Antonello was born in the city of Messina in Sicily between 1429 and 1431. Primary education took place in a provincial school, far from the artistic centers of Italy, where the main reference points were the masters of Southern France, Catalonia and the Netherlands. Around 1450 he moved to Naples. In the early 1450s he studied with Colantonio, a painter associated with the Dutch tradition. In 1475-1476. da Messina visited Venice, where he received and completed orders, made friends with artists, especially Giovanni Bellini, who adopted his painting technique to a certain extent. The mature work of Antonello da Messina is a fusion of Italian and Dutch elements. He was one of the first in Italy to work in clean oil painting, largely borrowing it from Van Eyck. The artist's style is characterized by a high level of technical virtuosity, careful elaboration of details and an interest in the monumentalism of forms and the depth of the background, characteristic of the Italian school. where Messina, the artist's hometown, is vaguely distinguished. The iconography and emotional interpretation of the theme are associated with the work of Giovanni Bellini. The paintings he painted in Venice are among the best. “Crucifixion” (1475, Antwerp) speaks of the artist’s Dutch training. In the 1470s, portraits began to occupy a significant place in his work (“Young Man”, c. 1470; male portrait”, 1475, etc.), marked by the features of the Dutch art: a dark neutral background, an accurate rendering of the facial expressions of the model. His portrait art left a deep mark on Venetian painting end of the 15th century - the beginning of the 16th century. He died in Messina in 1479.

Antonello was born in the city of Messina in Sicily between 1429 and 1431. Primary education took place in a provincial school, far from the artistic centers of Italy, where the main reference points were the masters of Southern France, Catalonia and the Netherlands. Around 1450 he moved to Naples. In the early 1450s he studied with Colantonio, a painter associated with the Dutch tradition. In 1475-1476. da Messina visited Venice, where he received and completed orders, made friends with artists, especially Giovanni Bellini, who adopted his painting technique to a certain extent. The mature work of Antonello da Messina is a fusion of Italian and Dutch elements. He was one of the first in Italy to work in pure oil painting, largely borrowing it from Van Eyck. Christ Supported by Angels” the figures stand out clearly against an illuminated light background, where Messina, the artist’s hometown, is vaguely distinguished. The iconography and emotional interpretation of the theme are associated with the work of Giovanni Bellini. The paintings he painted in Venice are among the best. “Crucifixion” (1475, Antwerp) speaks of the artist’s Dutch training. .), marked by features of Dutch art: a dark neutral background, an accurate rendering of the facial expressions of the model. His portrait art left a deep mark on Venetian painting at the end of the 15th century. - the beginning of the 16th century. He died in Messina in 1479. Save

Antonello da Messina (1429/1431 - 1479) - Italian artist, a prominent representative of the southern Italian school of painting of the early Renaissance.

Biography of Antonello da Messina

Antonello was born in the city of Messina in Sicily between 1429 and 1431.

Primary education took place in a provincial school, far from the artistic centers of Italy, where the main reference points were the masters of Southern France, Catalonia and the Netherlands.

Around 1450 he moved to Naples. In the early 1450s he studied with Colantonio, a painter associated with the Dutch tradition.

He died in Messina in 1479.

The work of Antonello da Messina

In 1475-1476. yes Messina visited Venice, where he received and fulfilled orders, made friends with artists, especially with Giovanni Bellini, who adopted his painting technique to a certain extent.

The mature work of Antonello da Messina is a fusion of Italian and Dutch elements. He was one of the first in Italy to work in the technique of pure oil painting, largely borrowing it from Van Eyck.

The artist's style is characterized by a high level of technical virtuosity, meticulous attention to detail, and an interest in the monumental forms and depth of the background, characteristic of the Italian school.

In the painting “The Dead Christ Supported by Angels”, the figures clearly emerge against an illuminated light background, where Messina, the artist’s hometown, is vaguely distinguished. Iconography and emotional interpretation of the theme are associated with the work of Giovanni Bellini.

The paintings he painted in Venice are among the best. "Crucifixion" (1475, Antwerp) speaks of the artist's Dutch training.

In the 1470s, portraits began to occupy a significant place in his work (“Young Man”, c. 1470; “Self-Portrait”, c. 1473; “Portrait of a Man”, 1475, etc.), marked by features of Dutch art: a dark neutral background, accurate transmission model facial expressions.

His portrait art left a deep mark on Venetian painting at the end of the 15th century. - early 16th century

The work of Antonello da Messina is an example of how in Italian painting, since about 1470, new forms of portraiture have spread in different centers almost simultaneously, sometimes independently of each other, and often due to the establishment of contacts between art schools and the defining role of several leading masters.

So, simultaneously with Mantegna in the 1470s, on the distant outskirts - in Sicily, another major portrait master, Antonello da Messina, came to the fore, who created a number of works that are an example of a three-quarter bust portrait, which for decades determined the main path for the development of the Venetian portrait (in addition, he conquered the Venetians by teaching them to paint with oil paints).

He is in the strict sense of the word the first Italian master of the easel portrait. He never painted frescoes with hidden portraits and donators in altarpieces.

About 10 authentic portraits of him have survived, but in the development of easel portraiture early renaissance he occupies a very important place.

Artist's work

• crucifixion. 1475. National Gallery. London
• Maria Annunziata. Around 1476 National Museum. Palermo
• Crucifixion with Mary and John. 1475. museum fine arts. Antwerp
• Maria Annunziata. 1473. Alte Pinakothek. Munich
• St. Sebastian. 1476. Gallery of old masters. Dresden
• Antonello da Messina. "Portrait of an old man (Trivulzio de Milano)", Turin
• Antonello da Messina. T. n. Condottiere, Louvre
• Annunciation. 1473

Virgin Annunciate (Antonello da Messina, Galleria Regionale della Sicilia, Palermo)

"Maria Annuziata (wood, oil, dimensions: 45 x 34.5 cm.) - one of the most famous paintings Italian artist Antonello da Messina. It is currently in the National Museum of Palermo.
Antonello da Messina was born in the city of Messina on the island of Sicily. Born around 1430. He was a representative of the southern school of painting in the era Early Renaissance. Primary education took place in a provincial school, far from the artistic centers of Italy, where the main reference points were the masters of southern France, Catalonia and the Netherlands. Portraits occupy a special place in the work of Antonello da Messina. "Mary Annuciata" has character traits painting da Messina.
There are various hypotheses about the date of the painting. It is believed that he wrote it in 1475 when he went to Venice.
The picture reveals the core values Italian Renaissance. Perspective, the desire for balance and symmetry, the desire to extract the eternal rules of geometry from the changing forms of nature, placing man at the very center of the universe.
This picture testifies to Antonello's deep knowledge of the technique of Flemish painting, which always diligently, with analytical attention, reproduced the reality and physical essence of materials: a light lectern, moving pages of a book, carefully drawn eyes and eyebrows.
Mary's breast composition is depicted on a black background. Antonello uses it to emphasize the bright image of Mary and thereby show her importance in the salvation of mankind from the power of darkness.
Most artists depicted the Annunciation as a scene of dialogue between Mary and the Archangel. However, Antonello tries to place other accents. His task is to convey inner world Mary.
The Virgin Mary, seated at the music stand, holds the blue veil thrown over her with her left hand, and raises her other hand. It is difficult to understand her gesture. Perhaps it is addressed to the Archangel. Or is it a gesture of consent, or maybe surprise. Maria is thoughtful. Her facial expression, the posture of her hands and head, as well as her gaze tell the viewer that Mary is now far from the mortal world.

The table or lectern is depicted diagonally, on it stands a music stand with a book, which pushes the figure into the depth, enhancing the sense of spatiality. The viewer is in the place of the Archangel Gabriel and is an accomplice in the events.
Bust image on dark background- a technique inherited from the Flemish portraiture, which is an innovation in the image of Mary. Maria is in isolation, dominating the space around her.

The history of this painting began in 1906, when Monsignor Di Giovanni, who inherited it from the Collucio family, bequeathed it to the then National Museum Palermo.
"The most beautiful hand I have ever seen in art," said Roberto Longhi, referring to the forward movement of the right hand. The hand may represent the space around it. The central fold of the mantle on the Virgin's head determines the focus of the viewer's field of vision.
This is how Leonardo Schiaschia described the effect of the picture on the viewer: "The viewer should notice a deep crease in the center of the forehead."
Although it was just a pictorial detail for the artist, it tells us about the clothes that were carefully preserved in the chest along with other cherished things. This mantle was taken out on special solemn occasions.
Note the wonderful contrast between the gesture right hand and with a gesture of her left hand, usual for a peasant woman: she folds the edges of her mantle.
Look at the mysterious facial expressions of the lips, a closer look into eternity. Perhaps this is the realization of their future motherhood.
Thanks to the direct influence of the Flemish painting that took shape in Naples, thanks to Colantino, his teacher, thanks to the study of the paintings of many artists working there, Antonello made a great contribution to spreading the values ​​of the Italian Renaissance among the various social classes of professionals and merchants in cities such as Messina, Naples, Venice.

Artists of the Early Renaissance found new forms, invented new techniques and style solutions, became famous for their experiments with painting. The work of Renaissance artists directly affected the art of all subsequent worship of artists and is still an example for novice painters.