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Giacobbe Giusti, Palazzo Pubblico, Siena

Publié par GIACOBBE GIUSTI le 5 février 2019

Publié dans: Allegory of Good Government by Lorenzetti., Cappella di Palazzo, affreschi di Taddeo di Bartolo (Morte della Vergine), Effetti del Buon Governo, Giacobbe Giusti, Palazzo Pubblico, Siena, Guidoriccio da Fogliano all'assedio di Montemassi (in alto), sotto un frammento attribuito a Duccio di Buoninsegna (1314) e due santi del Sodoma (1530), Guidoriccio da Fogliano, dettaglio, Lorenzetti Ambrogio, Naval Battle of Punta San Salvatore by Spinello Aretino ., Pope Alexander III returns to Rome by Spinello Aretino., Room of the Risorgimento., Sano di Pietro, Predicazione di San Bernardino in Piazza del Campo, metà del XV secolo, Senza categoria. Tagué : art, giacobbe giusti, Palazzo Pubblico, Siena. Poster un commentaire

Giacobbe Giusti, Palazzo Pubblico, Siena

Naval Battle of Punta San Salvatore by Spinello Aretino .

Giacobbe Giusti, Palazzo Pubblico, Siena

Lorenzetti Ambrogio Effetti del Buon Governo

Giacobbe Giusti, Palazzo Pubblico, Siena

Maestà by Simone Martini.

Giacobbe Giusti, Palazzo Pubblico, Siena

Guidoriccio da Fogliano all’assedio di Montemassi (in alto), sotto un frammento attribuito a Duccio di Buoninsegna(1314) e due santi del Sodoma (1530)

Giacobbe Giusti, Palazzo Pubblico, Siena

Cappella di Palazzo, affreschi di Taddeo di Bartolo (Morte della Vergine)

Giacobbe Giusti, Palazzo Pubblico, Siena

Guidoriccio da Fogliano, dettaglio

Giacobbe Giusti, Palazzo Pubblico, Siena

Allegory of Good Government by Lorenzetti.

Giacobbe Giusti, Palazzo Pubblico, Siena

Pope Alexander III returns to Rome by Spinello Aretino.

Giacobbe Giusti, Palazzo Pubblico, Siena

Sano di Pietro, Predicazione di San Bernardino in Piazza del Campo, metà del XV secolo

Giacobbe Giusti, Palazzo Pubblico, Siena

Room of the Risorgimento.

Giacobbe Giusti, Palazzo Pubblico, Siena

Torre del Mangia

Giacobbe Giusti, Palazzo Pubblico, Siena

Palazzo Pubblico and Torre del Mangia.

Giacobbe Giusti, Palazzo Pubblico, Siena

The crown of Palazzo Pubblico.

Giacobbe Giusti, Palazzo Pubblico, Siena

Naval Battle of Punta San Salvatore by Spinello Aretino .

Giacobbe Giusti, Palazzo Pubblico, Siena

Maestà by Simone Martini.

Allegory of Good Government by Lorenzetti.

Giacobbe Giusti, Palazzo Pubblico, Siena

Pope Alexander III returns to Rome by Spinello Aretino.

The Palazzo Pubblico(town hall) is a palace in Siena, Tuscany, central Italy. Construction began in 1297 to serve as the seat of the Republic of Siena‘s government, which consisted of the Podestàand Council of Nine, the elected officials who performed executivefunctions (and judicial ones in secular matters).^[1]

Architecture

The outside of the structure is an example of Italian medieval architecture with Gothicinfluences. The lower story is stone while the upper crenellated stories are made of brick. The facadeof the palace is curved slightly inwards (concave) to reflect the outwards curve (convex) of the Piazza del Campo, Siena’s central square, of which the Palace is the focal point.

Room of the Risorgimento.

Giacobbe Giusti, Palazzo Pubblico, Siena

Palazzo Pubblico in Siena and the Clock tower

The campanile or bell tower, Torre del Mangia, was built between 1325 and 1344; its crown was designed by the painter Lippo Memmi. The tower was designed to be taller than the tower in neighboring rival Florence; at the time it was the tallest structure in Italy. It was fitted with a mechanical clock during the mid-14th century. Its design has been used as the basis for several other campaniles, including the Dock Towerin Grimsby, England, constructed in 1852 and the Joseph Chamberlain Memorial Clock Tower in the Edgbaston campus of the University of Birmingham, which was completed in 1908.

Frescoes

Giacobbe Giusti, Palazzo Pubblico, Siena

Cappella di Piazza.

Nearly every major room in the palace contains frescoes. These were unusual for the time in that they were commissioned by the governing body of the city, rather than by the Church or by a religious fraternity. They are also unusual in that many of them depict secular subjects instead of the religious subjects which are overwhelmingly typical of Italian art of this era.

Giacobbe Giusti, Palazzo Pubblico, Siena

Fresco in the palace.

The most famous of the secular frescoes are three panels in the series on government in the Hall of the Nine (also known as Sala della Pace) by Ambrogio Lorenzetti.

These frescoes are collectively known as The Allegory of Good and Bad Government.

The Allegory of Good Government depicts the personification of Justice as a woman. She gestures to the scales of balance, held by the personification of Wisdom floating over her throne. On the viewer’s left, a convicted criminal is beheaded; on the right, figures receive the rewards of justice. At Justice’s feet, the personification of Virtue, also, unusually for the time, portrayed as a female figure, passes virtue among 24 faithfully rendered and recognizable images of prominent male citizens of Siena. The men face towards the largest figure in the image, a judge located in the center right. The judge is surrounded by additional personifications including Peace, who is represented as a fashionable, white-clad contemporary female figure with elaborate blonde hair.

The allegory carries a strong social message of the value of the stable republican government of Siena. It combines elements of secular life with references to the importance of religion: Justice resembles Mary, Queen of Heaven, the patron saint of Siena, on a throne; the Judge reflects the tradition in the Christian Last Judgment to have God or Christ judging the saved on the left and the damned on the right. While classified as medieval or proto (pre)-renaissance art, these paintings show a transition from earlier religious art.

Flanking the Allegory are two other paintings on perpendicular walls: Effects of Good Government and Effects of Bad Government. Both these frescoes depict a recognizable view of Siena and its countryside.

In the allegorical representation of Good Government, the prosperous townspeople are trading and dancing in the streets. Beyond the city walls is a lush countryside in which crops are harvested.

In the allegory of Bad Government, crime is rampant and diseased citizens roam a crumbling city; the countryside suffers from drought.

The courtyard

Many of the frescoes in the Palace, including these, are badly damaged potentially due to salt once stored in the basement of the building. It is theoretically possible that the salts wicked moisture down from the walls, causing the plaster to dry excessively and the frescoes to flake off.

Other frescoes include that of Guidoriccio da Foglianoat the siege of Montemassi, located in the Great Council Hall (Sala del Mappamondo). The fresco is traditionally attributed to Simone Martini, although there is debate on the subject. The wall has circular markings left by the circular wall-mounted (now lost) map of the world by Ambrogio Lorenzetti.

Siena was decimated by the Black Death in 1348; approximately half of its population died in the plague. The republic’s economy was destroyed and the state quickly declined from its position of prominence in Italy. The Franciscan religious order rose to power in the city. The stagnation over the following centuries meant that while Siena did not develop during the Renaissance as did other Italian cities, it was also preserved both from bombardment during World War II and from modern development.

References

^ Ferguson, Niall (2017). The Square and the Tower: Networks and Power, from the Freemasons to Facebook. Penguin Press. pp. 425–431. ISBN 978-0735222915.

Page about the palace at goticomania.it (in Italian)

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

http://www.giacobbegiusti.com

Giacobbe Giusti, AMBROGIO LORENZETTI: Effects of Good Government in the city

Publié par GIACOBBE GIUSTI le 23 juin 2018

Publié dans: Allegory of Bad Government and Its Effects on Town and Country., ambrogio lorenzetti siene, AMBROGIO LORENZETTI: Effects of Good Government in the city, Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Goo, Senza categoria. Tagué : Allegory of Bad Government and Its Effects on Town and Country., ambrogio lorenzetti, AMBROGIO LORENZETTI: Effects of Good Government in the city, Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Goo, art, giacobbe giusti, Italy, Siena. Poster un commentaire

Giacobbe Giusti, AMBROGIO LORENZETTI: Effects of Good Government in the city

Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)^[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Good and Bad Government in the Sala dei Nove (Salon of Nine or Council Room) in Siena‘s Palazzo Pubblico. His elder brother was the painter Pietro Lorenzetti.

Biography

Lorenzetti was highly influenced by both Byzantine art and classical art forms, and used these to create a unique and individualistic style of painting. His work was exceptionally original. Individuality at this time was unusual due to the influence of patronage on art. Because paintings were often commissioned, individualism in art was infrequently seen. It is known that Lorenzetti engaged in artistic pursuits that were thought to have their origins during the Renaissance, such as experimenting with perspective and physiognomy, and studying classical antiquity.^[2] His body of work clearly shows the innovativeness that subsequent artists chose to emulate.

His work, although more naturalistic, shows the influence of Simone Martini. The earliest dated work of the Sienese painter is a Madonna and Child (1319, Museo Diocesano, San Casciano). His presence was documented in Florence up until 1321. He would return there after spending a number of years in Siena.^[3]

Allegory of bad government, two soldiers robbing a woman

Later he painted The Allegory of Good and Bad Government. The frescoes on the walls of the Room of the Nine (Sala dei Nove) or Room of Peace (Sala della Pace) in Siena‘s Palazzo Pubblico are one of the masterworks of early Renaissance secular painting. The « nine » was the oligarchal assembly of guild and monetary interests that governed the republic. Three walls are painted with frescoes consisting of a large assembly of allegorical figures of virtues in the Allegory of Good Government.^[4] In the other two facing panels, Ambrogio weaves panoramic visions of Effects of Good Government on Town and Country, and Allegory of Bad Government and its Effects on Town and Country (also called « Ill-governed Town and Country »). The better preserved « well-governed town and country » is an unrivaled pictorial encyclopedia of incidents in a peaceful medieval « borgo » and countryside.

The first evidence of the existence of the hourglass can be found in the fresco, Allegory of Bad Government and Its Effects on Town and Country.

Like his brother, he is believed to have died of bubonic plague in 1348.^[5] Giorgio Vasari includes a biography of Lorenzetti in his Lives.

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Hôpital Santa Maria della Scala, Sienne

Publié par GIACOBBE GIUSTI le 22 juin 2018

Giacobbe Giusti, Hôpital Santa Maria della Scala

Pilgrims Lane in Santa Maria della Scala Hospital (Siena)

Giacobbe Giusti, Hôpital Santa Maria della Scala

Salle des pèlerins fresquée par Domenico di Bartolo.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Domenico di Bartolo – The Rearing and Marriage of Female Foundlings

Giacobbe Giusti, Hôpital Santa Maria della Scala

Domenico di Bartolo – Care of the Sick (detail)

Giacobbe Giusti, Hôpital Santa Maria della Scala

Plafond de la Sala del Pellegrinaio (salle du Pèlerin), fresque de Domenico di Bartolo. Hôpital Santa Maria della Scala.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Care of the Sick Domenico di Bartolo

Giacobbe Giusti, Hôpital Santa Maria della Scala

Coats of arms of the Hospital Santa Maria della Scala in Siena, Tuscany, Italy

Giacobbe Giusti, Hôpital Santa Maria della Scala

Ingresso del it:Complesso Museale Santa Maria della Scala, Siena

Giacobbe Giusti, Hôpital Santa Maria della Scala

Santa Maria della Scala, vom Ortsteil San Prospero aus gesehen (Westseite), links die Fassade des Doms

Giacobbe Giusti, Hôpital Santa Maria della Scala

Panorama of the Hospital Santa Maria della Scala seen from the backside (Via del Chiasso di Sant’Ansano / Due Porte), Siena, Tuscany, Itay

Giacobbe Giusti, Hôpital Santa Maria della Scala

Sa façade en face du Duomo.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Salle des pèlerins fresquée par Domenico di Bartolo.

L’Hôpital Santa Maria della Scala est un bâtiment religieux à Sienne et le plus ancien hôpital d’Europe.

Histoire

Construit au xiii^e siècle et situé en face de la cathédrale dite Duomo à Sienne, en face de la volée de marches y menant (d’où probablement son nom ou une référence à l’escalier saint), cet édifice comprend de nombreux oratoires sous le niveau de la place, dont celui consacré à sainte Catherine de la nuit.

La grande salle (l’ancienne infirmerie) a révélé de nombreuses fresques après une rénovation récente qui a éliminé le blanchiment recouvrant les murs et les voûtes.

L’église Santa Maria della Scala, rénovée en 1446, a été englobée dès la construction de l’hôpital. Elle se trouve au même niveau que la grande salle.

En 1995, les autres églises de la Santissima Annunziata e al Pellegrinaio, ont été progressivement restaurées et ont été ouvertes, la vieille sacristie avec ses peintures de Vecchietta, la chapelle del Manto avec la fresque de Domenico Beccafumi, la Cappella della Madonna, le fenil médiéval, les locaux de la Compagnia di Santa Caterina della Notte, ceux du siège historique de la Società di Esecutori di Pie Disposizioni.

Complexe muséal

Complexe muséal Santa Maria della Scala.

Dans ses niveaux souterrains se trouve le Musée Archéologique National, les expositions du Palais Squarcialupi et une exposition permanente comportant les sculptures originales de la Fonte Gaia de Jacopo della Quercia.

Les ouvertures, visibles de-ci de-là, rendent compte de la construction étagée de la ville même.

Notes et références

Sources

(it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Complesso museale di Santa Maria della Scala » (voir la liste des auteurs).

Voir aussi

Hôpital Santa Maria della Scala de Sienne,

https://fr.wikipedia.org/wiki/H%C3%B4pital_Santa_Maria_della_Scala

http://www.giacobbegiusti.com

Giacobbe Giusti, AMBROGIO LORENZETTI: Annunciation, 1344

Publié par GIACOBBE GIUSTI le 2 mars 2018

Publié dans: Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Good and, AMBROGIO LORENZETTI: Annunciation, 1344, Ambrogio_Lorenzetti, Annunciation, 1344, Frank N Magill; Alison Aves (1 November 1998). Dictionary of World Biography. Routledge. pp. 595–. ISBN 978-1-57958-041-4. Chiara Frugoni, Pietro and Ambrogio Lorenzetti, (Florence: Scala Books, 198, Senza categoria. Tagué : (Florence: Scala Books, (New York: Scala Books, 1250–1350". Journal of World History. 21 (2): 177–217. doi:10.1353/jwh.0.0123. Rubinstein, 1287-1355". American Historical Review. 73 (1): 1–17. doi:10.2307/1849025. Bowsky, 1287-1355". Berkeley: University of California Press. ISBN 0-520-04256-5. Debby, 1289-1539: Studies in Imagery and Relations to other Communal Palaces in Tuscany. New York: Garland. ISBN 0-8240-3967-X. Starn, 1338-40". Representations. 18: 1–32. doi:10.2307/3043749. ——— (1994). Ambrogio Lorenzetti; The Palazzo Pubblico, 1344, 1983, 1988), 1999, 2006. Early Modern Literary Studies. Retrieved October 7, 2006. Page 34, 2013. "Effects of Good Government in the city". Google Arts & Culture. Retrieved 28 January 2018. S. Maureen Burke, 37. Casu, 38. Chiara Frugoni, 41. Enzo Carli, 48. Schlegel, 65: H.4 (2002): 467. Diana Norman, Ambrogio Lorenzetti (or Ambruogio Laurati) (c. 1290 – 9 June 1348)[1] was an Italian painter of the Sienese school. He was active from approximately 1317 to 1348. He painted The Allegory of Good and, AMBROGIO LORENZETTI: Annunciation, Ambrogio_Lorenzetti, and the Maremma: a neglected aspect of Ambrogio Lorenzetti's paintings in the Sala dei Nove". Renaissance Studies. 11 (4): 311–341. doi:10.1111/j.1477-4658.1997.tb00025.x. Polzer, Annunciation, art, “ ‘Little Desire for Glory’: the Case of Ambrogio and Pietro Lorenzetti”, “The Martyrdom of the Franciscans by Ambrogio Lorenzetti”, Chiara (1988). Pietro and Ambrogio Lorenzetti. Florence, Diana (1997). "Pisa, Dieter. Malerei und Stadtkultur in der Dantezeit: die Argumentation der Bilder (in German). Munich: Hirmer. pp. 85–103. ISBN 3-7774-5030-8. Southard, Edna Carter (1979). The Frescoes in Siena’s Palazzo Pubblico, Franchi, Franci. The Great Masters of European Art. Barnes & Noble, Frank N Magill; Alison Aves (1 November 1998). Dictionary of World Biography. Routledge. pp. 595–. ISBN 978-1-57958-041-4. Chiara Frugoni, giacobbe giusti, Hans; Blume, Inc., Istituto Fotografico Editoriale. ISBN 0-935748-80-6. ——— (1991). A Distant City; Images of Urban Experience in the Medieval World. New Jersey: Princeton University Press. ISBN 0-691-04083-4. Gre, Italy, Italy: Scala, Jack M. (1988). "The Vision of Peace: Meaning and Representation in Ambrogio Lorenzetti's Sala Della Pace Cityscapes". Art History. 11 (4): 492–510. Norman, Joseph (2002). "Ambrogio Lorenzetti's 'War and Peace' Murals Revisited: Contributions to the Meaning of the 'Good Government Allegory'". Artibus et Historiae. 23 (45): 63–105. doi:10.2307/1483682. P, New Haven: Yale University Press, Nicolai (1958). "Political Ideas in Siense Art: The Frescoes by Ambrogio Lorenzetti and Taddeo di Bartolo in the Palazzo Pubblico". Journal of the Warburg and Courtauld Institutes. 21 (3/4): 179–207, Nirit Ben-Aryeh (2001). "War and Peace: the description of Ambrogio Lorenzetti's Frescoes in Saint Bernardino's 1425 Siena Sermons". Renaissance Studies. 15 (3): 273–286. doi:10.1111/1477-4658.00370, Pietro and Ambrogio Lorenzetti, Quentin (1989). "Ambrogio Lorenzetti: The Artist as Political Philosopher". In Belting, Randolph (1987). "The Republican Regime of the "Room of Peace" in Siena, Retrieved November 25, Roxann (2010). "Siena on the Silk Roads: Ambrogio Lorenzetti and the Mongol Global Century, Siena, Siena. New York: George Braziller., Sienese Painting, The Changing Status of the Artist, Ursula (March 1970). "The Christchild as Devotional Image in Medieval Italian Sculpture: A Contribution to Ambrogio Lorenzetti Studies". The Art Bulletin. College Art Association. 52 (1): 9. doi:10.23, Uta (1972). "The Pictorial Programme of the Sala della Pace: A New Interpretation". Journal of the Warburg and Courtauld Institutes. 35: 145–162. doi:10.2307/750926. Frugoni, William M. (1962). "The Buon Governo of Siena (1287-1355): A Mediaeval Italian Oligarchy". Speculum. 37 (3): 368–381. doi:10.2307/2852358. ——— (1967). "The Medieval Commune and Internal Violen, William M. (1981). "A Medieval Italian Commune; Siena Under The Nine, Zeitschrift für Kunstgeschichte. Poster un commentaire

Giacobbe Giusti, AMBROGIO LORENZETTI: Annunciation, 1344

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

http://www.giacobbegiusti.com

Giacobbe Giusti, SPINELLO ARETINO: Matrimonio mistico di Santa Caterina d’Alessandria tra santi

Publié par GIACOBBE GIUSTI le 27 janvier 2018

Publié dans: art, art européen, art occidental, capolona, Giovanni Matteo Guidetti, La Cappella del Cardinale del Portogallo a San Miniato al Monte, in AA.VV., Cappelle del Rinascimento a Firenze, Editrice Giusti,, Matrimonio mistico di Santa Caterina d'Alessandria tra santi, Santo Stefano, Galleria dell'Accademia, Firenze, Senza categoria, Spinello Aretino (c. 1350 – c. 1410) was an Italian painter from Arezzo, whose style influenced the development of late 14th- and early 15th-century painting in Tuscany, Spinello di Luca Spinelli, comunemente noto come Spinello Aretino (Capolona (Arezzo), 1350 circa – 14 marzo 1410), è stato un pittore italiano, tra i più attivi in Toscana nella seconda metà del , Stefan Weppelmann, Spinello Aretino e la pittura del Trecento in Toscana, Firenze, Storie di Alessandro III, Palazzo comunale, Siena, Storie di san Benedetto, 1387-1388, sagrestia di San Miniato al Monte, Firenze, tuscany art. Tagué : 1350 circa – 14 marzo 1410), 1387-1388, art, è stato un pittore italiano, capolona, Cappelle del Rinascimento a Firenze, comunemente noto come Spinello Aretino (Capolona (Arezzo), Editrice Giusti, Firenze, galleria dell'accademia, giacobbe giusti, Giovanni Matteo Guidetti, in AA.VV., italian art, italian renaissance, Italian Renaissance painting, italie art, Italy, La Cappella del Cardinale del Portogallo a San Miniato al Monte, Matrimonio mistico di Santa Caterina d'Alessandria tra santi, Palazzo comunale, Philosophy, reinassance italienne, renaissance, renaissance florentine, renaissance italienne, sagrestia di San Miniato al Monte, Santo Stefano, Siena, spinello aretino, Spinello Aretino (c. 1350 – c. 1410) was an Italian painter from Arezzo, Spinello Aretino e la pittura del Trecento in Toscana, Spinello di Luca Spinelli, Stefan Weppelmann, Storie di Alessandro III, Storie di san Benedetto, tra i più attivi in Toscana nella seconda metà del Trecento., Trittico della Madonna in trono e santi, whose style influenced the development of late 14th- and early 15th-century painting in Tuscany. Poster un commentaire

Giacobbe Giusti, SPINELLO ARETINO: Matrimonio mistico di Santa Caterina d’Alessandria tra santi

Giacobbe Giusti, SPINELLO ARETINO: Matrimonio mistico di Santa Caterina d’Alessandria tra santi

Autore	Spinello Aretino
Data	1390
Tecnica	affresco
Ubicazione	basilica di Santa Trinita, Firenze

Il Matrimonio mistico di Santa Caterina d’Alessandria tra santi è un affresco staccato di Spinello Aretino, databile al 1390 circa e conservato nella Cappella Cialli-Seringi della basilica di Santa Trinitaa Firenze. Proviene dall’attigua Cappella Bartolini Salimbeni, dove venne ritrovato, con la sinopia, sotto gli affreschi di Lorenzo Monaco nel 1961.

Storia

La quarta cappella della navata destra di Santa Trinita apparteneva ai ricchi mercanti Bartolini Salimbenialmeno dal 1363. L’affresco di Spinello Aretino venne messo in relazione da Cristina di Benedictis con una certa Lisa, moglie di Bartolmeo Bartolini Salimbeni, morta entro il 1390: in questo senso si spiegherebbe la presenza dei santi Elisabetta e Bartolomeo. La donna, rappresentata piccola in basso in abito di terziaria francescana, sarebbe stata omaggiata dal marito con l’affresco, che ne esaltasse la memoria e le virtù cristiane, come se fosse stata una religiosa.

Al momento della nuova decorazione ad affresco (1420 circa) Lorenzo Monaco, il cui stile è debitore dell’esempio di Spinello, dovette cercare di salvare alcuni dettagli asportando pezzi interi di intonaco e forse di muratura, non essendo conosciuta la tecnica dello strappo: ciò venne ipotizzato da Ugo Procacci nel riscontrare la mancanza di elementi basilari quali il volto di santa Caterina, della Vergine, o il cerchio attorno alla testa di san Bartolomeo che denota un tentativo di asportazione. Infine si rinunciò, procedendo a operare le scalfiture e martello per far aderire il nuovo intonaco. Forse alcuni frammenti riuscirono a venire conservati, probabilmente in un luogo per la devozione privata delle case dei Bartolini.

Descrizione e stile

La sinopia

L’opera ha come tema centrale il matrimonio mistico di santa Caterina d’Alessandria, che viene rappresentata in ginocchio al cospetto del trono della Vergine, mentre Gesù Bambino la sposa simbolicamente infilandole un anello nuziale al dito. Assistono alla scena quattro santi sotto lo stesso arco e due ai lati sotto nicchie dipinte separate. Essi sono, da sinistra: sant’Elisabetta, sant’Andrea, san Bartolomeo (protettore del committente ma anche dei « Bartolini » in generale per l’assonanza del nome), sant’Antonio Abate, san Giovanni Battista e un santo vescovo.

In basso, piccolissima, si affaccia la committente che guarda la scena levando la testa.

Lo stile è tipico delle opere di Spinello, con colori accesi e cangianti, figure allungate, profili taglienti, che vennero riprese e sviluppate dagli artisti del gotico internazionale, tra cui proprio Lorenzo Monaco.

Bibliografia

Stefan Weppelmann, Spinello Aretino e la pittura del Trecento in Toscana, Firenze, 2011. ISBN 9788859608776
Giovanni Matteo Guidetti, La Cappella del Cardinale del Portogallo a San Miniato al Monte, in AA.VV., Cappelle del Rinascimento a Firenze, Editrice Giusti, Firenze 1998.
Vedi anche la bibliografia su Firenze.

Matrimonio mistico di santa Caterina d’Alessandria tra santi

Categorie:

Giacobbe Giusti, SPINELLO ARETINO

Santo Stefano, Galleria dell’Accademia, Firenze

Giacobbe Giusti, SPINELLO ARETINO

Trittico della Madonna in trono e santi, Galleria dell’Accademia, Firenze

Giacobbe Giusti, SPINELLO ARETINO

Storie di san Benedetto, 1387-1388, sagrestia di San Miniato al Monte, Firenze

Giacobbe Giusti, SPINELLO ARETINO

Storie di Alessandro III, Palazzo comunale, Siena

Spinello di Luca Spinelli, comunemente noto come Spinello Aretino (Capolona (Arezzo), 1350circa – 14 marzo 1410), è stato un pittore italiano, tra i più attivi in Toscana nella seconda metà del Trecento.

Spinello Aretino (c. 1350 – c. 1410) was an Italian painter from Arezzo, whose style influenced the development of late 14th- and early 15th-century painting in Tuscany

https://it.wikipedia.org/wiki/Spinello_Aretino

http://www.giacobbegiusti.com

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Publié par GIACOBBE GIUSTI le 24 janvier 2018

Publié dans: art, art contemporain, art européen, art occidental, arte gotica, メトロポリタン美術館, メトロポリタン美術館曖昧さ回避この項目では、ニューヨークにある美術館について説明しています。大貫妙子の楽曲については「メトロポリタン, Berlinghiero (Italian, Lucca,, Bondone[1] (c. 1270 – January 8, 1337),[2][3] known mononymously as Giotto (Italian: [ˈdʒɔtto]) and Latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle, Duccio di Buoninsegna (Italian, giotto di bondone, GIOTTO di BONDONE: The Adoration of the Magi, New York, Giovanni da Milano (Italian, born Lombardy, active Florence, Madonna and Child Artist: Berlinghiero (Italian, Lucca,, Madonna and Child Artist: Duccio di Buoninsegna, Madonna and Child Artist:Duccio di Buoninsegna (Italian, Madonna and Child with Donors Artist:Giovanni da Milano (Italian, born Lombardy, active Florence, Maso di Banco (Italian, Florence,, 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 second most visited art museum in the , Metropolitan_Museum_of_Art, Metropolitan_Museum_of_Art giotto, most visited art museum in the world, new york giotto, Related Objects Saint Andrew Artist: Simone Martini (Italian, Siena, active by 1315–died 1344 Avignon) Date: ca. 1326 Medium: Tempera on wood, gold ground Accession: 41.100.23 On view in:Gallery 625, Saint Andrew Artist:Simone Martini (Italian, Siena,, Saint Anthony of Padua Artist:Maso di Banco (Italian, Florence,, Senza categoria, Simone Martini (Italian, Siena,, The Adoration of the Magi, New York. Tagué : active 1320–46) Medium: Tempera on wood, active by 1228–died by 1236) Medium: Tempera on wood, active by 1315–died 1344 Avignon) Date: ca. 1326 Medium: Tempera on wood, florence, gold ground Accession: 41.100.23 On view in:Gallery 625 Saint Anthony of Padua Artist: Maso di Banco (Italian, gold ground Accession: 43.98.13 On view in:Gallery 602 Madonna and Child Artist: Berlinghiero (Italian, gold ground Accession: 60.173 On view in:Gallery 602 Madonna and Child Artist: Duccio di Buoninsegna (Italian, Lucca, Related Objects Saint Andrew Artist: Simone Martini (Italian, Siena. Poster un commentaire

impostazione biglietto-096X206 orizzontale LA QUARTA DIMENSIONE.

giacobbe giusti Palazzo Bastogi Florence

giacobbe giusti

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

The Adoration of the Magi, Giotto di Bondone (Italian, Florentine, 1266/76–1337), Tempera on wood, gold ground

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

The Adoration of the Magi, Giotto di Bondone (Italian, Florentine, 1266/76–1337), Tempera on wood, gold ground

Giotto di Bondone ou Ambrogiotto di Bondone, né en 1267 ou 1266¹ à Vespignano ou Romignano, et mort le 8 janvier 1337 à Florence, est un peintre, sculpteur et architecte florentin du Trecento, dont les œuvres sont à l’origine du renouveau de la peinture occidentale. C’est l’influence de sa peinture qui va provoquer le vaste mouvement général de la Renaissance à partir du siècle suivant.

Giotto se rattache au courant artistique de la Pré-Renaissance, dont il est l’un des maîtres, qui se manifeste en Italie, au début du xiv^e siècle. En cette fin du Moyen Âge, Giotto est le premier artiste dont la pensée et la nouvelle vision du monde aidèrent à construire ce mouvement, l’humanisme, qui place l’homme à la place centrale de l’univers et le rend maître de son propre destin.

Les fresques que Giotto a peintes à Florence (basilique Santa Croce de Florence), à Assise (basilique Saint-François d’Assise) et à Padoue (chapelle des Scrovegni dans l’église de l’Arena de Padoue) figurent parmi les sommets de l’art chrétien.

Son influence sur les générations d’artistes qui le suivirent est immense à tel point qu’on a pu parler d’écoles « giottesques » à propos de certaines écoles de peinture regroupant des peintres dont l’œuvre a été marquée par celle du maître toscan. Des peintres comme ceux de l’école de Rimini (Giovanni Baronzio, Neri da Rimini, Pietro da Rimini) figurent parmi ses héritiers² à la suite du passage de Giotto, difficile à dater (vraisemblablement entre 1303 et 1309) dans leur ville, où, entre ses séjours à Padoue et Assise, il était venu peindre un cycle de fresques(aujourd’hui perdues) pour l’église San Francesco.

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Saint Andrew

Artist:Simone Martini (Italian, Siena, active by 1315–died 1344 Avignon)Date:ca. 1326Medium:Tempera on wood, gold groundAccession:41.100.23On view in:Gallery 625

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Saint Anthony of Padua

Artist:Maso di Banco (Italian, Florence, active 1320–46)Medium:Tempera on wood, gold groundAccession:43.98.13On view in:Gallery 602

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Madonna and Child

Artist:Berlinghiero (Italian, Lucca, active by 1228–died by 1236)Medium:Tempera on wood, gold groundAccession:60.173On view in:Gallery 602

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Madonna and Child

Artist:Duccio di Buoninsegna (Italian, active by 1278–died 1318 Siena)Date:ca. 1290–1300Medium:Tempera and gold on woodAccession:2004.442On view in:Gallery 625

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Madonna and Child with Donors

Artist:Giovanni da Milano (Italian, born Lombardy, active Florence 1346–69)Date:ca. 1365Medium:Tempera on wood, gold groundAccession:07.200On view in:Gallery 602

Giacobbe Giusti, GIOTTO di BONDONE: The Adoration of the Magi, New York

Metropolitan_Museum_of_Art _ L’atrio centrale del museo

https://www.metmuseum.org/art/collection/search/436504

https://www.metmuseum.org/

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

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

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

Giacobbe Giusti, ANDREA di BARTOLO

Publié par GIACOBBE GIUSTI le 17 janvier 2018

Publié dans: , Musée d'art de l'université de Princeton, Andrea di Bartolo, Andrea di Bartolo Cini (entre 1360 et 1370 - 1428), actif entre 1389-1428) est un miniaturiste et un peintre de l'école siennoise de la fin Trecento et du début du Quattrocento (les , andrea di bartolo, giacobbe giusti, Brooklyn Museum,, Catherine de Sienne pour Murano, pinacothèque de Brera, Milan, Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, Volume 2, Oxford University Press USA,, Couronnement de la Vierge v. 1410, Pinacothèque de Brera., Crucifixion et saints6, 1400-1410, Triptyque, 55 × 45 cm, Pinacothèque nationale de Sienne, Crucifixion, v. 1400, Metropolitan Museum of Art, Duccio and Simone Martini, Federico Zeri, with the assistance of Elizabeth E. Gardner, Italian Paintings: Sienese and Central Italian Schools, A Catalogue of the Collection of The Metropolitan Museum of Art, The Metropolitan M, Gaudenz Freuler, Andrea di Bartolo, Fra Tommaso d'Antonio Caffarini, and Sienese Dominicans in Venice, Joaquim et les mendiants v. 1400, Washington, Joaquim quitte la ville v. 1400, Keresztény Múzeum, Joseph Archer Crowe, Giovanni Battista Cavalcaselle, A history of painting in Italy, Umbria, Florence and Siena, from the second to the sixteenth century,, Keresztény Múzeum, La Cène, v. 1420, tempera sur panneau, 48 × 32 cm, Pinacothèque nationale (Bologne), Le Christ fait prisonnier v. 1400, Collection privée, Le Portement de Croix, 1415-1420 Musée Thyssen-Bornemisza, Le Portement de Croix, v. 1415-1420, 54 × 49 cm, Musée Thyssen-Bornemisza, Madrid, en dépôt au Musée national d'art de Catalogne (presque une copie servile du tableau du même thème de Simo, Madonna of humility, Massacre des Innocents, Walters Museum. ↑ Virginia Museum of Fine Arts [archive]. ↑ Victoria & Albert Museum [archive]. ↑ Résurrection, Walters Museum. ↑ Triptyque de la Crucifixion, Massacre of the Innocents (Walters Art Museum), musée des beaux-arts de Montréal., Musée Thyssen-Bornemisza, National Gallery of Art, Senza categoria, spinello aretino, Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino., Vierge à l'Enfant, 1410-1415, 110 × 50 cm, Musée d'art de l'université de Princeton, Vierge d'humilité du musée des beaux-arts de Montréal.. Tagué : , Musée d'art de l'université de Princeton, 110 × 50 cm, 1400-1410, 1410-1415, 48 × 32 cm, 54 × 49 cm, 55 × 45 cm, A Catalogue of the Collection of The Metropolitan Museum of Art, A history of painting in Italy, actif entre 1389-1428) est un miniaturiste et un peintre de l'école siennoise de la fin Trecento et du début du Quattrocento (les xive et xve siècles italiens). Fils de Bartolo di Fre, and Sienese Dominicans in Venice, Andrea di Bartolo, Andrea di Bartolo Cini (entre 1360 et 1370 - 1428), art, Brooklyn Museum,, Catherine de Sienne pour Murano, Collection privée, Colum Hourihane, Couronnement de la Vierge v. 1410, crucifixion, Crucifixion et saints6, Duccio and Simone Martini, en dépôt au Musée national d'art de Catalogne (presque une copie servile du tableau du même thème de Simone Martini)., Federico Zeri, Florence and Siena, Fra Tommaso d'Antonio Caffarini, from the second to the sixteenth century, Gaudenz Freuler, giacobbe giusti, giacobbe giusti renaissance, Giovanni Battista Cavalcaselle, Italian Paintings: Sienese and Central Italian Schools, Italy, Joaquim et les mendiants v. 1400, Joaquim quitte la ville v. 1400, Joseph Archer Crowe, Keresztény Múzeum, La Cène, Le Christ fait prisonnier v. 1400, Le Portement de Croix, Madonna of humility, Madrid, Martino di Bartolomeo and Spinello Aretino., Massacre des Innocents, Massacre of the Innocents (Walters Art Museum), Metropolitan Museum of Art, milan, musée des beaux-arts de Montréal., Musée Thyssen-Bornemisza, National Gallery of Art, Oxford University Press USA, Pinacothèque de Brera., Pinacothèque nationale (Bologne), Pinacothèque nationale de Sienne., renaissance, renaissance florentine, renaissance italienne, Siena, Sienne, spinello aretino, taddeo di bartolo, tempera sur panneau, The Grove Encyclopedia of Medieval Art and Architecture, the Metropolitan Museum of Art, Triptyque, umbria, v. 1400, v. 1415-1420, v. 1420, Vierge à l'enfant, Vierge d'humilité du musée des beaux-arts de Montréal., Volume 2, Walters Museum. ↑ Triptyque de la Crucifixion, Walters Museum. ↑ Virginia Museum of Fine Arts [archive]. ↑ Victoria & Albert Museum [archive]. ↑ Résurrection, Washington, with the assistance of Elizabeth E. Gardner. Poster un commentaire

Giacobbe Giusti, ANDREA di BARTOLO

Le Portement de Croix, 1415-1420 Musée Thyssen-Bornemisza

Giacobbe Giusti, ANDREA di BARTOLO

Vierge d’humilité du musée des beaux-arts de Montréal.

Giacobbe Giusti, ANDREA di BARTOLO

Joaquim quitte la ville
v. 1400, Keresztény Múzeum

Giacobbe Giusti, ANDREA di BARTOLO

Le Christ fait prisonnier
v. 1400, Collection privée

Giacobbe Giusti, ANDREA di BARTOLO

Couronnement de la Vierge 1405-1407, Ca’d’Oro

Giacobbe Giusti, ANDREA di BARTOLO

Joaquim et les mendiants
v. 1400, Washington

Giacobbe Giusti, ANDREA di BARTOLO

Le Portement de Croix, 1415-1420
Musée Thyssen-Bornemisza

Giacobbe Giusti, ANDREA di BARTOLO

Couronnement de la Vierge
v. 1410, Pinacothèque de Brera.

Andrea di Bartolo Cini (entre 1360 et 1370 – 1428), actif entre 1389-1428) est un miniaturiste et un peintre de l’école siennoise de la fin Trecento et du début du Quattrocento (les xiv^e et xv^e siècles italiens).

Fils de Bartolo di Fredi, il travailla d’abord sur des commandes passées à son père.

Il travaille à la Cathédrale de Sienne en réalisant deux panneaux pour les chapelles San Giacomo et San Crescenzio, ainsi que les cartons pour les vitraux de la sacristie. Il travailla aussi avec ses fils Ansano et Giovanni.

Ses œuvres diffusent la manière paternelle, revue à travers la leçon de Spinello Aretino¹. Son style resta largement imprégné de ceux des grands maîtres du Trecento comme Simone Martini et Duccio di Buoninsegna.

Œuvres

Fin du xiv^e siècle

Polyptyque du Couronnement de la Vierge, avec son père, Montalcino
Massacre des Innocents², v. 1380, Walters Art Museum
L’Annonciation, v. 1383, Dyptyque, Musée des beaux-arts de Budapest
L’Assomption de la Vierge avec saint Thomas et deux donateurs (seigneur Palamedes et son fils Matthieu), v. 1390, tempera sur bois, 203 × 85 cm, (MOFA)³
Crucifixion, v. 1390, tempera et or sur bois, 45 × 27 cm, Musée national de Varsovie (MNW)
Vierge à l’Enfant avec des saints, 1395-1400, triptyque, Lindenau Museum, Altenburg
Nativité, Résurection et Saints, 1397, triptyque, 53 × 53 cmPinacothèque nationale de Sienne
Vierge d’humilité (1400), musée des beaux-arts de Montréal

L’Annonciation
v. 1383, Budapest
Assomption de la Vierge
v. 1390, Virginie
Triptyque, 1395-1400
Lindenau Museum
Triptyque de Sienne
1397
Vierge d’humilité du musée des beaux-arts de Montréal.

Quatre saints de 1389 à 1406

Ils pourraient faire partie de la série de tableaux superposés, à la droite d’un pilastre d’un retable non identifié, mentionné dans la description du Saint Étienne du Victoria & Albert Museum⁴.

Saint Benoît, Christie’s
Sainte Lucie, Ashmolean Museum, Oxford
Saint Étienne, Victoria and Albert Museum
Sainte Catherine d’Alexandrie, Lindenau museum Altenburg

Saint Benoît
Vente Christie’s
Sainte Lucie
Ashmolean Museum
Saint Étienne
Victoria & Albert Museum
Sainte Catherine
Lindenau Museum

Début xv^e siècle

Joaquim quittant la ville, v. 1400, Christian Museum, Esztergom, Hongrie
Joachim et les mendiants, v. 1400, National Gallery of Art, Washington
Nativité de la Vierge, v. 1400, National Gallery of Art, Washington
Le Christ fait prisonnier, v. 1400, Collection privée, Paris
Le Portement de croix, v. 1400, Musée Thyssen-Bornemisza, Madrid
Crucifixion, v. 1400, Metropolitan Museum of Art
La Résurrection⁵, 1400, Walters Art Museum
La Présentation de la Vierge, v. 1400, National Gallery of Art, Washington
Le Couronnement de la Vierge, 1405-1407, bois, 106 × 74 cm, Ca’ d’Oro, Venise
Crucifixion et saints⁶, 1400-1410, Triptyque, 55 × 45 cm, Pinacothèque nationale de Sienne
Vierge à l’Enfant avec les quatre évangélistes, 1400-1410, tempera et feuille d’or sur panneau, 55 × 85 cm, Walters Art Museum

Joaquim quitte la ville
v. 1400, Keresztény Múzeum
Joaquim et les mendiants
v. 1400, Washington
Nativité de la Vierge
v. 1400, Washington
Présentation de la Vierge
v. 1400, Washington
Le Christ fait prisonnier
v. 1400, Collection privée
Crucifixion
v. 1400, Metropolitan
Couronnement
de la Vierge
1405-1407, Ca’d’Oro
Vierge et Évangélistes
1400-1410
Walters Museum

Œuvres de 1410 à 1420

Vierge d’humilité, v. 1410, triptyque de dévotion personnel, tempera et or en feuilles sur peuplier, panneau central de 42 × 18 cm, panneaux latéraux de 40 × 8 cm, Brooklyn Museum, New York. Un des tableaux identiques, réalisés pour chacune des cellules des sœurs du couvent des Dominicains de Venise.
Couronnement de la Vierge, v. 1410, polyptyque, huile sur panneau, 160 × 65 cm, Pinacothèque de Brera
Vierge à l’Enfant, 1410-1415, 110 × 50 cm, Musée d’art de l’université de Princeton
Le Portement de Croix, v. 1415-1420, 54 × 49 cm, Musée Thyssen-Bornemisza, Madrid, en dépôt au Musée national d’art de Catalogne (presque une copie servile du tableau du même thème de Simone Martini).
Saint Paul, v. 1420, huile sur panneau, 29 × 20 cm, collection particulière
La Cène, v. 1420, tempera sur panneau, 48 × 32 cm, Pinacothèque nationale (Bologne)

Vierge d’humilité
v. 1410, Brooklyn
Madone, 1410-1415
Princeton
Saint Paul, v. 1420
Collection privée

Non daté

Catherine de Sienne pour Murano, pinacothèque de Brera, Milan

Notes et références

↑ Giovanna Nepi Sciré, « Biographies », dans La Peinture dans les Musées de Venise, Paris, Editions Place des Victoires, 2008(ISBN 978-2-8099-0019-4), p. 573.
↑ Massacre des Innocents, Walters Museum.
↑ Virginia Museum of Fine Arts [archive].
↑ Victoria & Albert Museum [archive].
↑ Résurrection, Walters Museum.
↑ Triptyque de la Crucifixion, Sienne.

Giacobbe Giusti, ANDREA di BARTOLO

Crucifixion

Andrea di Bartolo or Andrea di Bartolo Cini (1360/70 – 1428, in Siena) was an Italian painter, stained glass designer and illuminator of the Sienese Schoolmainly known for his religious subjects. He was active between 1389–1428 in the area in and around Siena.^[1]^[2]

Life

Andrea di Bartolo was the son and pupil of Bartolo di Fredi, a very prominent painter in Siena. His youth was spent working in his father’s workshop which received many prestigious orders.

Massacre of the Innocents

He collaborated with his father and Luca di Tommè on an altarpiece (now lost) for the altar of the shoemaker’s guild in the cathedral of Siena in 1389. This is his first documented work.^[3] However, it is believed that his hand can be discerned in works of his father painted between 1380 and 1389, such as in the Massacre of the Innocents (Walters Art Museum).^[2]

Andrea likely set up his own workshop around 1390. He was extremely successful in Siena and obtained numerous commissions even from as far as Veneto. His patrons were drawn from the same monastic circles as his father such as the Franciscans of Montalcino and the Dominicans of Siena.^[2] From his studio he produced a large number of works, some of which have survived and are found in various museums around the world. Like Simone Martini he travelled far to execute work for patrons, including the Marches, Veneto and Treviso.^[4]

It is possible Andrea was the father of the painter Giorgio di Andrea di Bartolo (active 1409 to 1428).^[5]

Work

Most of Bartolo’s works are religious works of art. Throughout his career Andrea imitated his father’s paintings.^[1] While he worked on projects jointly with his father, he developed an independent style. Other collaborations were with Luca di Tommè.

Coronation of the Virgin

Andrea di Bartolo’s creativity is a continuation of the work of his father, who in turn drew on the tradition of Siena, begun by Duccio and Simone Martini. Still Andrea’s own style can also be recognised early on. Andrea had a more summary drawing style and a softer modeling technique than his father and paid less attention to naturalistic detail and expressionism.

Generally speaking Andrea’s style remained solidly rooted in the Sienese traditions. However, if required he could absorb foreign influences, in particular in his commissions from the Venetian region. For instance, his Coronation of the Virgin (Venice, Ca’ d’Oro) shows in its iconography and rich ornamental elements the influence of Venetian painting.^[2]

Madonna of humility

His later work shows the influence of Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino.^[1] This is also evident in his manuscript illuminations, in which he showed himself more independent from the style of his father.^[2]

References

^ Jump up to:^a ^b ^c Federico Zeri, with the assistance of Elizabeth E. Gardner, Italian Paintings: Sienese and Central Italian Schools, A Catalogue of the Collection of The Metropolitan Museum of Art, The Metropolitan Museum of Art, 1980, p. 1-2
^ Jump up to:^a ^b ^c ^d ^e Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, Volume 2, Oxford University Press USA, 6 Dec 2012, p. 96-98
Jump up^ Joseph Archer Crowe, Giovanni Battista Cavalcaselle, A history of painting in Italy, Umbria, Florence and Siena, from the second to the sixteenth century, Volume 3, J. Murray, London, 1903, 2001 ISBN 0-543-97422-7, p. 134-137
Jump up^ Gaudenz Freuler, Andrea di Bartolo, Fra Tommaso d’Antonio Caffarini, and Sienese Dominicans in Venice, in: The Art Bulletin Vol. 69, No. 4 (Dec., 1987), pp. 570-586
Jump up^ Andrea di Bartolo, in: Benezit Dictionary of Artists