03 — ARTWORK
Panel of a Polyptych
- MEDIUM
- Tempera on panel, 29 x 9 cm
- TYPE
- Religious
PALETTE
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CURRENT LOCATION · Worcester Art Museum
- FILE
- 517 × 1600 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
PanelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. of a PolyptychA painting (usually an altarpiece) made up of a number of panels fastened together. Some polyptychs were very elaborate, the panels being housed in richly carved and decorated wooden frameworks. Duccio's "Maestà" (1308-1311) is a well-known example. c. 1350 TemperaA method of painting in which the pigments are mixed with an emulsion of water and egg yolks or whole eggs (sometimes glue or milk). Tempera was widely used in Italian art in the 14th and 15th centuries, both for panel painting and fresco, then being replaced by oil paint. Tempera colors are bright and translucent, though because the paint dried very quickly there is little time to blend them, graduated tones being created by adding lighter or darker dots or lines of color to an area of dried paint. on panel, 29 x 9 cm Worcester Art Museum, Worcester
The panel depicts St George from the left side of the polyptych.
OTHER WORKS BY PAOLO VENEZIANO
CITE THIS RECORD — BIBTEX
@online{wga-r8c853d8b8ff9a0,
author = {Krén, Emil and Marx, Daniel},
title = {Panel of a Polyptych by PAOLO VENEZIANO},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/paolo-veneziano-r313fb13b94f253/panel-of-a-polyptych-r8c853d8b8ff9a0},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.