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His frescoes in the Magi Chapel brought Gozzoli a great amount of fame and ensured him of new important commissions. One of these was an altarpiece for the Confraternity of the Purification in Florence, originally housed in the Convent of San Marco. The Virgin and Child Enthroned among Angels and Saints that he produce... |
Late years in Tuscany |
San Gimignano |
In 1463, likely in fear of the plague, Gozzoli left Florence for San Gimignano, where he executed some extensive works. Most prominent of these is his seventeen-panel fresco cycle on The Life of St Augustine, covering the entire apsidal chapel in the church of Sant'Agostino. In that same church Gozzoli also completed a... |
Pisa |
In 1469, Gozzoli moved to Pisa and began working on his most extensive commission: the vast series of mural paintings in the Campo Santo edifice of Pisa. There, he depicted twenty-four subjects from the Old Testament, ranging from the Invention of Wine by Noah to the Visit of the Queen of Sheba to Solomon. He was contr... |
By January 1470 he had executed the fresco of Noah and his Family, followed by the Curse of Ham, the Building of the Tower of Babel (which contains portraits of Cosimo de' Medici, the young Lorenzo, Angelo Poliziano and others), the Destruction of Sodom, the Victory of Abraham, the Marriages of Rebecca and of Rachel, t... |
All this enormous mass of work, in which Benozzo was probably assisted by Zanobi Machiavelli, was performed, in addition to several other pictures during his stay in Pisa (including the Glory of St. Thomas Aquinas, now in the Louvre), in sixteen years, lasting up to 1485. This is the latest date which can with certaint... |
In 1478, as a token of their regard, the Pisan authorities had given him a tomb in the Campo Santo. He likewise had a house of his own in Pisa, and houses and land in Florence. |
Trivia |
The painters Francesco, Gerolamo, and Alesso di Benozzo were his sons and assisted him on various commissions. |
The Master of the Small Figures identified by Longhi is the same painter called Alunno di Benozzo (pupil of Benozzo) by Berenson. The name is based on stylistic grounds. |
Works |
Women at the Tomb (1440–1441) – Fresco, San Marco, Florence |
Adoration of the Magi (1440–1441) – Fresco, San Marco, Florence |
Gates of Paradise (1444–1447, collaboration) – Gilded bronze doors, Museo dell'Opera del Duomo, Florence |
Chapel of the Madonna di San Brizio (1447, collaboration) – Fresco, Orvieto Cathedral, Orvieto |
Niccoline Chapel (1447–1449, collaboration) – Fresco, Apostolic Palace, Vatican City |
The Virgin and Child with Angels (1447–1450) – Tempera on wood, 29.2 x 21.6 cm, National Gallery, London |
Madonna and Child Giving Blessings (1449) – Tempera on silk on a wooden mount, 254 x 130 cm, Santa Maria sopra Minerva, Rome |
St. Anthony of Padua (1450) – Panel, Santa Maria in Aracoeli, Rome |
Madonna and Child between St Francis and St Bernardine of Siena (1450) – Fresco, San Fortunato, Montefalco |
St Fortunatus Enthroned (1450) – Fresco, 200 x 110 cm, San Fortunato, Montefalco |
Madonna and Child (1450) – Fresco, 250 x 135 cm, San Fortunato, Montefalco |
Madonna of the Girdle (1450–1452) – Tempera on panel, 133 x 164 cm, Pinacoteca Vaticana, Vatican City |
Madonna and Child Surrounded by Saints (1452) – Fresco, Cappella di San Gerolamo, San Francesco, Montefalco |
The Departure of St Jerome from Antioch (1452) – Fresco, Cappella di San Gerolamo, San Francesco, Montefalco |
St Jerome Pulling a Thorn from a Lion's Paw (1452) – Fresco, Cappella di San Gerolamo, San Francesco, Montefalco |
Madonna and Child with Sts Francis and Bernardine, and Fra Jacopo (c. 1452) – Tempera on panel, 34 x 54 cm, Kunsthistorisches Museum, Vienna |
Madonna and Child with Sts John the Baptist, Peter, Jerome, and Paul (1456) – Tempera on panel, 122 x 212 cm, Galleria Nazionale dell'Umbria, Perugia |
Procession of the Magi (1459–1460) – Frescoes, Magi Chapel, Palazzo Medici Riccardi, Florence |
Madonna and Child (c. 1460) – Tempera on panel, 84.8 x 50.6 cm, Detroit Institute of Arts, Detroit |
The Virgin and Child Enthroned among Angels and Saints (1461–1462) – Tempera on panel, 161.9 x 170.2 cm, National Gallery, London |
St. Dominic Reuscitates Napoleone Orsini (1461) – Tempera on panel, 25 x 35 cm, Pinacoteca di Brera, Milan |
Fall of Simon Magus (1461–1462) – Tempera on panel, 24 x 35,5 cm, Royal Collection, Hampton Court Palace, London |
The Dance of Salome (1461–1462) – Tempera on panel, 23.8 x 34.3 cm, National Gallery of Art, Washington, D.C. |
Histories of St. Augustine (1464–1465) – Frescoes, Sant'Agostino, San Gimignano |
Four Evangelists (1464–1465) – Fresco, Sant'Agostino, San Gimignano |
Saints (1464–1465) – Frescoes, Sant'Agostino, San Gimignano |
St. Sebastian Intercessor (1464–1466) – Fresco, 527 x 248 cm, Sant'Agostino, San Gimignano |
Martyrdom of St Sebastian (1465) – Tempera on panel, 525 x 378 cm, Collegiate Church, San Gimignano |
Mystical Marriage of St. Catherine (1466) – Tempera on panel, 90 x 50 cm, Palazzo Gazzoli, Pinacoteca Comunale, Terni |
Madonna and Child between Sts. Andrew and Prosper (Madonna dell'Umiltà; 1466) – Tempera on panel, 137 x 138 cm, Museo Civico, San Gimignano |
Triumph of St. Thomas Aquinas (1471) – Tempera on panel, 230 x 102 cm, Louvre, Paris |
The Vintage and Drunkenness of Noah (1469–1484) – Fresco, Campo Santo, Pisa |
Histories of the Holy Virgin, Tabernacle with the Madonna della Tosse (1484) – Transferred frescoes, Museo Benozzo Gozzoli di Castelfiorentino |
Deposition of Christ (1491) – Also called Descent from the Cross. Oil on canvas, 180 x 300 cm, Museo Horne, Florence. |
Notes |
References |
Sources |
Dale Kent, Cosimo de' Medici and the Florentine Renaissance (New Haven: Yale University Press, 2000). |
Franco Cardini, The Chapel of the Magi in Palazzo Medici (Firenze: Mandragora, 2001). |
Roger J. Crum, "Roberto Martelli, the Council of Florence, and the Medici Palace Chapel", Zeitschrift & Kunstgeschichte, 59 (1996). |
Benozzo Gozzoli a San Gimignano, a cura di Gerardo de Simone, Cristina Borgioli, exhib. catal. (San Gimignano, Pinacoteca & Museo d’Arte Sacra, 18 June-1 November 2016), Firenze, Giunti, 2016 |
External links |
Media related to Benozzo Gozzoli at Wikimedia Commons |
Life of St. Augustine Frescoes with Narrative Explanation |
Museo Benozzo Gozzoli in Castelfiorentino ("BeGo") |
Revue of the BeGO in the Floremtine Museology Review by Giulia Bertelli, Oct. 13, 2017. |
Benozzo Gozzoli at the National Gallery of Art |
Works by Benozzo Gozzoli at Open Library |
Bernardino Lanini or Lanino (c. 1512 – c. 1582) was an Italian painter of the Renaissance period, active mainly in Milan. |
Biography |
Lanini was born in Mortara, Italy. He trained initially as a pupil of the painter Andrea Scotto, then worked with Pietro Perugino, and finally with Gaudenzio Ferrari. He painted a Last Supper for the church San Nazaro Grande in Milan, a Holy family for the church of Sant'Ambrogio, now on display in the Brera Gallery, a... |
References |
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 82. |
Bernardo Strozzi, named il Cappuccino and il Prete Genovese (c. 1581 – 2 August 1644), was an Italian Baroque painter and engraver. A canvas and fresco artist, his wide subject range included history, allegorical, genre and portrait paintings as well as still lifes. Born and initially mainly active in Genoa, he worked... |
Life |
Strozzi was born in Genoa. He is not believed to be related to the Florentine Strozzi family. Bernardo Strozzi initially trained in the workshop of Cesare Corte, a minor Genoese painter whose work reflected the late Mannerist style of Luca Cambiaso. He subsequently joined the workshop of Pietro Sorri, an innovative Si... |
When his father died around 1608, Strozzi left the Capuchin monastery to care for his mother and unmarried sister. He supported his family through his paintings. Strozzi's career took off during the next decade and Genoa's powerful Doria and Centurione families became his patrons. Bernardo Strozzi was able to secure c... |
From the year 1625 Strozzi's relationship with the Capuchin order became strained. The order accused him of having committed a no longer known act that had purportedly caused 'disgrace to his sacred habit'. Some authors state that the act was the illegal practice of painting beyond the convent's walls. It is known tha... |
By 1632–1633 the artist had reemerged in Venice where he had been allowed to work and live. Strozzi was able to build a strong reputation within two years, despite not being a native Venetian. He gradually gained recognition as one of the leading artists of his age. The Doge of Venice Francesco Erizzo became one of hi... |
His many pupils and the large number of his paintings, which often appear in many versions, point to his reliance on the help of several assistants and the operation of a sizable workshop. Francesco Durello, Antonio Travi, Ermanno Stroiffi, Clemente Bocciardo, Giovanni Eismann, Giuseppe Catto and Giovanni Andrea de Fer... |
At the end of his career he also worked as an engineer. The artist died in Venice in 1644. |
Work |
General |
Bernardo Strozzi was a versatile and prolific artist who worked on canvas and as a fresco artist. He treated a wide range of subjects including history, allegories, genre scenes and portraits. He also worked as a still life painter and various of his compositions include still life elements. Religious compositions ma... |
Although also active as a fresco artist, he achieved greater success with his canvas paintings. Many of his paintings appear in multiple autograph copies produced by Strozzi himself as was customary at the time. |
Stylistic development |
Strozzi continued to develop his style throughout his career. His art drew its early inspiration from the rich variety of styles flourishing in Genoa around the turn of the 17th century. Starting in a style which borrowed from the artificial elegance of Cambiaso's late Mannerist style he gradually developed toward a gr... |
Strozzi had early on absorbed the Tuscan Mannerist style through his teacher Sorri as well as the style of Milanese Mannerist painting. As a result, the influence of local Mannerism is sometimes difficult to separate from that of Lombard Mannerists. The Mannerism is expressed in the works of this early period in the el... |
His exposure to the work of Anthony van Dyck, Peter Paul Rubens and other Flemish artists resident or passing through Genoa contributed to a growing naturalism and a definitive rejection of the Mannerist tendencies in his work. Warmer colors started to dominate while he developed a bolder and more painterly technique. ... |
By the end of the 1620s, Strozzi had started to synthesize a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental, realistic starkness. Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his pre... |
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