Giacobbe Giusti, BEATO ANGELICO: Tebaide, Uffizi
Giacobbe Giusti, BEATO ANGELICO: Tebaide, Uffizi
Giacobbe Giusti, BEATO ANGELICO: Tebaide, Uffizi
Giacobbe Giusti, BEATO ANGELICO: Tebaide, Uffizi
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| Autore | Beato Angelico |
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| Data | 1418–1420 circa |
| Tecnica | tempera su tavola |
| Dimensioni | 73,5×208 cm |
| Ubicazione | Galleria degli Uffizi, Firenze |
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Pontormo, Vergine e santi
Giacobbe Giusti, Santissima Annunziata, Florence
The Holy Trinity, St Jerome and Two Saints, Fresco SS. Annunziata, Florence. The two saints are Saints Paula and Eustochium who funded and who assisted as secretaries Jerome’s translation into Latin from the Hebrew and Greek of the Vulgate Bible. They already had Greek and studied Hebrew for the task. They are now forgotten but for centuries the Bible included Prefaces to the books written by Jerome to Eustochium, Paula’s daugher.
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Santissima Annunziata, church facade in Florence, Italy
Giacobbe Giusti, Santissima Annunziata, Florence
Chiostro della ss annunziata
Giacobbe Giusti, Santissima Annunziata, Florence
Pietà by Baccio Bandinelli
Giacobbe Giusti, Santissima Annunziata, Florence
Assumption of the Virgin by Volterrano
Giacobbe Giusti, Santissima Annunziata, Florence
PONTORMO, Jacopo Visitation Fresco, 392 x 337 cm SS. Annunziata, Florence
Giacobbe Giusti, Santissima Annunziata, Florence
Franciabigio – Betrothal of the Virgin –
Giacobbe Giusti, Santissima Annunziata, Florence
Santissima Annunziata (Florence) – Madonna Chapel – Vestry
Giacobbe Giusti, Santissima Annunziata, Florence
Santissima Annunziata (Florence) – Resurrection Chapel
Santa Annunziata.
The Basilica della Santissima Annunziata (Basilica of the Most Holy Annunciation) is a Renaissance-style, Roman Catholic minor basilica in Florence, region of Tuscany, Italy. This is considered the mother church of the Servite Order. It is located at the northeastern side of the Piazza Santissima Annunziata near the city center.
The church was founded in 1250 by the seven original members of the Servite Order. In 1252, a painting of the Annunciation had been begun by a friar Bartolomeo, commissioned by the Servite monks. It is said he despaired about being able to paint a virgin with a beautiful enough face, and fell asleep, only to find the painting completed. This miracle he attributed to an angel.[1] The painting now housed in the church, acquired increasing veneration, such that in 1444 the Gonzaga family from Mantua financed a special tribune. Initially Michelozzo, who was the brother of the Servite prior, was commissioned to build it, but since Ludovico III Gonzaga had a special admiration for Leon Battista Alberti, this latter architect was given the commission in 1469. Alberti’s designs were constricted by the pre-existing foundations. Construction was completed in 1481, after Alberti’s death. Though the structure was refurbished in Baroque-style in the seventeenth century, the basic scheme of a domed circular space flanked by altar niches is still evident.[2]
The facade of the church was added in 1601 by the architect Giovanni Battista Caccini, imitating the Renaissance-style of Brunelleschi‘s facade of the Foundling Hospital, which defines the eastern side of the piazza. The building across from the Foundling Hospital, designed by Sangallo the Elder, was also given a Brunelleschian facade in the 1520s.
Pilgrims who came to the church to venerate the miraculous painting often left wax votive offerings, many of them life-size models of the donor (sometimes complete with horses). In 1516, a special atrium was built to house these figures, the Chiostrino dei Voti. By the late 18th century there were some six hundred of these images and they had become one of the city’s great tourist attractions. In 1786, however, they were all melted down to make candles.
Pope Alexander VI, in appreciation for the survival of Rome after French occupation, paid homage and gifted a silver effigy to the church.[3]
The Florentine brides traditionally visit the shrine to leave their bouquets.
Pietà by Baccio Bandinelli
This church is entered from the Chiostrino dei Voti. The Baroquedecoration of the church interior was begun in 1644, when Pietro Giambellifrescoed the ceiling with an Assumptionas a centerpiece based on designs by Baldassare Franceschini.
The 1st chapel to right contains a Madonna in Glory by Jacopo da Empoli, with walls frescoed by Matteo Rosselli. The 5th chapel on the right contains a Monument to Orlando de’ Medici (1456) by Bernardo Rossellino. The right transept has a small side chapel has a Pietà (1559) by Baccio Bandinelli and graces his tomb.
The chapel-surrounded tribune or choir, known as the Rotonda, was designed in turn by Michelozzo and Alberti between 1444–76. Notable among the chapels is the fifth (aligned to nave axis), which has a crucifix (1594–8) by Giambologna for his tomb, with statues of the « Active and Contemplative Lives » by his pupil Francavilla, saints and angels by Pietro Tacca,[5] and murals by Bernardino Poccetti. The next chapel has a Resurrection (1548–52) by Bronzino with a statue of St Roch attributed to Veit Stoss. The next chapel has a Madonna with Saints by a follower of Perugino.
In the sixth chapel to the left of the nave is a SS Ignatius, Erasmus and Blaise by Raffaellino del Garbo; the next chapel has one of the panels of Annunziata Altarpiece(1507) by Perugino, once at the high altar of the church (the Deposition, begun by Filippino Lippi, is now at the Gallerie dell’Accademia, while other panels are divided between other collections in the world). The altarpiece of the next chapel has a Trinity with Saint Jerome and two saints (c. 1455) by Andrea del Castagno, who also painted the mural of The Vision of St. Julian in the next chapel, called the Feroni chapel. This chapel was elaborately decorated in a baroque fashion by Gianbattista Foggini in 1692. The first chapel just to the left of the entrance has a tabernacle of the Annunciation (1448–52) by Michelozzo and the sculptor Pagno di Lapo Portigiani.
The organ (1628) is the oldest in Florence and the second oldest in Italy. The church contains the tomb of the Italian writer Maria Valtorta. A memorial was erected in the church to the painter Giovanna Tacconi Messini by her husband after her death.[6]
The Chiostrino dei Voti[7] was designed by Michelozzo. Baldovinetti painted the first lunette in the chiostro in c. 1460. In about 1476, Rosselli began a cycle dedicated to the then Blessed Filippo Benizzi, fifth Prior General of the Servites, which was then completed (1509-1510) by Andrea del Sarto.[8]
| Site | Work | Date | Painter |
|---|---|---|---|
| 1st right | Assumption | 1513-1514 | Rosso Fiorentino |
| 2nd right | Visitation | 1516 | Pontormo |
| 3rd right | Marriage of the Virgin | 1513 | Franciabigio |
| 4th right | Birth of the Virgin | 1513-1514 | Andrea del Sarto |
| 5th right | Voyage of the Magi | 1511 | Andrea del Sarto |
| 1st-5th left | Life of S. Filippo Benizi | 1509-1510 | Andrea del Sarto |
| 6th left | Life of S. Filippo Benizzi | 1476 | Cosimo Rosselli |
| Just left of entrance to church | Nativity | 1460-1462 | Alesso Baldovinetti |
Another cloister, known as the Chiostri dei Morti, contains the famous Madonna del Sacco (1525) by del Sarto. The Cappella di San Luca, which opens off it, has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini. Inside is Pontormo’s Holy Family (c. 1514) painted for church of St. Ruffillo and murals by Alessandro Allori: Trinity; Vasari: St. Luke paints Madonna; and Santi di Tito: Solomon directs the construction of the temple of Jerusalem. The ten large stucco figures were sculpted by Vincenzo Danti, Montorsoli and others.[9]
Most part of the Cloister of SS. Annunziata is today the seat of Istituto Geografico Militare (IGM). In 2007, in the west part of the cloister occupied by the Istituto, the group found a monumental stair by Michelozzo, previously hidden, an Annunciationattributed to Paolo Uccello[citation needed], some ‘Grottesche’ frescoes by Morto da Feltre[citation needed].
Media related to Santissima Annunziata (Firenze) at Wikimedia CommonsCoordinates: 43.777361°N 11.260965°E
https://en.wikipedia.org/wiki/Santissima_Annunziata,_Florence
Giacobbe Giusti, FRA ANGELICO: Transfiguration of Christ, Florence
Giacobbe Giusti, FRA ANGELICO: Transfiguration of Christ, Florence
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| Autore | Beato Angelico |
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| Data | 1438–1440 |
| Tecnica | affresco |
| Dimensioni | 189×159 cm |
| Ubicazione | Museo nazionale di San Marco, Firenze |
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| Giacobbe Giusti,
Museo nazionale di San Marco
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| Established | 1869 |
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| Location | Piazza San Marco 3, 50121 Florence, Italy |
| Type | Art museum, historic site |
Museo Nazionale di San Marco is an art museum housed in the monumental section of the medieval Dominican friary dedicated to St Mark (San Marco), situated on the present-day Piazza San Marco, in Florence, region of Tuscany, Italy.
The museum, a masterpiece in its own right by the fifteenth-century architect Michelozzo, is a building of very first historical importance for the city, and contains the most extensive collection in the world of the works of Fra Angelico, in the world Guido di Pietro, then later Friar John of Fiesole, who spent several years of his life as a member of the Dominican community here. The works are both paintings on wood and frescoes. The museum also contains other works by artists such as Fra Bartolomeo, Domenico Ghirlandaio, Alesso Baldovinetti, Jacopo Vignali, Bernardino Poccetti and Giovanni Antonio Sogliani.
Until recently San Marco housed a community of Dominican friars, who occupied the Western part of the complex adjacent to the larger cloister. In 2014 the few friars remaining were transferred to join the community at Santa Maria Novella in the city.
From 1934 to 1977 the Catholic politician Giorgio La Pira, who served several terms as Mayor of Florence, lived in the San Marco complex.
San Marco is famous as the seat of Girolamo Savonarola‘s discourses during his short spiritual rule in Florence in the late 15th century.
Like many establishments of its kind throughout Europe, the convent was seized by the civil authorities during the upheavals stemming from the French Revolution and the expansion of the Napoleonic Empire. San Marco met this fate in 1808, returned to Dominican hands after the fall of Napoleon, but then was confiscated in large part by a decree of the nascent Kingdom of Italy dated 7 July 1866 and became State property. This left to the Dominicans the church, the rooms opening on to the Saint Dominic cloister and the area that came much later to house the library containing over 10,000 books specializing in spirituality, founded in 1979 thanks to the bequest of a well known Catholic scholar Arrigo Levasti (1886-1973) and named after him.
In 1869, having been declared a national historical monument, the greater part of the complex reopened as a museum, following repairs and some adjustments to meet the new situation. It was in this period that the frescoes by Fra Angelico were restored by the artist Gaetano Bianchi. In 1906 the museum was chosen to house the remains of architectural value surviving from the buildings demolished by the urban planning measures of the previous century. This led to the creation of a distinct Museo di Firenze antica (Museum of Old Florence). In 1922 the museum managed to add to its collections a large number of works of Fra Angelico, having them transferred from the Uffizi Gallery or the Accademia, an arrangement that has since remained unchanged.
The museum houses the major collection of works by Fra Angelico. Panel paintings included the Deposition executed for Palla Strozzi, the San Marco Altarpiececommissioned by the Medici in 1440, and a Tabernacle of the Linaioli (1433–1435) whose frame was designed by Lorenzo Ghiberti. There are also a great number of small frescoes by Angelico and his assistants in the monastic cells and a number of larger frescoes including the Annunciation. His masterwork is the complex Crucifixionin the Capitular Hall, finished in 1442.
The museum exhibits works by other artists including Domenico Ghirlandaio, a reduced scale version of the Last Supper in the church of Ognissanti; Alesso Baldovinetti, Giovanni Antonio Sogliani and Fra Bartolomeo. The cells where Girolamo Savonarola lived can also be visited.
Also conserved here are surviving architecturally significant remains of buildings that were demolished in the period when Florence was designated as the provisional capital of the largely united Italy in the years 1865-1871), in which it had still not succeeded in annexing its natural historical capital, Rome.
The flood that struck Florence and its art treasures in 1966 did not damage San Marco to the same degree as other sites in the city since the terrain is slightly elevated with respect to the banks of the Arno. Between 1979 and 1983 the former guest quarters were adapted to house works, then recently restored, of Fra Bartolomeo.
In 2007 two small predella panels depicting saints and originally part of the San Marco Altarpiece came to join the museum’s collections, thanks to the initiative of the Office of the Superintendent of Fine Arts and a local bank, the Cassa di Risparmio di Firenze.[1]
https://en.wikipedia.org/wiki/Museo_Nazionale_di_San_Marco
http://www.giacobbe giusti.com
Giacobbe Giusti, BEATO ANGELICO: Crucifixion du Musée du Louvre et du Musée National San Marco
Angelico, crocefissione con san Domenico, Louvre
| Autore | Beato Angelico |
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| Data | 1435 |
| Tecnica | affresco |
| Dimensioni | 435×260 cm |
| Ubicazione | Museo del Louvre, Parigi |
Giacobbe Giusti, BEATO ANGELICO: Crucifixion du Musée du Louvre et du Musée national San Marco
Angelico – Saint Dominic Adoring the Crucifixion
| Autore | Beato Angelico |
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| Data | 1442 circa |
| Tecnica | affresco |
| Dimensioni | 340×155 cm |
| Ubicazione | Museo nazionale di San Marco, Firenze |
https://it.wikipedia.org/wiki/Crocifissione_del_chiostro_di_San_Marco
WWW.giacobbegiusti.com
Giacobbe Giusti, BEATO ANGELICO: Natività
Natività, cm. 193 x 164. (cella n° 5), Museo di San Marco a Firenze.
Date: 1431 – 1433
Le tableau dans son entier (sans son cadre mouluré doré)
Les tombes ouvertes
détail – partie centrale
Les supplices de l’enfer
détail – partie droite
Les damnés poussés par les démons
détail – à droite de la partie centrale
Le Jugement dernier (Il Giudizio Universale) est un tableau de Fra Angelico, conservé au musée national du couvent San Marco de Florence.
À la suite d’une commande de l’Oratorio degli Scolari de Santa Maria degli Angioli au cours de l’été 1431, Fra Angelico réalise ce tableau en tempera et or sur bois de 105 × 210 cm, entre 1431 et 1435, et sa forme particulière supérieure est due à son emplacement initial dans la partie droite du chœur, au-dessus du siège de l’officiant pendant la grand-messe.
Si la partie du Paradis est entièrement de la main du maître, l’Enfer serait de la main de ses élèves.
Il est aujourd’hui exposé dans la salle de l’Hospice des pèlerins du musée national du couvent San Marco, à Florence.
Le Jugement dernier est un des thèmes de l’iconographie de la peinture chrétienne, issu de l’Ancien Testament :
Jésus juge le monde depuis le ciel, entouré des saints et des prophètes reconnaissables à leurs attributs, les humains sont définis en deux groupes : les bienheureux allant au paradis et les damnés destinés à l’enfer et à ses souffrances (séparation décrite par saint Matthieu).
Jésus trône dans les cieux, représenté dans la partie haute du tableau à trois lobes circulaires. Il est entouré d’une mandorle de séraphins elle-même insérée dans un cercle d’anges accompagnés de deux figures d’intercesseurs : la Vierge Marie et Jean-Baptiste.
Dans les parties rondes latérales sont placés les saints et les prophètes.
Les humains sont divisés en deux groupes séparés par un alignement central de tombes ouvertes : à la droite de Jésus, les bienheureux agenouillés, à sa gauche les démons poussent les damnés vers une ouverture dans la montagne.
Dans les parties latérales : à la droite du Christ, un cercle d’anges dansant est surmonté de rayons dorés jaillissant de la porte du royaume de Dieu, illuminant les nouveaux élus revêtus d’une robe blanche. À la gauche du Christ, tous les supplices que subissent les damnés, chacun dans les cercles des différents tourments (détails qui font référence aux peintures exposées à l’époque en différents lieux de Florence, inspirées des descriptions de Dante Alighieri dans sa Divine Comédie).
De facture gothique (parties dorées, scènes détachées les unes des autres, couleurs chatoyantes) Fra Angelico introduit la perspective du Quattrocento avec, au premier plan, le sarcophage ouvert qui renforce l’effet perspectif de l’alignement fuyant des tombes ouvertes séparant les deux groupes humains, et des paysages.
La présence de 270 personnages rappelle la qualité technique du miniaturiste que fut d’abord Fra Angelico.
La porte du paradis rappelle la porte de la cité fortifiée de Jérusalem des bas-reliefs de Lorenzo Ghiberti sur la porte nord du baptistère Saint-Jean (Florence)[1].
Fra Angelico a traité le même thème du Jugement dernier, à fresque, à Orvieto dans la chapelle San Brizio (travail terminé par Luca Signorelli qui a représenté son portrait et le sien dans la partie Venue de l’Antéchrist).
Giacobbe Giusti, L’Annonciation de Cortone (Fra Angelico)
Le retable dans son entier avec sa predelle
L’Annonciation seule
Il giardino, dettaglio
L’Annonciation de Cortone est une œuvre de Fra Angelico, conservée au Museo Diocesano de Cortone.
L’Annonciation de Cortone a été peinte par Fra Angelico en 1433-1434, et réalisée en tempera sur panneau de 175 cm × 180 cm.
Il s’agit de l’une des trois Annonciations de Fra Angelico sur tableau (les deux autres sont celle[1] du musée du Prado de Madrid et celle du Museo della Basilica di Santa Maria delle Grazie de San Giovanni Valdarno[2]. Deux autres, mais à fresque, figurent au couvent San Marco de Florence, en haut de l’escalier de l’accès et dans la troisième cellule.
Il existe également des scènes du thème combinée à une Adoration des mages au musée San Marco, et sur un diptyque à la Galleria Nazionale dell’Umbria de Pérouse.
Scène typique de l’iconographie chrétienne, L’Annonciation faite à Marie par l’archange Gabriel, est décrite dans les Évangiles et d’une façon très détaillée dans La Légende dorée de Jacques de Voragine, l’ouvrage de référence des peintres de la Renaissance, qui permet de la représenter dans toute sa symbolique (jardin clos, colonne, présence du Saint-Esprit, évocation d’Adam et Ève chassés du Paradis).
Ce tableau est le panneau principal d’une œuvre polyptyque, qui comporte une prédelle à plusieurs panneaux des scènes de la Vie de la Vierge identiques à l’Annunciazione di San Giovanni Valdarno :
Ils sont attribués également à Zanobi Strozzi, un assistant de Fra Angelico.
La scène de gauche invoquant le péché originel est conforme au principes de l’iconographie de la peinture chrétienne : le couple d’Adam et Ève chassés du Paradis est situé hors du jardin clos de Marie (vierge comme elle), placé loin sur une colline, au-delà d’une clôture.
A contrario des autres Annonciations de Fra Angelico, le point de fuite de la perspective monofocale centrée est situé dans la gauche du tableau
https://fr.wikipedia.org/wiki/L%27Annonciation_de_Cortone
Giacobbe Giusti 
