motifart

• dance composition dance

  ...of different ways; for example, with different numbers of people, at different speeds, with different styles of movement (jerky or smooth), or with different dramatic qualities (happy or sad). In motif and development, material from within the phrase is developed in new ways, for example, by embellishing it with other movements (the same jump but with different arm movements), by imitating it...

• discussed in biography Flannagan, John Bernard

  ...Flannagan’s most effective poetic theme; it informed his major works—e.g., Triumph of the Egg (1937 and 1941) and perhaps even the tumid Dragon Motif (1933). The spirit of the inert material seems to emerge from these works and mingle with the impressions made by the carver. Shortly before he committed suicide, Flannagan had...

• fresco by Masolino Masolino

  ...in the Baptistery (completed 1435) and Collegiata at Castiglione Olona. The extensive panoramas in the backgrounds of the “Crucifixion” on the altar wall in S. Clemente and the “Baptism of Christ” at Castiglione Olona are milestones in the history of landscape painting. With their light tonality and elegant, rhythmical figures, the scenes by Masolino in the Baptistery...

• painting by Leonardo da Vinci and Verrocchio ( in Verrocchio, Andrea del: The paintings and sculptures )

  ...Chapel of the cathedral at Pistoia, was not completed by the master himself. Largely executed by his pupil Lorenzo di Credi, its handling is inconsistent with that of the Baptism of Christ (c. 1470–75; Uffizi, Florence), which has been attributed to Verrocchio ever since it was first mentioned in 1550 by the Renaissance biographer Giorgio Vasari...

  in Leonardo da Vinci: Painting and drawing )

  ...of emotion. The artist’s remarkable talent, especially his keenness of observation and creative imagination, was already revealed in the angel he contributed to Verrocchio’s Baptism of Christ (c. 1472–75): Leonardo endowed the angel with natural movement, presented it with a relaxed demeanour, and gave it an enigmatic glance that both acknowledges its...

  in painting, Western: Leonardo da Vinci )

  ...art of sculpting in marble, although he clearly stated in his writings that he did not relish this difficult craft. Leonardo’s genius is already apparent in his collaboration with Verrocchio in the “Baptism of Christ” (c. 1474–75; Uffizi), in which his contributions to the landscape and his figure of an angel clearly reveal his superiority. The...

• altarpiece by Lippi Lippi, Fra Filippo

  A famous altarpiece of the same time, Lippi’s well-known Coronation of the Virgin, is a complex work crowded with figures. The celebrated altarpiece is exquisitely sumptuous in appearance and marks a historic point in Florentine painting in its success in uniting as one scene the various panels of a polyptych.

painting by

• Angelico Angelico, Fra

  ...the new artistic trends of his time, above all the representation of space by means of perspective. In works such as the large Last Judgment and The Coronation of the Virgin, for example, the human figures receding toward the rear themselves create a feeling of space similar to that in the paintings of Angelico’s great Florentine...

• Bellini Bellini, Giovanni

  ...probably not long afterward, that Bellini encountered the influence that must have helped him most toward his full development: that of Piero della Francesca. Bellini’s great Coronation of the Virgin at Pesaro, for example, might have reflected some of the compositional elements of Piero’s lost Coronation of the Virgin, painted as the...

• Charonton Charonton, Enguerrand

  French religious painter of the late Gothic period, famous for his “Coronation of the Virgin.”

• Lorenzo Monaco Lorenzo Monaco

  His large polyptych “Madonna and Child” (1406–10; Uffizi, Florence) and the “Coronation of the Virgin” (1413; Uffizi, Florence) reflect his typically blond palette, his predilection for swirling draperies and rhythmic, curvilinear forms, and his knowledgeable use of light. Lorenzo’s feeling for decorative composition and expressive line is especially evident in his...

• Paolo Veneziano Paolo Veneziano

  a principal Venetian painter of the Byzantine style in 14th-century Venice....

• use on pottery ( in pottery: Faience, or tin-glazed ware )

  ...colours—were much copied elsewhere. Overglaze colours were introduced about 1740, their first recorded use in France. (For the first use in Europe, see below Germany and Austria.) Brilliant indianische Blumen (flower motifs that were really Japanese in origin but that were thought to be Indian because the decorated porcelain was imported by the East India companies) were painted in...

  in pottery: Porcelain )

  ...based either on harlequin, pierrot, and other characters of the Italian comedy or on the style of the painter Jean-Antoine Watteau and his followers, and flowers in the Oriental style (called indianische Blumen) as well as native flowers (deutsche Blumen) taken from books of botanical illustrations. A series of harbour scenes from engravings of Italian ports were mostly...