The Portinari Altarpiece by Hugo Van Der Goes

But he was defeated; Christ is the new Adam. The proximity of Satan to Mary reflects the resentment between them. Pride and self determination are in contrast to virgin obedience and humility - making her a new Eve. Some angels are juxtaposed with the demonic field (Fig. 10, 11, 12). They are parallel to the picture, are somewhat two dimensional, and together with donors and stills constitute the boundary between God's rule and secular rule. Although the decoration is rich, these courts can not be identified with a specific etiquette.

: Portinari Altarpiece, Author: Hugo Van der Goes, 1477 to 1478, Uffizi Gallery, Florence / Portinari Altarpiece Flanders Painter Hugo Fande goes to trilogy, which represents shepherd worship. That name comes from a banker Tommaso Portinari who asked it for the church of Santa Maria Nuova Hospital in Florence. On the left and right panels, Portinari himself, his family, and patron saints of each are drawn. The traditional history of the Renaissance was concentrated in the city republic of Florence where Giotto di Bondone (around 1266 - 1337) and Dante Alighieri (around 1265 - 1321) began resurrecting in the 14th century. Century Florence shows how the commercial and manufacturing boom in fabric production and the skill base contribute to literary and artistic production. It also embodies a very close relationship between art and citizenship.

1476, when the studio of Leonardo and Verrocchio was collaboration, altarpiece of Porutinari of Hugo van der ghost is coming to Florence, new painting techniques of Northern Europe gives Leonardo, Ghirlandaio, a significant impact, such as in Perugia I will. The influence In 1479, Sicilian painter Antonello da Messina specialized in oil painting, visited the northern part of Venice, and the main painter Giovanni Bellini quickly became Venice using oil painting technology. This is the preferred method. Leonardo later went to Venice.