Michele Giambono

[6] Originally known for his mosaic designs located in the Mascoli Chapel, San Marco, Venice, he is also now recognized as an accomplished panel painter.

The International Gothic style is characterized by elegant and graceful figures[5] with noble men and women wearing elaborate jewelry and richly embroidered clothes, featuring masses of curled hair and highly complex head pieces.

The Birth panel shows “fanciful architecture, obliquely placed[10]” similar to the backgrounds found in art work by Gentile da Fabriano.

As seen in the Visitation the building has several classical triangular shaped construction elements above horizontal structures with rounded arches and Corinthian capitals associated with the Florentine Renaissance style.

The emblems on the shield, flag and the presence of angels in the top corners of the painting generates a Christian theme with the Saint in a protective role.

[c] The "tense pose of the Saint",[11] suggested movement of the horse, and the flowing shape of the pennant and cloak provides an emotional force that is not seen in comparable paintings of this time period.

[11] Virgin and Child (c. 1450) Galleria Franchetti, Ca' d'Oro, Venice The figures are dressed in solid colors and are silhouetted against the brocaded textile in the background.

[12] Textiles featuring pomegranate fruit in the pattern were widely adopted by Italians and are typically found in ecclesiastical and courtly depictions.

[13] The portrait has also been attributed to Gentile de Fabriano and Pisanello, but the generalized facial characteristics set “against a uniform bluish background are typical of Giambono's work".

The depiction of the Archangel Michael in his heavy armor decorated with gold, his pale face and mass of curls, particularly reflects the strong influence of Pisanello.

1420–1430) Metropolitan Museum, New York Movement: Renaissance (Early Italian, “quattrocentro”) Theme: New Testament Technique: Tempera and gold on wood Size: 47 x 31.1 cm The Man of Sorrows depicts the small figure of Saint Francis at the left side of the picture expressing his grief over Christ's Crucifixion.