c. 1525 Oil on wood Four tondos with the Evangelists still adorn the pendentives that once supported the old cupola of the Cappella Capponi in the church of Santa Felicit?in Florence.
Painting ID:: 50995
1577 Black chalk with traces of white, on yellowish paper, 255 x 155 mm Biblioteca Nacional, Madrid The drawing is a study for St John the Evangelist, one of the six canvases that El Greco painted for the altarpiece on the High altar of Santo Domingo el Antiguo in Toledo The drawing, now considerably faded, served a practical purpose. The squaring of the sheet indicates that it was used to transfer the design on to the full-scale canvas. In many respects the painting follows the drawing very closely: the arrangements of the hands, feet and draperies are virtually identical
Painting ID:: 62292
90 x 77 cm Museo del Prado, Madrid There is an analogous version in the Cathedral of Toledo which is part of a series of the twelve Apostles, called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. Author: GRECO, El Title: St John the Evangelist , 1551-1600 , Spanish Form: painting , religious
Painting ID:: 62330
1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence In the Gothic vaults of the Tornabuoni Chapel the four Evangelists are floating on clouds. St John the Evangelist is writing down God's words, which are being conveyed to him by his symbolic animal, the eagle, on a piece of paper.Artist:GHIRLANDAIO, Domenico Title: St John the Evangelist Painted in 1451-1500 , Italian - - painting : religious
Painting ID:: 63834
FURINI, Francesco 1630s
Medium oil on canvas
cyf St John the Evangelist Italian Baroque Era Painter, 1603-1646
Italian painter. He was one of the leading Florentine painters of the first half of the 17th century, famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes. He first studied with his father, Filippo Furini, nicknamed Pippo Sciamerone and described by Baldinucci as a portrait painter, and he completed his apprenticeship in the studios of Domenico Passignano and of Giovanni Bilivert. Inspired by an admiration for Classical sculpture, which he studied in the Medici collection in Florence, and for Raphael, he travelled to Rome, which he reached as early as 1619 (Gantelli, see 1972 exh. cat.). Here he came into contact with Bartolomeo Manfredi and with Giovanni da San Giovanni. In 1623 he assisted the latter on the frescoes of the Chariot of the Night in the Palazzo Bentivoglio (now Pallavicini-Rospigliosi), commissioned by Cardinal Guido Bentivoglio, and also perhaps on the lower paintings (1623-4) in the apse of the church of SS Quattro Coronati, Rome.
