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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 produced between 1461 and 1462 for this occasion now houses in the National Gallery, London.
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 composition of St. Sebastian Protecting the City from the Plague, in which he depicted St. Sebastian fully clothed and unhurt, thereby going against iconographic canon. In 1465, at the town's heart in the Collegiate Church of Santa Maria Assunta, Gozzoli furthermore painted a fresco of the Martyrdom of Sebastian. He stayed in San Gimignano until 1467, completing some further works in the city and its vicinity.
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 contracted to paint three subjects per year for about ten ducats each. It appears, however, that this contract was not strictly adhered to, for the actual rate of painting was only three pictures in two years. Perhaps the great multitude of figures and accessories was accepted as a set-off against the slower rate of production.
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, the Life of Moses, etc. In the Cappella Ammannati, facing a gate of the Campo Santo, he also painted an Adoration of the Magi, wherein appears a portrait of himself.
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 certainty be assigned to any work from his hand. Gozzoli died in Pistoia in 1497, perhaps of a pestilence.
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, and the frescoes on the Life of the Magdalen for the church of San Cristoforo in Vercelli. Three of his works are on display at the Museo Francesco Borgogna in Vercelli, including an Annunciation; a Madonna and Child with Saints Bernardino of Siena and St Francis of Assisi (also labelled Madonna del cane due to dog asleep below Virgin); and a painted standard of Madonna and Child with St Anne and hooded confraternity brothers, painted for the Confraternita di Sant'Anna. Lanini painted a St Catherine for the church San Celso. He frescoed sibyls for the Novara Cathedral. He also painted for a chapel in the Basilica of San Magno, Legnano. Other paintings are in Saronno.
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 in Venice in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the Baroque style in Venetian painting. His powerful art stands out by its rich and glowing colour and broad, energetic brushstrokes.
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 Sienese painter residing in Genoa from 1596 to 1598. Sorri is credited with leading Strozzi away from the artificial elegance of Cambiaso's late Mannerist style towards a greater naturalism. In 1598, at the age of 17, Strozzi joined a Capuchin monastery, a reformist offshoot of the Franciscan order. During this time he likely painted devotional compositions for the order, including many scenes with St. Francis of Assisi whose life and deeds formed the inspiration of the order. While a friar of the Capuchin monastery of San Barnaba, he came to be called by the nickname "il Cappuccino" ("the Capuchin"). Since he was allowed to abandon his Capuchin habit for that of a priest, he was also known as il prete genovese (the 'genovese priest').
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 commissions for grand mural decorations, which culminated in the important frescoes in the choir of the San Domenico church, commissioned by members of the Doria family, Giovanni Carlo and his cousin Giovanni Stefano. The work is now almost entirely destroyed and is only known through a preparatory oil bozzetto for the vault depicting ‘’The Vision of Saint Dominic (Paradise)’’, located at the Museo dell’Accademia Ligustica in Genoa. It is believed that from the end of April until the end of July 1625 he resided in Rome, to which he had been summoned by the friars of his order to support their attempt to create a stronger Capuchin presence in the papal city.
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 that his Capuchin superiors condemned the secular paintings he was making such as his portraits and genre paintings. The conflict came to a head in 1630 when Strozzi refused to go back to the monastery following his mother's death and his sister's marriage. His superiors then had him imprisoned. His arrest lasted for about 17 to 18 months.
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 his most prominent patrons. Strozzi likely painted the Doge's portrait soon after he arrived in Venice. Other patrons included the Catholic Cardinal and Patriarch of Venice Federico Baldissera Bartolomeo Cornaro and some members of the prominent Grimani family, as well as prominent Venetian artists such as the musicians Claudio Monteverdi and Barbara Strozzi and the poet Giulio Strozzi (it is unclear whether the two families were closely related). The artist worked on important public commissions. He realised altarpieces in the Chiesa degli Incurabili and the Chiesa di San Nicolò da Tolentino and painted a tondo representing an Allegory of Sculpture for the reading room of the Biblioteca Marciana. Strozzi was allowed the use of the honorific Monsignor although he remained known generally under the popular il prete genovese.
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 Ferrari are recorded as his pupils.
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 make up the majority of his works.
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 greater naturalism.
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 elongated and curved figures, the tapering fingers, the inclined heads and the abstract patterns of draperies. In the 1620s Strozzi gradually abandoned his early Mannerist style in favor of a more personal style characterized by a new naturalism derived from the work of Caravaggio and his followers. The Caravaggist style of painting had been brought to Genoa both by Domenico Fiasella, after his return from Rome in 1617–18, and by followers of Caravaggio who spent time working in the city, including Orazio Gentileschi, Orazio Borgianni, Angelo Caroselli and Bartolomeo Cavarozzi. Strozzi's Calling of St Matthew (c. 1620, Worcester Art Museum) is particularly close to Caravaggio in style and treatment of this subject, while still retaining certain Mannerist characteristics.
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. In his composition St. Lawrence Distributing the Riches of the Church (c. 1625, Saint Louis Art Museum) the artist achieved a clear and lucid treatment of space and an accurate definition of form by the use of light and shade. The impasto in this work had become even thicker than before.
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 precursors in Venice, Jan Lys and Domenico Fetti, who had also fused the influence of Caravaggio into Venetian art. Veronese's art inspired him to adopt a bolder and more luminous palette. An example of this style can be found in his Parable of the Wedding Guests (1636, Accademia ligustica di belle arti). His style continued at the same time to reveal the strong influence of Rubens as is shown in Allegorical figure (Minerva?) (mid-1630s, Cleveland Museum of Art), which unites the robust forms and brilliant colours of Rubens with the warm atmosphere of Venetian art.