Giacobbe Giusti, Cerchia di CIMABUE o artista senese, ultima cena di New Orleans
Giacobbe Giusti, Cerchia di CIMABUE o artista senese, ultima cena di New Orleans
Giacobbe Giusti, Cerchia di CIMABUE o artista senese, ultima cena di New Orleans
Giacobbe Giusti, High Renaissance
The Creation of Adam, a scene from Michelangelo‘s Sistine Chapel ceiling.
Giacobbe Giusti, High Renaissance
| The Last Supper | |
|---|---|
| Il Cenacolo or L’Ultima Cena
Giacobbe Giusti, High Renaissance |
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 |
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| Artist | Leonardo da Vinci  |
| Year | 1490s (Julian) |
| Medium | fresco-secco |
| Dimensions | 460 cm (180 in) × 880 cm (350 in) |
| Location | Convent of Santa Maria delle Grazie in Milan |
Giacobbe Giusti, High Renaissance
Michelangelo’s Pietà in St. Peter’s Basilica in the Vatican.
Giacobbe Giusti, High Renaissance
Mona Lisa, by Leonardo da Vinci
Mona Lisa or La Gioconda (1503–05/07)—Louvre, Paris, France
In art history, the High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo’s fresco of the Last Supper in Milan and the death of Lorenzo de’ Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Emperor Charles V. This term was first used in German (Hochrenaissance) in the early nineteenth century, and has its origins in the « High Style » of painting and sculpture described by Johann Joachim Winckelmann.[1] Over the last twenty years, use of the term has been frequently criticized by academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.[2]
Giacobbe Giusti, High Renaissance
Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. Extending the general rubric of Renaissance culture, the visual arts of the High Renaissance were marked by a renewed emphasis upon the classical tradition, the expansion of networks of patronage, and a gradual attenuation of figural forms into the style later termed Mannerism.
The paintings in the Vatican by Michelangelo and Raphael are said by some scholars such as Stephen Freedberg to represent the culmination of High Renaissance style in painting, because of the ambitious scale of these works, coupled with the complexity of their composition, closely observed human figures, and pointed iconographic and decorative references to classical antiquity, can be viewed as emblematic of the High Renaissance.[3] In more recent years, art historians have characterised the High Renaissance as a movement as opposed to a period, one amongst several different experimental attitudes towards art in the late fifteenth and early sixteenth century. This movement is variously characterised as conservative;[4] as reflecting new attitudes towards beauty;[5] a deliberate process of synthesising eclectic models, linked to fashions in literary culture;[6] and reflecting new preoccupations with interpretation and meaning .[7]
Giacobbe Giusti, High Renaissance
High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510. The Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphael’s works in the Vatican (1509–11), « is an attempt at reconciling Christian and humanist ideals ».[8]
The High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design and their technique. The elongated proportions and exaggerated poses in the late works of Michelangelo, Andrea del Sarto and Correggioprefigure so-called Mannerism, as the style of the later Renaissance is referred to in art history.[citation needed]
The serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vinci‘s Mona Lisa and Raphael‘s The School of Athens. Raphael’s fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno.
Giacobbe Giusti, High Renaissance
High Renaissance sculpture, as exemplified by Michelangelo‘s Pietà and the iconic David, is characterized by an « ideal » balance between stillness and movement. High Renaissance sculpture was normally commissioned by the public and the state, this becoming more popular for sculpture is an expensive art form. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study and admire the commissioned art work. Wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families; Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the creation of busts and tombs also developing. The subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals.
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Giacobbe Giusti, Mosaics in the Baptistery, Florence (1240-1300)
Florence ‘s Baptistery is one of the most important creations of the so-called Tuscan proto-Renaissance, which is typified by marble exterior sheathing, a rich wall arrangement, and sculptural architectural decor based on structures from antiquity. The decoration of the baptistery’s interior is no less ambitious, it includes an extensive mosaic decor, undertaken in around 1240-50.
The octagonal space is roofed by an eight-sided cloister vault, on whose faces the mosaics are arranged in six horizontal registers, the top two filled with ornamental motifs and single figures, the lower ones featuring complete scenes. This scheme is abandoned only in the three vaulting segments of the west side in which the number of registers is reduced from six to five and the division into registers is interrupted for nearly the entire height by a large figure of Christ as World Judge in a circular aureole that dominate the impression of the whole. The Last Judgment is pictured next to Christ.
Aside from the Last Judgment, the pictorial program consists mainly of the biblical stories long traditional in Rome. The inclusion of a cycle on the life of the church’s patron – here St John the Baptist – had Roman precedents as well, as do the various decorative motifs stretching across the top of the vault.
https://it.wikipedia.org/wiki/Mosaici_del_battistero_di_Firenze
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
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Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 2. Renunciation of Wordly Goods (detail) by GIOTTO
1325-28
Fresco
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 2. Renunciation of Wordly Goods by GIOTTO
1325-28
Fresco, 280 x 450 cm
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 1. Stigmatisation of St Francis by GIOTTO
1325-28
Fresco, 390 x 370 cm
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 2. Renunciation of Wordly Goods (detail) by GIOTTO
1325-28
Fresco
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 3. Apparition at Arles (detail) by GIOTTO
1325-28
Fresco, width of detail 25 cm
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 6. St Francis before the Sultan (Trial by Fire) by GIOTTO
1325-28
Fresco, 280 x 450 cm
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 6. St Francis before the Sultan (detail) by GIOTTO
1325-28
Fresco
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 7. Vision of the Ascension of St Francis by GIOTTO
1325-28
Fresco, 280 x 450 cm
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Scenes from the Life of St Francis: 7. Vision of the Ascension of St Francis (detail) by GIOTTO
1325-28
Fresco
Bardi Chapel, Santa Croce, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
| Cimabue | |
| Year | 1287–1288 |
|---|---|
| Medium | Distemper on wood panel |
| Dimensions | 448 cm × 390 cm (176 in × 150 in) |
| Location | Basilica di Santa Croce, Florence |
Giacobbe Giusti, SANTA CROCE, CIMABUE – TADDEO GADDI – GIOTTO, Florence
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
| Autore | Donatello |
|---|---|
| Data | 1406 – 1408 ca. |
| Materiale | Legno policromo |
| Altezza | 168 cm |
| Ubicazione | Basilica di Santa Croce, Firenze |
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Presentation of the Virgin at the Templeand Presentation of Jesus at the Templeby Taddeo Gaddi.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Baroncelli Polyptych, painted by Giotto.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
This big ol’ barn of a Franciscan church on Florence’s western edge is a shrine of great 14th-century frescoes by the likes of Giotto, the cloisters are home to Brunelleschi’sCappella de’ Pazzi, the convent partially given over to a famous leather school, and the church itself serves as the Westminster Abbey of the Renaissance, scatterd with the (often monumental) tombs of such Florentine notabels as Michelangelo, Galileo, Machiavelli, and more.
Also like Westminster, Santa Croce now (scandalously) charges an admission fee.
The center of the Florentine Franciscan universe was begun in 1294 by Gothic master Arnolfo di Cambio in order to rival the huge church of Santa Maria Novella being raised by the Dominicans across the city.
The church wasn’t completed and consecrated until 1442, and even then it remained faceless until the neo-Gothic facade was added in 1857 (and cleaned in 1998–99).
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
The Gothic interior is wide and gaping, with huge pointed stone arches creating the aisles and an echoing nave trussed with wood beams, in all feeling vaguely barnlike (an analogy the occasional fluttering pigeon only enforces).
The floor is paved with worn tombstones—because being buried in this hallowed sanctuary got you one step closer to Heaven, the richest families of the day paid big bucks to stake out small rectangles of the floor.
On the right aisle is the first tomb of note, a mad Vasari contraption containing the bones of the most venerated of Renaissance masters, Michelangelo Buonarroti, who died of a fever in Rome in 1564 at the ripe age of 89. The pope wanted him buried in the Eternal City, but Florentines managed to sneak his body back to Florence.
Past Michelangelo is a pompous 19th-century cenotaph to Florentine Dante Alighieri, one of history’s greatest poets, whose Divine Comedy codified the Italian language. He died in 1321 in Ravenna after a long and bitter life in exile from his hometown (on trumped-up embezzlement charges), and that Adriatic city has never seen fit to return the bones to Florence, the city that would never readmit the poet when he was alive.
Against a nave pillar farther up is an elaborate pulpit (1472–76) carved by Benedetto di Maiano with scenes from the life of St. Francis.
Next comes a wall monument to Niccolò Machiavelli, the 16th-century Florentine statesman and author whose famous book The Prince was the perfect practical manual for a powerful Renaissance ruler and who has since gotten a bad rap (and even a adjective: « macchivallian ») for just coming right out and telling the truth: That a good ruler sometimes has to be sneaky, even mean.
Past the next altar is an Annunciation (1433) carved in low relief of pietra serena and gilded by Donatello. (If you were wondering, Donatello is one notable artist not interred here; he is buried by his patrons, the Medici, in San Lorenzo.)
Nearby is Antonio Rossellino’s 1446 tomb of the great humanist scholar and city chancellor Leonardo Bruni (d. 1444).
Beyond this architectural masterpiece of a tomb is a 19th-century knockoff honoring the remains of Gioacchino Rossini (1792–1868), composer of the Barber of Seville and the William Tell Overture, a.k.a. the Lone Ranger Theme).
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Around the corner in the right transept is the Cappella Castellani frescoed by Agnolo Gaddi and assistants, with a tabernacle by Mino da Fiesole and a Crucifix by Niccolò Gerini.
Agnolo’s father, Taddo Gaddi, was one of Giotto’s closest followers, and the senior Gaddi is the one who undertook painting the Cappella Baroncelli ★ (1332–38) at the transept’s end. The frescoes depict scenes from the Life of the Virgin, and to the left of the window is an Angel Appearing to the Shepherds that constitutes the first night scene in Italian fresco.
Gaddi also designed the stained glass windows. The altarpiece Coronation of the Virgin is either by Gaddi himself, or perhaps even by his much more famous master, Giotto.
To the left of this chapel is a doorway, designed by Michelozzo, leading to thesagrestia (sacristy) past a huge Deposition (1560) by Alessandro Allori that had to be restored after it incurred massive water damage when the church was inundated during the 1966 flood.
Past the sacristy’s gift shop is a famed leather school and store—a bit pricey, but of very high quality (www.scuoladelcuoio.com).
You can ask the workers to emboss your purchase—say, a wallet—with initials or a name in gold leaf. (Somewhere in a drawer, I still have a small leather change purse with my initials and the Lily of Florence in gold that I bought when I was 11.)
You can also enter the leather school at Via San Giuseppe 5r, around the left/north side of the church.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Back in the right transept, the two chapels to the right of the high altar were frescoed by the great Giotto, a former shepherd who became the forefather of the Renaissance in the early 14th century when he broke painting out of its static Byzantine mold and infused it with life, movement, depth, and emotion.
The Cappella Peruzzi ★★ on the right is a late work and not in the best shape. The many references to antiquity in the styling and architecture of the frescoes reflect Giotto’s trip to Rome and its ruins. His assistant Taddeo Gaddi did the altarpiece.
Even more famous, if only as the setting for a scene in the film A Room with a View, is the Cappella Bardi ★★ immediately to the right of the high altar. The key panels here include the Trial by Fire Before the Sultan of Egypt on the right wall, full of telling subtlety in the expressions and poses of the figures.
One of Giotto’s most well-known works is the lower panel on the left wall, the Death of St. Francis, where the monks weep and wail with convincing pathos, holding his hand tenderly and gazing despondently at their leader’s dead face. Alas, big chunks of the scene are missing from when a tomb was stuck on top of it in the 17th century.
Yes, the yahoos of the baroque era whitewashed over the frescoes and rather rudly attched several wall tombs in their place.
To modern eyes, which view Giotto as one of the most important painters in the history of art, this act borders on artistic sacrilege—and much time and painstaking effort was spent (inexpertly) from 1841–52 to uncover and restore (inexpertly) the Giotto frescoes—but many baroque artists thought little of covering up what were, to them, crude medieval decorations.
(Taste is, of course, subjective, and I just hope our descendents don’t develop a deep passion for the overwrought baroque era and become incensed that we destroyed the later decorations just to uncover a few ruined Giottos.)
Tip: Most people miss seeing Francis Receiving the Stigmata, which Giotto frescoed above the outside of the entrance arch to the chapel.
Agnolo Gaddi designed the stained-glass windows, painted the saints between them, and frescoed a Legend of the True Cross cycle on the walls of the rounded sanctuary behind the high altar.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
At the end of the left transept is another Cappella Bardi, this once housing a legendary Crucifix ★ by Donatello.
According to Vasari, Donatello excitedly called his friend Filippo Brunelleschi up to his studio to see this Crucifix when he had finished carving it.
The famed architect, whose tastes were aligned with the prevailing view of the time that refinement and grace were much more important than realism, criticized the work with the words, « Why Donatello, you’ve put a peasant on the cross! »
Donatello sniffed, « If it was as easy to make something as it is to criticize, my Christ would really look to you like Christ. So you get some wood and try to make one yourself. »
Secretly, Brunelleschi did just that, and one day he invited Donatello to come over to his studio for lunch. Donatello arrived bearing the food gathered up in his apron.
Shocked when he beheld Brunelleschi’s elegant Crucifix, he let the lunch drop to the floor, smashing the eggs, and after a few moments turned to Brunelleschi and humbly offered, « Your job is making Christs and mine is making peasants. »
Tastes change, and to modern eyes this « peasant » stands as the stronger work. If you want to see how Brunelleschi fared with his Christ, visit it at Santa Maria Novella.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Past a door as you head back down the left aisle is a 16th-century Deposition by Bronzino.
A bit farther along, against a pier, is the roped-off floor tomb of Lorenzo Ghiberti,sculptor of the baptistery doors.
Against the wall is an altarpiece of the Incredulity of St. Thomas by Giorgio Vasari.
The last tomb on the right is that of GalileoGalilei (1564–1642), the preeminent Pisan scientist who figured out everything from the action of pendulums and the famous law of bodies falling at the same rate (regardless of weight) to discovering the moons of Jupiter and asserting that Earth revolved around the Sun.
This last one got him in trouble with the church, which tried him in the Inquisition and—when he wouldn’t recant—excommunicated him.
At the urging of friends frightened his obstinacy would get him executed as a heretic, Galileoeventually kneeled in front of an altar and « admitted » he’d been wrong (though legend holds that, under his breath, he muttered « Eppur, si muove »— »And yet, it moves »—referring to the motion of the Earth around the sun.).
Galileolived out the rest of his days under house arrest in his villa near Florence and wasn’t allowed a Christian burial until 1737.
Giulio Foggini designed this tomb for him, complete with a relief of the solar system—the sun, you’ll notice, is properly at the center.
The pope finally got around to lifting Galileo‘s excommunication in 1992.
Italians still bring him fresh flowers.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
After you finish with the church itself, you wend your way through a series of pretty cloisters on the south flank containing modern sculptures and the Cappella de’ Pazzi, or Pazzi Chapel ★,o =ne of Filippo Brunelleschi‘s architectural masterpieces (faithfully finished after his death in 1446).
Giuliano di Maiano probably designed the porch that now precedes the chapel, set with glazed terra cottas by Luca della Robbia. The rectangular chapel is one of Brunelleschi’s signature pieces and a defining example of (and model for) early Renaissance architecture.
Light gray pietra serena is used to accent the architectural lines against smooth white plaster walls, and the only decorations are della Robbia roundels of the Apostles (1442–52). The chapel was barely finished by 1478, when the infamous Pazzi Conspiracy got the bulk of the family, who were funding this project, either killed or exiled.
Giacobbe Giusti, SANTA CROCE, CIMABUE – DONATELLO – TADDEO GADDI – GIOTTO, Florence
Also along these cloisters—planted with cypress and filled with bird song—parts of Santa Croce’s convent have been set up as a museum, mainly to harbor artistic victims of the 1966 Arno flood, which buried the church under 20 feet of mud and water.
From back in the first cloister you can enter the museum proper via the long hall of the refectory. On your right as you enter is the painting that became emblematic of all the artworks damaged during the 1966 flood, Cimabue’s Crucifix ★, one of the masterpieces of the artist who began bridging the gap between Byzantine tradition and Renaissance innovation, not the least by teaching Giotto to paint.
The ancient refectory was frescoed by Gothic great Taddeo Gaddi with a de rigueur Last Supper scene (conventual dining halls often had this most famous of biblical meals painted on one wall) just beneath a massive Tree of Life.
Also here are fresco fragments by Andrea Orcagna, which used to be on the right wall of the church itself; and Donatello‘s bronze St. Louis of Toulouse (in a plaster niche recreating its original housing on the exterior of the Orsanmichele.
http://www.reidsitaly.com/destinations/tuscany/florence/sights/s-croce.html
https://www.wga.hu/html_m/g/giotto/s_croce/2bardi/index.html
https://en.wikipedia.org/wiki/Baroncelli_Chapel
https://it.wikipedia.org/wiki/Crocifisso_di_Santa_Croce_(Donatello)
Giacobbe Giusti, GENTILE da ROCCA: Dernière Cène
| Église Santa Maria ad Cryptas | ||
 Vue de l’église |
||
| Présentation | ||
|---|---|---|
| Nom local | Chiesa di Santa Maria ad Cryptas | |
| Culte | Catholicisme | |
| Type | Église | |
| Rattachement | Archidiocèse de L’Aquila | |
| Début de la construction | xe siècle | |
| Style dominant | Art roman | |
| Géographie | ||
| Pays |  Italie |
|
| Région | Abruzzes | |
| Ville | Fossa | |
| Coordonnées | 42° 18′ 07″ nord, 13° 29′ 02″ est | |
|
Géolocalisation sur la carte : Italie
|
||
L’église Santa Maria ad Cryptas est une église située en Italie, dans la commune de Fossa(Abruzzes, province de L’Aquila)1.
https://fr.wikipedia.org/wiki/%C3%89glise_Santa_Maria_ad_Cryptas
Giacobbe Giusti, ANDREA del CASTAGNO: Ultima cena
Giacobbe Giusti, ANDREA del CASTAGNO: Ultima cena
 |
|
| Autore | Andrea del Castagno |
| Data | 1445–1450 circa |
| Tecnica | affresco |
| Dimensioni | 453×975 cm |
| Ubicazione | Museo del Cenacolo di Sant’Apollonia, Firenze |
L’Ultima cena è un affresco (453 x975 cm) di Andrea del Castagno, databile al 1445-1450 circa e conservato nel Museo del Cenacolo di Sant’Apollonia a Firenze. Coronata dalle scene della Resurrezione, Crocifissione e Compianto, di quest’ultime, staccate e ricollocate in loco, si conserva anche le sinopie sulla parete opposta.
Il monastero venne fondato nel 1339 e dopo il 1440 la badessa Cecilia Donati promosse una serie di lavori di ammodernamento e ingrandimento della struttura. Vennero allora ampliati il chiostro ed il cenacolo, un’ampia sala rettangolare con soffitto a cassettoni e una serie di finestre sulla parete destra, affrescato su un’intera parete da Andrea del Castagno nel 1447.
A causa della clausura delle monache, il cenacolo fu completamente ignorato dalle fonti antiche, infatti né Vasari, né Bocchi-Cinelli, né il Richa ne parlano nelle loro opere su Firenze. La scoperta si ebbe solo dopo la soppressione e la requisizione del convento nel 1864 per usi militari. Una parte del convento infatti fu demolita per l’apertura di via via XXVII Aprile e molti ambienti furono trasformati in uffici o abitazioni. Solo dopo la seconda guerra mondiale la struttura è passata all’Università di Firenze. Inizialmente la scena venne riferita a Paolo Uccello, ma Cavalcaselle e Crowe l’assegnarono ad Andrea del Castagno, poi sempre confermato come autore. Dopo la scoperta, nel 1891, fu istituito un museo, allora denominato come « Museo di Andrea del Castagno ».
Il refettorio col cenacolo
La particolarità dello spazioso refettorio sta nel grande affresco di Andrea del Castagno raffigurante l’Ultima cena, un tema molto usato per le sale dove i monaci o le monache consumavano i pasti, dipinto tra il 1445 ed il 1450. Le più recenti analisi della documentazione disponibile (Corti e Hartt) collocano il possibile intervento di Andrea del Castagno tra il giugno e l’autunno del 1447.
L’affresco, che occupa l’intera parete ovest del refettorio, è composto di una parte centrale, dove si trova per tutta la lunghezza della parete l’Ultima Cena e di una parte superiore dove, intervallati da due finestre, si trovano (da sinistra) le scene della Resurrezione, Crocifissione e Deposizione. Questi affreschi al momento del rinvenimento del cenacolo (1861) erano scialbati da un intonaco bianco, per questo sono peggio conservati. Nel 1953 si decise di staccare questa parte superiore perché si stava deteriorando per via dell’umidità, e in quell’occasione furono trovate le significative sinopie, che, pure staccate nel 1961, furono collocate sulla parete opposta.
Nelle sinopie Andrea uso una tecnica mista, sia col disegno che con lo spolvero e apportò numerose variazioni nella stesura definitiva degli affreschi: l’unica scena ad avere tutte le stesse figure nella sinopie e nell’affresco e la Resurrezione.
L’Ultima Cena è dipinta come se si stesse svolgendo in un piccolo edificio, un triclinium imperiale nello stile rievocato negli scritti di Leon Battista Alberti, con la parete anteriore assente, in modo da permettere allo spettatore la visione dell’interno. L’ambientazione è curata nei minimi dettaglio: dai tegoli del tetto, al soffitto a quadrati bianchi e neri, dal pavimento alle pareti laterali, fino ai due muri in laterizio che chiudono la scena a destra e a sinistra. Tutto è inquadrato in una prospettiva rigorosa, con un forte scorcio laterale, dove tutti gli elementi hanno una precisa collocazione geometrica.
La cena di Gesù con gli apostoli si svolge in una stanza all’antica, decorata con lussuosa e raffinata eleganza: attorno a un lungo tavolo con una tovaglia bianca, che evidenzia lo sviluppo orizzontale della scena, stanno seduti su scranni coperti da un drappo con motivi floreali, gli apostoli e Gesù, tranne Giuda che si trova sul lato opposto, su uno sgabello. La collocazione di Giuda separato dal resto degli apostoli è tipica dell’iconografia (anche se di solito si trova a destra, piuttosto che a sinistra di Gesù) e la sua figura barbuta e di profilo assomiglia a quella di un satiro della mitologia romana, dalla quale i cristiani avevano mutuato molte delle caratteristiche fisiche del diavolo.
Anche il san Giovanni dormiente accanto a Cristo è un elemento tradizionale, presente ad esempio, assieme al Giuda di spalle, anche nel cenacolo di Santa Croce di Taddeo Gaddi, per rimanere in ambito fiorentino. la scatola prospettica ha invece un precedente trecentesco nel cenacolo di Santo Spirito di Andrea Orcagna (1360-65 circa).
Dettaglio centrale
Le spalliere sono decorate da sfingi e anfore scolpite alle estremità, un evidente richiamo al gusto antico. Alle spalle degli apostoli risaltano una serie di riquadri con finte specchiature in marmi pregiati, che accrescono, con il loro rigore geometrico e coloristico, la staticità e la solennità della scena. Esse sono molto più cupe, e per questo realistiche, delle specchiature marmoree usate in opere coeve di pittori come Filippo Lippi o Beato Angelico. Fa eccezione il pannello più screziato alle spalle del Cristo, che sembra agata e richiama subito l’occhio dello spettatore verso il nodo del dipinto, tra le figure di san Pietro, Giuda e Cristo.
In alto corre un fregio con nastri intrecciati e fiori. La medesima decorazione parietale ricorre anche sui lati, anche se qui il pittore fece un errore: sui lati brevi sta seduto un solo apostolo e la panca sembra essere di poco più lunga della tavola: in realtà, a contare i cerchi del fregio o le pieghe del drappo, essa dovrebbe essere lunga esattamente la metà della parete frontale, cioè corrispondere a tre intere specchiature quadrate, mentre ve ne sono disegnate sei.
Sul lato destro si trovano due finestre, che giustificano l’illuminazione da destra, mentre la luce naturale oggi proviene da sinistra. Gli apostoli, allineati attorno alla tavola, sono rialzati di un piccolo gradino sul quale si trovano scritti i loro nomi, tranne Giuda, che non a caso si appoggia al di sotto del gradino. Le figure degli Apostoli sono intensamente caratterizzate con fisionomie realistiche e varie, colti in vari atteggiamenti ed espressioni. Il robusto contorno le fa sbalzare contro il fondo, tramite una cruda illuminazione laterale. Tipici sono il segno grafico netto e i passaggi di colore piuttosto bruschi, che creano risalto espressivo.
Resurrezione
Oltre il tetto della scatola prospettica dell’Ultima Cena sono raffigurate, da sinistra verso destra, la Resurrezione, la Crocefissione e la Deposizione nel sepolcro in un unico grande spazio pittorico, intervallato solo da due stipi-finestra, ma con lo stesso punto di fuga. Gli affreschi superiori sono caratterizzati da tonalità più tenui per via dell’ambientazione esterna, con una luce cristallina che evidenzia i corpi e i paesaggi. Questa luce può anche essere letta come un riferimento alla luce divina nell’avverarsi della redenzione, quindi più legate a un messaggio positivo di salvezza.
L’ambientazione è stata riconosciuta come un paesaggio di tipo appenninico, simile a quello nei pressi del monte Falterona di dove era originario Andrea. Grande drammaticità si ritrova in più episodi, che contraddice l’immagine coniata dal Vasari e spesso ripetuta acriticamente che vede Andrea del Castagno come un artista incapace di dipingere sentimenti di tenerezza: bastano episodi come l’abbraccio muto di Giovanni o lo svenimento della Vergine tra le pie donne per contraddire tale ipotesi.
Gli angeli che si disperano volando nella parte più alta fanno da elemento di raccordo tra le tre scene. Le loro espressioni sono tratte dalla tradizione, ma innovativo è il trattamento vaporoso delle loro vesti, anche se congelate dal tratto energico e sostanzioso dell’artista.
https://it.wikipedia.org/wiki/Ultima_cena_(Andrea_del_Castagno)
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