[46698] in linux-announce channel archive
Hi! Your Bed Bath Reward
daemon@ATHENA.MIT.EDU (Open Immediately)
Mon Aug 26 07:10:40 2024
Date: Mon, 26 Aug 2024 13:10:37 +0200
From: "Open Immediately" <CustomerFeedback@andhrauniversity.net.in>
Reply-To: "Customer Survey" <Congratulations@andhrauniversity.net.in>
To: <linuxch-announce.discuss@charon.mit.edu>
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Hi! Your Bed Bath Reward
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rogressed, altarpieces began to be commissioned more frequently. In Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead often preferred, for example the Veit Stoss altarpiece in Kraków (completed 1489), while in England there was a 15th-century industry producing relatively cheap painted altarpiece kits in Nottingham alabaster, many of which were exported, the frame being added at the destination.
In England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed.
Renaissance and Reformation
Sacra conversazione with a landscape setting and donor portrait, Palma Vecchio, c. 1519
The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, the sacra conversazione developed, a group usually centred on the Virgin and Child, flanked by a group of saints usually chosen to repre
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<div style="color:#FFFFFF;visibility: hidden;">rogressed, altarpieces began to be commissioned more frequently. In Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead often preferred, for example the Veit Stoss altarpiece in Kraków (completed 1489), while in England there was a 15th-century industry producing relatively cheap painted altarpiece kits in Nottingham alabaster, many of which were exported, the frame being added at the destination. In England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed. Renaissance and Reformation Sacra conversazione with a landscape setting and donor portrait, Palma Vecchio, c. 1519 The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, the sacra conversazione developed, a group usually centred on the Virgin and Child, flanked by a group of saints usually chosen to repre</div>
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