Giacobbe Giusti, Lorenzo de’ Medici

Giacobbe Giusti, Lorenzo de’ Medici

 

Giacobbe Giusti, Lorenzo de’ Medici

 

 

 

Giacobbe Giusti, Lorenzo de’ Medici

 

Giacobbe Giusti, Lorenzo de’ Medici

 

Giacobbe Giusti, Lorenzo de’ Medici

 

Giacobbe Giusti, Lorenzo de’ Medici

 

Giacobbe Giusti, Lorenzo de’ Medici
Portrait by Agnolo Bronzino at the Uffizi, Florence
Lord of Florence
Reign	2 December 1469 – 8 April 1492
Predecessor	Piero the Gouty
Successor	Piero the Unfortunate
Full name Lorenzo di Piero de’ Medici
Born	1 January 1449 Florence, Republic of Florence
Died	8 April 1492 (aged 43) Careggi, Republic of Florence
Noble family	Medici
Spouse(s)	Clarice Orsini
Issue Lucrezia de’ Medici Piero de’ Medici Maddalena de’ Medici Contessina Beatrice de’ Medici Giovanni de’ Medici, Pope Leo X Luisa de’ Medici Contessina de’ Medici Giuliano de’ Medici, Duke of Nemours
Father	Piero the Gouty
Mother	Lucrezia Tornabuoni
Signature

Lorenzo de’ Medici(Italian pronunciation: [loˈrɛntso de ˈmɛːditʃi], 1 January 1449 – 8 April 1492)^[1] was an Italian statesman, de facto ruler of the Florentine Republicand the most powerful and enthusiastic patron of Renaissance culture in Italy.^[2][3][4] Also known as Lorenzo the Magnificent(Lorenzo il Magnifico[loˈrɛntso il maɲˈɲiːfiko]) by contemporary Florentines, he was a magnate, diplomat, politician and patron of scholars, artists and poets. As a patron, he is best known for his sponsorship of artists such as Botticelli and Michelangelo. He held the balance of power within the Italic League, an alliance of states that stabilized political conditions on the Italian peninsula for decades, and his life coincided with the mature phase of the Italian Renaissanceand the Golden Age of Florence.^[5] The Peace of Lodi of 1454 that he helped maintain among the various Italian states collapsed with his death. He is buried in the Medici Chapel in Florence.

 

Youth

Lorenzo’s grandfather, Cosimo de’ Medici, was the first member of the Medici family to lead the Republic of Florence and run the Medici Banksimultaneously. As one of the wealthiest men in Europe, Cosimo spent a very large portion of his fortune on government and philanthropy, for example as a patron of the arts and financier of public works.^[6]Lorenzo’s father, Piero di Cosimo de’ Medici, was equally at the centre of Florentine civic life, chiefly as an art patron and collector, while Lorenzo’s uncle, Giovanni di Cosimo de’ Medici, took care of the family’s business interests. Lorenzo’s mother, Lucrezia Tornabuoni, was a writer of sonnets and a friend to poets and philosophers of the Medici Academy.^[7] She became her son’s advisor after the deaths of his father and uncle.^[6]

Lorenzo, considered the most promising of the five children of Piero and Lucrezia, was tutored by a diplomat and bishop, Gentile de’ Becchi, and the humanist philosopher Marsilio Ficino,^[8] and he was trained in Greek by John Argyropoulos.^[9] With his brother Giuliano, he participated in jousting, hawking, hunting, and horse breeding for the Palio, a horse race in Siena. In 1469, aged 19, he won first prize in a jousting tournament sponsored by the Medici. The joust was the subject of a poem written by Luigi Pulci.^[10] Niccolò Machiavelli also wrote of the occasion, perhaps sarcastically, that he won « not by way of favour, but by his own valour and skill in arms ».^[11] He carried a banner painted by Verrocchio, and his horse was named Morello di Vento.^[12][13]

Piero sent Lorenzo on many important diplomatic missions when he was still a youth, including trips to Rome to meet the pope and other important religious and political figures.^[14]

Lorenzo was described as rather plain of appearance and of average height, having a broad frame and short legs, dark hair and eyes, a squashed nose, short-sighted eyes and a harsh voice. Giuliano, on the other hand, was regarded as handsome and a « golden boy », and was used as a model by Botticelli in his painting of Mars and Venus.^[15]Even Lorenzo’s close friend Niccolo Valori described him as homely, saying, « nature had been a step mother to him in regards to his personal appearance, although she had acted as a loving mother in all things concocted with the mind. His complexion was dark, and although his face was not handsome it was so full of dignity as to compel respect. »^[16]

Paintings by Botticelli that use the Medici family as models

Giacobbe Giusti, Lorenzo de’ Medici

Madonna of the Magnificat by Botticelli shows Lucrezia de’ Medici as the Madonnasurrounded by her children, with Lorenzo holding a pot of ink.

Giacobbe Giusti, Lorenzo de’ Medici

The Adoration of the Magi by Botticelli includes several generations of the Medici family and their retainers. Sixteen-year-old Lorenzo is to the left, with his horse, prior to his departure on a diplomatic mission to Milan.

Politics

Bust by Verrocchio, 15th or 16th century terra-cotta bust, National Gallery of Art, Washington

Lorenzo, groomed for power, assumed a leading role in the state upon the death of his father in 1469, when he was twenty. Already drained by his grandfather’s building projects and constantly stressed by mismanagement, wars, and political expenses, the assets of the Medici Bank contracted seriously during the course of Lorenzo’s lifetime.^[17]

Lorenzo, like his grandfather, father, and son, ruled Florence indirectly through surrogates in the city councils by means of threats, payoffs and strategic marriages.^[18]He effectively reigned as a despot, and ordinary citizens had little political freedom.^[19] Rival Florentine families inevitably harboured resentments over the Medicis’ dominance, and enemies of the Medici remained a factor in Florentine life long after Lorenzo’s passing.^[18]The most notable of the rival families was the Pazzi, who nearly brought Lorenzo’s reign to an end.^[20]

On Easter Sunday, 26 April 1478, in an incident known as the Pazzi conspiracy, a group headed by Girolamo Riario, Francesco de’ Pazzi, and Francesco Salviati (the archbishop of Pisa), attacked Lorenzo and his brother and co-ruler Giuliano in the Cathedral of Santa Maria del Fiore in an attempt to seize control of the Florentine government.^[21]Shockingly, Salviati acted with the blessing of his patron Pope Sixtus IV. Giuliano was killed, brutally stabbed to death, but Lorenzo escaped with only a minor wound to the shoulder, having been defended by the poet Poliziano.^[22] News of the conspiracy spread throughout Florence and was brutally put down by the populace through such measures as the lynching of the archbishop of Pisa and members of the Pazzi family who were involved in the conspiracy.^[20]

In the aftermath of the Pazzi conspiracy and the punishment of supporters of Pope Sixtus IV, the Medici and Florence earned the wrath of the Holy See, which seized all the Medici assets that Sixtus could find, excommunicated Lorenzo and the entire government of Florence, and ultimately put the entire Florentine city-state under interdict.^[23] When these moves had little effect, Sixtus formed a military alliance with King Ferdinand I of Naples, whose son, Alfonso, Duke of Calabria, led an invasion of the Florentine Republic, still ruled by Lorenzo.^[24]

Lorenzo rallied the citizens. However, with little support from the traditional Medici allies in Bologna and Milan,^[20] the war dragged on, and only diplomacy by Lorenzo, who personally traveled to Naples and became a prisoner of the king for several months, ultimately resolved the crisis. That success enabled Lorenzo to secure constitutional changes within the government of the Florentine Republic that further enhanced his own power.^[18]

Thereafter, Lorenzo, like his grandfather Cosimo de’ Medici, pursued a policy of maintaining peace, balancing power between the northern Italian states and keeping major European states such as France and the Holy Roman Empire out of Italy. Lorenzo maintained good relations with Sultan Mehmed II of the Ottoman Empire, as the Florentine maritime trade with the Ottomans was a major source of wealth for the Medici.^[25]

Efforts to acquire revenue from the mining of alum in Tuscany unfortunately marred Lorenzo’s reputation. Alum had been discovered by local citizens of Volterra, who turned to Florence to get backing to exploit this important natural resource. A key commodity in the glass-making, tanning and textile industries, alum was available from only a few sources under the control of the Ottomans and monopolized by Genoa before the discovery of alum sources in Italy at Tolfa. First the Roman Curia in 1462, and then Lorenzo and the Medici Bank less than a year later, got involved in backing the mining operation, with the pope taking a two-ducat commission for each cantar quintal of alum retrieved and ensuring a monopoly against the Turkish-derived goods by prohibiting trade in alum with infidels.^[26] When they realized the value of the alum mine, the people of Volterra wanted its revenues for their municipal funds rather than having it enter the pockets of their Florentine backers. Thus began an insurrection and secession from Florence, which involved putting to death several opposing citizens. Lorenzo sent mercenaries to suppress the revolt by force, and the mercenaries ultimately sacked the city. Lorenzo hurried to Volterra to make amends, but the incident would remain a dark stain on his record.^[27][28]

Patronage

The Angel appearing to Zacharias in the Tornabuoni Chapel in Florence contains portraits of members of the Medici Academy: Marsilio Ficino, Cristoforo Landino, Agnolo Poliziano and either Demetrios Chalkokondyles or Gentile de’ Becchi.

Lorenzo’s court included artists such as Piero and Antonio del Pollaiuolo, Andrea del Verrocchio, Leonardo da Vinci, Sandro Botticelli, Domenico Ghirlandaio and Michelangelo Buonarroti, who were instrumental in achieving the 15th-century Renaissance. Although Lorenzo did not commission many works himself, he helped these artists to secure commissions from other patrons. Michelangelo lived with Lorenzo and his family for three years, dining at the family table and participating in discussions led by Marsilio Ficino.

Lorenzo himself was an artist and wrote poetry in his native Tuscan. In his poetry, he celebrates life while acknowledging with melancholy the fragility and instability of the human condition, particularly in his later works. Love, feasts and light dominate his verse.^[29]

Cosimo had started the collection of books that became the Medici Library (also called the Laurentian Library), and Lorenzo expanded it. Lorenzo’s agents retrieved from the East large numbers of classical works, and he employed a large workshop to copy his books and disseminate their content across Europe. He supported the development of humanism through his circle of scholarly friends, including the philosophers Marsilio Ficino, Poliziano and Giovanni Pico della Mirandola.^[30] They studied Greek philosophers and attempted to merge the ideas of Plato with Christianity.

Apart from a personal interest, Lorenzo also used the Florentine milieuof fine arts for his diplomatic efforts. An example includes the commission of Ghirlandaio, Botticelli, Pietro Perugino and Cosimo Rosselli from Rome to paint murals in the Sistine Chapel, a move that has been interpreted as sealing the alliance between Lorenzo and Pope Sixtus IV.^[30]

In 1471, Lorenzo calculated that his family had spent some 663,000 florins (about US$460 million today) on charity, buildings and taxes since 1434. He wrote,

« I do not regret this for though many would consider it better to have a part of that sum in their purse, I consider it to have been a great honour to our state, and I think the money was well-expended and I am well-pleased. »^[31]

Marriage and children

Lorenzo by Pieter Paul Rubens (1612-1616), Museum Plantin-Moretus, Antwerp

Lorenzo married Clarice Orsini by proxy on 7 February 1469. The marriage in person took place in Florence on 4 June 1469. She was a daughter of Giacomo Orsini, Lord of Monterotondo and Bracciano by his wife and cousin Maddalena Orsini. Clarice and Lorenzo had 10 children, all except Contessina Antonia born in Florence:

• Lucrezia Maria Romola de’ Medici(1470–1553), who married Jacopo Salviati on 10 September 1486 and had 10 children of her own, including Cardinal Giovanni Salviati, Cardinal Bernardo Salviati, Maria Salviati (mother of Cosimo I de’ Medici, Grand Duke of Tuscany), and Francesca Salviati (mother of Pope Leo XI)
• Twins who died after birth (March 1471)
• Piero di Lorenzo de’ Medici (1472–1503), called « the Unfortunate », was ruler of Florence after his father’s death
• Maria Maddalena Romola de’ Medici (1473–1528) married Franceschetto Cybo (illegitimate son of Pope Innocent VIII) on 25 February 1487 and had seven children
• Contessina Beatrice de’ Medici, died shortly after her birth on 23 September 1474
• Giovanni di Lorenzo de’ Medici (1475–1521), ascended to the papacy as Leo X in 1513^[32]
• Luisa de’ Medici (1477–1488),^[33] also called Luigia, was betrothed to Giovanni de’ Medici il Popolano, but died young
• Contessina Antonia Romola de’ Medici (1478-1515), born in Pistoia, married Piero Ridolfi (1467–1525) in 1494 and had five children, including Cardinal Niccolò Ridolfi
• Giuliano di Lorenzo de’ Medici (1479–1516) was created Duke of Nemours in 1515 by King Francis I of France

Lorenzo also adopted his nephew Giulio, the illegitimate son of his slain brother Giuliano. Giulio later became Pope Clement VII.

Detail of Domenico Ghirlandaio‘s Confirmation of the Franciscan Rule from the Sassetti Chapel frescos. Mounting the stairs in the forefront are the tutor of Lorenzo’s sons, Angelo Poliziano, and Lorenzo’s sons Giuliano, Piero and Giovanni, followed by two members of the Humanist Academy.

Later years, death, and legacy

During Lorenzo’s tenure, several branches of the family bank collapsed because of bad loans, and in later years he got into financial difficulties and resorted to misappropriating trust and state funds.

Toward the end of Lorenzo’s life, Florence came under the spell of Savonarola, who believed Christians had strayed too far into Greco-Roman culture. Lorenzo played a role in bringing Savonarola to Florence.^[34]

A posthumous portrait of Lorenzo by Giorgio Vasari(16th century)

Lorenzo died during the late night of 8 April, at the longtime family villa of Careggi. Savonarola visited Lorenzo on his death bed. The rumour that Savonarola damned Lorenzo on his deathbed has been refuted in Roberto Ridolfi‘s book, Vita di Girolamo Savonarola. Letters written by witnesses to Lorenzo’s death report that he died peacefully after listening to the Gospel of the day. Many signs and portents were claimed to have taken place at the moment of his death, including the dome of Florence Cathedral being struck by lightning, ghosts appearing, and the lions kept at Via Leone fighting one another.^[35]

The Signoria and councils of Florence issued a decree:

« Whereas the foremost man of all this city, the lately deceased Lorenzo de’ Medici, did, during his whole life, neglect no opportunity of protecting, increasing, adorning and raising this city, but was always ready with counsel, authority and painstaking, in thought and deed; shrank from neither trouble nor danger for the good of the state and its freedom….. it has seemed good to the Senate and people of Florence…. to establish a public testimonial of gratitude to the memory of such a man, in order that virtue might not be unhonoured among Florentines, and that, in days to come, other citizens may be incited to serve the commonwealth with might and wisdom. »^[36]

Lorenzo was buried with his brother Giuliano in the Church of San Lorenzo in the red porphyry sarcophagus designed for Piero and Giovanni de’ Medici, not, as might be expected, in the New Sacristy, designed by Michelangelo. The latter holds the two monumental tombs of Lorenzo and Giuliano’s less known namesakes: Lorenzo, Duke of Urbino, and Giuliano, Duke of Nemours.^[37] According to Williamson and others, the statues of the lesser Lorenzo and Giuliano were carved by Michelangelo to incorporate the essence of the famous men. In 1559, the bodies of Lorenzo de’ Medici (« the Magnificent ») and his brother Giuliano were interred in the New Sacristy in an unmarked tomb beneath Michelangelo’s statue of the Madonna.^[37]

Lorenzo’s heir was his eldest son, Piero di Lorenzo de’ Medici, known as « Piero the Unfortunate ». In 1494, he squandered his father’s patrimony and brought down the Medici dynasty in Florence. His second son, Giovanni, who became Pope Leo X, retook the city in 1512 with the aid of a Spanish army.^[38] In 1529, Lorenzo’s nephew Giulio – whom Lorenzo had raised as his own son and then reigned as Pope Clement VII – formalized Medici rule of Florence by installing Alessandro de’ Medici as the city’s first hereditary duke.^[39]

In popular culture

• Lorenzo de’ Medici is depicted as a teenager in CBBC‘s Leonardo, played by actor Colin Ryan.^[40]
• Lorenzo de’ Medici appears as a supporting character to the protagonist in Assassin’s Creed II.^[41]
• Lorenzo de’ Medici is portrayed by Elliot Cowan in the 2013 TV series Da Vinci’s Demons.^[42]
• Lorenzo de’ Medici is portrayed by Daniel Sharman in the TV series Medici: Masters of Florence.^[43]

References

1. Jump up^ Picotti, Giovanni Battista (1934). « Medici, Lorenzo de’, detto il Magnifico ». Enciclopedia Italiana. Retrieved 10 May 2018.
2. Jump up^ Parks, Tim (2008). Medici Money: Banking, Metaphysics, and Art in Fifteenth-Century Florence. New York: W.W. Norton & Co. p. 288. doi:10.1111/j.1467-8357.2005.00614.x.
3. Jump up^ « Fact about Lorenzo de’ Medici ». 100 Leaders in world history. Kenneth E. Behring. 2008. Retrieved 15 November 2008.
4. Jump up^ Kent, F. W. (28 December 2006). Lorenzo De’ Medici and the Art of Magnificence. USA: JHU Press. p. 248. doi:10.1086/586785. ISBN 0-8018-8627-9. JSTOR 43445687.
5. Jump up^ Brucker, Gene (21 March 2005). Living on the Edge in Leonardo’s Florence. Berkeley: University of California Press. pp. 14–15. doi:10.1177/02656914080380030604. JSTOR 10.1525/j.ctt1ppkqw.
6. ^ Jump up to:^a b Hugh Ross Williamson, Lorenzo the Magnificent, Michael Joseph, (1974), ISBN 07181 12040
7. Jump up^ Milligan, Gerry (26 August 2011). Lucrezia Tornabuoni. Oxford Bibliographies. Oxford University Press. doi:10.1093/OBO/9780195399301-0174. Retrieved 25 Feb 2015.
8. Jump up^ Hugh Ross Williamson, p. 67
9. Jump up^ Durant, Will (1953). The Renaissance. The Story of Civilization. 5. New York: Simon and Schuster. p. 110.
10. Jump up^ Davie, Mark. « LUIGI PULCI’S STANZE PER LA GIOSTRA: VERSE AND PROSE ACCOUNTS OF A FLORENTINE JOUST OF 1469″. Italian Studies. 44 (1): 41–58. doi:10.1179/007516389790509128.
11. Jump up^ Machiavelli, Niccolò (1906). The Florentine history. 2. London : A. Constable and co. limited. p. 169.
12. Jump up^ 1454-1494., Poliziano, Angelo, (1993). The Stanze of Angelo Poliziano. University Park, Pa.: Pennsylvania State University Press. pp. x. ISBN 0271009373. OCLC 26718982.
13. Jump up^ Christopher Hibbert, chapter 9
14. Jump up^ Niccolò Machiavelli, History of Florence, Book VIII, Chpt. 7.
15. Jump up^ Hugh Ross Williamson, p. 70
16. Jump up^ Janet Ross. « Florentine Palaces & Their Stories ». August 14, 2016. Page 250.
17. Jump up^ Walter, Ingeborg (2013). « Lorenzo der Prächtige: Mäzen, Schöngeist und Tyrann » [Lorenzo the Magnificent: Patron, Aesthete and Tyrant]. Damals (in German). Vol. 45 no. 3. p. 32.
18. ^ Jump up to:^a b c Reinhardt, Volker (2013). « Die langsame Aushöhlung der Republik » [The Slow and Steady Erosion of the Republic]. Damals (in German). Vol. 45 no. 3. pp. 16–23.
19. Jump up^ Guicciardini, Francesco (1964). History of Italy and History of Florence. New York: Twayne Publishers. p. 8.
20. ^ Jump up to:^a b c Thompson, Bard (1996). Humanists and Reformers: A History of the Renaissance and Reformation. William B. Eerdmans Publishing Company. pp. 189 ff. ISBN 0-8028-6348-5.
21. Jump up^ Jensen, De Lamar (1992). Renaissance Europe: Age of Recovery and Reconciliation. Lexington, Mass: D.C. Heath and Company. p. 80.
22. Jump up^ Durant, Will (1953). The Renaissance. The Story of Civilization. 5. New York: Simon and Schuster. p. 125.
23. Jump up^ Hancock, Lee (2005). Lorenzo de’ Medici: Florence’s Great Leader and Patron of the Arts. The Rosen Publishing Group, Inc. p. 57. ISBN 1-4042-0315-X.
24. Jump up^ Martines, Lauro (2000). April Blood: Florence and the Plot Against the Medici. Oxford University Press.
25. Jump up^ Inalcik, Halil (2000). The Ottoman Empire: The Classical Age 1300–1600. London: Orion Publishing Group. p. 135. ISBN 978-1-84212-442-0.
26. Jump up^ de Roover, Raymond (1963). The Rise and Decline of the Medici Bank, 1397–1494. Harvard University Press. pp. 152–154.
27. Jump up^ Machiavelli, Niccolò (1906). The Florentine history. 2. London : A. Constable and co. limited. pp. 197–198.
28. Jump up^ Durant, Will (1953). The Renaissance. The Story of Civilization. 5. New York: Simon and Schuster. p. 112.
29. Jump up^ La Poesie di Lorenzo di Medici | The Poetry of Lorenzo di Medici– Lydia Ugolini; Lecture (1985); Audio
30. ^ Jump up to:^a b Schmidt, Eike D. (2013). « Mäzene auf den Spuren der Antike » [Patrons in the footsteps of Antiquity]. Damals (in German). 45 (3): 36–43.
31. Jump up^ Brucker, G., ed. (1971). The Society of Renaissance Florence: A Documentary Study. New York: Harper & Row. p. 27.
32. Jump up^ J.N.D. Kelly, The Oxford Dictionary of Popes (Oxford 1986), p. 256.
33. Jump up^ Tomas, Natalie R. (2003). The Medici Women: Gender and Power in Renaissance Florence. Aldershot: Ashgate. p. 7,21. ISBN 0754607771.
34. Jump up^ Donald Weinstein, Savonarola the Rise and Fall of a Renaissance Prophet (New Haven, 2011) Chap 5: The Magnificent Lorenzo
35. Jump up^ Hugh Ross Williamson, p. 268.
36. Jump up^ Williamson, pp. 268–9
37. ^ Jump up to:^a b Hugh Ross Williamson, p. 270-80
38. Jump up^ http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=gjg
39. Jump up^ http://www.blackpast.org/gah/de-medici-alessandro-1510-1537
40. Jump up^ « Leonardo: Colin Ryan plays Lorenzo ». BBC. 28 March 2011. Retrieved 17 May 2018.
41. Jump up^ Kelly, Andy (9 March 2017). « Revisiting the renaissance with Assassin’s Creed 2 ». PC Gamer. Future US, Inc. Retrieved 10 May2018.
42. Jump up^ Truitt, Brian (19 March 2014). « Who’s who in ‘Da Vinci’s Demons’ Season 2 ». USA Today. Retrieved 10 May 2018.
43. Jump up^ Clarke, Stewart (10 August 2017). « Daniel Sharman and Bradley James Join Netflix’s ‘Medici‘« . Variety. Penske Business Media, LLC.Retrieved 11 August 2017.

• Lorenzo de’ Medici, The Complete Literary Works, edited and translated by Guido A. Guarino (New York: Italica Press, 2016).
• Miles J. Unger, Magnifico: The Brilliant Life and Violent Times of Lorenzo de’ Medici (Simon and Schuster 2008) is a vividly colorful new biography of this true « renaissance man », the uncrowned ruler of Florence during its golden age.
• André Chastel, Art et Humanisme à Florence au temps de Laurent le Magnifique (Paris, 1959).
• Christopher Hibbert, The House of Medici: Its Rise and Fall(Morrow-Quill, 1980) is a highly readable, non-scholarly general history of the family, and covers Lorenzo’s life in some detail.
• F. W. Kent, Lorenzo de- Medici and the Art of Magnificence (The Johns Hopkins Symposia in Comparative History) (The Johns Hopkins University Press, 2004) A summary of 40 years of research with a specific theme of Il Magnifico’s relationship with the visual arts.
• Peter Barenboim, Michelangelo Drawings – Key to the Medici Chapel Interpretation (Moscow, Letny Sad, 2006) ISBN 5-98856-016-4, is a new interpretation of Lorenzo the Magnificent’ image in the Medici Chapel.
• Barenboim P. D. / Peter Barenboim. (2017). « The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky ».
• Williamson, Hugh Ross, Lorenzo the Magnificent. Michael Joseph, London. (1974) ISBN 0-7181-1204-0
• Parks, Tim, Medici Money: Banking, Metaphysics, and Art in Fifteenth-Century Florence (W. W. Norton & Company 2005) ISBN 0393328457, is a mixture of history and finance, documenting the logistics of Lorenzo and the Medici Banks

Historical novels

• Robin Maxwell, Signora da Vinci (NAL Trade, 2009), a novel that follows Leonardo da Vinci’s mother, Caterina, as she travels to Florence to be with her son.

• Texts of Lorenzo de’ Medici
• Lorenzo de’ Medici as patron
• « Info Please | Lorenzo De’ Medici »
• Works by Lorenzo de’ Medici at LibriVox (public domain audiobooks) 

https://en.wikipedia.org/wiki/Lorenzo_de%27_Medici

http://www.giacobbegiusti.com

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

 

 

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• 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
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• Dalton, Stephen (February 27, 2018), « Mary Magdalene: Film Review », The Hollywood Reporter
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• 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, FRA FILIPPO LIPPI: Portrait of a Man and Woman at a Casement, Metropolitan Museum of Art, New York City

Giacobbe Giusti, FRA FILIPPO LIPPI: Portrait of a Man and Woman at a Casement, Metropolitan Museum of Art, New York City

Portrait of a Man and Woman at a Casement (c. 1440). Metropolitan Museum of Art, New York City.

Filippo Lippi

This article is about the Italian painter.

Not to be confused with Filippino Lippi.

This is a Renaissance Florentine name. The name Lippi is an indicator of birthplace, not a family name and the person is properly referred to by the given name Filippo.

Giacobbe Giusti, Fra’ Filippo Lippi, O.Carm.
Self-portrait of Fra’ Filippo Lippi
Born	Filippo Lippi ca. 1406 Florence, Republic of Florence
Died	8 October 1469 (aged 62–63) Spoleto, Papal States
Nationality	Italian
Known for	Painting, Fresco
Notable work	Madonna and Child Enthroned, Annunciation
Movement	Early Renaissance

Fra’ Filippo Lippi, O.Carm. (c. 1406 – 8 October 1469), also called Lippo Lippi, was an Italian painter of the Quattrocento (15th century)

The Metropolitan Museum of Art of New York, colloquially « the Met« ,^[a] is the largest art museum in the United States. With 7.06 million visitors in 2016, it was the third most visited art museum in the world, and the fifth most visited museum of any kind.^[8] Its permanent collection contains over two million works,^[9] divided among seventeen curatorial departments. The main building, on the eastern edge of Central Park along Manhattan’s Museum Mile, is by area one of the world’s largest art galleries. A much smaller second location, The Cloistersat Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from Medieval Europe. On March 18, 2016, the museum opened the Met Breuermuseum at Madison Avenue in the Upper East Side; it extends the museum’s modern and contemporary art program.

The permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the Europeanmasters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries.

The Metropolitan Museum of Art was founded in 1870 for the purposes of opening a museum to bring art and art education to the American people. It opened on February 20, 1872, and was originally located at 681 Fifth Avenue.

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

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

http://www.giacobbegiusti.com
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Giacobbe Giusti, Néoplatonisme médicéen

 

Giacobbe Giusti, Néoplatonisme médicéen

Artiste	Sandro Botticelli
Date	vers 1475
Technique	Tempera sur bois
Dimensions (H × L)	111 × 134 cm
Mouvement	Première Renaissance
Localisation	Galerie des Offices, Florence(Italie)

Giacobbe Giusti, Néoplatonisme médicéen

Artiste	Sandro Botticelli
Date	vers 1482
Technique	Tempera sur bois
Dimensions (H × L)	70 × 103 cm
Mouvement	Première Renaissance
Localisation	National Gallery of Art, Washington (États-Unis)
Numéro d’inventaire

  Néoplatonisme.

Giacobbe Giusti, Néoplatonisme médicéen

Statue de Laurent de Médicis dit « Le Magnifique », situé dans le passage des Offices.

Le néoplatonisme médicéen est un mouvement philosophique et artistique local à la Toscane, qui regroupe penseurs d’une part, et artistes florentins d’autre part. Tous bénéficièrent, durant les Quattrocento et Cinquecento, de l’appui de la famille régnante des Médicis.

Les philosophes comme Marsile Ficin et Jean Pic de la Mirandole travaillent les concepts du beau et du sublime à partir des écrits grecs, et redécouvrent les ouvrages et la pensée de Platon, d’Aristote, de Plotin et plus généralement du legs gréco-romain, faisant évoluer les visions du monde issues de la chrétienté médiévale.

Les artistes illustrent, par leurs représentations, les travaux de l’école philosophique de la Nouvelle Académie des Arts de Florence.

Le néoplatonisme et l’art

 

Cette Adoration de la Vierge médicéenne regroupe tout le gotha de la cour des Médicis, réunie en dévotion pour marquer son ralliement rituel autant que l’affirmation de l’importance de cette cour de Florence sur les arts et les terres alentour. « Dieu est avec nous ! » disent par cette peinture les commanditaires de Botticelli : au centre Cosme, Pierre et Jean de Médicis. Pic de la Mirandole fait partie des spectateurs de la dévotion. Quant au peintre, son regard est ailleurs, il nous fait face tout à droite.

Le néoplatonisme a eu un retentissement non seulement sur la formation de la théologie chrétienne et l’évolution de la pensée médiévale, mais aussi, à la Renaissance, sur la formulation de l’esthétique et la pratique de l’art.

En 1434, Cosme de Médicis, négociant à la tête de la plus puissante famille de Florence à la Renaissance, accède au pouvoir. Il inaugure le mécénat et imprime un renouveau à l’art. Un de ses protégés, Marsile Ficin, entreprend sur son conseil de traduire et commenter les œuvres complètes de Platon et de Plotin, qui exerceront un impact considérable sur l’art de la Renaissance. Une Académie néoplatonicienneest fondée à Florence sur l’exemple de l’Académie de Platon, rassemblant de nombreux érudits de tous genres. Cette aura culturelle se poursuivra au-delà de cette période.

D’après Erwin Panofsky et André Chastel, la conception de l’art serait issue de l’influence néoplatonicienne et les artistes reproduiraient ces thèses. Une conception hiérarchique de l’Univers où le sensible symbolise l’intelligible, particulièrement disposée à insuffler un esprit créateur aux peintres.

Marsile Ficin, contre Thomas d’Aquin qui les séparait¹, reprend l’idée platonicienne² selon laquelle le Beau est identique à l’Idée suprême, au-delà de l’essence, Idée qui est aussi le Biendans d’autres dialogues³. Il fond dans la pensée platonicienne le dogme chrétien : la beauté des choses provient de la splendeur divine. De plus Ficin reconnaît une valeur d’enseignement non seulement aux écrits chrétiens, mais aussi aux mythes grecs rapportés par Pythagore ou Platon.

Selon Panofsky, cette philosophie qui abolit toute limite entre le sacré et le profane a tout particulièrement séduit les poètes et les artistes. Il décrit ainsi les références néoplatoniciennes présentes dans le Printemps et la Naissance de l’amour de Botticelli⁴.

L’Académie néoplatonicienne de Florence

L’Académie néoplatonicienne de Florence (en italien Accademia neoplatonica) est fondée en 1459 par Cosme de Médicis (Cosme l’Ancien, 1389-1464), et dirigée par Marsile Ficin (1433-1499). Cette Académie regroupe Marsile Ficin, , Jean Pic de la Mirandole (mai 1486), le Dr Fortuna, Ange Politien (1454-1494), Laurent le Magnifique (Laurent de Médicis, 1449-1492). En 1462, installé par Cosme de Médicis à Careggi, Marsile Ficin commence à traduire Platon avec l’aide d’une assemblée de savants, à laquelle il donne le nom d’Académie, en hommage à celle que Platon avait fondée en 387 av. J.-C. Il commente Le Banquet de Platon (De amore, 1469), écrit une Théologie platonicienne (1482), traduit en latin Platon (1484) et Plotin (1486), ainsi qu’Hermès Trismégiste. L’Académie disparut en 1521.

Le renouveau du platonisme qu’elle a engendré eut une influence sur la philosophe Tullia d’Aragon, auteur du dialogue De l’Infinité d’amour.

Les artistes médicéens

Cette section contient une ou plusieurs listes et gagnerait à être introduite par une partie rédigée et sourcée, de façon à bien resituer les différents items  (avril 2017).

• peintres

Andrea del Castagno

Andrea Mantegna

Antonio Pollaiuolo

Sandro Botticelli

Fra Angelico

Paolo Uccello

• sculpteurs

Benvenuto Cellini

Donatello

• maîtres d’ateliers, et leurs disciples

atelier de Luca della Robbia (1429, sculptureset céramiques)

atelier de Andrea del Verrocchio

apprentis: Le Pérugin ; Léonard de Vinci;

• artistes pluridisciplinaires

Michel-Ange

• hors catégorie

Léonard de Vinci : compte tenu de l’universalité de son œuvre et de ses démêlés avec les Médicis qui l’emmèneront à la Cour de François I^er, ne saurait s’inclure uniquement dans ce mouvement artistique.

Postérité

L’historien et essayiste Frédéric Ozanam rend hommage à Marsile Ficin et aux autres personnalités contemporaines de l’Italie, dans son Essai sur la philosophie de Dante, en ces termes :

« Le soleil italien ne cessa pas de luire sur des générations de philosophes, moralistes, jurisconsultes, publicistes, et de poètes qui se firent honneur de philosopher. C’est Marsile Ficin, confondant en son enthousiasme néo-platonique la science, l’art, et la vertu ; c’est Campanella, rêvant une cité idéale ; Machiavel, qu’il suffit de nommer⁵. »

Notes et références

1. ↑ Chez les scolastiques, les quatre transcendantaux ou idées les plus générales sont l’être (ens), le bon (bonum), l’un (unum), le vrai (verum). Thomas y ajoute le quelque chose (aliquid). On voit que le « beau » est absent de la liste des transcendantaux. L’idée du beau semble avoir été « oubliée » par les philosophes médiévaux, et donc redécouverte par les néoplatoniciens médicéens. Néanmoins, Umberto Eco (Le problème esthétique chez Thomas d’Aquin) et Jacques Maritain (L’intuition créatrice dans l’art et la poésie, p. 151, note 6) considèrent que le beau n’est pas absent de la pensée scolastique, mais qu’il n’est simplement pas nommé comme tel. Pour Maritain par exemple, le beau exprime l’éclat, le rayonnement des transcendantaux qui « brillent » tous ensemble, dans une acception à la fois métaphysique et esthétique du terme.
2. ↑ Platon, Le Banquet, 210 – 211.
3. ↑ Notamment dans Platon, République. La philosophe Hannah Arendt problématise le rapport entre le Beau et le Bien dans l’œuvre platonicienne dans la Crise de la culture, chapitre III : « Qu’est-ce que l’autorité », section 2.
4. ↑ Erwin Panofsky, « Rinaschimento dell’Antichità : le xv^e siècle », La Renaissance et ses avant-courriers dans l’art d’Occident, Champs, Flammarion.
5. ↑ Définitions lexicographiques [archive] et étymologiques [archive] de « Néo-platonique » du Trésor de la langue française informatisé, sur le site du Centre national de ressources textuelles et lexicales.

Bibliographie

• (en) Michael J. B. Allen, The Platonism of Marsilio Ficino, Berkeley, University of California Press, 1984.
• Daniel Beresniak, Les premiers Médicis et l’Académie Platonicienne de Florence, Detrad, 1994.
• André Chastel, Marsile Ficin et l’art (1954), Droz, 2000.
• André Chastel, Art et Humanisme à Florence au temps de Laurent le Magnifique, PUF, 1959.
• Caroline Combrone, « Les platoniciens de l’art à la Renaissance », Revue Philosophique de Louvain, vol. 97, n^o 2,‎ 1999, p. 268 à 288 (lire en ligne [archive]).
• (en) James Hankins, Plato in the Italian Renaissance, Leyde, Brill, 1990, 2 t.
• (de) Karl Sieveking, Geschichte der Platonischen Akademie zu Florenz, Göttingen, 1812.books.google.fr [archive]
• Louis Valcke, Pic de la Mirandole : Un itinéraire philosophique, Belles Lettres, « Le Miroir des Humanistes », 2005.
• Frances Yates, Les Académies en France au xvi^e siècle, trad., PUF, 1996, chap. I : « Académies italiennes et académies françaises ».

Articles connexes

• Civilisation gréco-romaine
• Corporations d’arts et métiers médiévales (Florence, Italie)
• Humanisme
• Maison de Médicis
• Néoplatonisme

https://fr.wikipedia.org/wiki/N%C3%A9oplatonisme_m%C3%A9dic%C3%A9en

http://www.giacobbegiusti.com

Giacobbe Giusti, MICHEL- ANGE : David

Giacobbe Giusti, MICHEL- ANGE : David

Leonardo da Vinci, studio del David di Michelangelo (dettaglio), Royal Library, Windsor

Giacobbe Giusti, MICHEL- ANGE : David

 

Giacobbe Giusti, MICHEL- ANGE : David

 

 Giacobbe Giusti, MICHEL- ANGE : David

Artiste	Michel-Ange
Date	1501–1504
Commanditaire	Opera del Duomo
Type	Statue en marbre
Technique	Sculpture
Hauteur	434 cm
Mouvement	Haute Renaissance
Localisation	Galerie de l’Académie de Florence, Florence (Italie)

Le David est un chef-d’œuvre de la sculpture de la Renaissance, réalisé par Michel-Ange entre 1501 et 1504. Il mesure 4,34 mètres de hauteur (5,14 mètres avec le socle) et il est tiré d’un bloc de marbre blanc de Carrare, laissé à l’abandon après l’échec d’autres sculpteurs. Michel-Ange a su tirer parti de l’étroitesse du bloc de marbre et contourner un de ses défauts (une brèche dans laquelle il a creusé l’espace entre le bras droit et le torse). Michel-Ange a représenté David, une fronde (lanière de cuir servant de lance pierre) à la main, juste avant son combat contre le géant Goliath.

Initialement placé devant le palazzo Vecchio pour symboliser la détermination d’une jeune république face au tyran, l’original est, depuis 1873, exposé dans la Galleria dell’Accademia de Florence. Le David que l’on peut voir devant la façade du Palazzo Vecchio n’est qu’une réplique installée là en 1910.

Histoire

Avant Michel-Ange

En 1463, une commande est faite à Agostino di Duccio pour sculpter la figure géante d’un prophète qui prendrait sa place dans une des niches de la tribune nord à l’extérieur de la cathédrale Santa Maria del Fiore de Florence, aux côtés des deux prophètes réalisés par Nanni di Banco (Isaïe) et Donatello (Josué)¹. Elle devait être le pendant de la statue de Josué conçue par Donatello cinquante ans plus tôt. Duccio a extrait et dégrossi un bloc de marbre des carrières de Carrare, mais il abandonne au bout de trois ans devant l’ampleur de la tâche. Dix ans plus tard, Antonio Rossellino entreprend d’achever son travail, puis renonce à son tour². C’est que le bloc de marbre « n’était pas assez compact, il présentait beaucoup de veinures, et par-dessus tout il était très étroit ; il convenait mieux aux sculptures gothiques qu’à celles, musculeuses et massives de la Renaissance »³. Le bloc reste ainsi quarante ans dans l’atelier de la cathédrale, à moitié travaillé¹.

1501 – 1504 genèse du David

David, détail.

David, détail.

David, détail.

David, détail.

Le 2 juillet 1501, les responsables de l’Opera del Duomo (le conseil de fabrique, chargé de superviser la construction et l’aménagement de la cathédrale Santa Maria del Fiore) se réunissent pour décider du sort du bloc de marbre. On apprend dans leur délibération que celui-ci, « mal dégrossi » (male abrozarotum) gisait « sur le dos » dans une cour de l’Opera del Duomo. Ils prennent la décision, d’abord de le redresser, et ensuite de désigner un sculpteur capable de l’achever⁴. Bien qu’Andrea Sansovino se soit montré intéressé⁵, c’est Michel-Ange qui reçoit la commande du David, le 16 août 1501, de l’Opera del Duomo, et de l’Arte della Lana(la plus importante maison de commerce et de banque de Florence au xiv^e siècle, liée aux tisserands). Il érige une structure en bois autour du bloc pour le cacher et travaille ainsi jusqu’au 23 juin 1503 (fête de la saint Jean-Baptiste, patron de Florence), jour où la statue est dévoilée⁶.

Cependant, l’emplacement initialement prévu, au sommet de l’un des piliers du Dôme de Florence, n’était plus envisageable, « ne serait-ce que pour des raisons techniques et statiques, eu égard aux dimensions gigantesques de l’œuvre, et qu’en outre, la nudité du personnage paraîtrait peut-être déplacée en pareil lieu⁷. »

Le 25 janvier 1504, une commission composée des plus grands artistes florentins (entre autres, Léonard de Vinci, Piero di Cosimo, Simone Pollaiuolo, Filippino Lippi, Cosimo Rosselli, Sandro Botticelli, Giuliano et Antonio da Sangallo, le Pérugin et Lorenzo di Credi) est chargée de déterminer l’emplacement du David de Michel-Ange. Léonard de Vinci et Giulano da Sangallo se prononcent pour l’intérieur de la Loggia dei Lanzi, mais on décide finalement, devant l’insistance de Michel-Ange⁸, de l’installer devant le Palazzo Vecchio⁹. Sa statue prend ainsi la place de la Judith et Holopherne de Donatello, qui rejoint, elle, l’intérieur du Palais.

Le David quitte, le 14 mai 1504, de nuit, car il avait de nombreux détracteurs¹⁰, l’atelier de Michel-Ange à Santa Maria del Fiore pour rejoindre le Palazzo Vecchio. Au bout de quatre jours, la statue atteint la place et il faut encore attendre juin 1504 pour qu’elle soit correctement installée sur l’ancien socle de la Judith. Elle est inaugurée officiellement le 8 septembre 1504¹¹.

Depuis la mort de Savonarole en 1498, Florence connaissait une parenthèse républicaine. Le nouveau gonfalonier, Piero Soderini, voit donc dans le David l’exaltation des valeurs républicaines. La statue devient le symbole de Florence, cette Cité-État menacée de tous les côtés par des états rivaux puissants, cette interprétation étant renforcée par son emplacement devant le Palazzo Vecchio, siège municipal de Florence.

De la Piazza della Signoria à l’Accademia

Réplique du David de Michel-Angedevant le Palazzo Vecchio.

Le 26 avril 1527, le peuple florentin s’empare du Palazzo Vecchio, contraignant la Seigneurie à déclarer les Médicis rebelles. Ceux-ci rassemblent cinq mille soldats qui investissent la Piazza della Signoria. Les assiégés se défendent en lançant divers projectiles sur les troupes des Médicis. L’un d’eux atteint le David de Michel-Ange, brisant son bras gauche en trois morceaux. Vasari, accompagné de son ami Francesco Salviati, les auraient récupérés. En 1543, sur ordre de Cosme de Médicis, le bras gauche de la statue est restauré.

On prend conscience, dès le début du xix^e siècle, de l’état de dégradation du David, causé par son exposition en plein air. Entre 1808 et 1815, des restaurateurs croient le protéger en le traitant à l’encaustique. Trente ans plus tard, en 1843, Aristodemo Costoli constate les dommages ainsi créés. Malheureusement, le remède est pire que le mal : il nettoie la statue avec une solution composée à 50 % d’acide chlorhydrique, détruisant ainsi la patine d’origine de la statue.

Une commission décide en 1866 que le Davidtrouverait désormais refuge derrière les murs de la Galleria dell’Accademia. Il faut cinq jours, du 31 juillet au 4 août 1873, pour déplacer la statue de la Piazza della Signoria à l’Accademia, sur un chariot spécialement conçu pour l’occasion par les ingénieurs Porra et Poggi. Une copie est ensuite placée devant la façade d’entrée du Palazzo Vecchio.

Analyse

L’adolescent qu’a sculpté Michel-Ange est un athlète puissant, « magnification du nu viril¹² », là où l’on avait vu dans le David de Donatello, sculpté soixante ans plus tôt, « un héros androgyne à la beauté d’éphèbe¹³. » Le David de Donatello et celui de Verrocchio montrent le jeune héros exhibant le glaive avec lequel il vient de trancher la tête de Goliath, et foulant celle-ci à ses pieds. Michel-Ange, lui, a choisi de représenter David avant le combat, au moment où il défie le géant Goliath. Son attitude, un contrappostonerveux (le poids du corps repose sur une seule jambe et la ligne des hanches fait opposition à celle des épaules), trahit une « violence contenue¹⁴ ». Il s’apprête à lancer, avec sa fronde (dont la courroie passe au-dessus de son épaule et le long de son dos), la pierre qui va frapper au front son ennemi.

La statue de Michel-Ange devint l’incarnation de la virtus fiorentina, la vertu républicaine florentine, au sens où l’entendait Leonardo Bruni¹⁵, lorsqu’il écrivait que « les vertus ancestrales des Romains et des Étrusques avaient été préservées dans les lois sacrées de Florence. » Du reste, le David fut lui-même comparé aux modèles de l’Antiquité. Pourtant, sur le moment, des citoyens florentins avaient reproché à la Seigneurie d’avoir déplacé la Judith de Donatello, qui leur semblait être le vrai symbole de la République¹⁶.

Style

Dans le droit fil de l’esthétique de l’inachevé (non finito)¹⁷, propre à Michel-Ange, le sommet de la tête montrerait un peu de la surface initiale du bloc avec une lézarde, non travaillée. De même Michel-Ange utilise de la disproportion dans les mains.

Répliques

• Piazza della Signoria, devant le Palazzo Vecchio, réplique en marbre
• Piazzale Michelangelo, réplique en bronze
• Statue de David à Marseille, réplique en marbre
• Victoria and Albert Museum, réplique en plâtre.

Sources d’inspiration

Alors que le David médiéval est écrivain et musicien, dessiné barbu, c’est à la Renaissance qu’il est représenté juvénile et orgueilleux, d’abord entre 1430 et 1440 par Donatello avec une statue en bronze de 1,58 mètres de haut. Andrea del Verrocchio réalise autour de 1476 une autre statue en bronze (1,25 mètres), enfantine et presque androgyne, avec la tête de Goliath à ses pieds¹⁸.

Galerie d’images

 Cliquez sur une vignette pour l’agrandir.

• 

  David de Michel-Ange (vue de face)

• 

  David de Michel-Ange (vue de face)

• 

  David de Michel-Ange (vue de face, situé Piazza della Signoria, devant le Palazzo Vecchio, réplique en marbre)

• 

  David de Michel-Ange (vue de face, situé Piazzale Michelangelo, réplique en bronze)

• 

  David de Michel-Ange (vue de face)

• 

  David de Michel-Ange (vue de dos)

• 

  David de Michel-Ange (détail main droite et sexe)

• 

  David de Michel-Ange (détail pied droit)

• 

  David de Michel-Ange (détail tête)

• 

  David de Michel-Ange (vue du côté gauche)

Notes et références

1. ↑ ^a et b Monteira 2017, p. 64.
2. ↑ Charles Seymour, Jr., MichelAngelo’s David : A search for identity, 1967.
3. ↑ Laura Ciuccetti, il David
4. ↑ Délibération conservée aux Archives de l’Opera del Duomo, à Florence.
5. ↑ Ascanio Condivi, dans sa Vita di Michelagnolo Buonarrotti (1553) en fait le récit suivant : « Puisque d’un tel morceau de marbre, ils [les responsables de l’Opera del Duomo] ne pouvaient tirer chose qui fut bonne, il parut possible à un Andrea del Monte a Sansavino de l’obtenir d’eux, et il sollicita qu’ils lui en fassent présent, promettant qu’en y rajoutant certaines pièces, il en extrairait une figure : mais, eux, avant de se disposer à le lui donner, envoyèrent chercher Michel-Ange, et lui narrant le désir et l’avis d’Andrea, et ayant entendu l’opinion qu’il avait d’en tirer une bonne chose, finalement c’est à lui qu’ils le confièrent »
6. ↑ Monteira 2017, p. 65.
7. ↑ Rolf C.Wirtz, Art et Architecture, Florence, Könemann, 1999
8. ↑ Il aurait demandé que sa statue s’élève « dans la lumière de la place ».
9. ↑ Vecce, C., Léonard de Vinci, Flammarion, 1998.
10. ↑ Sans doute parce que, dans la Florence de 1504, encore marquée par le bûcher des Vanités de Savonarole, sa nudité « soulevait l’indignation populaire » Jean-Claude Bologne, « les Arts plastiques et la pudeur », dans Histoire de la pudeur, Olivier Orban, 1986.
11. ↑ On possède ces détails grâce au journal (le Diario Fiorentino) que tint de 1450 à 1516 Luca Landucci.
12. ↑ André Chastel, les Ignudi de Michel-Ange, in Fables, formes, figures, 1978.
13. ↑ Rolf C. Wirtz, Art et architecture, Florence, Könemann, 2000.
14. ↑ Kenneth Clark, le Nu, édition française, 1969.
15. ↑ Leonardo Bruni, Historiarum Florentini populi libri XII, 1420.
16. ↑ En fait, ce choix fut aussi dicté par d’autres motifs, comme le prouve le discours du Filarète, lors du débat sur le futur emplacement du David, le 25 janvier 1504 : « La Judith est un symbole morbide qui ne nous convient pas, à nous dont les insignia[pluriel du substantif latin insigne : emblème] sont la croix et le lys, et il ne sied pas davantage de voir une femme tuer un homme. » (cité par Jaynie Anderson, in Judith, 1997, Éditions du Regard)
17. ↑ Propos et analyses de Delacroix
18. ↑ Monteira 2017, p. 66.

Voir aussi

Sur les autres projets Wikimedia :

• David (Michel-Ange), s

Bibliographie

• Inés Monteira, « Le David de Michel-Ange », Histoire & Civilisations, n^o 27,‎ avril 2017, p. 62-73. .

https://fr.wikipedia.org/wiki/David_(Michel-Ange)

http://www.giacobbegiusti.com

Giacobbe Giusti, Magi Chapel

 

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Magi Chapel.

The Magi Chapel is a chapel in the Palazzo Medici Riccardi of Florence, Italy. Its walls are almost entirely covered by a famous cycle of frescoes by the Renaissance master Benozzo Gozzoli, painted around 1459 for the Medici family, the effective rulers of Florence.

Overview

The chapel is on the piano nobile of the palace and was one of the first rooms to be decorated after the completion of the building, designed by Michelozzo. In its original appearance the chapel was perfectly symmetrical and had its entrance through the central door, which today is closed. Inside, the chapel is divided into two juxtaposed squares: a large hall and a raised rectangular apse with an altar and two small lateral sacristies. Begun around 1449-50, the chapel was probably completed around 1459 with the precious ceiling of inlaid wood, painted and generously gilded by Pagno di Lapo Portigiano, according to Michelozzo’s design.^[1] The latter also designed the flooring of marble mosaic work divided by elaborate geometric design, which due to the extraordinary value of the materials (porphyries, granites, etc.) affirmed the Medicis’ desire to emulate the magnificence of the Roman basilicasand the Florentine Baptistry.

Giacobbe Giusti, Magi Chapel

Fiorentino‘s Adoration (after Lippi).

The first pictorial element in the chapel was the altar panel bearing Filippo Lippi‘s Adoration in the Forest. This painting is now in Berlin after being sold in the 19th century, while a copy by a follower of Lippi remains in the chapel.

Giacobbe Giusti, Magi Chapel

Apse, Detail of the choir of angels.

The chapel is famous for the series of wall paintings by Benozzo Gozzoli, with the Angels in Adoration in the rectangular apse and the Journey of the Magi in the large hall. The latter is covered in three large frescos, each showing the procession of one of the Three Magi on their way to Bethlehem to see the Nativity of Jesus. The religious theme was combined with a depiction of several members of the Medici family, their allies and some of the important figures who arrived in Florence for the Council of Florence (1438-1439) several decades earlier. On that occasion the Medici could boast to have facilitated the (abortive, as it turned out) reconciliation between the Catholic and the Eastern Orthodox churches. The luxury of the Byzantine dignitaries is manifest, and shows the impression they would have at the time on the Florentine population.

In the apse, the side walls are painted with saints and angels in adoration, where Gozzoli followed the style of his master, Fra Angelico. There are also three thin vertical fresco sections showing the shepherds of the nativity.

Gozzoli’s Journey of the Magi

Giacobbe Giusti, Magi Chapel

East Wall.

Having begun the work in the spring-summer of 1459, Benozzo probably completed the work rapidly over the space of a few months, with the help of at least one assistant, under the supervision of Piero di Cosimo de’ Medici. It was probably Piero who suggested that the artist should use Gentile da Fabriano‘s Adoration of the Magi as a model for the frescoes. The extraordinary complexity and subtlety of the technique of execution, in which true fresco alternated with dry fresco, permitted the painter to work with meticulous care, almost as if he was engraving, like the goldsmith he had been in Ghiberti‘s workshop. This sheer craftsmanship is evident not just in the precious materials of jewelry, fabrics, and harnesses, but even in the trees laden with fruit, the meadows spangled with flowers, the variegated plumage of the birds, and the multicolored wings of the angels. Finally, leaves of pure gold were applied generously to shine in the dark, in the dim light of the candles.

The painting is dedicated to a sacred subject but rich in traces of pomp and secular elegance. Hosts of angels sing and adore while the magnificent procession of the Three Kings approaches Bethlehem, accompanied by their respective entourages as they enjoy the scene of a noble hunting party with falcons and felines along the way. The sumptuous and varied costumes with their princely finishing make this pictorial series one of the most fascinating testimonies of art and costume of all time.^[2]

The procession

Giacobbe Giusti, Magi Chapel

West Wall, Page with a leopard – possibly Giuliano.

Melchior, the oldest Magus, rides on the west wall leading the procession. Traditionally, his features have been read as those of Joseph, Patriarch of Constantinople, who died in Florence during the Council; but they could also be those of Sigismund, Holy Roman Emperor, who helped end the Great Schism by convoking the Council of Constance in 1414. Like Cosimo, he is shown as a peacemaker riding on a donkey. He is preceded by a page in blue with a leopard on his horse – this figure is by some argued to represent an idealized Giuliano de’ Medici.

Bearded Balthasar, the middle Magus, rides a white horse on the south wall. He is portrayed with the same facial features as Byzantine emperorJohn VIII Palaiologos. It is thought by some that the three pages behind him represent Piero‘s daughters, Nannina, Bianca and Maria, while others argue that the faces of those young women are more likely to be amongst the rest of the Medici portraits.

East Wall, Caspar, the youngest Magus – possibly Lorenzo.

On the east wall, Caspar, the youngest Magus, leads the end of the procession on a white horse. This figure has often been taken for an idealized Lorenzo il Magnifico, who was born in 1449 and so was still a boy when the fresco was completed. Closely following Caspar are the contemporary head of the family, Piero the Gouty on a white horse, and devout family founder Cosimo on a humble donkey. Then come Sigismondo Pandolfo Malatesta and Galeazzo Maria Sforza, respectively lord of Riminiand Milan. They did not take part in the Council, but were guests of the Medici in Florence in the time the frescoes were painted. After them is a procession of illustrious Florentines, such as the humanists Marsilio Ficino and the Pulci brothers, the members of the Art Guilds and Benozzo himself. The painter looks out at the viewer and can be recognized for the scroll on his red hat, reading Opus Benotii. Little Lorenzo il Magnifico is the boy directly below him with the distinctive snub nose; Lorenzo’s younger brother Giuliano is next to him.

West Wall (cut clearly visible).

With rich Tuscanlandscapes filling the rest of the pictorial space, this fresco was designed like contemporary tapestries, a new type of courtly art destined for wealthy patrons.The fortress, in the style of medieval castles, which appears at the highest point of the picture and is the point from which the king’s pilgrimage has set out, is similar to the Medicis’ country seat in Cafaggiolo, which was again designed by Michelozzo. It is interpreted as Jerusalem, where the procession of the magi started. This was where King Herod had instructed the wise men to search for the child.

Gozzoli’s patron, Piero de’ Medici, felt some of the seraphim were unsuitable, and wanted them painted over. Although the artist agreed to do this, it was never actually done.^{[citation needed]} In 1659, the Riccardi family bought the Palazzo Medici and undertook some structural changes. This included, in 1689, the building of an exterior flight of stairs leading up to the first floor. For this purpose the entrance to the chapel had to be moved. During the process, two sections of wall were cut out of the south western corner, in the Procession of the Oldest King. After the stairs were finished, the cut out elements were mounted on a corner of the wall projecting into the room. During the course of this, the oldest king’s horse was cut up and mounted on two different segments of the wall.

Gallery

• Interior
• 

  Chapel ceiling

  Giacobbe Giusti, Magi Chapel

• 

  Chapel floor

• 

  Decorations

• 

  Decorations

• 

  Carved wooden stalls

• Apse and altar

 

• Giacobbe Giusti, Magi Chapel

  The original altarpiece, Lippi’s Adoration

• 

  Angels in Adoration (left)

• 

  Angels in Adoration (right)

• Procession
• 

  Melchior

• 

  Balthasar

• 

  Caspar

• 

  Sigismondo Malatesta and Galeazzo Maria Sforza

   

Giacobbe Giusti, Magi Chapel

• 

  Byzantine wealth

• Medici and Gozzoli
• 

  Cosimo and Piero

• 

  Nannina, Bianca and Maria.

• 

  Lorenzo and Giuliano

• 

  Gozzoli, self-portrait.

• 

  Gozzoli (centre), self-portrait

• Nature
• 

  Hunting scene

• 

  Falcon and hare

• 

  Birds in flight

• 

  Exotic felid

• 

  Jerusalem/Cafaggiolo

• Flagellation of Christ (Piero della Francesca) – another painting featuring contemporary portraits, the identities of which have been hotly debated.
• Adoration of the Magi (Sandro Botticelli) – a painting featuring prominent Medici family members as the Magi.
• Madonna of the Magnificat (Sandro Botticelli) – a painting featuring Lucrezia Tornabuoni, wife of Piero de’ Medici, as Mary, while Lorenzoand Giuliano appear as angels.
• The Confirmation of the Rule (Domenico Ghirlandiao) – a painting featuring Lorenzo and his sons Giuliano, Piero and Giovanni, the latter being the future Pope Leo X.

References

1. Jump up^ « Chapel of the Magi ». The Museums of Florence. Retrieved November 9, 2017.
2. Jump up^ « Chapel of the Magi ». The Museums of Florence. Retrieved November 9, 2017.

• Cardini, Franco (2001). The Chapel of the Magi in Palazzo Medici. Florence: Mandragora.
• Davisson, Darrell D., Secrets of the Medici Palace and Its Private Chapel: Six Studies in the early Italian Renaissance, 2014, San Bernardino, Createspace.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, MASOLINO and MASACCIO: Adam and Eve

Giacobbe Giusti, MASOLINO and MASACCIO: Adam and Eve

Masolino da Panicale – book: La Cappella Brancacci a Santa Maria del Carmine, in AA.VV., Cappelle del Rinascimento a Firenze, Editrice Giusti, Firenze

Giacobbe Giusti, MASOLINO and MASACCIO: Adam and Eve

Expulsion of Adam and Eve from Masaccio.

Giacobbe Giusti, ルネサンス期のイタリア絵画

『モナ・リザ』（1503年 – 1519年頃）、レオナルド・ダ・ヴィンチ
ルーヴル美術館（パリ）

ルネサンス期のイタリア絵画（ルネサンスきのイタリアかいが）では、13世紀終わりに勃興し、15世紀初めから16世紀半ばにかけて最盛期を迎えた芸術運動であるルネサンスにおいて、当時多くの都市国家に分裂していたイタリアで描かれた絵画作品を解説する。ルネサンス美術は、黎明期（1300年 – 1400年）、初期（1400年 – 1475年）、盛期（1475年 – 1525年）、そして後期のマニエリスム期（1525年 – 1600年）に大別することができる。しかしながら、個々の画家たちの独自表現、作風が複数の時代区分にまたがっていることもあり、作品に明確な相違が見られるわけではない。

イタリアでのルネサンス絵画の黎明期はジョットに始まるとされ、その後、タッデオ・ガッディ、オルカーニャ、アルティキエーロら、ジョットの弟子がその作風を受け継いでいった。初期イタリアルネサンスで重要な画家として、マサッチオ、フラ・アンジェリコ、パオロ・ウッチェロ、ピエロ・デッラ・フランチェスカ、ヴェロッキオらの名前があげられる。盛期ルネサンスではレオナルド・ダ・ヴィンチ、ミケランジェロ、ラファエロ、マニエリスム期ではアンドレア・デル・サルト、ポントルモ、ティントレットらがとくに重要な画家である。

ルネサンス期にイタリアで描かれた絵画作品は、芸術分野以外でのルネサンス運動、例えば哲学、文学、建築、神学、科学など様々な要素を反映している。さらには当時の社会情勢も、絵画作品へ大きな影響を与えた。また、ルネサンス期にイタリアで活動していた画家たちは、特定の宮廷、あるいは都市と強く結びつくこともあったが、それでもなお多くの画家はイタリア中を訪れ、ときには外交特使の役目を担って、芸術と哲学の伝播に重要な役割を果たした^[1]。

メディチ家による銀行の創設と、それに続く貿易の隆盛は、メディチ家が根拠としていたフィレンツェに莫大な富をもたらした。それまで芸術家の重要なパトロンは教会や君主だったが、メディチ家当主コジモ・デ・メディチ（1389年 – 1464年）が、それらとは無関係なルネサンス期の典型ともいえる新たな芸術パトロン像を確立した。

ルネサンス期を通じてフィレンツェは、ジョット、マサッチオ、ブルネレスキ、ピエロ・デッラ・フランチェスカ、レオナルド・ダ・ヴィンチ、ミケランジェロら、錚々たる芸術家を輩出している。これらの芸術家は新しい絵画様式を確立し、一流の技量を持つとはいえないその他の芸術家たちにも大きな影響を与え、フィレンツェの絵画界全体の技量と品質向上に大きな役割を果たした^[2]。ヴェネツィアでもフィレンツェと同様に芸術分野での大きな向上が見られ、ベリーニ一族^{[注釈 1]}、マンテーニャ、ジョルジョーネ、ティツィアーノ、ティントレットらが、ルネサンス期のヴェネツィアを代表する画家たちである^[2][3][4]。

 

https://en.wikipedia.org/wiki/Italian_Renaissance_painting#Proto-Renaissance_painting

http://www.giacobbegiusti.com

Giacobbe Giusti, Basilique San Lorenzo de Florence

Giacobbe Giusti, Basilique San Lorenzo de Florence

Le ciel astronomique de la Vieille Sacristie

attribué à Giuliano Pesello — book: Elena Capretti, Brunelleschi, Giunti Editore, Firenze 2003.

Pesello (attr.) emisfero celeste, 1442 circa, sagrestia vecchia, firenze.jpg

Giacobbe Giusti, Basilique San Lorenzo de Florence

The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the Laurentian Library.

Giacobbe Giusti, Basilique San Lorenzo de Florence

Basilica di san Lorenzo a Firenze. È visibile in primo piano il monumento a Giovanni dalle Bande Nere.

Giacobbe Giusti, Basilique San Lorenzo de Florence

 Église San Lorenzo.

 

Cet article est une ébaucheconcernant une église ou unecathédrale et Florence.Vous pouvez partager vos connaissances en l’améliorant (comment ?) selon les recommandations des projets correspondants.

Giacobbe Giusti, Basilique San Lorenzo de Florence
L’église depuis la place San Lorenzo servant de marché et la statue du condottière Jean de Médicis
Présentation
Culte	Catholicisme
Type	Basilique mineure
Début de la construction	1424
Fin des travaux	1446
Architecte	Filippo Brunelleschi et Antonio Manetti
Style dominant	Architecture Renaissance
Géographie
Pays	Italie
Région	Toscane
Ville	Florence
Géolocalisation sur la carte : Florence

La basilique de San Lorenzo est l’un des principaux lieux de culte catholiques de Florence, situé sur la place du même nom dans le centre historique de la ville. Elle possède le titre de basilique mineure. Elle comprend notamment des constructions ou œuvres de Brunelleschi, Donatello, Michel-Ange, Verrocchio, Benozzo Gozzoli, Filippo Lippi et Bronzino. Elle est accolée aux chapelles des Médicis qui contiennent les sarcophages de la famille régnante de Florence.

Historique

La basilique visible aujourd’hui a été édifiée à l’emplacement d’une église consacrée en 393 par Ambroise de Milan, celle-ci étant considérée comme le plus ancien édifice religieux de la ville. La construction de l’édifice actuel a été entamée en 1424 par Filippo Brunelleschi et poursuivie par Antonio Manetti après la mort de Brunelleschi en 1446. L’intérieur de sa façade est de Michel-Ange ; celle-ci, malgré les plans de celui-ci, reste inachevée.

Description

L’intérieur.

On distingue :

• la façade ;
• dans une chapelle à droite, le Mariage de la Vierge (it) de Rosso Fiorentino, qui représente Joseph en jeune homme contrairement à la tradition ;
• deux chaires (1460-1466) de Donatello (Pulpito della Resurrezione et Pulpito della Passione), dont celle utilisée par Savonarole ;
• le cénotaphe à Donatello de Raffaello Romanelli (1896) ;
• la chapelle Martelli avec l’Annonciation de Fra Filippo Lippi ;
• l’ancienne sacristie (Sagrestia Vecchia, 1422-1428) au fond gauche du transept, ornée d’une fresque représentant le ciel astronomique du 4 juillet 1442 peint sur la voûte de la chapelle de l’abside par Giuliano Pesello. On y trouve le monument funéraire de Pierre le Goutteux et de son frère Jean ;
• les chapelles des Médicis, aujourd’hui accessibles par une entrée séparée derrière la basilique :
  • la chapelle des Princes, au premier étage (commandée en 1568, commencée en 1605, achevée en 1929) avec les six sarcophages surmontés des statues des grands-ducs en bronze doré de Pietro Tacca et de son fils Ferdinando Tacca et ses mosaïques florentines, marqueteries de marbre de l’Opificio delle pietre dure, atelier-manufacture créé pour ces réalisations en 1588 ;
  • la Nouvelle Sacristie (Sagrestia Nuova, 1521), accessible par la précédente. Elle contient les tombeaux des Médicis, sculptés par Michel-Ange : celui duc d’Urbin Laurent et celui du duc de Nemours Julien, et le sarcophage unique de Laurent le Magnifique et de son frère Julien ;
  • la chapelle du Trésor, dans la crypte, avec ses reliquaires et ses objets d’orfèvrerie ;
• le cloître ;
• la bibliothèque Laurentienne et son escalier à triple montée dessiné par Michel-Ange auquel on accède par le cloître, et qui donne accès à la salle de lecture ;
• le petit campanile de Ferdinando Ruggieri (1740), en remplacement du précédent détruit par un incendie en 1423.

Plan général

Vieille Sacristie Nouvelle Sacristie Chapelle des Princes Premier cloître Second cloître Bibliothèque Laurentienne Chaire de Donatello Chaire de Donatello Tabernacle de Desiderio da Settignano Chapelle Martelli Chapelle du transept gauche Chapelle du transept gauche Martyre de saint Laurent, Bronzino Le Mariage de la Vierge, Rosso Fiorentino

Environs

On remarquera en vis-à-vis de la façade de l’église, de l’autre côté de la place San Lorenzo, l’observatoire Ximenes, premier observatoire astronomique de Florence.

Galerie

• 

  Le dôme de la chapelle des Princes.

• 

  La façade inachevée.

• 

  Le cloître.

• 

  La nef, en direction de l’entrée.

• 

  La nef, en direction du chœur.

• 

  Chapiteau d’une colonne de la nef.

• 

  La voûte, peinte par Vincenzo Meucci.

• 

  Le ciel astronomique de la Vieille Sacristie

   

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

http://www.giacobbegiusti.com

Giacobbe Giusti, AGOSTINO di DUCCIO: Vierge et l’Enfant (Vierge d’Auvillers) Musée du Louvre

Giacobbe Giusti, AGOSTINO di DUCCIO: Vierge et l’Enfant (Vierge d’Auvillers) Musée du Louvre

 

Vierge et l’Enfant (Vierge d’Auvillers)
Musée du Louvre.

Notes et références

1. André Chastel, Renaissance méridionale, 1965, puis 1999.
2. ↑ André Chastel.
3. ↑ Ascanio Condivi, Vita di Michelagnolo Buonarroti.
4. ↑ 1 brasse florentine = 58,42 cm.
5. ↑ Marc Bormand, Florence, la ville où les sculpteurs inventèrent la Renaissance, in Grande Galerie – Le Journal du Louvre, sept./oct./nov. 2013, n° 25.

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

http://www.giacobbegiusti.com