Las óleos de todo BRUNELLESCHI, Filippo
ID Image  Painting (From A to Z)       Details 
32260  
BRUNELLESCHI, Filippo, Crucifix
  		 Crucifix   1412-13 Wood
5511  
BRUNELLESCHI, Filippo, Crucifix no
  		 Crucifix no   1412-13 Wood Santa Maria Novella, Florence
5512  
BRUNELLESCHI, Filippo, Dome of the Cathedral dfg
  		 Dome of the Cathedral dfg   1420-36 Duomo, Florence
5513  
BRUNELLESCHI, Filippo, Facade df
  		 Facade df   1419-24 Ospedale degli Innocenti, Florence
5517  
BRUNELLESCHI, Filippo, Interior of the church g
  		 Interior of the church g   begun 1436 Santo Spirito, Florence
5514  
BRUNELLESCHI, Filippo, Loggia dfg
  		 Loggia dfg   1419-24 Ospedale degli Innocenti, Florence
5515  
BRUNELLESCHI, Filippo, Old Sacristy fd
  		 Old Sacristy fd   1418-28 Church of San Lorenzo, Florence
5516  
BRUNELLESCHI, Filippo, The nave of the church
  		 The nave of the church   begun 1419 San Lorenzo, Florence
BRUNELLESCHI, Filippo
Italian Early Renaissance Sculptor and Architect, 1377-1446 Filippo Brunelleschi (1377 ?C April 15, 1446) was one of the foremost architects and engineers of the Italian Renaissance. All of his principal works are in Florence, Italy. As explained by Antonio Manetti, who knew Brunelleschi and who wrote his biography, Brunelleschi "was granted such honors as to be buried in Santa Maria del Fiore, and with a marble bust, which they say was carved from life, and placed there in perpetual memory with such a splendid epitaph." In 1401,Brunelleschi entered a competition to design a new set of bronze doors for the baptistery in Florence. Along with another young goldsmith, Lorenzo Ghiberti, he produced a gilded bronze panel, depicting the Sacrifice of Isaac. His entry made reference to a classical statue, known as the 'thorn puller', whilst Ghiberti used a naked torso for his figure of Isaac. In 1403, Ghiberti was announced the victor, largely because of his superior technical skill: his panel showed a more sophisticated knowledge of bronze-casting; it was completed in one single piece. Brunelleschi's piece, by contrast, was comprised of numerous pieces bolted to the back plate. Ghiberti went on to complete a second set of bronze doors for the baptistery, whose beauty Michelangelo extolled a hundred years later, saying "surely these must be the "Gates of Paradise."



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