Giacobbe Giusti, PIETRO PERUGINO: Combat of Love, Paris, Musee du Louvre

Giacobbe Giusti, PIETRO PERUGINO: Combat of Love, Paris, Musee du Louvre

Le Combat de l’Amour et de la Chasteté

Giacobbe Giusti, PIETRO PERUGINO: Combat of Love, Paris, Musee du Louvre

Le Combat de l’Amour et de la Chasteté

Artiste	Le Pérugin
Date	1503
Commanditaire	Isabelle d’Este
Type	Tempera sur toile
Lieu de création	Mantoue
Dimensions (H × L)	160 × 191 cm
Mouvement	Renaissance italienne
Localisation	Musée du Louvre, Paris (France)
Numéro d’inventaire	INV 722

Le Combat de l’Amour et de la Chasteté (en italien : Lotta tra Amore e Castità) est une peinture à thèmes allégoriques du Pérugin, datant de 1503, conservée au Musée du Louvre à Paris.

Histoire

Le tableau est le troisième élément commandé le 19 janvier 1503 par Isabelle d’Este comme complément aux deux toiles allégoriques d’Andrea Mantegna, Le Parnasse(1497) et Minerve chassant les Vices du jardin de la Vertu (1499–1502), pour décorer son studiolo.

Le thème de la peinture a probablement été fourni par Paride da Ceresara le poète et conseiller d’Isabelle.

Il reste une volumineuse documentation concernant le thème grâce à la correspondance entre Isabelle d’Este et Le Pérugin¹ actif à l’époque dans son atelier de Florence.

« Le thème poétique que je désire vous voir peindre est le combat de l’Amour et de la Chasteté, Pallas luttant contre Vénus et l’Amour. Il faut que Pallas semble avoir presque vaincu l’Amour […] »

— Isabelle d’Este – Correspondance avec le Pérugin.

Le thème littéraire spécifié dans sa globalité faisait partie intégrante du contrat notarial et comprenait un dessin qui devait servir de base de travail au peintre qui pouvait faire l’impasse sur quelques épisodes secondaires du sujet très détaillé mais ne devait sous aucun prétexte ajouter ou modifier des figures à son initiative : quand Le Pérugin peignit Vénus nue plutôt qu’habillée, la marquise protesta vigoureusement par l’intermédiaire de ses consultants chargés de visiter régulièrement l’atelier de l’artiste.

Lors de la livraison du tableau advenue en 1505, Isabelle ne fut pas pleinement satisfaite : elle dit que le tableau lui aurait plu davantage s’il était réalisé en peinture à l’huile alors qu’il l’était en tempera à sa demande pour être en harmonie avec le style de Mantegna. Elle ne commandera plus aucun tableau à l’artiste et déclina même en 1524 une offre de son épouse Chiara Fancelli, une peinture Mars et Venus surpris par Vulcain de son défunt mari².
Le tableau et tous ceux du studiolo, ont été offerts par Charles I^er de Mantoue au cardinal de Richelieu. Transféré à Paris il rejoignit le patrimoine royal pour terminer finalement au Musée du Louvre.

Thème

Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?

L’œuvre reprend les représentations allégoriques de l’Amour et de la Chasteté placé dans un cadre de représentations mythologiques, symboliques des thèmes choisis.

Description

La lutte entre les personnages principaux se déroule dans un décor constitué d’un doux paysage typique du Pérugin, constitué de basses collines pointillées d’arbrisseaux qui se diluent dans une perspective atmosphérique vers l’horizon d’un ciel clair.

Parmi les nombreux personnages mythologiques se distinguent : Minerve, Diane, Venus, Antéros, des nymphes, faunes, satires et amours.

En arrière-plan sont représentés divers épisodes mythologiques liés à la victoire de la chasteté sur l’amour charnel : Apollon et Daphné, Jupiter et Europe, Mercure et Glaucera, Polyphème et Galatée, Pluton et Proserpine et Neptuneavec la nymphe qui se mue en corneille.

Analyse

La composition résulte un peu confuse, avec une certaine carence dans le dessin comparée aux réalisations de Mantegna. Le Pérugin avait été probablement gêné lors de la peinture de la composition par son contenu intimiste plutôt que par une œuvre de grand format dont il était coutumier.

Notes et références

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Lotta tra Amore e Castità » (voir la liste des auteurs).

1. ↑ La correspondance est constituée de 53 lettres
2. ↑ (en) Stephen John Campbell, The cabinet of eros: Renaissance mythological painting and the studiolo of Isabelle d’Este, p. 175, 2004[1] [archive]

Le Combat de l’Amour et de la Chasteté sur Commons

Articles connexes

• Liste d’œuvres du Pérugin
• Studiolo d’Isabelle d’Este

Liens externes

• Notice n^o 27204 [archive], base Atlas, musée du Louvre
• Noticen^o 000PE026941 [archive], base Joconde, ministère français de la Culture

Bibliographie

document utilisé comme source pour la rédaction de cet article.

• Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 (ISBN 888117099X)
• Pierluigi De Vecchi, Elda Cerchiari, I tempi dell’arte, volume 2, Bompiani, Milan, 1999. (ISBN 88-451-7212-0)
• Stefano Zuffi, Il Quattrocento, Electa, Milan, 2004.(ISBN 8837023154)

https://fr.wikipedia.org/wiki/Le_Combat_de_l%27Amour_et_de_la_Chastet%C3%A9

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Santissima Annunziata, Florence

Giacobbe Giusti, Santissima Annunziata, Florence

• Maestro della Maddalena, Maddalena penitente e otto storie della sua vita, oggi nella Galleria dell’Accademia di Firenze

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Gherardo Starnina, Madonna dell’Umiltà, oggi negli Uffizi di Firenze

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Beato Angelico, Armadio degli Argenti, oggi nel Museo di San Marco di Firenze

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.

• Andrea del Castagno, Trinità e santi, oggi al Cenacolo di Sant’Apollonia di Firenze

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Piero del Pollaiolo, Martirio di san Sebastiano, oggi nella National Gallery di Londra

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Filippino Lippi e Perugino, Deposizione, oggi alla Galleria dell’Accademia

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Perugino, Nascita della Vergine, oggi a Polesden Lacey (Guildford, Surrey)

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Perugino, Miracolo della neve, oggi alla Walker Art Gallery di Liverpool

 

Giacobbe Giusti, Santissima Annunziata, Florence

• Piero di Cosimo, Incarnazione di Cristo, oggi agli Uffizi

 

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

Giacobbe Giusti, Santissima Annunziata, Florence

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.

History

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.

Veneration

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.

Interior^[4]

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]

Cloisters

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]}.

• Accademia delle Arti del Disegno

References

1. Jump up^ Museums in Florence, entry on Annunziata.
2. Jump up^ Franco Borsi. Leon Battista Alberti. (New York: Harper & Row, 1977)
3. Jump up^ Rafael Sabatini, The Life of Cesare Borgia, Book 2, Chapter 5. Quote: « We see the spur of this special devotion of his in the votive offering of a silver effigy to her famous altar of the Santissima Nunziata in Florence, which he had promised in the event of Rome being freed from Charles VIII. »
4. Jump up^ Eve Borsook, The Companion Guide to Florence, 5th edition, Harper Collins 1991. page 246.
5. Jump up^ Tacca is also buried in the church.
6. Jump up^ Profile of Giovanna Tacconi Messini in the Dictionary of Pastellists Before 1800.
7. Jump up^ E. Borsook, page 246.
8. Jump up^ Benizzi was not canonized until 1671, the first Servite to be so.
9. Jump up^ E Borsook. page 247.

•  Media related to Santissima Annunziata (Firenze) at Wikimedia Commons

Coordinates: 43.777361°N 11.260965°E

• « Santissima Annunziata, Church and cloisters ». The Museums of Florence.

https://en.wikipedia.org/wiki/Santissima_Annunziata,_Florence

http://www.giacobbegiusti.com

Giacobbe Giusti, PERUGINO: San Pietro Polyptych

Giacobbe Giusti, PERUGINO: San Pietro Polyptych

 

Giacobbe Giusti, PERUGINO: San Pietro Polyptych

 

Giacobbe Giusti, PERUGINO: San Pietro Polyptych

Giacobbe Giusti, PERUGINO: San Pietro Polyptych
Artist	Perugino
Year	c. 1496 – 1500
Medium	Oil on panel
Location	Various

The San Pietro Polyptych (Italian: Polittico di San Pietro) is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panel are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.

Description

The polyptych had been originally commissioned for the Abbey of San Pietro at Perugia, the contract having been signed by Perugino on 8 March 1495. It included a large altarpiece and several panels, within a wooden frame by Domenico da Verona. The altarpiece, depicting the Ascension of Christ, was to have a lunette with the God in Glory between Angels above it, while the predella had not been exactly defined. The payment were 500 golden ducats, and no more than two years and a half were given to complete the work.

The panels were painted between January 1496 and the end of 1499, and the work was solemnly inaugurated on 13 January 1500. Contemporary art historian Giorgio Vasari considered the predella Perugino’s best work in his home city.

In 1591 the church’s choir was radically restored, and the altar had to be dismantled. After the religious suppressions of 1797, the work was acquired by the French, and was divided into several French museums, although several panels remained in Perugia or went to Papal collections in Rome.

Description

The cymatium was separated by the main panel by a frame, in the same way of the Vallombrosa Altarpiece. At the sides were two columns which supported the frame arch and which, at the bases, were decorated by three small panels with Saints, sharing the same background.

The polyptych included the following panels:

• Ascension (280 × 216 cm), now at the Museum of Fine Arts of Lyon. This work was almost entirely copied by Perugino and his workshop for the later Sansepolcro Altarpiece. The Vallombrosa Altarpiece also used a similar composition, in turn inspired by the now lost Assumption in the Sistine Chapel.
• God in Glory lunette (114 × 230 cm), now at the Museum of Fine Arts of Lyon. It represents God in a cloud in the sky, surrounded by cherubims and seraphims, and two symmetrical angels at the side.
• Tondoes of Jeremy and Isaiah (both 127 cm in diameter), now at the Musée des beaux-arts of Nantes
• Adoration of the Magi (predella panel, 32 × 59 cm). Now at the Musée des Beaux-Arts of Rouen.
• Baptism of Christ (predella panel, 32 × 59 cm). Now at the Musée des Beaux-Arts of Rouen.
• Resurrection (predella panel, 32 × 59 cm). Now at the Musée des Beaux-Arts of Rouen.
• St. Herculanus and St. Constantius (predella panels, 32 × 38 cm). Now at the Galleria Nazionale dell’Umbria at Perugia.
• St. Maurus, St. Peter ad Vincula, St. Scholastica, St. Benedict, St. Flavia and St. Placidus (panels at the columns base, various sizes). Now at the Galleria Nazionale dell’Umbria at Perugia and the Pinacoteca Vaticana in Rome.

Polittico di San Pietro (Perugino).

• Musée des Beaux-Arts de Lyon
• Garibaldi, Vittoria (2007). « Perugino ». Pittori del Rinascimento. Florence: Scala.

    Giacobbe Giusti, PERUGINO: Polyptyque de San Pietro

Reconstitution

Artiste	Le Pérugin
Date	1496 – 1500
Type	huile sur bois
Dimensions (H × L)	394 × 230 cm
Mouvement	Renaissance italienne
Localisation	Musée des Beaux-Arts, Lyon(France)

    Giacobbe Giusti, PERUGINO: Polyptyque de San Pietro

Panneau central et sa cimaise au mba de Lyon.

Le Polyptyque de San Pietro est un ensemble de peintures religieuses, du Pérugin, datant de 1496 – 1500 environ. Du polyptyque dispersé, seule la lunette avec le panneau central de L’Ascension du Christ en présence de la Vierge et des apôtres sont rassemblés au Musée des beaux-arts de Lyon, tandis que le reste des quinze éléments est éparpillé dans divers musées européens.

 

Histoire

Le polyptyque de San Pietro était destinée initialement à la Basilica di San Pietro à Pérouse.

Le contrat a été signé entre Le Pérugin et l’abbé Lattanzio di Giuliano da Firenze le 8 mars 1495pour la somme 500 ducats d’or et un délai d’exécution de deux ans et demi maximum. L’iconographie et les matériaux à utiliser sont précisément décrits et l’ensemble, comprenant à l’origine quinze éléments, fut réalisé entre janvier 1496 et la fin de 1499, avec une inauguration le 13 janvier 1500.

En 1591, à la suite de la restructuration du chœur de la basilique, la corniche de soutien étant enlevée, les divers panneaux furent séparés et répartis dans diverses pièces de l’église et de la sacristie.

En 1797, l’œuvre fut réquisitionnée par les Français à la suite du traité de Tolentino, et la cimaise et le panneau central finirent au Musée des Beaux-Arts de Lyon.

Thème principal

Ascension du Christ surmonté de Dieu le Père bénissant parmi les anges réunissant ainsi les protagonistes nécessaires à la scène de la montée du Christ aux cieux.

Description

La cimaise était séparée du panneau principal par une corniche identique à celle du retable de Vallombrosa. Sur les côtés deux colonnes soutenaient le couronnement à arc de la corniche sur les bases de laquelle, en forme de parallélépipède, se trouvaient trois panneaux représentant des saints. Ces petits panneaux étaient disposées sur un même arrière-plan (« sfondo »), une sorte de parapet en marbre sur fond bleu.

Les deux saints protecteurs de la ville de Pérouse, Herculanus et Constantius, étaient représentés sur les côtés des trois tablettes de la prédelle avec les Scènes de Vie du Christ.

Composition

Panneaux principaux et tondi

• L’Ascension du Christ en présence de la Vierge et des apôtres, 280 × 216 cm, Musée des beaux-arts, Lyon
• Dieu le Père bénissant parmi les anges, cimaise, 114 × 230 cm, Musée des beaux-arts, Lyon
• Tondo du prophète David ou Jérémie, diamètre 127 cm, Musée des beaux-arts, Nantes,
• Tondo du prophète Isaïe, diamètre 127 cm, Musée des Beaux-Arts, Nantes.

Panneaux de la prédelle 

• Adoration des mages, 32 × 59 cm, Musée des beaux-arts, Rouen,
• Baptême du Christ, 32 × 59 cm, Musée des beaux-arts, Rouen,
• Résurrection du Christ, 32 × 59 cm, Musée des beaux-arts, Rouen,
• Saint Herculanus, 32 × 38 cm, Galerie nationale de l’Ombrie, Pérouse,
• Saint Constantius , 32 × 38 cm, Galerie nationale de l’Ombrie, Pérouse,

Sur la base des colonnes 

• Saint Maurus, 32 × 38 cm, Galerie nationale de l’Ombrie, Pérouse,
• San Pietro Vincioli, 33 × 38 cm, Galerie nationale de l’Ombrie, Pérouse,
• Sainte Scolastique, 33 × 38 cm, Galerie nationale de l’Ombrie, Pérouse,
• Saint Benoît, 33,5 × 26 cm, Pinacothèque Vaticane, Rome,
• Sainte Flavie, 35 × 26 cm, Pinacothèque Vaticane, Rome,
• Saint Placide, 33,5 × 30 cm, Pinacothèque Vaticane, Rome,

Analyse

Le polyptyque réalisé immédiatement avant les fresques de la Sala delle Udienze del Collegio del Cambio est le témoignage de la maturité atteinte dans la plénitude des formes par Le Pérugin dont la rondeur du modelé annonce déjà par certains aspects l’art de Raphaël.

Sources

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Polittico di San Pietro » (voir la liste des auteurs).

Bibliographie

• Vittoria Garibaldi, Perugino, in Pittori del Rinascimento, Scala, Florence, 2004 (ISBN 888117099X)

Articles connexes

• Liste d’œuvres du Pérugin
• Liste de polyptyques italiens dispersés

 

Il polittico era composto da:

• Ascensione, 280×216 cm, Lione, Musée des Beaux-Arts
• Eterno benedicente con cherubini e angeli, dalla cimasa, 114×230 cm, Lione, Musée des Beaux-Arts
• Tondo di Geremia, diametro 127 cm, Nantes, Musée des Beaux-Arts
• Tondo di Isaia, diametro 127 cm, Nantes, Musée des Beaux-Arts
• Adorazione dei Magi, dalla predella, 32×59 cm, Rouen, Musée des Beaux-Arts
• Battesimo di Cristo, dalla predella, 32×59 cm, Rouen, Musée des Beaux-Arts
• Resurrezione, dalla predella, 32×59 cm, Rouen, Musée des Beaux-Arts
• Sant’Ercolano, dalla predella, Perugia, 32×38 cm, Galleria nazionale dell’Umbria
• San Costanzo, dalla predella, Perugia, 32×38 cm, Galleria nazionale dell’Umbria
• San Mauro, sulle basi delle colonne, 32×38 cm, Perugia, Galleria nazionale dell’Umbria
• San Pietro Vincioli, sulle basi delle colonne, 33×28,5 cm, Perugia, Galleria nazionale dell’Umbria
• Santa Scolastica, sulle basi delle colonne, 32×28 cm, Perugia, Galleria nazionale dell’Umbria
• San Benedetto, sulle basi delle colonne, 33,5×26 cm, Roma, Pinacoteca Vaticana
• Santa Giustina di Padova, sulle basi delle colonne, 35×26 cm, Roma, Pinacoteca Vaticana
• San Placido, sulle basi delle colonne, 33,5×30 cm, Roma, Pinacoteca Vaticana

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

http://www.giacobbegiusti.com

Giacobbe Giusti, GIOTTO: The Marriage of the Virgin

Giacobbe Giusti, GIOTTO: The Marriage of the Virgin

The Marriage of the Virgin by Giotto (Scrovegni Chapel)

 

Giacobbe Giusti, GIOTTO: The Marriage of the Virgin

Giotto, Scrovegni Chapel, The Rods Brought to the Temple

Giacobbe Giusti, GIOTTO: The Marriage of the Virgin

Giotto, Scrovegni Chapel, Wedding Procession of Mary

The Marriage of the Virgin by Giotto(Scrovegni Chapel)

The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Maryand Saint Joseph. The marriage is not mentioned in the canonical Gospels but is covered in several apocryphal sources, and later redactions, notably the 14th century compilation the Golden Legend. Unlike many other scenes in Life of the Virgin cycles (like the Nativity of Mary and Presentation of Mary), it is not a feast in the church calendar.

In the Eastern Orthodox tradition, essentially the same scene, with very similar iconography, is considered to represent the earlier scene of the « Entrusting of Mary to Joseph », with Joseph being made Mary’s guardian by the temple authorities.

In art the subject could be covered in several different scenes, and the betrothal of Mary, with Joseph’s blossoming rod, was often shown, despite its apocryphal origin. Wedding processions are also shown, especially in the Early Medieval period.

The Betrothal legend in the Golden Legend

Giotto, Scrovegni Chapel, Wedding Procession of Mary

Giotto, Scrovegni Chapel, The Rods Brought to the Temple

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The Golden Legend, which derives its account from the much older Gospel of Pseudo-Matthew, recounts how, when Mary was 14 and living in the Temple, the High Priest gathered all male descendents of David of marriageable age including Saint Joseph (though he was much older than the rest). The High Priest ordered them to each bring a rod; he that owned the rod which would bear flowers was divinely ordained to become Mary’s husband. After the Holy Spirit descended as a dove and caused Joseph’s rod to blossom, he and Mary were wed according to Jewish custom. The account, quoted in its entirety, runs thus:

“

When [Mary] had come to her fourteenth year, the high priest announced to all that the virgins who were reared in the Temple, and who had reached the age of their womanhood, should return to their own, and be given in lawful marriage. The rest obeyed the command, and Mary alone answered that this she could not do, both because her parents had dedicated her to the service of the Lord, and because she herself had vowed her virginity to God…. When the high priest went in to take counsel with God, a voice came forth from the oratory for all to hear, and it said that of all the marriageable men of the house of David who had not yet taken a wife, each should bring a branch and lay it upon the altar, that one of the branches would burst into flower and upon it the Holy Ghost would come to rest in the form of a dove, according to the prophecy of Isaias, and that he to whom this branch belonged would be the one to whom the virgin should be espoused. Joseph was among the men who came…. [and he] placed a branch upon the altar, and straightaway it burst into bloom, and a dove came from Heaven and perched at its summit; whereby it was manifest to all that the Virgin was to become the spouse of Joseph.

”

In fact, neither the Golden Legend nor any of the early apocryphal accounts describe the actual ceremony, and they differ as to its timing, other than that it preceded the « Journey to Bethlehem ». It is unclear whether this story was set before or after the Annunciation which, in the New Testament account, occurred after their betrothal but before their marriage. In the Gospel of James it comes after the Annunciation, but in the Gospel of Pseudo-Matthew, the primary source in the West, it comes before it.^[1]

Artists

Giotto, Scrovegni Chapel, Wedding Procession of Mary

Giotto, Scrovegni Chapel, Wedding Procession of Mary

The scene, or scenes, was a common component in larger cycles of the Life of the Virgin and thus very frequently found, especially in the Middle Ages; it is not found in the typical cycle in a Book of hourshowever. The marriage scene has been painted by, among others, Giotto, Perugino, Raphael, Ventura Salimbeni (1613, his last painting), Domenico Ghirlandaio (1485-90, at the Tornabuoni Chapel), Bernardo Daddi(now in the Royal Collection), Pieter van Lint(1640, Antwerp Cathedral), Tiburzio Baldini, Alfonso Rivarola, Francesco Caccianiga, Niccolò Berrettoni, Giovanni Jacopo Caraglio, Filippo Bellini, Veronese (in San Polochurch, Venice), Giulio Cesare Milani, Franciabigio (in the Santissima Annunziata, Florence), and Giacomo di Castro.^[2]

Marriage of the Virgin.

• Aquinas, Thomas. « Summa Theologica III q29. Of the espousals of the Mother of God »
• Sansonvino, Andrea. The Wedding, marble sculpture, Loretto, Italy, (1526)

References

1. Jump up^ The Golden Legend of Jacobus de Voragine, G. Ryan and H. Rippergar (editors), New York and London, 1941, pages 204-205
2. Jump up^ Iconology of Raphael’s Marriage of the Virgin: A Study Archived 2009-01-06 at the Wayback Machine.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Fra BARTOLOMEO: Madonna col Bambino e san Giovannino

Giacobbe Giusti, Fra BARTOLOMEO: Madonna col Bambino e san Giovannino

Giacobbe Giusti, Fra BARTOLOMEO: Madonna col Bambino e san Giovannino

Autore	Fra Bartolomeo
Data	1497 circa
Tecnica	olio su tavola
Dimensioni	58,4×43,8 cm
Ubicazione	Metropolitan Museum, New York

La Madonna col Bambino e san Giovannino è un dipinto a oliosu tavola (58,4×43,8 cm) di Fra Bartolomeo, databile al 1497 circa e conservato nel Metropolitan Museum of Art di New York.

L’opera mostra Maria seduta su una panca in pietra nell’angolo di una stanza, vicina a due finestre che permettono di osservare un ampio paesaggio all’esterno. Tiene in braccio un paffuto Bambino che, con un movimento a serpentina, si gira a benedire il piccolo san Giovannino che appare nell’angolo in basso a destra.

La composizione si ispira alla Madonna Benois di Leonardo da Vinci, mentre il paesaggio, alla fiamminga, è un esercizio di stile: la metà destra copia infatti lo scorcio della Madonna in trono tra due angeli di Hans Memling.

I colori invece si ispirano alla brillantezza di Perugino e di lì a poco, nelle opere mature, verranno sviluppati in campiture più ampie e intense, che tanto influenzarono Raffaello.

• 

  Il paesaggio di Memling

• Scheda nel sito ufficiale del museo, su metmuseum.org.

https://it.wikipedia.org/wiki/Madonna_col_Bambino_e_san_Giovannino_(Fra_Bartolomeo_New_York)

http://www.giacobbegiusti.com