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External links |
Media related to Paintings by Filippino Lippi at Wikimedia Commons |
Exhibition Da Donatello a Lippi. Officina Pratese at Museo Civico di Palazzo Pretorio in Prato (September 2013 – January 2014) |
Works of Filippino Lippi at the Uffizi Gallery in Florence |
Louis Gillet (1913). "Filippino Lippi" . In Herbermann, Charles (ed.). Catholic Encyclopedia. New York: Robert Appleton Company. |
Rossetti, William Michael (1911). "Lippi s.v. Filippino, or Lippino Lippi" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. p. 742. |
Filippino Lippi at the National Gallery of Art |
Filippo Lauri (25 August 1623 - 12 December 1694) was an Italian painter of the Baroque period, active mainly in Rome. |
Born and active in Rome, his story was featured in the biographies by Baldinucci. He first studied with his father, Balthasar Lauwers (Italianized as Lauri), who was a Flemish landscape painter; and then studied with his elder brother, Francesco Lauri. Afterwards, he worked under his brother-in-law, Angelo Caroselli. F... |
Filippo's father had emigrated from Antwerp, and was a pupil of Paul Bril. Filippo's oldest brother Francesco Lauri was also a painter and a pupil of Andrea Sacchi, who died young. Fillipo often painted small figures for the landscapes of Claude Lorraine. He was prolific. He employed many engravers. |
Sources |
See Artists in biographies by Filippo Baldinucci |
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. pp. 25–26. |
Grove Encyclopedia entry. |
Web Gallery of Art biography. |
Fleury François Richard (25 February 1777, Lyon – 14 March 1852, Écully), sometimes called Fleury-Richard, was a French painter of the Lyon School. A student of Jacques-Louis David, Fleury-Richard and his friend Pierre Révoil were precursors of the Troubadour style. |
Life |
The son of a magistrate, Fleury François Richard studied at the collège de l'Oratoire in Lyon then at the école de Dessin under Alexis Grognard. At the latter he met Pierre Révoil. In 1796 he joined the Paris studio of Jacques-Louis David. His first paintings had major success and he mingled with the Paris intelligents... |
In 1808 he set up his own studio at the Palais Saint-Pierre at Lyon, having been granted it by the city for the benefits he had brought to it by his reputation. He was initiated into the Scottish Rite Masonic Lodge of Isis in 1809, and in 1814 married a banker's daughter, Blanche Menut. He was made a knight of the Légi... |
Seeking inspiration, he visited Geneva, Milan, Turin and the Dauphiné. He served as a professor at the École des beaux-arts de Lyon from 1818 to 1823. In 1851 he set himself up at Écully, devoting himself to writing. He edited his Souvenirs, lives of painters and a work on painting in the second-order towns of France, ... |
Critique |
Fleury-Richard received his first lessons in Lyon, a silk-producing town, but he was mainly formed by his time in the neoclassical atmosphere of David's studio. Like other English and German artists of the era Fleury-Richard was passionate about history and fascinated by medieval chivalry and the Renaissance. His visit... |
On his return to Lyon, he cultivated his friendship with Pierre Révoil and, with Révoil and a small inner-circle, discovered nature and the archaeological remains around Lyon, in Fourvière, Saint-Just or the Île Barbe. It was in this context that Révoil, in 1798, showed both nature and remains in a drawing he offered t... |
When some scholars at the start of the 20th century sought to connect him to the école lyonnaise despite his training in Paris, his national career and his painting – the historical genre was not specific to Lyon. |
In Fleury-Richard's critical writings scholars find a reflection prefiguring his attachment to Symbolism before it existed: "Painting is not an imitation of reality. It is a symbol, a figurative language which presents the image of thought; and thought rises to the source of infinite beauty, there finding the archetypi... |
Works |
Valentine of Milan weeping for the death of her husband Louis of Orléans (c. 1802), Hermitage Museum, Saint-Petersburg |
Charles VII writing his farewell to Agnès Sorel (1804) musée national des châteaux de Malmaison et de Bois-Préau, Rueil-Malmaison |
A Knight at Prayer in a Chapel, Preparing Himself for Combat (1805), musée des beaux-arts de Lyon |
The death of saint Paul the hermit (1810) musée Gassendi Digne |
Tannegui du Chastel saving the Dauphin (1819) musée national du château de Fontainebleau |
The Hermitage of Vaucouleurs (1819), musée du Louvre, Paris |
Little Red Riding Hood (c. 1820), musée du Louvre, Paris |
Montaigne Visiting Torquato Tasso in Prison (1821), Lyon |
Vert-Vert (1821) Lyon |
The death of the prince de Talmont (c. 1822), musée de Brou, Bourg-en-Bresse |
The Charterhouse of St Bruno (1822) musée de Grenoble |
Young Woman at a Fountain (1824), Lyon |
Comminges and Adelaide in the Trappist Monastery (1844), Lyon |
Interior of a convent (Couvent des Cordeliers de l'Observance), Lyon |
Scene in a ruined chapel, Lyon |
Entrance to a convent, Lyon |
Jacques de Molay, grandmaster of the Templars, Rueil-Malmaison |
Madame Elisabeth in her garden of Montreuil, musée national du château et des Trianons, Versailles |
Gallery |
Bibliography |
(in French) Fleury Richard et Pierre Révoil : la peinture troubadour, Marie-Claude Chaudonneret, Arthéna, Paris (1980) 217 pp. [1] |
(in French) Le Temps de la peinture, Lyon 1800–1914, sous la direction de Sylvie Ramond, Gérard Bruyère et Léna Widerkher, Fage éditions, Lyon (2007) 335 pp. ISBN 978-2-84975-101-5 |
Notes |
Sources |
Le Temps de la peinture – Lyon 1800–1914, op. cit. pp. 305–306, 6 et ss. |
Base Joconde Archived 11 February 2011 at the Wayback Machine |
Musée des beaux-arts de Lyon |
External links |
(in French) Notices on base Joconde |
Fra Angelico, O.P. (born Guido di Pietro; c. 1395 – 18 February 1455) was a Dominican friar and Italian Renaissance painter of the Early Renaissance, described by Giorgio Vasari in his Lives of the Artists as having "a rare and perfect talent". He earned his reputation primarily for the series of frescoes he made for h... |
He was known to contemporaries as Fra Giovanni da Fiesole (Friar John of Fiesole) and Fra Giovanni Angelico (Angelic Brother John). In modern Italian he is called Beato Angelico (Blessed Angelic One); the common English name Fra Angelico means the "Angelic friar". |
In 1982, Pope John Paul II beatified him in recognition of the holiness of his life, thereby making the title of "Blessed" official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the town where he had taken his vows as a Dominican friar, and would have been used by contemporari... |
Vasari wrote of Fra Angelico that "it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety." |
Biography |
Early life, 1395–1436 |
Fra Angelico was born Guido di Pietro in the hamlet of Rupecanina in the Tuscan area of Mugello near Fiesole, not far from Florence, towards the end of the 14th century. Nothing is known of his parents. He was baptised Guido. As a child, he was probably known, as was the Italian fashion, as Guidolino ("Little Guido"). ... |
According to Vasari, Fra Angelico's initial training was as an illuminator, possibly working with his older brother Benedetto, also a Dominican and an illuminator. The former Dominican convent of San Marco in Florence, now a state museum, holds several manuscripts thought to be entirely or partly by his hand. The paint... |
From 1408 to 1418, Fra Angelico was at the Dominican friary of Cortona, where he painted frescoes, mostly now destroyed, in the Dominican Church, and may have been assistant to Gherardo Starnina, or a follower of his. Between 1418 and 1436 he was back in Fiesole, where he executed a number of frescoes for the church an... |
San Marco, Florence, 1436–1445 |
In 1436, Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built convent or friary of San Marco in Florence. This propitious move, placing him at the heart of artistic life of the region, attracted the backing of Cosimo de' Medici. He was one of the wealthiest and most powerful members ... |
It was, writes Vasari, at Cosimo's urging that Fra Angelico set about the task of decorating the convent, including the magnificent fresco of the Chapter House, the much reproduced Annunciation at the top of the stairs leading to the cells, the Maesta (or Coronation of the Madonna) with Saints (cell 9), and many other ... |
In 1439 Fra Angelico completed one of his most famous works, the San Marco Altarpiece at Florence. It broke new ground. Not unusual had been images of the enthroned Madonna and Child surrounded by saints, the custom was that the setting looked heaven-like, saints and angels hovering as ethereal presences rather than ea... |
The Vatican, 1445–1455 |
In 1445 Pope Eugene IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peter's, later demolished by Pope Paul III. Vasari suggests this might have been when Fra Angelico was offered the Archbishopric of Florence by Pope Nicholas V, to turn it down, recommending instead another friar... |
From 1447 to 1449 Fra Angelico was back at the Vatican, designing the frescoes for the Niccoline Chapel for Nicholas V. The scenes from the lives of the two martyred deacons of the Early Christian Church, St. Stephen and St. Lawrence may have been executed wholly or in part by assistants. The small chapel, with its bri... |
Death and beatification |
In 1455, Fra Angelico died while staying at a Dominican convent in Rome, perhaps on an order to work on Pope Nicholas' chapel. He was buried in the church of Santa Maria sopra Minerva. |
When singing my praise, don't liken my talents to those of Apelles. Say, rather, that, in the name of Christ, I gave all I had to the poor. |
The deeds that count on Earth are not the ones that count in Heaven. |
I, Giovanni, am the flower of Tuscany. |
Apelles (see main article) was a highly renowned painter of Ancient Greece, whose output, now completely lost, is thought to have centred chronologically around 330 BCE. |
On display near the main altar is a marble tombstone, an exceptional honour for an artist at that time. Two epitaphs were written, probably by Lorenzo Valla. The first reads: |
"In this place is enshrined the glory, the mirror, and the ornament of painters, John the Florentine. A religious and a true servant of God, he was a brother of the holy Order of Saint Dominic. His disciples mourn the death of such a great master, for who will find another brush like his? His homeland and his order mou... |
"Here lies the venerable painter Brother John of the Order of Preachers. May I be praised not because I looked like another Apelles, but because I have offered to you, O Christ, all my wealth. For some, their works survive on earth; for others in heaven. The city of Florence gave birth to me, John." |
The English writer and critic William Michael Rossetti wrote of the friar: |
From various accounts of Fra Angelico's life, it is possible to gain some sense of why he was deserving of canonization. He led the devout and ascetic life of a Dominican friar, and never rose above that rank; he followed the dictates of the order in caring for the poor; he was always good-humored. All of his many pain... |
Pope John Paul II beatified Fra Angelico on 3 October 1982, and in 1984 declared him patron of Catholic artists.Angelico was reported to say "He who does Christ's work must stay with Christ always". This motto earned him the epithet "Blessed Angelico", because of the perfect integrity of his life and the almost divine ... |
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