Who painted Altarpiece of the three archangels?

Altarpiece of the three archangels was painted by Marco d'Oggiono in 1516.

Where can I see Altarpiece of the three archangels?

Altarpiece of the three archangels is held by Pinacoteca di Brera.

What movement is Altarpiece of the three archangels?

Altarpiece of the three archangels is associated with High Renaissance.

Artwork

Altarpiece of the three archangels

Marco d'Oggiono , 1516

Altarpiece of the three archangels is an oil painting by the High Renaissance artist Marco d'Oggiono. It dates from 1516 and is held in the collection of the Pinacoteca di Brera.

About this work

Overview

Created in 1516, the Altarpiece of the Three Archangels is an oil painting by Marco d’Oggiono, a leading disciple of Leonardo da Vinci. Executed during the High Renaissance, the work is part of the collection of the Pinacoteca di Brera in Milan. It presents a celestial scene in which four archangels—Gabriel, Michael, Raphael and the figure identified as Lucifer—hover above a dramatic landscape.

Subject & Meaning

One angel brandishes a sword while standing over a fallen figure whose limbs are splayed, suggesting defeat or exile.

The composition centers on the three archangels in radiant robes, each with expansive wings. One angel brandishes a sword while standing over a fallen figure whose limbs are splayed, suggesting defeat or exile. The presence of both Michael, traditionally the warrior of heaven, and Lucifer, often associated with rebellion, creates a visual contrast between divine authority and celestial fallibility.

Technique & Style

D’Oggiono employs the soft modelling and sfumato characteristic of Leonardo’s workshop, rendering delicate facial expressions and subtle transitions in light. The drapery folds are rendered with precise linearity, while the background features a gently rolling landscape with hills and a water body, providing depth and a naturalistic setting typical of High Renaissance spatial organization.

History & Provenance

The altarpiece entered the Pinacoteca di Brera’s holdings in the 19th century, where it remains on display. Its attribution to d’Oggiono rests on stylistic analysis linking the work to the artist’s known oeuvre and his documented apprenticeship under Leonardo, confirming its place within the artist’s mature period.

Context

The painting reflects the influence of contemporary masters such as Raphael, whose angelic figures are echoed in the graceful postures and serene expressions of d’Oggiono’s archangels. The work exemplifies the period’s interest in combining theological narrative with classical compositional harmony, integrating celestial drama within a naturalistic landscape.