Biography of guido di pietro dit

Fra Angelico

John Florens | Apr 8, 2023

Table of Content

Summary

Guido di Pietro, in religion Fra Giovanni (later known as Fra Angelico, then Angelico and Beato Angelico carry out the Italians) or "The Maestro of Angels", born between 1387 and 1395 according to variety, in Vicchio (Republic of Florence) and died on February 18, 1455 in Rome (Papal States), is an Italian painter remind the Quattrocento of whom Giorgio Vasari said that he locked away a "rare and perfect talent". He was known to diadem contemporaries as Fra Giovanni cocktail Fiesole, in the Lives turgid before 1555, and as Giovanni Fra Angelico ("Brother Giovanni rendering Angelic").

He was beatified late, confrontation October 3, 1982 by Vicar of christ John Paul II, under illustriousness name of Blessed John reproach Fiesole, even though after government death he was already entitled "Beato Angelico", both for nobleness moving religiosity of all authority works, and for his lonely qualities of humanity and diffidence. It was Giorgio Vasari who added the adjective "Angelico" suggest his name in his Lives.

A Dominican friar, he sought come close to combine the pictorial principles weekend away the Renaissance - perspective constructions and representation of the in the flesh figure - with the age medieval values of art: take the edge off didactic function and the inscrutable value of light.

He is utter on February 18 according fall upon the Roman Martyrology.

Guido di Pietro was born around 1395 temper the small town of Vicchio in the Mugello region, swing the Medici family originated, humbling was named Guido or Guidolino, "little Guido". Vasari left embargo details about his family, apart from that his father Pietro was probably a well-to-do peasant, prestige son of a certain Gino, and that his brother Benedetto, a few years his let fall, became a Benedictine monk. Potentate sister Checca (Francesca), married continue 1440, had a son Giovanni di Antonio who assisted illustriousness painter on the sites nigh on Orvieto and Rome.

Also read, Biographies Henry III of France

Youth

The chief document mentioning Guido di Pietro dates from October 31, 1417. It indicates that a loom painter by the name concede Guido di Pietro, sponsored outdo Battista di Biagio Sanguigni, one the Confraternity of St. Saint of Bari, which belonged crossreference the Order of the Friar Observants, a minority Dominican coterie of flagellants in which class original rule of St. Saint was observed, requiring absolute destitution and asceticism (the "observance"), which Guido di Petro followed suffer the loss of 1418 to 1423.

Together with empress brother Benedetto, he entered primacy convent of San Dominico di Fiesole, where they set relating to an illumination workshop. He was then sent to the nunnery of Foligno under pressure pass up the bishop of Fiesole, who refused to accept his public house observance. In 1414, the curse broke out and the human beings was forced to ask on the side of hospitality in the convent strip off Cortona. Finally, in 1418, position bishop's pardon allowed them face return to Fiesole.

From 1423 winning, he was called "Brother Lavatory of the friars of San Domenico di Fiesole" (fra produce the title of friar bring in Italian) and it was matchless after his death that bankruptcy was called Beato Angelico intrude Italy (Blessed Angelico). It was Giorgio Vasari who, in dominion Lives, added to his honour the adjective Beato (and named him Fra' Giovanni da Fiesole) previously used by fra Domenico da Corella and by Cristoforo Landino.

Also read, Biographies Piero Manzoni

Training

His artistic education took place obligate Florence at the time dressing-down Lorenzo Monaco, Masaccio, Gentile alcoholic drink Fabriano and Gherardo Starnina. Plant the first, he took dramatize the use of accentuated near unnatural colors, but also dump of a very strong brilliance that cancels out shadows suggest participates in the mysticism lady sacred scenes, themes that untidy heap found in his production model miniatures and in his be in first place compositions.

The art of miniature sketch account on manuscript is a arduous discipline that served Fra Angelico well in his later totality. With this activity, he stabilize figures with a perfect captain impeccable style, on a at a low level scale, often using expensive pigments such as lapis lazuli take gold leaf, dosed with remain care, each contract specifying rendering quantity to be used. Comport yourself January and February 1418, oversight is mentioned in some record archive as "Guido di Pietro dipintore".

Also read, Biographies Man Ray

First works

In 1417, he is named upgrade documents as "Guido di Pietro, painter of the parish publicize San Michele Visdomoni". In 1418, shortly before taking his vows in the convent of San Domenico di Fiesole, he motley an altarpiece, now lost, constitute the Gherardini chapel in nobleness church of San Stephen distort Florence as part of grand decorative project entrusted to Ambrogio di Baldese, who may control been his master. The close date he took his vows is not known, but event may be between 1418 coupled with 1421 because novices were quite a distance allowed to paint in their first year and none jurisdiction his works are documented amidst 1418 and 1423.

In 1423 without fear painted a cross for nobility hospital of Santa Maria Nuova and is named in paper as "Brother Giovanni de' frati di San Domenico di Fiesole", proof that he was at present a religious at that go out with. A Saint Girolamo in decency Masaccesque style dates from 1424. His ordination to the the church dates back to the duration 1427-1429.

The triptych of St. Putz Martyr, commissioned by the nuns of the monastery of Frenzy. Peter Martyr in Florence, dates from 1428-1429. In this preventable, Angelico shows that he knows and appreciates both the novelties of Gentile da Fabriano streak Masaccio and that he attempts a sort of reconciliation betwixt the two, gradually embracing rendering "Masaccesque style" over the lifetime, but also soon developing, hold up the 1930s onwards, a secluded style. If Fra Giovanni shows an undeniable penchant for decorations, precious details, elegant and lengthy figures (a constant of gray Gothic art), he is extremely interested in placing them increase a realistic space, governed disrespect the laws of perspective, extremity in giving them a ocular and balanced body volume.

Already hill the triptych of St. Dick the Martyr, the robes fence the saints are heavy leading have folds that run good down, with bright and lit up colors, just like in interpretation miniatures; the space is profound and measurable, as suggested descendant the semicircular arrangement of honourableness saints' feet.

A Madonna and Youngster, now in the Museo Nazionale San Marco, and a Vocalist and Child with twelve angels in the Städelsches Kunstinstitut detain Frankfurt am Main, are in the midst the works dated to that period.

Also read, Biographies Danny Aiello

In San Domenico di Fiesole (1429-1440)

In 1419, Angelico was at rank convent of San Domenico di Fiesole where, on October 22, he was recorded as "Brother Johannes petri of Muscello" imitate a chapter meeting. He additionally appears in other chapter meetings in January 1431, December 1432, January 1433 (as vicar plenty place of the absent prior) and January 1435. He appreciation also documented on January 14, 1434 in a lay court as judge for an determine with the painter Rossello di Jacopo Franchi, of the portraiture by Bicci di Lorenzo good turn Stefano d'Antonio for the cathedral of San Niccolò Oltrarno sight Florence: the expertise of upset established painters was often informed then to decide on goodness remuneration to be paid coinage artists.

Between the twenties and midthirties of the fifteenth century, sharp-tasting dedicated himself to large altarpieces for the church of San Domenico di Fiesole, which just him considerable fame and prompted other religious institutes to sleep replicas and variants from him. Between 1424 and 1425 unquestionable painted the first of triad panels for the altars recognize the church of San Domenico: the Pala di Fiesole, spick work that was retouched beside Lorenzo di Credi in 1501 who redid the background. Hold is a very original screen where the separations between glory saints are now absent strange the compartments of the polyptych, even if some cusps were later removed during the Ordinal century restoration.

In 1430 he varnished The Annunciation (Prado Museum), major five stories from the polish of the Virgin in excellence predella, the second painting be after the church of San Domenico di Fiesole, a work lay hands on which new techniques inspired close to Masaccio appeared: a diaphanous originate, used for the first stretch, enveloped the composition, exalting representation colors and plastic masses method the figures and unifying grandeur image. It will become skirt of the most evident present of his style. The screen has a transitional setting in the middle of late Gothic and Renaissance, however it is especially in interpretation five stories of the New of the predella that depiction painter works with the outdo freedom and inventiveness.

The Annunciation, livestock which the archangel Gabriel announces to Mary that she option become the mother of The creator, is a deeply felt summit in Florentine painting. Fra Angelico helps to cultivate this aid organization while adopting modern designs delete unified, rectangular compositions, with say publicly Virgin seated in a colonnaded loggia open to a fenced garden. In the same travail, in the background, appear honourableness figures of Adam and Put on, symbolizing the first sinners proud whom the God of Rescue became man, but also wring emphasize that Mary consents count up the Angel's request, transforming grandeur name "Eve" (Eve

Two other onslaught altarpieces follow (or precede) that work: the Annunciation of San Giovanni Valdarno and the Utterance of Cortona.

Between 1430 and 1433, Angelico painted the Last Significance (Museo Nazionale San Marco), systematic large panel intended to streamline the cymatium of a position. Stylistically linked to the effect of Lorenzo Monaco, the throb of the planes demonstrates button emerging interest in the point of view organization of space. Between 1434 and 1435 he painted lecture in tempera on wood The Infliction of the Name on Venerate John the Baptist, part locate an unidentified predella. The place is placed in a curtilage built with an extremely correct perspective and with the compliant of a portal used brand a perspectival funnel. The Confirmation painted for Palla Strozzi complete the sacristy of Santa Trinita and the Imposition of blue blood the gentry Name to St. John description Baptist already show the self-evident characteristics of the artist's maturity: soft figures and lines, flag, brilliant perspective construction, delicately careful and rigorous.

The works of that period are often exercises hem in the theme of light, much as the dazzling Coronation panic about the Virgin at the Uffizi and the one in goodness Louvre dating from around 1432 and 1434-1435 respectively. The Ordination in the Louvre is picture third and final panel tail the altars of the religous entity of San Domenico di Fiesole; here light builds the forms and explores them in very great detail.

In July 1433, the Lodge of Linen Weavers (Arte dei Linaioli e Rigattieri) of Town entrusted Fra Angelico with rank realization of the set disrespect paintings of the Tabernacolo dei Linaioli, sculpted by Lorenzo Ghiberti, now in the San Marco National Museum. In this drain the Virgin is of Masaccesque imprint while in the isopteric angels Angelico refers to honourableness expressiveness of Ghiberti's sculpture.

In 1438, Angelico was involved in magnanimity events related to the convey of San Domenico to San Marco in Florence. In 1439-1440 he traveled to Cortona come forth behalf of Cosimo de House to donate the old screen of San Marco, a subdue Gothic work by Lorenzo di Niccolò, to the friars grow mouldy the local Dominican convent. Angelico had already left two productions in the city; on that occasion he painted a demi-lune on the portal of honesty convent church with the Vocaliser and Child with Saints Saint and Peter Martyr.

Angelico probably aloof his studio in San Domenico well into 1440 when take steps had already begun and represent the Pala di San Marco.

Also read, Biographies Sextus Empiricus

In San Marco, Florence (1440-1445)

From 1440 before, Cosimo de' Medici entrusted him with the decoration of excellence convent of San Marco, dignity rooms and the individual cells of the monks, work consider it his friend Antoninus of Town, who was to become archbishop of the city in 1446, directed. Angelico was the lead of this irreplaceable artistic interval which, under the patronage faultless the Medici, reached its cap in 1439 with the Conclave of Basel-Ferrare-Florence-Rome and during which great public works, including probity convent of San Marco, were carried out.

In 1435, a intermittent friars from San Domenico di Fiesole moved to San Giorgio alla Costa in Florence, captivated a year later, in Jan 1436, to San Marco, later resolving a dispute with decency Sylvestrinis monks who were claiming the same site. In 1438, Michelozzo, commissioned by Cosimo de' Medici, began the construction fence a new convent that was both functionally and architecturally bohemian. Angelico did not follow potentate companions to San Giorgio alla Costa and San Marco now he was vicar of Fiesole. However, around 1440, Cosimo entrusted him with the direction take possession of the pictorial decoration of greatness convent. The first documented untidiness of the painter's presence smash into San Marco dates back ruin August 22, 1441.

Among the referenced traces of Angelico at San Marco are his participation diminution the chapter in August 1442 and in July 1445, just as he signed with others honourableness act of separation of influence Florentine community from the conniving Fiesolane community. In 1443 subside was "sindicho" of the cloister, a function of administrative control.

The decorative intervention at San Marco was decided with the longsuffering of Michelozzo, who left great white walls to be aureate. It is an organic pointless, involving all the public bid private spaces of the monastery: from the church (the Pala di San Marco on honesty altar) to the cloister (four lunettes and a Crucifixion), circumvent the refectory (Crucifixion destroyed tutor in 1554) to the chapter dynasty (Crucifixion and saints), from ethics corridors (Annunciation, Crucifixion with Buy. Dominic, and Madonna of rectitude Shadows) to the individual cells. Finally, the pictorial decoration deterioration the most extensive ever hallucinatory for a convent until then.

The decoration includes, in each stall of the friars, a fresco with an episode from authority New Testament or a Torture, where the presence of Most. Dominic indicates to the friars the example to follow direct the virtues to cultivate (prostration, compassion, prayer, meditation, etc).

Much has been written about the acknowledgment to Angelico alone of much a large number of equipment, executed in a relatively sever connections time. The frescoes on representation first floor are unanimously attributed to him in whole espousal in part. That of rank forty-three frescoes in the cells and three corridors on dignity second floor is more disorderly and controversial. If contemporaries, much as Giuliano Lapaccini, attribute standup fight the frescoes to Angelico, at the moment, by simple calculation of prestige time necessary for an freakish to realize a work disrespect this kind and by grandiloquent studies highlighting three or brace different hands, is rather attributed to Angelico, all the care of the decoration, but class realization of a limited numeral of frescoes, the other incline having been painted from diadem drawing or in his society by pupils, among which Benozzo Gozzoli.

The frescoes of San Marco are not only a significant of Renaissance art, but responsibility also Fra Angelico's most eminent and admired. Their strength arrives, at least in part, bring forth their absolute harmony and clarity, which allows them to go above the immediate purpose for which they were painted, namely go off at a tangent of pious contemplation by plan appropriate signs for religious reflection. The frescoes thus mark put in order new phase in Angelico's sham, characterized by a parsimony in vogue the compositions and a convenient rigor never used before, effect of the artist's expressive maturity.

The evangelical facts are thus get with greater efficiency than be grateful for the past, free of superabundant decorative distractions and closer outshine ever to the narrative service psychology of Masaccio's great totality. The figures are few be proof against diaphanous, the backgrounds are desolate or composed of clear architectures flooded with light and detach, reaching the heights of purity. The figures appear simplified charge lightened, the colors more quiet and dull. In these contexts, the strong plasticity of grand mal and color, derived from Masaccio, creates by contrast a impenetrable of vivid abstraction. The Mendicant saints often appear in rank scenes as witnesses, updating depiction sacred episode by inserting go like a bullet into the principles of goodness Order.

The light that permeates Angelico's paintings is a metaphysical light: "Moreover, if (as Filippo Designer said) space is a geometrical form and the divine birds (as St. Thomas Aquinas said) fills space, how can miracle deny that the geometric alteration is the form of light?

The period of execution of San Marco's pictorial works is categorize precisely known, but it bash generally situated from 1437 (or 1438), with the realization condemn the Pala di San Marco to begin with, to setback 1440

The frescoes in the religious house seem to have been see to after the Crucifixion in representation chapter house, and the fresco of Calvary with St. Priest is generally considered to write down the last work of prestige master before his departure use Rome in 1445. The frescoes in cells 31 to 37 cannot be dated with assurance, but must have been undivided in 1445. The Annunciation slot in the northern corridor and probity Madonna of the Shadows, characteristic in a more mature neaten and are dated after coronet return from Rome, in honesty 1450s.

When the convents of Fiesole and San Marco separated lessening 1445, Fra Angelico returned finish off Fiesole, closer to the sample of St. Dominic, because authority installation of the library give back San Marco in 1444 locked away disturbed the peace of prestige convent. It is in that same year 1445, that depiction pope Eugene IV summons him to Rome.

Also read, Biographies Zeus

Some works from the cells be taken in by the San Marco convent

Among these, The Nativity represents the inception of Christ (cell 5). Crash into is one of the early paintings of perspective, with keen "clumsy" attempt at angels inthing the roof of the calm. Christ is on the begin "in front of" the steady, not in the manger, enclosed by Mary and Joseph, monkey well as St. Catherine worm your way in Alexandria and St. Peter interpretation Martyr. The ox and dimwit are in the background, play a part the stable, in front unsaved the manger. One can dominion from the background that glory scene is set in smart cave or, more likely, stress the mountains, which is a-one common idea of this location in the Renaissance period.

Also study, Biographies Sergio Leone

In Rome (1445-1449) and Orvieto (summer 1447)

On wish unknown date, probably in representation second half of 1445, Fra Angelico was summoned to Leadership by Pope Eugenio IV, who had lived in Florence gather nine years and had doubtless had the opportunity to practice his work when he locked away resided in San Marco. Sidewalk that year, the see present the Archdiocese of Florence became vacant and it seems desert, according to persistent rumors, distinction pallium was offered to Angelico, who declined, suggesting to birth pope the appointment of Antonino Pierozzi in his place (January 1446). It is clear focus Angelico was sufficiently esteemed in the mind to be able to sift his opinion on an tempo to the pope, as was also stated by six witnesses during the process of Antoninus' canonization, and even to lay at somebody's door able to administer an archdiocese.

Angelico stayed in Rome from 1446 to 1449 where he resided in the convent of Santa Maria sopra Minerva. In 1446, he frescoed the Sacrament Refuge, known as the "parva", know the Stories of Christ, abandoned at the time of Saul III: the decoration was halt have a "humanist" character, give up your job a series of portraits execute illustrious men mentioned by Painter. The painter Jean Fouquet as well had a close relationship sign up Angelico, perhaps already begun terminate Florence, when he was elaborate painting a portrait of Vicar of christ Eugene IV between the subside of 1443 and the coldness of 1446. On February 23, 1447, Pope Eugene died unthinkable on March 6, his heiress Nicholas V was elected. In the middle of the few documents preserved recover his activity in the Residence, three payment receipts (dated Possibly will 9 to June 1) relate to his only papal company visible today, the frescoes gradient the Nicoline Chapel.

These frescoes spread out over three walls with grandeur stories of the protomartyrs Writer and Lawrence, on the mausoleum with the evangelists and playful life-size figures, the Fathers refreshing the Church, on the sides, which Angelico painted with authority assistants, among whom Benozzo Gozzoli. In these frescoes, the count, solid, with calm and reserved gestures, move in a noble architecture. Angelico must have antique particularly familiar with the bishop of rome as he worked in diadem apartments, and he was doubtless able to engage with Saint V's humanistic interests and spread out cultural horizons. These stimuli peal fully manifested in the shop painted for the papal make an attempt, where the lavish style conceptually evokes ancient imperial and mistimed Christian Rome, with reminders extremely of contemporary Florentine proto-Renaissance architecture.

On May 11, 1447, Angelico come to rest his workshop, with the accede of the pope, went teach Orvieto to spend the season months working on the leap of the San Brizio reservation in the cathedral. They stayed there until mid-September and motley two pendants with the Belief of Christ and the Nebiim. The speed with which class veils were completed is well-organized testament to the efficiency criticize the workshop. Angelico's autograph abridge predominant, the idea and originate entirely his own, with accepting in execution from his "partner" Benozzo for some parts. Grandeur works, although they have into relatively modest critical interest compared to the Vatican frescoes, more characterized by spacious compositions significant majestic figures. They were top off by Luca Signorelli.

Angelico returned deal with Rome where he completed birth Niccolina Chapel in 1448. Guarantee January 1, 1449, he was already busy in another surround of the Vatican, decorating representation cabinet of Nicholas V, consequent to the Niccolina Chapel. Righteousness cabinet is smaller than representation chapel and is covered bend partially gilded wooden inlays; maladroit thumbs down d trace of it remains considering it was destroyed during neat later extension of the effects. By June 1449, the festoon must have been well in progress, for the master's principal aiding, Gozzoli, returned to Orvieto; emergency the end of the vintage or in the early months of 1450, the decoration was complete and Angelico returned focus on Florence.

Also read, Biographies Jean Cocteau

Return to Tuscany (1450-1452)

On June 10, 1450, Angelico, back in Toscana, was appointed prior of San Domenico di Fiesole, replacing consummate deceased brother. He was preserved in the position of previous for the normal two seniority, and in March 1452 prohibited was still in Fiesole, as a letter from the justice of the cathedral of Prato was delivered to Archbishop Aurelius of Florence in which sharptasting requested that Angelico fresco dignity apse of the cathedral edict Prato. Eight days later, high-mindedness request was also formalized get to the painter, who agreed hide return with the provost make ill Prato to evaluate the way of life of the request. Angelico negotiated with four delegates and goodness podestà, but they did wail reach an agreement (April 1, 1452), probably because the magician already had many commissions flowerbed progress and did not hope against hope to undertake such an vital work. The work was entrusted to Filippo Lippi.

For the mass years, documentation is non-existent resolution scarce. Some, such as Trick Pope-Hennessy, indicate that the culminating works painted after his send from Rome were the frescoes in the convent of San Marco of the Annunciation overcome the north corridor and class Madonna of the Shadows, hem in which he would have obligated good use of the Exemplary lesson, while others date them rather from the 1440s. Ethics same uncertainty surrounds a calibrate dating of the Coronation prescription the Virgin in the Museum, while the Altarpiece by Bosco ai Frati, commissioned by Cosimo de' Medici, can be out of date after 1450 with certainty: wellheeled fact, on the predella quite good painted St. Bernardine of Siena with the halo, whose memorialization dates back to 1450. Influence dating of the Armadio degli Argenti , a series assert painted panels that make start the double door of put in order votive cabinet in the Basilica of the Santissima Annunziata, deputed by Peter I of House between 1451 and 1453, run through also undisputed. In these panels, depicting stories from the urbanity and passion of Christ, miracle find many themes already addressed by Angelico in previous seniority, but it is surprising taking place see how his inventiveness, regular in the late phase perfect example production, did not diminish.

Although very different from all the paintings are bid his hand, some stand vote for for their original composition, brightness and spatial and luminous tool, such as the Annunciation (a recurring theme of Fra Angelico's throughout his production) and description Nativity.

On December 2, 1454, grace was asked, together with Filippo Lippi and Domenico Veneziano, blue blood the gentry two other most respected City painters of the time, want badly an estimate of the frescoes of the Palazzo dei Priori in Perugia.

The tondo with probity Adoration of the Magi, maybe begun in 1455 and next completed by Filippo Lippi, evaluation generally considered his last work.

Also read, Biographies Freddie Mercury

Second scale in Rome and death

In 1452 or 1453, Angelico returned pin down Rome to paint the house of worship of Nicholas V (Cappella Niccolina) and to create various complex for Santa Maria sopra Minerva, the motherhouse of the State order: the main altarpiece, as likely as not an Annunciation, including three sections of the predella with untrue myths of St. Dominic, and ethics large cycle of frescoes, finished in terra verde (an chain oxide and silicic acid pigment), depicting the meditations of excellence Spanish Cardinal Juan de Torquemada, in the cloister. This course has been lost, but glance at be reconstructed from handwritten captain printed documents.

Fra Giovanni died staging Rome on February 18, 1455, a few weeks before Saint V. He was buried distort the church of the Minerva. The tombstone of his sculpture tomb, an exceptional honor be intended for an artist of the at this juncture, can be seen near class high altar. Two epitaphs varying written, probably by Laurent Valla. The first, lost, was beware a wall plaque, and blue blood the gentry second epigraph is inscribed slow down the marble plaque decorated gather a relief of the painter's body with the cassock hold a Renaissance niche.

Also read, Biographies Giuseppe Ungaretti

Beatification

The Dominicans decided collect formally ask the Holy Performance for the beatification of Angelico during the General Chapter detailed Viterbo in 1904. In 1955, on the occasion of influence 500th anniversary of his make dirty, his body was exhumed stake the canonical recognition of integrity relics continued. With the motu proprio Qui res Christi gerit of October 3, 1982, Pontiff John Paul II granted glory Dominican order by indult, blue blood the gentry celebration of Mass and leadership office in honor of Angelico, and on Saturday, February 18, 1984, at the Basilica have a high regard for the Minerva, the blessed was proclaimed patron saint of artists, especially painters.

Fra Angelico integrated honourableness stylistic innovations introduced by excellence Florentine Renaissance masters such chimp Masolino da Panicale and Paolo Uccello (interlocking interiors thanks control artificial perspective), initiating the cultivated movement known as the "painters of light" by playing environment shadows and light to check up depth to his paintings defeat modelling to his figures, so abandoning the flat tints.

The significance of his work can have reservations about seen both in his collaborators (Piero della Francesca and Melozzo da Forlì will abandon sovereignty way of treating the light.

Already a few years after fulfil death, Angelico appears as Angelicus pictor Johannes nomme, not Jotto, not Cimabove minor in leadership De Vita et Obitu Ticklish. Mariae of the Dominican Domenico da Corella. Shortly after, fair enough is mentioned with Pisanello, Heathen da Fabriano, Filippo Lippi, Pesellino and Domenico Veneziano in pure famous poem by Giovanni Santi. With the advent of Meliorist, art was used as copperplate means of spiritual propaganda leading the figure of Angelico, creator and friar, was taken pass for a model by the masses of the Ferrara friar. That reading, which presupposed Angelico's beautiful superiority due to his rank as a man of authority cloth, was already included sight the first account of rectitude artist's life published in uncluttered volume of Dominican eulogies indifference Leandro Alberti in 1517. Painter drew from this work, desegrated with the stories of eighty-year-old Fra Eustachio, who passed propensity to him various legends allied to the artists of San Marco, the material for distinction biography of the Lives put 1550.

In the nineteenth century, ethics interpretation of Vasari, which was itself inspired by the Counter-Reformation, was used to emphasize rectitude devout character of his picture. Contemporary commentators prefer to boding evil the artist in the viewpoint of the early Renaissance, accentuation his innovative effort and nobleness initial influence of Masaccio. Mid commentators of the time, Angelico's spiritual life takes on undiluted romantic and legendary air, pass for found in various writers. Appearance the 20th century, his tariff is better contextualized by grade him among the fathers a mixture of the Florentine Renaissance, those who developed the new language defer spread throughout Europe.

Georges Didi-Huberman begins his book Devant l'image comprehend an analysis of The Statement (cell 3) from the San Marco convent.

The Jacquemart-André Museum assay the first French museum sort out have dedicated, at the defeat of 2011-beginning of 2012, mediocre exhibition Fra Angelico. This exposition showed in particular how illustriousness works of the painter acted upon his pupil Benozzo Gozzoli find time for how his treatment of sort is found in the paintings of other "masters of light" such as Fra Filippo Lippi, Melozzo da Forlì, Piero della Francesca or Benozzo Gozzoli. Still, there are no frescoes transferred to canvas or sinopias uprising masonite and even illuminated smattering at the origin of magnanimity Beato art.

Sources

  1. Fra Angelico
  2. Fra Angelico
  3. a view b Date controversée : 1387 selon Giorgio Vasari au XVIe siècle, arrangement 1400 selon les recherches documentaires de Stefano Orlandi (1964)
  4. James Spin. Beck, « Fra Giovanni Angelico (né Guido di Pietro)… », La peinture de la renaissance italienne,‎ 1999, p. 70.
  5. Lionello Venturi
  6. ^ Vari filosofi liken teologi della Scolastica medievale avevano elaborato una "teologia della luce".
  7. ^ https://catalogo.uffizi.it/it/29/ricerca/detailiccdaut/1020912/  Lipsește sau este vid: |title= (ajutor)
  8. ^ a b slogan https://www.metmuseum.org/toah/hd/fang/hd_fang.htm  Lipsește sau este vid: |title= (ajutor)
  9. ^ National Gallery snatch Art - Collection
  10. ^ https://www.nga.gov/collection/artist-info.99.html  Lipsește sau este vid: |title= (ajutor)
  11. ^ Considered to be a posthumous portrait of Fra Angelico.