Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence
Artist	Lorenzo Monaco
Year	1420–1424
Medium	Tempera on panel
Location	Santa Trinita, Florence

The Bartolini Salimbeni Annunciation (Italian: Annunciazione Bartolini Salimbeni) is a painting by the Italian Gothic painter Lorenzo Monaco, completed just before his death (1420–1424) and housed in the Bartolini Salimbeni Chapel of the church of Santa Trinita, Florence, Italy.

History

The panel follows the same stylistic and narrative pattern as the other frescoes in the chapel, also by Lorenzo Monaco. It shows the Annunciation and, in the predella, other episodes of the Life of the Virgin which do not feature in the frescoes.

In 1998, a restoration performed by the Opificio delle Pietre Dureshowed that for the Virgin’s mantle a simpler technique was used, indicating that the work was perhaps completed by one Monaco’s pupils after his death.

Description

The panel is intermediate between a medieval polyptych and a Renaissance altarpiece. It is generally described as the first work in which the subject has a direct relationship with the surrounding architecture.^[1] Another innovation is the small side pillars with saints, later used also by Masaccio and Fra Angelico.

The central panel depicts the Annunciation in a single painted surface whose rounded top arches recall however the shape of a triptych. Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouchesaying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magiand Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti‘s tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece. In the Flight, the palm is taken from the Gospel of Pseudo-Matthew, which describes the tree that bent itself to allow the passage of the holy family.

At the sides, only four of the five compartments of each pillar are painted: the 1990s restoration did not find any trace of paint in the upper ones, so it is likely that they have been empty since the work’s execution.

The Annunciation depicts a sitting Madonna, with an angel arriving from the left to stop her reading (a hint to the Holy Books). She looks at God, who is portrayed in the middle arch, surrounded by seraphims, and who sends her the dove of the Holy Ghost.

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Predella panels

References

1. ^ Laskowski, Birgit (2007). Piero della Francesca. Milan: Gribaudo. p. 109. ISBN 978-3-8331-3757-0.

Sources

• Marcello Bellini (1998). Cappelle del Rinascimento a Firenze. Florence: Giusti.

• 1420s paintings
• Paintings by Lorenzo Monaco
• Annunciation in Christian art
• Paintings in Florence
• Books in art
• Altarpieces

Artiste	Lorenzo Monaco
Date	1420-1424
Type	Retable
Technique	tempera et or sur bois
Localisation	Chapelle Bartolini Salimbeni de la Basilique Santa Trinita,, Florence(Italie)

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

 

Pilastre de droite

L’Annonciation Bartolini Salimbeni est un retable de Lorenzo Monaco exposé sur l’autel de la chapelle Bartolini Salimbeni, quatrième chapelle de la droite de la nef de la basilique Santa Trinita à Florence.

Elle s’inscrit dans le cycle de fresques des épisodes de la « Vie de la Vierge » du même peintre, réalisées vers 1420, qui sont un des meilleurs exemples du style de l’école florentine du Quattrocento passant de la peinture byzantine aux innovations de la pré-Renaissance. Elle complète le cycle de scènes non présentes dans les fresques.

Iconographie

Le panneau principal est une Annonciation dans la tradition florentine : ange annonciateur à gauche visitant la Vierge devant sa maison, Vierge annoncée à droite surprise dans sa lecture, milice céleste en témoins en haut accompagnant Dieu le Père, rayons émanants de lui portés par le Saint-Esprit en colombe. Une colonne (Christus est columna) s’interpose entre les deux principaux protagonistes. Trois figures surmontent le tout, celles des prophètes de l’Ancien Testament(Isaïe au centre).

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

• 
• 
• 

Description

Le panneau principal de l’Annonciation est à trois cuspides à arcatures répétées dans le haut, des panneaux latéraux en pilastres portent des figures saintes (quatre présents sur les cinq emplacements de chaque côté avec, à gauche, les saints Étienne, Jérôme, Jean Gualbert, Élisabeth de Hongrie et à droite, Augustin, Bonaventure, Bernard et François).

Sous le panneau principal figure une prédelle à quatre scènes :

Giacobbe Giusti, LORENZO MONACO: Bartolini Salimbeni Annunciation, Santa Trinita, Florence

   

(de gauche à droite) : Visitation – Nativité et annonce aux bergers – Adoration des mages – Fuite en Égypte

Bibliographie

• (it) Guido Tigler, La Cappella Bartolini Salimbeni a Santa Trinita, in AA.VV., Cappelle del Rinascimento a Firenze, Editrice Giusti, Florence 1998 (ISBN88-8200-017-6).

• Annonciation Bartolini Salimbeni, sur Wikimedia Commons

•  Portail de la peinture
•  Portail de la Renaissance
•  Portail de Florence

Catégories :

• Basilique Santa Trinita de Florence
• Tableau de Lorenzo Monaco
• Fresque du XVe siècle
• Cycle de fresques de Florence
• Retable en Italie
• Annonciation dans la peintur

https://en.wikipedia.org/wiki/Bartolini_Salimbeni_Annunciation

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Bargello National Museum, Florence

 

Giacobbe Giusti, Museo Nazionale del Bargello

 

 

Giacobbe Giusti, Museo Nazionale del Bargello

 

Giacobbe Giusti, Museo Nazionale del Bargello

 

Giacobbe Giusti, Museo Nazionale del Bargello

 

Giacobbe Giusti, Museo Nazionale del Bargello

 

Giacobbe Giusti, Museo Nazionale del Bargello

Pescatorello-Vincenzo Gemito-Museo nazionale del Bargello (Firenze) Photo Paolo Villa FOTO9229

Giacobbe Giusti, Museo Nazionale del Bargello

 

Giacobbe Giusti, Museo Nazionale del Bargello

Giacobbe Giusti, Museo Nazionale del Bargello

Giacobbe Giusti, Museo Nazionale del Bargello

The Bargello.

Giacobbe Giusti, Museo Nazionale del Bargello

Antonio del Pollaiolo Hercules and Antaeus, circa 1478

The Bargello, also known as the Palazzo del Bargello, Museo Nazionale del Bargello, or Palazzo del Popolo(Palace of the People), is a former barracks and prison, now an art museum, in Florence, Italy.

Terminology

The word bargello appears to come from the late Latinbargillus (from Gothic bargiand German burg), meaning « castle » or « fortified tower ». During the Italian Middle Agesit was the name given to a military captain in charge of keeping peace and justice (hence « Captain of justice ») during riots and uproars. In Florence he was usually hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police. The name Bargello was extended to the building which was the office of the captain.

The palace

Giacobbe Giusti, Museo Nazionale del Bargello

Stairs and inner courtyard.

Giacobbe Giusti, Museo Nazionale del Bargello

Inner courtyard.

Construction began in 1255. The palace was built to house first the Capitano del Popolo and later, in 1261, the ‘podestà‘, the highest magistrate of the Florence City Council. This Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio. In 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name.^[1] It was employed as a prison; executions took place in the Bargello’s yard until they were abolished by Grand Duke Peter Leopold in 1786, but it remained the headquarters of the Florentine police until 1859. When Leopold II, Holy Roman Emperor Peter Leopold was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, and it then became a national museum.

The original two-storey structure was built alongside the Volognana Tower in 1256. The third storey, which can be identified by the smaller blocks used to construct it, was added after the fire of 1323. The building is designed around an open courtyard with an external staircase leading to the second floor. An open well is found in the centre of the courtyard.^[1]

The Bargello opened as a national museum (Museo Nazionale del Bargello) in 1865,^[1] displaying the largest Italian collection of gothicand Renaissance sculptures (14–17th century).

Art collection

The museum houses masterpieces by Michelangelo, such as his Bacchus, Pitti Tondo (or Madonna and Child), Brutus and David-Apollo.^[2] Its collection includes Donatello‘s David and St. George Tabernacle^[3] , Vincenzo Gemito‘s Pescatore (« fisherboy »),^[4] Jacopo Sansovino‘s Bacchus,^[2] Giambologna‘s Architecture^[5] and his Mercury^[2] and many works from the Della Robbia family.^[3][6][7][8]Benvenuto Cellini is represented with his bronze bust of Cosimo I.^[2]There are a few works from the Baroque period, notably Gianlorenzo Bernini‘s 1636-7 Bust of Costanza Bonarelli.

The museum also has a fine collection of ceramics (maiolica), textile, tapestries, ivory, silver, armour and coins. The formerly lost panel of the Franks Casket is held by the museum. It also features the competing designs for The Sacrifice of Isaac (Sacrificio di Isacco) that were made by Lorenzo Ghiberti^[3] and Filippo Brunelleschi^[3] to win the contest for the second set of doors of the Florence Baptistery (1401).

Honolulu Hale‘s interior courtyard, staircase, and open ceiling were modeled after the Bargello.^[9]

The Islamic Hall at the Bargello was set up in 1982 by Marco Spallanzani and Giovanni Curatola at the direction of Paola Barocchiand Giovanna Gaeta Bertelà, then the director.^[10]

Gallery

Giacobbe Giusti, Museo Nazionale del Bargello

• 

  Lorenzo Ghiberti‘s Isaac’s Sacrifice.

  Giacobbe Giusti, Bargello National Museum, Florence

• 

  Bust, (Niccolo da Uzzano).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Bust of Christ, (Tullio Lombardo).

  Giacobbe Giusti, Bargello National Museum, Florence

   

• 

  Bust of Pietro Melllini(Benedetto da Maiano).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Coronation of Ferdinand II of Aragon.

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Musicians from program for Coronation of Ferdinand II, (Benedetto da Maiano).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Anghiari Battle, Giovan Francesco Rustici after Leonardo da Vinci

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Madonna di Santa Maria Nuova–Luca della Robbia

  Giacobbe Giusti, Bargello National Museum, Florence

   

• 

  Crucifix attributed to Michelangelo.

  Giacobbe Giusti, Bargello National Museum, Florence

• 

  Empress Ariane(Byzantine).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  St George, (Donatello).

  Giacobbe Giusti, Bargello National Museum, Florence

   

• 

  David, (Donatello).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Bacchus, (Michelangelo).

   

 

•  Giacobbe Giusti, Bargello National Museum, Florence

• 

  Architettura, (Giambologna).

   

Giacobbe Giusti, Bargello National Museum, Florence

• 

  Bust of Costanza Bonarelli, (Bernini).

   

 

• •  Giacobbe Giusti, Bargello National Museum, Florence

• Il Pescatorello (little fisher boy), Vincenzo Gemito

References

1. ^ Jump up to:^a b c Zucconi, Guido (1995). Florence: An Architectural Guide(November 2001 Reprint ed.). San Giovanni Lupatoto, Verona, Italy: Arsenale Editrice. p. 38. ISBN 88-7743-147-4.
2. ^ Jump up to:^a b c d « Sala di Michelangelo e della scultura del Cinquecento ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
3. ^ Jump up to:^a b c d « Salone di Donatello e della Scultura del Quattrocento ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
4. Jump up^ « Il Cortile ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
5. Jump up^ « Verone ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
6. Jump up^ « Cappella di Maria Maddalena e Sagrestia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
7. Jump up^ « Sala di Giovanni della Robbia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
8. Jump up^ « Sala di Andrea della Robbia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
9. Jump up^ « Historic Honolulu (The Capitol District) ». City and County of Honolulu. October 10, 2003. Archived from the original on November 19, 2004. Retrieved July 24, 2006.
10. Jump up^ « A Firenze in mostra l’arte islamica – TgTourism ». http://www.tgtourism.tv(in Italian). Retrieved 2018-10-06.

• « Bargello National Museum ». Ministry of Cultural Heritage. Retrieved 14 August 2016.

https://en.wikipedia.org/wiki/Bargello

http://www.giacobbegiusti.com

 

Giacobbe Giusti, LORENZO MONACO: Annunciation Triptych

Giacobbe Giusti, LORENZO MONACO: Annunciation Triptych

 

 

Giacobbe Giusti, LORENZO MONACO: Annunciation Triptych
Artist	Lorenzo Monaco
Year	1410–1415
Medium	Tempera on panel
Dimensions	130 cm × 230 cm (51 in × 91 in)
Location	Gallerie dell’Accademia, Florence

The Annunciation Triptych is a tempera on panel painting by the Italian late Gothic artist Lorenzo Monaco, now housed in the Gallerie dell’Accademia in Florence, Italy.

History

The triptych was commissioned for the church of San Procolo of Florence, where Renaissance art historian Giorgio Vasari saw it, but attributed it to Giotto. It was recognized as a work by Lorenzo Monaco by Giovanni Battista Cavalcaselle in 1864. It has been variously dated from 1408 to 1418.

The work had originally different cusps (perhaps with heads of prophets) and a predella, which is now lost.

Description

The painting includes compartments divided into two panels surmounted by cusps, each sharing a golden background. The central painting depicts the Virgin, on a throne barely under her dress visible, on the right, and a hovering Angel of the Annunciation on the left. Behind her are parts of a house, including a double mullioned window, while next to her head is the Holy Ghost dove.

The drapes feature intricate arabesques, perhaps influenced by the International Gothic style introduced by Gherardo Starnina and Lorenzo Ghiberti.

Annunciation triptych (Lorenzo Monaco).

Sources

• D. Parenti and A. Tartuferi, ed. (2007). Intorno a Lorenzo Monaco. Nuovi studi sulla pittura tardogotica. Livorno: Sillabe.

• Page at Florence museums website

• Paintings by Lorenzo Monaco
• 1410s paintings
• Annunciation in Christian art
• Triptychs
• Collections of the Galleria dell’Accademia

 

Giacobbe Giusti, LORENZO MONACO: Annunciation Triptych

Trittico dell’Annunciazione

Artiste	Lorenzo Monaco
Date	1406-1418
Technique	tempera su tavola
Dimensions (H × L)	130 × 230 cm
Localisation	Galleria dell’Accademia, Florence (Italie)

Le Triptyque de l’Annonciation de Lorenzo Monaco est une peinture religieuse sur bois en tempera de 130 × 230 cm datant probablement de 1410-1415, conservée à laGalleria dell’Accademia de Florence.

Histoire

Ce triptyque de l’Annonciation, commandé pour l’église San Procolo de Florence, se vit d’abord attribué à Giotto par Vasari.

Crowe et Giovanni Battista Cavalcaselle furent les premiers en 1864 à rendre la paternité à Lorenzo Monaco, suivis par Gaetano Milanesi en 1878, Sirén en 1905, Adolfo Venturi en 1911, Van Marle en 1924, Toesca en 1929, Golzio en 1931, Ugo Procacci en 1936, Bernard Berenson en 1936, Pudelko en 1938, Luciano Bellosi en 1965, Boskovits en 1975, Eisenberg en 1989.

La date d’attribution oscille entre 1406 et 1418 suivant les mêmes experts.

Thème

C’est celui de l’Annonciation faite à Marie par l’archange Gabriel.

Les retables polyptyquescomportant, par définition, plusieurs volets (fermant ou non), ou des prédelles, des personnages saints y sont généralement représentés avec leurs attributs.

Description

Le panneau central, à deux logements surmontés d’ogive dans des sommets chantournés, accueille les protagonistes de L’Annonciation : l’archange Gabriel à gauche sur un nuage bleu, la Vierge Marie, vêtue de bleu, sur une estrade tournant la tête vers l’ange et la colombe du Saint-Esprit à droite ; ils sont surmontées par un tondo du Christ bénissant. Les panneaux de chaque côté, similaires mais de taille plus réduite (devant permettre leur fermeture sur l’élément central) accueillent, à gauche, sainte Catherine d’Alexandrie et saint Antoine abbé, à droite, saint Proculus et saint François d’Assise (leurs noms respectifs sont écrits sur des cartels). Leurs tondi sont vides.

Le fond est doré comme les reliefs des moulures du cadre.

 

 

https://fr.wikipedia.org/wiki/Triptyque_de_l%27Annonciation_(Lorenzo_Monaco)

http://www.giacobbegiusti.com

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

 

 

Bibliography[

• Bock, Darrell L. (2004), Breaking The Da Vinci Code, Nashville, Tennessee: Thomas Nelson, pp. 143–144, ISBN 978-1-4185-1338-2
• Bradshaw, Peter (February 27, 2018), « Mary Magdalene review – toothless attempt to overturn Sunday school myths: Rooney Mara brings her customary intensity to the title role as Jesus’ ‘favourite pupil’, but the result is a bit too solemn to be a convincing reinvention », The Guardian
• Campbell, Lorne (2009), « The New Pictorial Language of Rogier van der Weyden », in Campbell, Lorne; Van der Stock, Jan, Rogier Van Der Weyden: 1400-1464 : Master of Passions, Eugene, Oregon: Wipf & Stock, pp. 2–64, ISBN 9789085261056
• Carr, Flora (March 30, 2018), « The Real Reason Why Mary Magdalene Is Such a Controversial Figure », TIME
• Casey, Maurice (2010), Jesus of Nazareth: An Independent Historian’s Account of His Life and Teaching, New York City, New York and London, England: T & T Clark, ISBN 978-0-567-64517-3
• Crossan, John Dominic (1995), Jesus: A Revolutionary Biography, San Francisco, California: HarperOne, ISBN 0-06-061662-8
• « Life of Mary Magdalen », William Caxton‘s English version of the Golden Legend of Jacobus de Voragine
• Chilton, Bruce (2005), Mary Magdalene: A Biography, New York City, New York, London, England, Toronto, Ontario, Sydney, Australia, and Auckland, New Zealand: Image Doubleday, ISBN 978-0-385-51318-0
• Dalton, Stephen (February 27, 2018), « Mary Magdalene: Film Review », The Hollywood Reporter
• DeConick, April D. (2011), Holy Misogyny: Why the Sex and Gender Conflicts in the Early Church Still Matter, New York City, New York and London, England: Continuum International Publishing Group, ISBN 978-1-4411-9602-6
• Ehrman, Bart D. (2004), Truth and Fiction in The Da Vinci Code: A Historian Reveals What We Really Know about Jesus, Mary Magdalene, and Constantine, Oxford, England: Oxford University Press, ISBN 0-19-518140-9
• Ehrman, Bart D. (2006), Peter, Paul, and Mary Magdalene: The Followers of Jesus in History and Legend, Oxford, England: Oxford University Press, ISBN 978-0-19-530013-0
• Ehrman, Bart D. (2014), How Jesus Became God: The Exaltation of a Jewish Preacher from Galilee, New York City, New York: HarperOne, ISBN 978-0-06-177818-6
• Erhardt, Michelle; Morris, Amy (2012), « Introduction », Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Studies in Religion and the Arts, Leiden, The Netherlands: Brill, ISBN 978-90-04-23224-2
• Ferguson, George (1976) [1954], « St. Mary Magdalene », Signs and Symbols in Christian Art, Oxford, England: Oxford University Press, pp. 134–135
• Foss, Clive (1979), Ephesus After Antiquity: A Late Antique, Byzantine and Turkish City, Cambridge, England: Cambridge University Press, ISBN 0-521-22086-6
• Geneva Press (2008), The Presbyterian Handbook for Pastors, Louiseville, Kentucky: Geneva Press, ISBN 978-0-664-50299-7
• Green, Mary E. (2014), « Mary Magdalene, the Myrrh Bearer », Eyes to See: The Redemptive Purpose of Icons, New York City, New York, Harrisburg, Pennsylvania, and Denver Colorado: Morehouse Publishing, ISBN 978-0-8192-2939-7
• Haag, Michael (2016), The Quest For Mary Magdalene: History & Legend, London, England: Profile Books, ISBN 978-1847659385
• Hailes, Sam (March 6, 2018), « Why Mary Magdalene is the Hollywood film Christians have been waiting for: This new movie paints a clear picture of Jesus, says Sam Hailes », Premiere Christianity
• Haskins, Susan (2005) [1993], Mary Magdalen: Myth and Metaphor, New York City, New York: Pimplico, ISBN 1-8459-5004-6
• Herzog, William R. (2005), Prophet and Teacher: An Introduction to the Historical Jesus, Louisville, Kentucky: Westminster Knox Press, ISBN 0-664-22528-4
• Hinkle, Mary (2003) [1986], « Mary Magdalene », in Fahlbusch, Erwin; Lochman, Jan Milič; Mbiti, John; Pelikan, Jaroslav; Vischer, Lukas; Bromiley, Geoffrey W.; Barrett, David B., The Encyclopedia of Christianity, J-O, 3, Grand Rapids, Michigan, Cambridge, England, Leiden, The Netherlands, and Boston, Massachusetts: William B. Eerdmans Publishing Company and Brill, pp. 446–448, ISBN 0-8028-2415-3
• Johnston, Barbara, « Sacred Kingship and Royal Patronage in the La Vie de la Magdalene: Pilgrimage, Politics, Passion Plays, and the Life of Louise of Savoy » (Florida State), R. Neuman, Dissertation, PDF, 88–93
• Jones, Roger; Penny, Nicholas (1983), Raphael, New Haven, Connecticut: Yale University Press, ISBN 978-0300040524
• Kelly, Henry Ansgar (2006), Satan: A Biography, Cambridge, England: Cambridge University Press, ISBN 978-0521604024
• Kim, Young Richard (2015), Epiphanius of Cyprus: Imagining an Orthodox World, Ann Arbor, Michigan: University of Michigan Press, pp. 37–39, ISBN 978-0-472-11954-7
• King, Ross (2012), Leonardo and the Last Supper, New York City, New York and London, England: Bloomsbury, ISBN 978-0-7475-9947-0
• Kugelmann, Robert (1983), The Windows of Soul: Psychological Physiology of the Human Eye and Primary Glaucoma, London, England and Toronto, Canada: Associated University Presses, ISBN 0-8387-5035-4
• Lang, J. Stephen (2003), What the Good Book Didn’t Say: Popular Myths and Misconceptions About the Bible, New York City New York: Citadel Press, ISBN 0-8065-2460-X
• Levine, Amy-Jill; Allison, Dale C. Jr.; Crossan, John Dominic (October 16, 2006), The Historical Jesus in Context, Princeton, New Jersey: Princeton University Press, ISBN 0-691-00992-9
• Maisch, Ingrid (1998) [1996], Mary Magdalene: The Image of a Woman through the Centuries, translated by Maloney, Linda M., Collegeville, Minnesota: Liturgical Presss, ISBN 0-8146-2471-5
• Powell, Mark Allen (1998), Jesus as a Figure in History: How Modern Historians View the Man from Galilee, Louiseville, Kentucky: Westminster John Knox Press, p. 168, ISBN 978-0-664-25703-3
• Pringle, Denys (1998), « Magdala », The Churches of the Crusader Kingdom of Jerusalem: A Corpus, II: L-Z (excluding Tyre), Cambridge, England: Cambridge University Press, ISBN 0-521-39037-0
• Roper, Lyndal (2016), Martin Luther: Renegade and Prophet, New York City, New York: Random House, ISBN 9780812996203
• Sabar, Ariel (2016), « The Scholar Who Discovered the ‘Jesus’s Wife’ Fragment Now Says It’s Likely a Fake », The Atlantic
• Sanders, E. P. (1993), The Historical Figure of Jesus, London, England, New York City, New York, Ringwood, Australia, Toronto, Ontario, and Auckland, New Zealand: Penguin Books, ISBN 0-14-014499-4
• Schaberg, Jane (2004) [2002], The Resurrection of Mary Magdalene: Legends, Apocrypha, and the Christian Testament, New York City, New York and London, England: Continuum International Publishing Group, ISBN 0-8264-1645-4
• Strong, Steven; Strong, Evan (2008), Mary Magdalene’s Dreaming: A Comparison of Aboriginal Wisdom and Gnostic Scripture, Lanham, Maryland, Boulder, Colorado, New York City, New York, Toronto, Ontario, and Plymouth, England: University Press of America, ISBN 978-0-7618-4281-1
• Wilson, Kenneth (2011), Methodist Theology, Doing Theology, London, England and New York City, New York: Bloomsbury T & T Clark, ISBN 978-0-5670-8135-3
• Witcombe, Christopher L. C. E. (June 2002), « The Chapel of the Courtesan and the Quarrel of the Magdalens », The Art Bulletin, New York City, New York: College Art Association, 84 (2): 273–292, doi:10.2307/3177269, JSTOR 3177269
• Wright, N. T. (March 1, 2003), The Resurrection of the Son of God, Christian Origins and the Question of God, 3, Eugene, Oregon: Fortress Press, ISBN 978-0800626792

https://en.wikipedia.org/wiki/Mary_Magdalene

http://www.giacobbegiusti.com

Giacobbe Giusti, BENOZZO GOZZOLI: Procession of the Magi (detail), 1459-60, Palazzo Medici-Riccardi, Florence

Giacobbe Giusti, BENOZZO GOZZOLI: Procession of the Magi (detail), 1459-60, Palazzo Medici-Riccardi, Florence

 

Benozzo Gozzoli (c. 1421 – 1497) was an Italian Renaissance painter from Florence. He is best known for a series of murals in the Palazzo Medici-Riccardi depicting festive, vibrant processions with wonderful attention to detail and a pronounced International Gothic influence. Gozzoli’s formative collaborations included those with Lorenzo and Vittorio Ghiberti on the third bronze door of the Baptistery, Florence (1444), with Fra Angelico [1] on the pictorial decoration of the Dominican convent of San Marco in Florence (1444-45), with Fra Angelico on some frescoes in the chapel of Pope Nicholas V in the Vatican (1447), and again with Fra Angelico on the ceiling of the Chapel of San Brizio in the cathedral at Orvieto (1448). In 1427, by order of the Brancacci family, the great church of the nearby Convent of the Carmine was decorated by Masaccio with a cycle of frescoes. This work revolutionised art in Florence and undoubtedly influenced the young Benozzo’s development. Benozzo’s development and personal style are documented from the early works he painted independently, such as the Madonna and Child with Angels in the National Gallery in London. This piece includes precious brocaded fabrics, revealing one of his specific qualities, namely his meticulousness in the painting of precious fabrics, making them appear almost real. It is highly probable that this ability to illustrate and differentiate between different fabrics came from his father, a tailor, who would undoubtedly have educated Benozzo in this tradition from an early age, giving him the opportunity to observe and admire textile products close up. At the age of 27 Benozzo Gozzoli began to work with Fra Angelico (1395-1455) in Orvieto and Rome. According to Giorgio Vasari, in the early part of his career he was a pupil and assistant of Fra Angelico. [1] Some of the works in the convent of San Marco of Florence were executed by Gozzoli from Angelico’s design. His participation in the frescoing of the Convent of San Marco in 1439-1440 and 1443-1444, an extensive and challenging project masterfully led by « il Beato Angelico », is now certain. Having completed the work at the Convent of San Marco (Saint Mark), Benozzo went to work, in partnership with Lorenzo Ghiberti, on the second door of the Baptistery di San Giovanni, known as the Gate of Paradise. On May 23, 1447 Gozzoli was in Rome with Fra Angelico, called by Pope Eugene IV to carry out the fresco decoration of a chapel in the Vatican Palace. Pope Eugene IV had personally consecrated the Church of San Marco in Florence and had had the chance to see and admire the works by the two painters. As a result, he commissioned them to carry out the most important and prestigious work that an artist could be called up to do at that time: the Cappella Maggiore (Greater Chapel) in the Vatican. Sadly, nothing now remains of these frescoes so it is impossible to determine the part played by the young Benozzo in their creation. Later the two worked until June 1448 in the Cappella Niccolina for Nicholas V. Gozzoli then moved from Rome to Orvieto, with Fra Angelico, to work on a cycle of frescoes in that city’s Cathedral. They completed the decoration of two vault webs in the Chapel of San Brizio depicting the Choir of Prophets and the Christ the Judge surrounded by Angels. The other two webs, however, remained unfinished and, although Benozzo offered to finish them himself, the negotiations never reached a successful conclusion, perhaps due to the political problems that the city, and therefore the local economy, was experiencing at the time. The work was completed some fifty years later by Luca Signorelli (1499-1502). In 1449 he left Angelico, and moved to Umbria. In the monastery of San Fortunato, near Montefalco, he painted a Madonna and Child with Saints and Angels, and three other works. One of these, the altarpiece representing St Thomas receiving the Girdle of the Virgin, is now in the Lateran Museum and shows the affinity of Benozzo’s early style to Angelico’s. He next painted in the monastery of S. Francesco, Montefalco, filling the choir with three registers of subjects from the life of the saint, with various accessories, including portrait heads of Dante, Petrarch and Giotto. This work was completed in 1452, and is still marked by the style of Angelico, crossed here and there with a more distinctly Giottesque influence. In the same church, in the chapel of Saint Jerome, is a fresco by Gozzoli of the Virgin and Saints, the Crucifixion and other subjects. He remained at Montefalco (with an interval at Viterbo) probably till 1456, employing Pier Antonio Mezzastris as assistant. Thence he went to Perugia, and painted in a church a Virgin and Saints that is now in the local academy.

Soon afterwards he returned to his native city Florence, the epicenter of Quattrocento art. Between 1459 and 1461, Gozzoli painted what may be considered his most important work: his frescoes of the Magi in the Magi Chapel of the Palazzo Medici-Riccardi, the Journey of the Magi to Bethlehem, and in the tribune, a composition of Angels in Paradise. Gozzoli incorporated portraits of the Medici family into his fresco The Journey of the Magi. Gozzoli also included his self-portrait in the procession, with his name written around the rim of his cap. His Virgin and Child with Saints of 1461, in the National Gallery, London, belongs also to the period of this stay in Florence. Upon his return to Florence in 1459, he began his famous Journey of the Magi for the chapel in the Medici Palace. There he painted a magnificent cavalcade of pilgrims to Bethlehem, including animated portraits of contemporary Florentines. To represent the Magi he painted Lorenzo de’ Medici and two leaders of the East, Patriarch Joseph and Emperor John Paleologus. Gozzoli depicted them in exotic Middle Eastern dress against a background of fantastic landscape and strange animals. In 1464 Gozzoli left Florence for San Gimignano, where he executed some extensive works; in the church of Sant’Agostino, a composition of St. Sebastian protecting the City from the Plague of this same year, 1464; over the entire choir of the church, a triple course of scenes from the legends of St Augustine, from the time of his entering the school of Tegaste on to his burial, seventeen chief subjects, with some accessories; in the Pieve di San Gimignano, the Martyrdom of Sebastian, and other subjects, and some further works in the city and its vicinity. Here his style combined something of Filippo Lippi with its original elements, and he received co-operation from Giusto d’Andrea. From 1464 to 1465, Benozzo resided in Certaldo, a small town in the heart of the Elsa Valley, near San Gimignano. The San Tommaso and Prospero church (Church of St. Thomas and Prosper), next to Palazzo Pertorio, houses the most important work, The Tabernacle of the Executed (c. 1464/65), a fresco by Benozzo Gozzoli. Originally, this work was located in the plain, near the Agliena stream: those sentenced to death, before their execution, were brought near this frescoed chapel (The Tabernacle of the Executed), where they received the last solace. The chapel is still visible under the bridge, on the right side coming from Poggibonsi. He stayed in San Gimignano till 1467, and in 1469 began the vast series of mural paintings in the Campo Santo of Pisa with which his name is specially identified. There are twenty-four subjects from the Old Testament, from the Invention of Wine by Noah to the Visit of the Queen of Sheba to Solomon. He 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 painted also an Adoration of the Magi, wherein appears a portrait of himself. In 1478 the Pisan authorities had given him, as a token of their regard, a tomb in the Campo Santo.

http://www.travelingintuscany.com/art/benozzogozzoli.htm

http://www.giacobbegiusti.com

Giacobbe Giusti, ANDREA TAFI: mosaics of the Baptistery, Florence

Giacobbe Giusti, ANDREA TAFI: mosaics of the Baptistery, Florence

Andrea Tafi (1213–1294) was an Italian artist. He is probably best known for his work on the mosaics of the Baptistery in Florence, which were started in 1225 by Jacobus. His pupils included Buonamico Buffalmacco.

Tafi is shown in Frederic Leighton‘s Cimabue’s Celebrated Madonna (1853–1855); the subject matter of this painting is based on Giorgio Vasari‘s account of how the Rucellai Madonnawas carried from Cimabue‘s home to the church of Santa Maria Novella in Florence.^[1]

Vasari includes a biography of Andrea Tafi in his Lives; the biography includes a tale of how Buonamico di Cristofano stopped Tafi from rising so early by pretending to be a demon.

References

1. Jump up^ Vasari, Giorgio; Foster, Jonathan. Lives of the Artists, Volume 1. Henry J Bohn. pp. 77–88.

https://en.wikipedia.org/wiki/Andrea_Tafi_(artist)

http://www.giacobbegiusti.com

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname, Florence

 

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

 

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

 

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

 

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

Médaillon de la corporation sur la façade d’Orsanmichele

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

Quattro santi coronati de Nanni di Banco

L’Arte dei Maestri di Pietra e Legnameest une corporation des arts et métiers de la ville de Florence, l’un des arts mineurs des Arti di Firenzequi y œuvraient avant et pendant la Renaissance italienne. Elle reprenait les professions liées à l’édification de bâtiments travaillant la pierre et le bois : architetti, muratori, capimastri, … et de l’arte della scagliola : celle du stuc et de l’imitation du marbre et de ses veinures colorées.

Membres de la corporation

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

 

La torre della Castagna, une des plus anciennes de Florence

Les membres de cette guilde travaillaient tous dans le secteur de la construction: architectes (architetti), constructeurs (muratori), maîtres d’œuvre (capimastri) et tous les artisans employés dans de nombreuses activités liées à la construction. Au Moyen Age, la plupart des maisons sont construites en bois et en brique blanchie à la chaux; seules les églises et les palais sont entièrement en pierre, bien que souvent les toits ont été soutenus par des fermes en bois massif, comme cela peut encore être vu dans la basilique Santa Croce de Florence.

Les structures en encorbellement des tours ont été faites aussi en bois, ainsi que les typiques constructions en projections, où de grandes poutres enfilées dans des trous de boulinssoutiennent les ballatoio et bretèches en saillie. En outre, il est connu que le xiii^e siècle est l’ère des maisons-tours et coteries (consorterie), une période de guerre continue entre les membres des factions opposées, qui s’affrontent avec des pierres ou d’autres munitions, parfois avec l’aide de vrais machines de jet positionnées au dessus de la tour.

Le fonctionnement des chantiers

Au xiii^e siècle, se sont formés tous les grands bâtiments civils et religieux de la ville: les ponts, les murs, la cathédrale, les églises des ordres les plus importants, et le Palazzo Vecchio , l’hôtel de ville.

Florence était un immense chantier de construction et le travail ne manquait pas aux artisans de la pierre et du bois; comme aux membres d’autres professions, aussi la répartition des tâches de la construction a été rigidement répartie.

Le contremaître des travaux, nommé ‘operis magister, arrive à ce poste après des années d’expérience, au travers desquelles il est en mesure de concevoir des bâtiments et des machines, d’organiser le site d’un point de vue pratique et de superviser l’exécution des travaux. Le maître d’œuvre était donc un architecte-ingénieur, mais ce n’est pas l’unique personne de référence sur le chantier. Il collabore avec un maître maçon (maestro lapicida), un maître charpentier (maestro carpentiere) et le directeur pour la pose des toits (direttore per la posa dei tetti), conservant un rôle subalterne à la direction générale, il joue un rôle sensiblement différent et plus spécialisé. L’attribution du titre de maître d’œuvre (maestro in opera), sauf cas exceptionnels, ne se traduit pas par des privilèges spécifiques à titre de rétribution ou tout autre type. La journée de travail a donc la même durée pour tous, 12 heures en été et 8-9 heures en hiver, au cours de laquelle, les maîtres et les travailleurs partagent les mêmes espaces.

À cet égard, la construction de la Cathédrale Santa Maria del Fiore apparaît comme exemplaire; au poste de contremaître du duomo, en fait, se succèderont Arnolfo di Cambio, Giotto di Bondone, Andrea Pisano et Francesco Talenti. Mais la figure la plus emblématique à cet égard reste Filippo Brunelleschi et l’histoire de « son dôme».

Le dôme de Brunelleschi

Giacobbe Giusti, Arte dei Maestri di Pietra e Legname

Le dôme de Filippo Brunelleschi

Conçu comme le couronnement de l’immense chantier de la cathédrale, le dôme apparait dès le début comme extrêmement difficile à réaliser, à la fois par la complexité technique, étant donné que depuis le temps du Panthéon de Rome rien n’a plus été tenté pour construire un dôme d’un diamètre aussi grand, et d’autre part de par les coûts énormes de réalisation. Les techniques traditionnelles, comprenant l’utilisation de renforcement temporaire constitué par des poutres en bois reposant contre les côtés du tambour, ne pourraient jamais supporter le poids de la maçonnerie; la seule solution était d’ériger un dôme sans nervures et malgré le scepticisme général, le projet de Brunelleschi est finalement approuvé en 1420.

Brunelleschi est nommé superviseur (provveditore) de la coupole, mais témoignant du climat d’incertitude et la nervosité qui accompagne le travail, il est d’abord soutenu dans son rôle par Lorenzo Ghiberti et deux suppléants, Arrigo Giuliano et Giovanni di Gherardo da Prato, vice de Ghiberti, qui n’a pas épargné des critiques acerbes à sa direction. Le modeste salaire attribué aux quatre maîtres d’œuvre est de 3 florins par mois. L’entêtement de Brunelleschi et l’insuffisance de Ghiberti poussent bientôt à le pousser governatore capo du chantier du Duomo en 1423; le nouveau contrat prévoit pour lui un engagement exclusif jusqu’à la fin des travaux et une augmentation de salaire significative, passé à 100 florins par an, tandis que Ghiberti continue d’être payé les 3 florins préalablement convenus en 1433 pour ses conseils externe et irréguliers.

A partir de ce moment, Brunelleschi assume la responsabilité de la mise en œuvre du projet, vérifie personnellement les phases d’exécution matérielles progressives du travail, en prenant également en charge le transport des matériaux utilisés dans la construction et leur levée; Il réalise à ses frais, un bateau pour acheminer rapidement les briques et pierres des carrières et les machines pour les élever sur les échafaudages. Il organise les quarts de travail et les équipes de travailleurs, répartis en groupes de huit pour procéder uniformément sur tous les côtés, et organise un lieu où manger, déjeuner, pour éviter que les hommes perdent du temps à monter et à descendre. Brunelleschi est un surintendant prudent et consciencieux et bien que l’auteur de plusieurs autres bâtiments à Florence, son nom reste lié à la coupole, son chef-d’œuvre.

Le danger des incendies

Alors que les monuments de style gothique et Renaissance prennent forme, beaucoup d’autres sont détruits par ce qui était à cette époque la plus fréquente des calamités, le feu, qui a éclaté et s’est fréquemment et propagés avec facilité en raison de la présence de nombreuses structures en bois, maisons seulement éclairées par des bougies et des lampes à huile. Les abonnés à ces corporations agissent alors de même que les pompiers, se précipitant sur les lieux ainsi que les consoli dell’Arte, mais réussissent à peine à endiguer la puissance dévastatrice du feu. Dino Compagni parle des pertes occasionnées en 1304 par les dirigeants du Parte Nera, qui utilisa la concoction mortelle connue sous le feu grégeois, pour détruire les maisons des Cavalcanti; L’incendie a éclaté en attaquant les autres maisons, et détruit de nombreux bâtiments et magasins dans la région entre le Vieux Marché (aujourd’hui Piazza della Repubblica) et le Ponte Vecchio, sous le regard impuissant florentin:

« arsono più che 1900 magioni: e niuno rimedio vi si poté fare […] arse tutto il midollo e tuorlo e cari luoghi della città di Firenze »

(Dino Compagni, Cronica)

Saints patrons

Les Quatre Saints couronnés : Claudio, Nicostrato, Sinfronio e Castorio, représentés par un même ensemble statuaire de Nanni di Bancodans une des niches (tabernacoli) de l’église d’Orsanmichele.

Héraldique

Une hache en bande sur champ rouge.

Membres illustres

• Andrea Orcagna

Sources

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Arte dei Maestri di Pietra e Legname » (voir la liste des auteurs).
• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Arte dei Maestri di Pietra e Legname » (voir la liste des auteurs).
• Fondazione di Firenze per l’Artigianato Artistico et les textes du I^er Salone dell’Arte e del Restauro, Fortezza da Basso, Florence (www.fondazioneartigianato.it [archive])

Bibliographie

• M. Giuliani, Le Arti Fiorentine, Firenze, Scramasax, 2006.
• Cattedrali del mistero, a cura di Angela Cerinati, Firenze, Giunti, 2005.
• D. Balestracci, Quando vedevano levarsi un fil di fumo, in Medioevo, III, n. 12 (35), dicembre 1999.

Articles connexes

• les Arts Majeurs des Arti di Firenze

https://fr.wikipedia.org/wiki/Arte_dei_Maestri_di_Pietra_e_Legname

http://www.giacobbegiusti.com

Giacobbe Giusti, DONATELLO – NANNI di BANCO: Porte de la Mandorle, Basilique Santa Croce, Florence

Giacobbe Giusti, DONATELLO – NANNI di BANCO: Porte de la Mandorle, Basilique Santa Croce, Florence

Nanni di Banco, Madonna della Cintola.

Giacobbe Giusti, DONATELLO – NANNI di BANCO: Porte de la Mandorle, Basilique Santa Croce, Florence

Giacobbe Giusti, DONATELLO – NANNI di BANCO: Porte de la Mandorle, Basilique Santa Croce, Florence

Artiste	Donatello – Nanni di Banco
Date	1391-1423
Matériau	marbre
Localisation	Basilique Santa Croce, Florence

 Florence

La porte de la Mandorle (en italien, Porta della Mandorla) est le porche latéral gauche du flanc nord de la cathédrale Santa Maria del Fiorefaisant face à la via dei Servi, à Florence. Ses sculptures ont été réalisées, de 1391 à 1423, par divers sculpteurs dont Donatello et Nanni di Banco.

Histoire

La porte doit son nom à la représentation de l’Assomption de Marie tendant la « Sainte Ceinture » pendant son élévation aux cieux et qui figure en bas-relief dans une mandorle (figure en amande) située dans le pinacle, entre l’archivolte et le gâble, au-dessus du tympan de la porte. Ce-dernier comporte également une mosaïqued’Annonciation faite à Marie datant de 1490 et réalisée par Davide et Domenico Ghirlandaio pour remplacer un précédent bas-relief de Jacopo della Quercia.

Les statues latérales des Prophètes furent remplacées par des copies en 1869 lors d’une première restauration.

La porte fut complètement restaurée entre 2002 et 2012.

Description

Les bords sculptés du tympan comportaient deux statues de prophètes (remplacées par des copies depuis le xix^e siècle) : une de la main de Donatello, l’autre de Nanni di Banco.

Plusieurs autres éléments originaux figurent au musée de l’Œuvre de la cathédrale.

Sur la bordure de l’archivolte et du pinacle, une frise de rinceaux et de feuilles d’acanthe encadre des figures d’anges et un Rédempteur en médaillon. On y voit également plusieurs scènes classiques d’inspiration mythologique : il Nudo di spalle, l’Apollo con la viola, l’Eracle con la leontè.

• 

  Nanni di Banco, Madonna della Cintola.

• 

  L’Héraclès.

• 

  Nus de dos.

• 

  Fragments de la porte au musée.

• 

  Jeune Prophète à gauche, attribué à Donatello, au musée.

• 

  Jeune Prophète à droite, attribué à Nanni di Banco, au musée.

Bibliographie

• (it) Bertelli, Briganti, Giuliano, Storia dell’arte italiana, Electa 1990, p.  156.

https://fr.wikipedia.org/wiki/Porte_de_la_Mandorle

http://www.giacobbegiusti.com

Giacobbe Giusti, Cloître des orangers, Florence

Giacobbe Giusti, Cloître des orangers, Florence

Chiostro degli Aranci

Giacobbe Giusti, Cloître des orangers, Florence

Vue du jardin depuis la galerie supérieure.

Le Chiostro degli Aranci (littéralement le Cloître des orangers) est le cloître de la Badia Fiorentinade Florence.

Histoire

Construit entre 1432 et 1438 par Bernardo Rossellino, le cloître s’élève sur deux niveaux.

Décoration

La galerie supérieure a été ornée d’un cycle de onze fresques sur la légende de saint Benoît, inspirées du récit de sa vie par Grégoire le Grand. Elles ont été peintes entre 1436 et 1439 par le peintre portugais João Gonçalves, mieux connu sous son nom italianisé, Giovanni Consalvo(avant qu’on ait identifié l’auteur des fresques, on parlait du Maestro del Chiostro degli Aranci (le maître du Cloître des orangers), à un moment où l’abbé qui dirigeait la Badia Fiorentina était lui-même originaire de Lisbonne¹. Une de ces fresques fut endommagée (peut-être par des partisans de Savonarole). En 1525, le jeune Agnolo Bronzino la remplaça donc par un Saint Benoît pénitent en extase (San Benedetto fra i rovi e in estasi) qui fut transposé sur toile au xix^e siècle².

Giacobbe Giusti, Cloître des orangers, Florence

• 
• 
• 
• 

Détails des décorations à fresque de la galerie supérieure du cloître.

Le cloître fut restauré en 1921 par l’architecte Giuseppe Castellucci.

Notes et références

1. ↑ sur l’abbé Frei Gomez voir l’article [archive]
2. ↑ Antonio Paolucci, Bronzino, 2002.

Giacobbe Giusti, Badia Fiorentina

 

Le campanile au centre (et la tour du Bargello à gauche)
Présentation
Culte	Catholicisme
Début de la construction	xe siècle
Style dominant	Architectures romane et gothique
Géographie
Pays	Italie
Région	Toscane
Ville	Florence

 

Giacobbe Giusti, Bronzino

Naissance	17 novembre 1503 Florence
Décès	23 novembre 1572 (à 69 ans) Florence
Nom dans la langue maternelle	Agnolo Bronzino
Nom de naissance	Agnolo di Cosimo
Activité	Peintre
Maître	Pontormo
Élève	Alessandro Allori
Lieu de travail	Florence
Mouvement	maniérisme
Mécène	Cosme Ier de Toscane
Influencé par	Michel-Ange, Pontormo
A influencé	Alessandro Allori, Ingres

Œuvres réputées

La Déploration sur le Christ mort, Portrait d’Eleanor of Toledo et son fils Giovanni de’ Medici

Angelo di Cosimo ou Agnolo di Cosimo dit le Bronzino ou Agnolo Bronzino (17 novembre1503, Florence – 23 novembre1572, Florence), est un peintremaniéristeitalien. Il est le fils adoptif et apprenti de Pontormo, et aussi l’élève de Girolamo Genga.

Il doit son surnom à son teint sombre ou à la couleur de ses cheveux. Il a partiellement inspiré à Hans Christian Andersen le conte Le Sanglier de bronze où l’un de ses tableaux est mis en scène¹.

Son disciple et fils adoptif, Alessandro Allori, était également surnommé « il Bronzino ».

https://fr.wikipedia.org/wiki/Chiostro_degli_Aranci

https://fr.wikipedia.org/wiki/Bronzino

http://www.giacobbegiusti.com

Giacobbe Giusti, FRA ANGELICO: Transfiguration of Christ, Florence

Giacobbe Giusti, FRA ANGELICO: Transfiguration of Christ, Florence

 

Giacobbe Giusti, FRA ANGELICO: Transfiguration of Christ, Florence

Autore	Beato Angelico
Data	1438–1440
Tecnica	affresco
Dimensioni	189×159 cm
Ubicazione	Museo nazionale di San Marco, Firenze

 Museo Nazionale di San Marco

.

Giacobbe Giusti, Museo nazionale di San Marco
Established	1869
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.

San Marco becomes a museum

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