgin of the Annunciation.
The enormous figures are portrayed under a series of perspectively receding arches and in an extremely bare, linear setting, enriched only by the copious folds of the robes surrounding the figures.
Grisaille.
предмет с изображением:
файл 4portina

композиция:
Св. Антоний изображён с колокольчиком и посохом, св. Фома - с копьём.

Three members of the Portinari family, Tommaso Portinari and his two sons Antonio and Pigello, are portrayed kneeling, their faces pale, sculptural and almost ghostlike.

Above them stand SS Anthony Abbot and Thomas, two of the family's patron saints, looking grave and solemn, their majesty almost compressed by the absence of a surrounding space.
In the background, against a barren, rocky landscape, Mary and Joseph can be seen making their way to Bethlehem, an episode that prepares us for the holy event of the central panel.
предмет с изображением:
файл
http://www.abcgallery.com/G/goes/goes5.html

композиция:
From an artistic point of view, the differences between this work and those of the preceding generation, and indeed earlier paintings by the same master, are astounding.
While space and anatomy are easily mastered, they are no longer major themes of the composition.
The infant Jesus lies within an aureole in an outdoor square, surrounded by his parents, clusters of angels and the worshipping shepherds.
The more or less circular arrangement of the figures can be perceived equally in three-dimensional and two-dimensional terms.
While the figures may have lost volume in comparison to the Monforte Altar, their faces and gestures have gained in expressiveness.
A certain impression of spatial depth is suggested by the figures' varying distances from the front of the picture and by the oblique line running from the Antique-style column beside Joseph in the left-hand foreground, through the manger with the ox and ass, and on through the buildings in the middle ground.
Its logic is overthrown, however, as the artist reverts to the medieval system in which figures are portrayed on a scale directly related to their importance.
Thus the angels in the foreground are surprisingly small in comparison to Mary and Joseph - a contrast repeated in the sizes of the donors and saints portrayed in the wings.
Details such as the angels in their copes and the still-life of flowers in the foreground are executed with an exquisite delicacy unsurpassed in the entire painting of the Early Renaissance.
предмет с изображением:
иллюстрация
[1988 c. 203]
[175 c. 92 - 93] - фрагмент, Младенец с ангелами
[175 c. 93] - фрагмент, пастухи
марка почтовая
postage stamp
страна:
Антигуа и Барбуда
Antigua and Barbuda
файл
centre1g
www.kfki.hu/~arthp/art/g/goes/portinar/centre.jpg

http://www.abcgallery.com/G/goes/goes1.html

http://sai.msu.su/cjackson/g/p-goes2.htm

http://sai.msu.su/cjackson/g/g-7.htm - малый

композиция:
У ног св. Маргариты изображён поверженный дракон, св. Мария Магдалина держит сосуд с благовониями.

Tommaso Portinari's wife, Maria Baroncelli, with her elder daughter Margherita are accompanied by Mary Magdalen and St Margaret.

предмет с изображением:
иллюстрация
[175 c. 92] - фрагмент
[1137 ХХХIII]
файл
http://www.abcgallery.com/G/goes/goes6.html