Giacobbe Giusti, LORENZO MONACO: Annonciation Bartolini Salimbeni
Giacobbe Giusti, LORENZO MONACO: Annonciation Bartolini Salimbeni
Giacobbe Giusti, LORENZO MONACO: Annonciation Bartolini Salimbeni
Giacobbe Giusti, LORENZO MONACO: Annonciation Bartolini Salimbeni
| Artiste | |
|---|---|
| Date |
1420-1424
|
| Type |
Retable
|
| Technique |
tempera et or sur bois
|
| Localisation |
Chapelle Bartolini Salimbeni de la Basilique Santa Trinita,, Florence (Italie)
|
L’Annonciation Bartolini Salimbeni est un retable de Lorenzo Monacoexposé 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.
Histoire
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: Annonciation Bartolini Salimbeni
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: Annonciation Bartolini Salimbeni
(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 (ISBN 88-8200-017-6).
| Bartolini Salimbeni Annunciation
Giacobbe Giusti, LORENZO MONACO: Annonciation Bartolini Salimbeni |
|
|---|---|
 |
|
| 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 Dure showed 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 cartouche saying 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: Annonciation Bartolini Salimbeni
References
- Jump up^ Laskowski, Birgit (2007). Piero della Francesca. Milan: Gribaudo. p. 109. ISBN 978-3-8331-3757-0.
| Annunciazione Bartolini Salimbeni. |
Sources
- Marcello Bellini (1998). Cappelle del Rinascimento a Firenze. Florence: Editrice Giusti.
https://en.wikipedia.org/wiki/Bartolini_Salimbeni_Annunciation
Giacobbe Giusti 