Paintings
See also: Category:1490s paintings- c. 1486–1490: Domenico Ghirlandaio paints the fresco Birth of St. Mary in the Tornabuoni Chapel of the Basilica of Santa Maria Novella in Florence
- 1490: Leonardo da Vinci completes painting the portrait Lady with an Ermine and (probably) paints Portrait of a Musician
- c. 1490–1497: Leonardo da Vinci or one of his school paints La belle ferronnière
- c. 1490–1498, probably c. 1495: Gerard David paints Triptych of the Sedano family
- 1492: Andrea Mantegna paints Descent Into Limbo a depiction of Christ descending into limbo to liberate the souls of the righteous
- c. 1494: Kamāl ud-Dīn Behzād paints The Caliph Harun al-Rashid Visits the Turkish Bath, from a copy of the 12th century Khamsa (Five Poems) of Nizami Ganjavi, Herat, Afghanistan (now in British Library, London)
- 1495: Giovanni Donato da Montorfano paints The Crucifixion
- 1495: Sandro Botticelli paints Calumny of Apelles
- c. 1495: Jan Provoost paints a Crucifixion (Metropolitan Museum of Art, New York)
- c. 1495–1496: Leonardo da Vinci probably draws the Portrait of a Young Fiancée for the Sforziada
- 1497: Andrea Mantegna paints Parnassus and the Trivulzio Madonna
- 1497: Pietro Perugino paints the Fano Altarpiece
- 1498: Gerard David paints The Judgment of Cambyses Part 1, The Judgment of Sisamnes and Part 2, The Flaying of Sisamnes
- 1498: Leonardo da Vinci completes painting The Last Supper (Santa Maria delle Grazie (Milan))
Read more about this topic: 1490s In Art
Famous quotes containing the word paintings:
“the great orange bed where we lie
like two frozen paintings in a field of poppies.”
—Anne Sexton (1928–1974)
“All photographs are there to remind us of what we forget. In this—as in other ways—they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.”
—John Berger (b. 1926)
“When I began to have a fire at evening, before I plastered my house, the chimney carried smoke particularly well, because of the numerous chinks between the boards.... Should not every apartment in which man dwells be lofty enough to create some obscurity overhead, where flickering shadows may play at evening about the rafters? These forms are more agreeable to the fancy and imagination than fresco paintings or other the most expensive furniture.”
—Henry David Thoreau (1817–1862)