Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

Andrea del Castagno

Andrea del Sarto

Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

Antonio del Pollaiuolo

Bartolo di Fredi

Bartolomeo di Giovanni

Benozzo Gozzoli

Benvenuto di Giovanni

Bernard Berenson

Bernardo Daddi

Bianca Cappello

Bicci di Lorenzo

Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art



Dietisalvi di Speme

Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano


Duccio di Buoninsegna

Eleonora da Toledo

Federico Zuccari

Filippino Lippi

Filippo Lippi

Fra Angelico

Fra Carnevale

Francesco di Giorgio Martini

Francesco Pesellino

Francesco Rosselli

Francia Bigio

Gentile da Fabriano


Domenico Ghirlandaio


Giorgio Vasari

Giotto di bondone

Giovanni da Modena

Giovanni da San Giovanni

Giovanni di Francesco

Giovanni di Paolo

Giovanni Toscani

Girolamo di Benvenuto

Guidoccio Cozzarelli

Guido da Siena

Il Sodoma

Jacopo del Sellaio

Jacopo Pontormo

Lippo Memmi

Lippo Vanni

Lorenzo Ghiberti

Lorenzo Monaco

Lo Scheggia

Lo Spagna

Luca Signorelli


masolino da panicale

master of monteoliveto

master of sain tfrancis

master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello


piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti



sandro botticelli

sano di pietro


simone martini

spinello aretino

taddeo di bartolo

taddeo gaddi

ugolino di nerio



Antonello da Messina, Group of figures in a square, department of Prints and Drawings, Musée du Louvre, Paris
Antonello da Messina, Group of figures in a square, department of Prints and Drawings, Musée du Louvre, Paris
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Antonello da Messina, Group of figures in a square, Musée du Louvre, Paris



Very few drawings can be attributed to Antonello with any certainty. Following Robert Lehmans acquisition of this sheet in the 1920s, it was generally considered a work by the Netherlandish artist Petrus Christus, or by a sculptor in the orbit of Claus Sluter because of the resemblance of its heavily draped figures to the famous pleurants (or mourners) on the latter's tomb sculptures in Dijon. The alternative attribution to Antonello da Messina was made independently by Julius Held (letter of 1938) and Roberto Longhi (1953).

It was Longhi who associated the study with the group of "Burgundian" mourners at the foot of the cross in Antonello's early Crucifixion (Muzeul Naçional de Arra, Bucharest), a painting probably dating from the 1460s; this suggestion was rather widely accepted. The interpretation of the drawing became more complex when, in 1983, the Louvre acquired a closely related sheet. The bottom half includes six identical women, with an additional four at the right side. Above the women on the Louvre sheet, however, rises a majestic series of buildings shown in deep perspective. Tall crenellated palaces and towers recede in space to an arched gate, before which is a tiny figure. The tunneling perspective is reminiscent of that in drawings from Jacopo Bellini's sketchbooks, and there is nothing quite like it in Antonello's work before his Venerian period more specifically, until the background of the Saint Sebastian painted (or the church of San Giuliano in Venice (fig. 2), perhaps as late as 1478 (Lucco 1990). This raises the possibility that both drawings date from the later 1470s, although the connection of the figures to somewhat earlier Burgundian and Netherlandish art cannot be denied. It also remains an open question as to whether both drawings are autograph works by the master. Anna Forlani Tempesti and Dominique Thiébaut have noted (1991, 1993) that the Lehman sheet is not as precise and delicate in its details, or as convincingly descriptive (although drawn in a distinctive, stippled technique). Thus, our drawing may be a less carefully executed autograph replica. or one produced in the artist's workshop following his design.[1]


[1] Andrea Bayer in Antonello da Messina: Sicily's Renaissance Master [Gioacchino Barbera, Keith Christiansen, Andrea Bayer], The Metropolitan Museum of Art / Yale University, (2005) ISBN 10: 1588391779 ISBN 13: 9781588391773

Art in Tuscany | Giorgio Vasari | Lives of the Most Excellent Painters, Sculptors, and Architects | Antonello da Messina

Image source: Musée du Louvre
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Podere Santa Pia, giardino

Podere Santa Pia


Tuscan Maremma

One of the best places to slow travel in southern Tuscany is Podere Santa Pia. This holiday house is a peaceful retreat, perfect for relaxing with magnificent panoramic views of the mystical Maremma hills up to the Mediterranean Sea and Montecristo.