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    Detail from 'Saint George and the Dragon'. The fleeing princess from Saint George and the Dragon reveals how Tintoretto explores a reoccurring motif in Renaissance painting: flowing drapery. Flying, flowing drapery allowed Renaissance artists to fill dull passages, unite different groups, and frame elements. In comparison to other Renaissance artists, Tintoretto subordinates drapery to the design as a whole, not allowing it to become the centrepiece.

    Serpentine by ~Nimbus2005 on deviantART

    Here, There Be Dragons by Amy Knutkowski, via Flickr

    Woodblock prints by Ray Morimura

    andrea mantegna's saint george www.artexperience...

    ‎"St. George" by Solomon J Solomon.

    Archangel Gabriel icon, at Saint Gabriel the Archangel Roman Catholic Church, in Saint Louis, Missouri, USA

    Italy as an allegorical woman is torn at by beasts

    Saint Vincent of Saragossa, Patron Saint of Lisbon, late sixteenth century, Frei Carlos; the saint is pictured with his symbolic attributes: a holy book, a martyr's palm branch and a ship, symbolising the 'shipment' of his relics to Lisbon. (Metropolitan Museum of Art)

    Joachim Patinir, Detail, Triptych depicting the Penitence of Saint Jerome, Netherlandish, c. 1518

    Rembrandt : Saint Jerome Praying in His Study

    Abbatiale Saint-Pierre et Cloître romans ; commune de Moissac, Tarn-et-Garonne, Midi-Pyrénées, France

    John Waterhouse 'Saint Cecilia' (detail) 1895. John William Waterhouse [British Pre-Raphaelite Painter, 1849-1917]

    Tintoretto, Maddalena, 1598.

    All Saints Love TLM on Twitter: "Pray the Chaplet of Saint Michael the Archangel. Audio and prayers: http://t.co/XhRPAT2l1l t.co/...;

    Drapery Study (1528), by Albrecht Durer (1471–1528; German painter, printmaker, engraver, mathematician, and theorist from Nürnberg). "Regarded as the greatest artist of the Northern Renaissance".

    Detail from 'The Umbrellas' by Renoir is bewitching. This little girl is one of the figures on the right in the painting, which were painted at an earlier stage. The soft lines that outline her face and also her costume show that probably she was pictured in around 1881–82. Renoir added another figure to the painting at a later stage, but in a more severe style. The little girl’s naïve expression, filled with childlike joy, makes our little hearts melt.

    Georges Seurat, L’invalide (The Invalid)