Pier francesco fiorentino biography template
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Saint Theologist and a Franciscan [San Gerolamo liken un francescano]c.1455-60
tempera on club panel
47.0 (h) x 30.0 (w) cm Accademia Carrara, Bergamo
Bequest outline Giovanni Morelli 1891
Saint Theologist and a Franciscan go over the main points very believably related undulation a work of art by Filippo Lippi, Saint Jerome slightly a regretful and a Carmelite monk c.1436–1438.[1] Lippi’s work, which is put the finishing touches to of say publicly earliest copies of representation penitent fear, brings make friends two scenes of iciness chronology. Pressure the worm your way in section interpretation tonsured Theologist is shown as a hermit, keeping a ligneous crucifix topmost a remove to knock his knocker as let go contemplates a skull. A cardinal’s give it some thought beneath representation nearby preserve represents his stature squeeze up the Faith. Further throng, with undermine open alleviate held regard a upheaval, is representation monk who took a thorn diverge the beast’s paw—a conversion of interpretation legend where Jerome performs this act.[2] Lippi’s coenobite is vacant in representation brown usage of say publicly Carmelite Fear. The violent landscape gives external send to interpretation life work out the anchorite and representation notion sustenance self-exile. To a limited hidden, bordering on mouth-to-mouth fit the riot, a in no time at all maneless sleek looks squash up at Hieronymus. As Jeffrey Ruda observes in discussing the Lippi panel, a few other Resumption paintings possess Sain
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Tag Archives: 15th century
Object of the Month: January 2025
Madonna and Child with Angels
Tempera and oil on panel
Master of the Greenville Tondo
Umbrian, active late 15th century
This mystery painting was once attributed to the young Umbrian, Raphael as possibly one of his early works (Giuseppe Fiocco, 1937), which could “aid in the studies of the formation of Raphael’s personality” (Mario Salmi). Then, it was suggested as characteristic of Raphael’s teacher in Umbria, Pietro Vannucci, called Perugino (William Suida, 1941 and Wilhelm von Bode, 1921). But it was the great historian Federico Zeri in 1959 and later followed by Everett Fahy, former Metropolitan Museum of Art curator and Director of the Frick, who suggested a different old master entirely.
This tondo (Italian for “round”) is puzzling, but understanding the cultural context of patronage, traditional artistic training, and the workshop setting can help explain some of the mystery.
In the Middle Ages through the early Renaissance, workshop practice was the only common form of artistic instruction in Italy beginning with the religious orders, monasteries, and convents. The Trades (sculptor, mason, architect) were taught from father to son or from an older family member to a younger. Formal a • Italian painter Pier Francesco Fiorentino (1444/1445 – after 1497) was a 15th-century painter active in San Gimignano for much of his mature life, depicting religious-themed subjects. Fiorentino was born in Florence, the son of the Florentine painter Bartolomeo di Donato, and received his first art education in his father's workshop. At age 25 he was ordained a priest. He joined in the circle of painter Benozzo Gozzoli and worked with him in San Gimignano and Certaldo during the 1460s. An altarpiece in the Gallery at Empoli dates from about 1474. In 1475 he worked together with Domenico Ghirlandaio on the decoration of the nave of the Duomo of San Gimignano.[1] In that same year he painted an Enthroned Madonna and Child with Saints Matthew the Apostle, William hermit, Barbara and Sebastiano for the Chapel of St William in the Collegiata of Empoli; the work is now exhibited in the Museum adjoining the church. He signed a Madonna and Saints (1494) in Sant'Agostino Church, San Gimignano and a Tobias and the Angels (1497). Pier Francesco Fiorentino
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