100 frescoes - walls, stories and architecture
The 100 most famous frescoes in history
From Giotto to Michelangelo and Raphael: one hundred murals that transform chapels, palaces and civic buildings into monumental stories.
The route exclusively retains frescoes painted on coating. No canvas painting, panel, drawing or preparatory study is included. The 100 Alpha Reproduction images and sheets are distinct, without duplicates.
Paint on the wall
How does the fresco transform architecture?
The fresco is born from a material constraint: painting quickly on a fresh coating. The great masters make it a total art where image, building and movement of the viewer become inseparable.
The fresco does not just occupy a wall: it redefines real space through perspective, the scale of bodies and the continuity of the story.
The ranking confronts Giotto, Michelangelo and Raphael with the innovations of Correggio, Carracci and Rivera, without leaving the strict criterion of painting on coating.
The 100 most famous frescoes in pictures
Frescoes whose image, spatial invention and influence have spanned the centuries.
#1
The Creation of Adam
Ranked No. 1, The Creation of Adam shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1511, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#2
School of Athens
Classified No. 2, School of Athens shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1509 -1511, in Chamber of Signature, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry repeats and the variations of surface completes what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#3
The Last Judgment
Classified No. 3, The Last Judgment shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1536 -1541, in Sistine Chapel, Vatican, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#4
The Lamentation over the Dead Christ
Classified No. 4, The Lamentation over the Dead Christ shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#5
Payment of tribute
Classified No. 5, The Payment of Tribute shows how Masaccio transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies made the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is around 1425, in Brancacci Chapel, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#6
Judas' Kiss
Classified No. 6, The Kiss of Judas shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, dry rework and surface variations complete what the digital image allows us to see.
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#7
The Trinity
Classified No. 7, The Trinity shows how Masaccio transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies made the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is around 1427, in Santa Maria Novella, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#8
The Resurrection of Christ
Classified No. 8, The Resurrection of Christ shows how Piero della Francesca transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating retained is around 1463, in Museo Civico, Sansepolcro, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#9
The Effects of Good Government in the City
Classified No. 9, The Effects of Good Government in the City shows how Ambrogio Lorenzetti transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully contribute to the meaning of the image. In the 13th and 14th centuries, the great Italian cycles renewed the religious story and civic by giving the characters a concrete presence. The dating chosen is 1338 -1339, in Palazzo Pubblico, Siena, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. THERE composition must be understood on the scale of the place, in the physical journey imposed on the spectator.
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#10
The Effects of Good Government in the Campaign
Classified No. 10, The Effects of Good Government in the Countryside shows how Ambrogio Lorenzetti transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully contribute to the meaning of the image. In the 13th and 14th centuries, the great Italian cycles renewed the religious story and civic by giving the characters a concrete presence. The dating chosen is 1338 -1339, in Palazzo Pubblico, Siena, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, dry rework and surface variations complete what the digital image allows us to see.
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#11
The Fall of Man and the Expulsion from the Earthly Paradise
Classified No. 11, The Fall of Man and the Expulsion from the Earthly Paradise shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decoration became a synthesis ambitious theology, poetry, anatomy and architecture. The dating chosen is around 1510, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#12
The Dispute of the Blessed Sacrament
Classified no. 12, The Dispute of the Blessed Sacrament shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decoration became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1509 -1510, in Chamber of Signature, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#13
The Triumph of Galatea
Classified no. 13, The Triumph of Galatea shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1512, in Villa Farnesina, Rome, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#14
The Man Controller of the Universe
Ranked No. 14, The Man Controller of the Universe shows how Diego Rivera transforms the fresco into an architectural and pictorial experience. Rivera transforms the public wall into a total political narrative, where industry, science, history and social struggle respond to each other on a monumental scale. In the 20th century, Mexican muralism restored the fresco to a public, political and collective function. There dating retained is 1934, in Palais des Beaux-Arts, Mexico, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#15
The Assumption of the Virgin
Classified no. 15, The Assumption of the Virgin shows how Correggio transforms the fresco into an architectural and pictorial experience. The vault becomes an open space: shortcuts, figures in flight and luminous continuity erase the real limits of architecture. In the 16th and 17th centuries, the dome and gallery fresco opened the way to the great Baroque illusionist decorations. Dating retained is 1526 -1530, in Dome of Parma Cathedral, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and available information about the work.
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#16
The Triumph of Bacchus and Ariadne
Classified no. 16, The Triumph of Bacchus and Ariadne shows how Annibale Carracci transforms the fresco into an architectural and pictorial experience. The vault becomes an open space: shortcuts, figures in flight and luminous continuity erase the real limits of architecture. In the 16th and 17th centuries, the dome and gallery fresco opened the way to great illusionist decorations baroque. The dating chosen is 1597 -1600, in Farnese Gallery, Farnese Palace, Rome, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the work's enduring place in the history of the fresco.
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#17
The Annunciation
Classified No. 17, The Annunciation shows how Piero della Francesca transformed the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies made the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is towards 1455, in Basilica of San Francesco, Arezzo, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#18
The Annunciation
Classified No. 18, The Annunciation shows how Fra Angelico transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. Dating retained is around 1440, in Convent of San Marco, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#19
The Annunciation
Classified no. 19, The Annunciation shows how Pinturicchio transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully participate in the meaning of the image. The fresco preserves the memory of a place as much as that of an artist: it cannot be separated from the space which hosts it. There dating retained is 1500 -1501, in Chapelle Baglioni, Santa Maria Maggiore, Spello, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#20
The Last Supper of Ognissanti
Classified No. 20, The Last Supper by Ognissanti shows how Domenico Ghirlandaio transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized more and more wall spaces consistent. The dating chosen is 1480, in Refectory of Ognissanti, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#21
The handing over of the keys to Saint Peter
Classified no. 21, The Handing Over of the Keys to Saint Peter shows how Perugino transforms the fresco into an architectural and pictorial experience. The line, color and distribution of the groups transform the vast wall program into a continuous story, readable from the entire chapel. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. There dating retained is 1481 -1482, in Sistine Chapel, Vatican, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#22
The Temptations of Christ
Classified No. 22, The Temptations of Christ shows how Sandro Botticelli transforms the fresco into an architectural and pictorial experience. The line, color and distribution of the groups transform the vast wall program into a continuous story, readable from the entire chapel. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. Dating retained is 1481 -1482, in Sistine Chapel, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete this that the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#23
The Madonna del Parto
Classified No. 23, La Madonna del Parto shows how Piero della Francesca transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and body weight make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is around 1460, in Monterchi, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#24
The Bridegroom's Room, court scene
Classified no. 24, The Bridegroom's Room, court scene shows how Andrea Mantegna transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully participate in the meaning of the image. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is 1465 -1474, in Ducal Palace, Mantua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains it enduring place of the work in the history of the fresco.
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#25
The Borgo Fire
Classified no. 25, The Fire of the Borgo shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1514 -1517, in Borgo Fire Chamber, Vatican, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry repetitions and the surface variations complete what the digital image allows us to see.
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#26
The Parnassus
Classified no. 26, Le Parnasse shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. There dating retained is 1510 -1511, in Chamber of Signature, Vatican, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry repeats and the variations of surface completes what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#27
The Creation of Eve
Classified no. 27, The Creation of Eve shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1510, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#28
The Flood
Classified no. 28, The Flood shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1509, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#29
The Baptism of the neophytes
Classified no. 29, The Baptism of the Neophytes shows how Masaccio transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies made the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is towards 1425, in Brancacci Chapel, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the imposed physical journey to the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#30
Saint Peter heals the sick with his shadow
Classified no. 30, Saint Peter Heals the Sick with His Shadow shows how Masaccio transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and body weight make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. There dating retained is around 1425, in Chapelle Brancacci, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#31
Discovery and proof of the True Cross
Classified No. 31, Discovery and Proof of the True Cross shows how Piero della Francesca transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and body weight make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. There dating retained is around 1455, in Basilica of San Francesco, Arezzo, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#32
The procession of the young king
Classified no. 32, The Young King's Procession shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized more and more wall spaces consistent. The dating chosen is 1459 -1461, in Chapel of the Magi, Medici-Riccardi Palace, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#33
The Massacre of the Innocents
Classified no. 33, The Massacre of the Innocents shows how Domenico Ghirlandaio transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized more and more wall spaces consistent. The dating chosen is 1485 -1490, in Tornabuoni Chapel, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the enduring place of the work in the history of the fresco. The composition must be understood to scale from the place, in the physical journey imposed on the spectator. The material of the coating, the dry repetitions and the surface variations complete what the digital image allows us to see.
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#34
The Trials of Moses
Classified No. 34, The Trials of Moses shows how Sandro Botticelli transforms the fresco into an architectural and pictorial experience. The line, color and distribution of the groups transform the vast wall program into a continuous story, readable from the entire chapel. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. Dating retained is 1481 -1482, in Sistine Chapel, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete this that the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#35
The Testament and the death of Moses
Classified No. 35, The Testament and the Death of Moses shows how Luca Signorelli transformed the fresco into an architectural and pictorial experience. The line, color and distribution of the groups transformed the vast wall program into a continuous story, readable from the entire chapel. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1481 -1482, in Sistine Chapel, Vatican, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows to find the corresponding Alpha sheet and the information available on the work.
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#36
Noli me tangere
Classified no. 36, Noli me tangere shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving the characters have a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#37
The Resurrection of Lazarus
Classified no. 37, The Resurrection of Lazarus shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. THERE composition must be understood on the scale of the place, in the physical journey imposed on the spectator.
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#38
The Baptism of Christ
Classified no. 38, The Baptism of Christ shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, dry rework and surface variations complete what the digital image allows us to see.
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#39
The Adoration of the Magi
Classified No. 39, The Adoration of the Magi shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#40
The Crucifixion
Classified No. 40, The Crucifixion shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#41
The Crucifixion
Classified No. 41, The Crucifixion shows how Fra Angelico transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. Dating retained is around 1442, in Convent of San Marco, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the route physics imposed on the viewer. The material of the coating, the dry repetitions and the surface variations complete what the digital image allows us to see.
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#42
The Scrovegni Chapel: The Last Judgment
Classified No. 42, The Scrovegni Chapel: The Last Judgment shows how Giotto transformed the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious story and civic by giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material coating, dry rework and surface variations complete what the digital image allows us to see.
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#43
The Entry into Jerusalem
Classified No. 43, The Entrance to Jerusalem shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#44
The Nativity
Classified No. 44, The Nativity shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#45
The Flight into Egypt
Classified no. 45, The Flight into Egypt shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. There composition must be understood on the scale of the place, in the physical journey imposed on the spectator.
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#46
The Rise to Calvary
Classified no. 46, The Climb to Calvary shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, dry rework and surface variations complete what the digital image allows you to see.
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#47
The Death of Saint Francis
Classified no. 47, The Death of Saint Francis shows how Giotto di Bondone transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving the characters a concrete presence. The dating chosen is around 1325, in Bardi Chapel, Santa Croce, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#48
The Return of Ulysses
Classified no. 48, The Return of Ulysses shows how Pinturicchio transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully contribute to the meaning of the image. The fresco preserves the memory of a place as much as that of an artist: it cannot be separated from the space which hosts it. The dating chosen is 1508 -1509, in Palazzo del Magnifico, Siena; detached fresco, National Gallery, London, and the technique indicated is detached fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#49
Ascension
Classified No. 49, Ascension shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving to the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry repetitions and the surface variations complete what the digital image allows us to see.
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#50
The Visitation
Classified No. 50, The Visitation shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#51
The Virgin of the Annunciation
Classified No. 51, The Virgin of the Annunciation shows how Giotto transformed the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#52
Assumption
Classified no. 52, Assomption shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving to the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and Architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#53
Pentecost
Classified No. 53, Pentecost shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#54
The Presentation of Christ in the Temple
Classified No. 54, The Presentation of Christ in the Temple shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, dry rework and surface variations complete what the digital image allows us to see.
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#55
The Entombment
Classified no. 55, La Mise au Tombeau shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#56
The Descent to Limbo
Classified no. 56, La Descente aux Limbes shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#57
the Presentation of the Virgin in the temple
Classified No. 57, the Presentation of the Virgin in the Temple shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story by giving the characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. THERE composition must be understood on the scale of the place, in the physical journey imposed on the spectator.
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#58
The Last Meal
Classified no. 58, The Last Meal shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architectures make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic narrative by giving to characters a concrete presence. The dating chosen is around 1305, in Scrovegni Chapel, Padua, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#59
Saint Francis chasing demons
Classified No. 59, Saint Francis Chasing Demons shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious and civic story giving the characters a concrete presence. The dating chosen is around 1290, in Basilica of Saint Francis, Assisi, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#60
Saint Francis of Assisi receiving the stigmata
Classified no. 60, Saint Francis of Assisi receiving the stigmata shows how Giotto transforms the fresco into an architectural and pictorial experience. Giotto transforms the wall into a dramatic space. Simple gestures, looks and architecture make the story immediately readable and deeply human. In the 13th and 14th centuries, the great Italian cycles renewed the religious story and civic by giving the characters a concrete presence. The dating chosen is around 1290, in Basilica of Saint Francis, Assisi, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the available information on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#61
The Creation of the sun, moon and plants
Classified No. 61, The Creation of the Sun, Moon and Plants shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, wall decor became a synthesis ambitious theology, poetry, anatomy and architecture. The dating chosen is around 1511, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator.
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#62
The Separation of Light and Darkness
Classified No. 62, The Separation of Light and Darkness shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, dry replays and surface variations complete what the digital image allows us to see.
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#63
Separation of land and water
Classified No. 63, The Separation of Lands and Waters shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1511, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#64
Noah's Sacrifice
Classified No. 64, The Sacrifice of Noah shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1509, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#65
Noah's drunkenness
Classified no. 65, Noah's Drunkenness shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is around 1509, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood at the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#66
Judith and Holofernes
Classified no. 66, Judith and Holofernes shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#67
Haman's Punishment
Classified no. 67, Haman's Punishment shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
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#68
The Brass Serpent
Classified no. 68, The Brass Serpent shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#69
Sibyl of Eritrea
Classified No. 69, Sibyl of Eritrea shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#70
The Sibyl of Cumae
Classified no. 70, La Sibylle de Cumae shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#71
The Persian Sibyl
Classified no. 71, The Sibyl of Persia shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#72
The Libyan Sibyl
Classified no. 72, The Libyan Sibyl shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
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#73
The Sibyl of Delphi
Classified no. 73, The Sibyl of Delphi shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
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#74
Zechariah
Classified no. 74, Zacharias shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
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#75
Ezekiel
Classified no. 75, Ezekiel shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
Image and link: Alpha Reproduction.
See this reproduction →From the Sistine to baroque galleries and Mexican muralism, frescoes remain a public art.
#76
The Prophet Isaiah
Classified no. 76, The Prophet Isaiah shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
Image and link: Alpha Reproduction.
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#77
The Prophet Jeremiah
Classified no. 77, The Prophet Jeremiah shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#78
Osias, Joatham and Ahaz
Classified no. 78, Osias, Joatham and Achaz show how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#79
Zerubbabel, Abioud and Eliakim
Classified no. 79, Zerubbabel, Abioud and Eliakim shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#80
Amminadab
Classified No. 80, Amminadab shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
Image and link: Alpha Reproduction.
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#81
Jesse, David and Solomon
Classified No. 81, Jesse, David and Solomon shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#82
Rehoboam and Abia
Classified no. 82, Roboam and Abia shows how Michelangelo transforms the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#83
Salmon, Boaz and Jobed
Classified No. 83, Salmon, Boaz and Jobed shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decor became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1508 -1512, in Sistine Chapel, Vatican, and the technique indicated is buon fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#84
The Crucifixion of Saint Peter
Classified no. 84, The Crucifixion of Saint Peter shows how Michelangelo transformed the fresco into an architectural and pictorial experience. Michelangelo adapts each figure to the architecture of the chapel: shortcuts, monumental bodies and powerful rhythms give the ceiling and walls spectacular unity. During the High Renaissance, the wall decoration became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1546 -1550, in Pauline Chapel, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
Image and link: Alpha Reproduction.
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#85
The cardinal and theological virtues
Classified no. 85, The Cardinal and Theological Virtues shows how Raphaël Sanzio transforms the fresco into an architectural and pictorial experience. Raphael organizes the wall as an ideal scene where perspective, architecture and groups of figures lead the gaze without sacrificing the clarity of the story. During the High Renaissance, the wall decoration became an ambitious synthesis of theology, poetry, anatomy and architecture. The dating chosen is 1511, in Chamber of Signature, Vatican, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry repetitions and the surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#86
Distribution of alms and death of Ananias
Classified No. 86, Distribution of Alms and Death of Ananias shows how Masaccio transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and body weight make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. Dating retained is around 1425, in Chapelle Brancacci, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#87
Saint Mary Magdalene
Classified No. 87, Saint Mary Magdalene shows how Piero della Francesca transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating retained is around 1460, in Arezzo Cathedral, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the Alpha sheet correspondent and available information about the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
Image and link: Alpha Reproduction.
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#88
Sigismondo Pandolfo Malatesta in prayer before Saint Sigismund
Classified No. 88, Sigismondo Pandolfo Malatesta in prayer before Saint Sigismund shows how Piero della Francesca transforms the fresco into an architectural and pictorial experience. Perspective, coherent light and the weight of bodies make the fresco a decisive laboratory of the Italian Renaissance. In the 15th century, perspective, light and observation organized additional wall spaces more consistent. The dating chosen is 1451, in Temple Malatesta, Rimini, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer.
Image and link: Alpha Reproduction.
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#89
The Visitation with Marie-Jacobie and Marie-Salomé
Classified no. 89, The Visitation with Marie-Jacobie and Marie-Salomé shows how Domenico Ghirlandaio transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized spaces increasingly coherent murals. The dating chosen is 1485 -1490, in Tornabuoni Chapel, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#90
Procession of the oldest king
Classified No. 90, Procession of the Oldest King shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized more and more wall spaces consistent. The dating chosen is 1459 -1461, in Chapel of the Magi, Medici-Riccardi Palace, Florence, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the covers dry and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#91
Scenes from the life of Saint Francis (Scene 5)
Classified no. 91, Scenes from the Life of Saint Francis (Scene 5) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized wall spaces more and more coherent. The dating chosen is 1452, in Church of San Francesco, Montefalco, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#92
Scenes from the life of Saint Francis (Scene 6, north wall)
Classified no. 92, Scenes from the Life of Saint Francis (Scene 6, north wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized spaces increasingly coherent murals. The dating chosen is 1452, in Church of San Francesco, Montefalco, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction file, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha file and the information available on the work. This relationship between image, wall and architecture explains the enduring place of the work in the history of the fresco.
Image and link: Alpha Reproduction.
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#93
Saint Augustine leaving for Milan (scene 7, south wall)
Classified no. 93, Saint Augustine leaving for Milan (scene 7, south wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized spaces increasingly coherent murals. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood on the scale of the place, in the physical journey imposed on the spectator. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#94
Arrival of Saint Augustine in Milan (scene 8, north wall)
Classified no. 94, Arrival of Saint Augustine in Milan (scene 8, north wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized spaces increasingly coherent murals. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood on the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the covers dry and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#95
Saint Augustine at the University of Carthage (scene 2, north wall)
Classified No. 95, Saint Augustine at the University of Carthage (scene 2, north wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, the dry rework and the surface variations complete what the digital image allows you to see. THE link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#96
Saint Augustine teaching in Rome (scene 6, south wall)
Classified no. 96, Saint Augustine teaching in Rome (scene 6, south wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized wall spaces increasingly consistent. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the enduring place of the work in the history of the fresco.
Image and link: Alpha Reproduction.
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#97
Tagaste's school
Classified no. 97, The Tagaste School shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized increasingly coherent wall spaces. There dating retained is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complete what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#98
The Death of Saint Monica (scene 13, south wall)
Classified no. 98, The Death of Saint Monica (scene 13, south wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized wall spaces more and more coherent. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and the button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The composition must be understood at the scale of the place, in the physical journey imposed on the viewer. The material of the coating, the dry rework and surface variations complement what the digital image allows us to see.
Image and link: Alpha Reproduction.
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#99
Saint Augustine leaving his mother (scene 3, east wall)
Classified no. 99, Saint Augustine Leaving His Mother (scene 3, east wall) shows how Benozzo Gozzoli transforms the fresco into an architectural and pictorial experience. The painter unites narration, decor and spirituality: each episode is part of real architecture while opening an imaginary space beyond the wall. In the 15th century, perspective, light and observation organized wall spaces increasingly consistent. The dating chosen is 1464 -1465, in Sant'Agostino, San Gimignano, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The material of the coating, dry rework and surface variations complete what the digital image allows you to see. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work.
Image and link: Alpha Reproduction.
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#100
Resurrection of the son of Theophilus and Saint Peter in the pulpit
Classified no. 100, Resurrection of the Son of Theophilus and Saint Peter in the pulpit shows how Filippino Lippi transforms the fresco into an architectural and pictorial experience. The mural is designed for a specific place: its scale, its point of view and its architecture fully contribute to the meaning of the image. The fresco preserves the memory of a place as much as that of an artist: it does not can be separated from the space that hosts it. The dating chosen is around 1427 -1485, in Chapelle Brancacci, Florence, and the technique indicated is fresco. The image and button open the existing Alpha Reproduction sheet, used without creating a duplicate in the store. The link associated with the image allows you to find the corresponding Alpha sheet and the information available on the work. This relationship between image, wall and architecture explains the lasting place of the work in the history of the fresco.
Image and link: Alpha Reproduction.
See this reproduction →Editorial method
Three ranking criteria
Rank combines fame, historical significance and symbolic force, with control of 100 links and images.
Notoriety
The place of the fresco in collective memory, the history of its monument and the transmission of the image.
Technique
The work must belong to a wall decoration executed frescoed, dry or using a documented mixed wall technique.
Balance
Religious cycles, civic programs, chapels and palaces tell the story of several centuries of monumental painting.
A history of mural painting
From Giotto to the High Renaissance
Giotto gives the stories of Padua a new human gravity and organizes each scene according to the real rhythm of the chapel.
Masaccio, Piero della Francesca and Fra Angelico then construct the wall space through perspective, light and body measurement.
Michelangelo and Raphael bring the wall decoration to a monumental synthesis; Correggio, Carracci then Rivera extended this ambition to baroque and modern muralism.
Sources and catalog
Check and continue
The images and ranking buttons open the 100 corresponding Alpha Reproduction files. The public collections complete the historical context of the works.
Frequently asked questions
Understand the classification of frescoes
Method, buon fresco, dry painting, places and links: useful landmarks for exploring the hundred frescoes.
How was this top 100 established?
The ranking combines fame, historical significance, spatial innovation, quality of execution and influence on subsequent wall cycles.
Are all works frescoes?
Yes. Each entry corresponds to a painting executed directly on a wall coating, using the buon fresco technique, dry or a documented mixed wall method. Works on canvas, wood or paper are excluded.
What is the difference between buon fresco and dry painting?
Buon fresco applies pigments to a damp coating; dry painting occurs on an already dry wall. Many cycles combine the two processes.
Why several scenes from the Sistine Chapel?
Each scene, prophet or sibyl constitutes an autonomous composition while participating in the architectural program designed by Michelangelo.
Does the ranking contain tables or studies?
No. Panels, canvases, preparatory studies and stand-alone copies were removed during the technical audit. A detached fresco remains permitted when it was originally painted on a wall.
Do the 100 images open the Alpha store?
Yes. They use 100 existing and separate Alpha Reproduction cards, without creating duplicates.
How were the images controlled?
Each title, image, artist, location, wall technique and link were reconciled before publication.
Have the places validated this classification?
No. This is an independent editorial selection based on the notoriety and history of mural painting.
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