Antonio Vivarini (alternatively: Antonio Vivarini; Vivarini, Antonio Da Murano; Antonio da Murano)
Found in 82 Collections and/or Records:
Adoration of the Magi, In this image, the Adoration of the Magi is seen. Here, the magi approach Christ with their extensive entourages. The Magi bring gifts to Christ, who sits in the center of the scene, on Mary's lap. In the sky, angels hover, holding trumpets with banners. God the Father watches from the center of the sky, and the dove of the Holy Spirit hovers over Mary and the Christ Child. The stable is behind Mary and Christ, framing them and providing shelter for the donkeys who look out from inside. Shepherds and their flocks can be seen in the distant hills, as can the city walls of Jerusalem. Winding up the paths into the hills is the entourage of the Magi., 1440-1450, Photographed in after 1907
Vanderbilt photo identifier: SC.MSS.088.VENI.0144; Public Notes: Scholars have attributed this work variously, as cited by Pallucchini (1962). The prevailing current attribution is jointly to Antonio Vivarini and Giovanni d'Alemagna.
Altarpiece of Saint Sabina: detail of Angel, This image shows the center panel of the upper tier from the two-tiered altarpiece of St. Sabina. Depicted in this panel is an angel holding a banner, which reads, "Hic est sanguinis Xpi" (This is the blood of Christ), referring to the hinged compartment in the altarpiece which holds a blood reliquary., 1443, Photographed in 1910-1940
Vanderbilt photo identifier: SC.MSS.088.VENI.0153; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).
Altarpiece of Saint Sabina: detail of Saint Lizerio, This image shows the lower-right panel of a two-tiered altarpiece. In this panel, St. Lizerio "a Spanish soldier who was bludgeoned to death with hammers and whose body was reputed to have been brought to San Zaccaria" is depicted. He is seen in full-length view, and holds a martyr's palm and hammers. He dressed in soldier's garb., 1443, Photographed in 1910-1940
Vanderbilt photo identifier: SC.MSS.088.VENI.0152; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).
Altarpiece of Saint Sabina, detail of Saint Sabina, This image shows the central panel of a two-tiered altarpiece. Here, St. Sabina stands, seen in full-length view, and holds a book and a martyr's palm. She wears a golden mantle and there are rose bushes in the background. There are four angels hovering around her upper body. She also wears a crown., 1443, Photographed in 1910-1940
Vanderbilt photo identifier: SC.MSS.088.VENI.0151; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).
Altarpiece of Saint Sabina, This image shows a two-tiered polyptych with St. Sabina in the central panel. To the left of the central panel is St. Jerome, who wears cardinal's vestments and holds a church model and the Vulgate. To the right of the central panel is a figure who previously has been identified as either St. Achilles or St. Egerio, but now has been identified as St. Lizerio, who holds a hammer and a martyr's palm. St. Sabina wears a crown and decorated robes and holds a martyr's palm and book. She is surrounded by four small angels hovering around her upper body. A hedge and roses are in the background of the lower tier. In the upper tier, an angel holds a banner. To the left of the central panel is a panel depicting St. Margherita, and to the right of the central panel is St. Catherine. St. Margherita holds a book and a cross and St. Catherine holds a book and a martyr's palm. St. Margherita emerges from a dragon's mouth., 1443, Photographed in 1910-1940
Vanderbilt photo identifier: SC.MSS.088.VENI.0149; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).
Altarpiece of Saint Sabina, This image shows a two-tiered polyptych with St. Sabina in the central panel. To the left of the central panel is St. Jerome, who wears cardinal's vestments and holds a church model and the Vulgate. To the right of the central panel is a figure who previously has been identified as either St. Achilles or St. Egerio, but now has been identified as St. Lizerio, who holds a hammer and a martyr's palm. St. Sabina wears a crown and decorated robes and holds a martyr's palm and book. She is surrounded by four small angels hovering around her upper body. A hedge and roses are in the background of the lower tier. In the upper tier, an angel holds a banner. To the left of the central panel is a panel depicting St. Margherita, and to the right of the central panel is St. Catherine. St. Margherita holds a book and a cross and St. Catherine holds a book and a martyr's palm. St. Margherita emerges from a dragon's mouth., 1443
Vanderbilt photo identifier: SC.MSS.088.VENI.0150; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).
Altarpiece of the Madonna of the Rosary, This image shows a polyptych in an extremely elaborate frame, complete with carved figures in niches. In the central panel is the Virgin and Child enthroned. In the two panels to the left and right are two saints., 1443
Vanderbilt photo identifier: SC.MSS.088.VENI.0147; Public Notes: There is an inscription on the base of the frame that cannot be determined from this view.
Altarpiece of the Madonna of the Rosary, This image shows the back face of a four-tier altarpiece, the Altarpiece of the Madonna of the Rosary. The lowest tier is flanked by two holy innocents holding martyr's palms. Between these two figures is a 14th century predella depicting the life of a saint. In the tier just above the lowest tier, is a row of saints and angels. An angels flanks either end of the row, and between them six saints stand. In the next highest tier, God the Father gives the sign of blessing and sits enthroned in the central panel and three saints stand to either side of Him (L: Ss. Stephen, Thomas, Gregory; R: Ss. Theodore, Leon, Sabina). In the highest tier, the crucified Christ rises out of the tomb, and an angel catches the blood from his side wound in a chalice. To either side of Christ is an angel in adoration. Inscriptions label the panels in the top two tiers., 1443, Photographed in 1920-1930
Vanderbilt photo identifier: SC.MSS.088.VENI.0148; Public Notes:
Altarpiece of the Redeemer (detail), This image shows the an altarpiece with two tiers with both carved and gilded sculptural relief, and painted panels. In the bottom tier is a two-part relief in the central panel, with a painted panel on either side. The frame is richly decorated in the Gothic style. The center panel of the upper tier is a sculptural relief depicting Christ as Redeemer, rising from the sepulcher and giving the sign of blessing. Witnesses surround the base of the sepulcher, and a sleeping guard lies in front of the tomb. In the bottom tier, the central panel has two sculptural reliefs, below - a framed pieta, above - the fainting Virgin upheld by figures surrounding her. In the two side panels are standing full-length saints. In the left panel, St. George stands with St. Caio Papa, and in the right panel, S. Nereo and S. Achilleo stand together, holding martyr's palms., 1443, Photographed in c. 1930-1960
Vanderbilt photo identifier: SC.MSS.088.VENI.0155; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).; Also attributed to Ludovico da Forli, painter.
Altarpiece of the Redeemer, This image shows the an altarpiece with two tiers with both carved and gilded sculptural relief, and painted panels. In the bottom tier is a two-part relief in the central panel, with a painted panel on either side. The frame is richly decorated in the Gothic style. The center panel of the upper tier is a sculptural relief depicting Christ as Redeemer, rising from the sepulcher and giving the sign of blessing. Witnesses surround the base of the sepulcher, and a sleeping guard lies in front of the tomb. In the bottom tier, the central panel has two sculptural reliefs, below - a framed pieta, above - the fainting Virgin upheld by figures surrounding her. In the two side panels are standing full-length saints. In the left panel, St. George stands with St. Caio Papa, and in the right panel, S. Nereo and S. Achilleo stand together, holding martyr's palms., 1443, Photographed in before 1907
Vanderbilt photo identifier: SC.MSS.088.VENI.0154; Public Notes: The altarpiece was "commissioned by Margherita Donato, a camerlenga of the convent. It cost 83 ducats" (Savage 2012). Also there is a hinged compartment in the altarpiece for the blood reliquary (blood of Christ).; Also attributed to Ludovico da Forli, painter.
Annunciation with Saint Anthony of Padua and Saint Michael: Annunciation, This image shows the central panel of a triptych. Here, the angel Gabriel holds a lily, gives a blessing, and kneels, speaking to Mary the message of the annunciation., c. 1440 - c. 1450
Vanderbilt photo identifier: SC.MSS.088.VENI.0216; Public Notes: Pallucchini (1962) notes that Antonio's brother Bartolomeo probably helped with this work, especially seen in the figure of the angel. // This work is also attributed to Giovanni d'Alemagna, brother-in-law to A. Vivarini.; This photograph was originally housed in a folder labeled, "S. Giobbe, Venezia. / Attribuzione Generale."
Annunciation with Saint Anthony of Padua and Saint Michael, This image shows a triptych with the Annunciation scene in the central panel, St. Anthony on the left, and St. Michael on the right. In the central scene, the angel Gabriel holds a lily, gives the sign of blessing, kneels, giving Mary the message of the annunciation. Mary holds up her hand and bows her head, she holds a book and is seated. Above them, God the Father watches them and sends the dove of the Holy Spirit. Behind the scene is an architectural setting with Gothic arches. In the left panel, St. Anthony looks toward the central scene, wears a monastic habit, and holds a lily and a book. In the right panel, St. Michael the Archangel wears armor and holds a spear and a sword., c. 1440 - c. 1450, Photographed in before 1921
Assumption of Mary Magdalene, This image shows the assumption of Mary Magdalene. Rising up from a rocky landscape beneath, the Magdalene is lifted by six angels, and holds her hands in prayer. Her body is covered by her long, flowing hair, which reaches to her ankles. A patron/donor in a nun's habit kneels in the lower left corner and clasps her hands in prayer., c. 1440 - c. 1480
Vanderbilt photo identifier: SC.MSS.088.VENI.0220; Public Notes:
Birth of Saint Augustine, This image shows the birth of St. Augustine. Here, baby Augustine is being presented to his mother, St. Monica. She reaches out and touches her son who is swaddled and held out to her by the midwife. St. Monica sits up in her bed. The scene is set inside a room with curtains, a coffered ceiling and arched doorway., 1441, Photographed in before 1947
Christ's Entry into Jerusalem, This image shows Christ's entry into Jerusalem. Above Him, two men are perched in the tree. A group of men follow behind Christ. Also, two women lay their cloaks on the ground in front of Him., c. 1440 - c. 1480
Vanderbilt photo identifier: SC.MSS.088.VENI.0225; Public Notes: This print is probably a lithograph, it is from the catalogue of Nemes' collection for purpose of auction in 1913.; Formerly in the Collection of Marcell Nemes.
Conversion and Death of the Husband of Saint Monica, In this image is the scene of St. Monica converting her husband to Christianity as he is on his deathbed. She holds a crucifix and points upward. He gazes up at her from his pillow. Two young women stand behind her. The scene is set inside a room with a brocade curtain and an arched doorway., 1441, Photographed in c. 1910-1929
Coronation of the Virgin, In this image is shown an altarpiece depicting the coronation of the Virgin by Antonio Vivarini and his brother-in-law Giovanni d'Alemagna. The image is packed full of figures. In the upper center, atop a grand throne, Christ crowns Mary Queen of Heaven, while God the Father sits behind them both and the dove of the Holy Spirit hovers over their heads. Under the columns of the throne's base, holy innocents hold the instruments of Christ's Passion. In front of the throne's base, the four Evangelists sit, with their symbols at their feet. To either side of the Evangelists, the four church fathers sit, two to either side, holding their attributes. Behind the church fathers are female martyrs, packed into a row on each side. Behind them on each side are three rows of male saints and prophets. Above the rows of male saints are three rows of angels., 1444, Photographed in c. 1930-1960
Vanderbilt photo identifier: SC.MSS.088.VENI.0156; Public Notes: This work was copied by Michele Giambono in 1448, a photo of which is also in our collection, please see SC.MSS.088.VENI.0156.
Coronation of the Virgin Polyptych, This image shows a polyptych centered around the scene of the Coronation of the Virgin. There are two tiers to this altarpiece. The lower tier depicts four saints in full length, two on either side of the central scene. To the left of the central panel is a bishop and St. Francis. To the right of the central panel is St. Peter and St. Anthony of Padua. In the upper tier are four half-length saints with a Pieta in the center. In the lower tier, the bishop wears appropriate vestments including his mitre, and holds a crosier and a book. St. Francis wears a monastic habit and holds a book and a staff surmounted by a cross. St. Peter holds a book and the keys to the Kingdom of Heaven. St. Anthony of Padua wears a monastic habit, and holds a lily and a book. In the upper tier, St. Mary Magdalene holds an ointment jar and a book. St. Jerome wears a cardinal's vestments and holds a book and a church model. St. John the Baptist wears animal skins and holds a banner which reads "ECCE AGNUS DEI". With his other hand, he points to Christ in the central upper panel. In the far right panel of the upper tier, St. Catherine wears a crown, holds a martyr's palm, and holds a wheel. In the lower central panel, Christ crowns Mary Queen of Heaven. Mary crosses her arms and bows her head toward Christ. Christ holds a staff surmounted by a fleur-de-lis. They are seated and there is a veil behind them. Peeking over the top of the veil are putti. In the central upper panel is a Pieta, with Christ shown in front of the cross, but standing in this sepulcher, and his wounds are visible. There is also a small half-portrait of a bearded man, most probably a saint, above the Pieta, it does not appear to be part of the original altarpiece, but rather propped up as a devotional piece with the altarpiece. All of the main panels are in a carved and gilded late Gothic frame., c. 1450 - c. 1480
Vanderbilt photo identifier: SC.MSS.088.VENI.0217; Public Notes: A collaborative work between brothers Antonio and Bartolomeo Vivarini.
Coronation of the Virgin, This image shows the Coronation of the Virgin. Here, Christ crowns Mary Queen of Heaven. God the Father sits enthroned above them with His Hands on their shoulders. They sit on the base of the throne like a seat. Surrounding this group of three are many ranks of angels., c. 1440 - c. 1480
Vanderbilt photo identifier: SC.MSS.088.VENI.0218; Public Notes: There are tiny banners with inscriptions between the ranks of angels, but the text cannot be determined from this photograph.
Crucifixion, This image shows the central panel of an altarpiece depicting scenes of Christ's Passion. In this central panel is the scene of Christ's crucifixion. Christ is nailed to the cross, and angels surrounding Him catch his blood in chalices. St. John stands to the right of the cross, the Virgin Mary stands to the left of the cross, and Mary Magdalene kneels at the base of the cross. An angel kneels, facing her, and catches the blood from Christ's feet in a chalice. Beneath them, in the foreground, is a lamb lying on the ground. Christ wears the crown of thorns. Above Him, on top of the cross, is a nest with a bird feeding three baby birds, possibly symbolic of the nourishment of Christ's life-giving sacrifice. Behind the scene, which is set in a rocky landscape with little vegetation, are city walls., 1435-1450
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