Biography Nada Guido di Pietro was born in 1387 in the small town of Vicchio di Mugello to unknown parents and was baptized Guido or Guidolino.
Painter lay under the name of Guido di Pietro in Florence, Fra Angelico between sponsored by Battista di Biagio Sanguigna , October 31, 1417 to the brotherhood San Niccol di Bari, of the Dominican order observant branch Dominican minority flagellants , in which observed the original Rule of St. Dominic , which requires absolute poverty and asceticism, and it follows from 1418 to 1423.
From 1423 (the year he painted a crucifix for the hospital Santa Maria Nuova), it is called "brother John Brothers of St. Dominic of Fiesole," and only after his death he is called Beato Angelico (the Blessed Angelico). This is Giorgio Vasari in the Vite , which adds his name to the adjective Beato (and specifically named Fra Giovanni da Fiesole), previously used by Fra Domenico da Corella and Cristoforo Landino .
First works
His art education takes place in Florence at the time of Lorenzo Monaco and Gherardo Stamina. The first, he resumed the use of accent colors and unnatural, but also a very strong light that cancels the shadows and participate in the mysticism of the sacred scenes, themes found in the production of miniature and in his early compositions.
In 1417 , he was named in documents "Guido di Pietro, painter of the parish of San Michele Visdomoni" .
In 1418 , shortly before joining the Dominicans at St. Dominic convent at Fiesole , he decorated an altar for the chapel of the church Gherardini Saint Stephen in Florence.
The triptych of St. Peter Martyr, commissioned by the Sisters of Saint Peter Martyr is dated circa 1425.
In 1427 , he was ordained priest.
Between 1428 and 1430 he painted the first of three compositions for the altarpiece of the church of St. Dominic at Fiesole: the Pala di Fiesole. This work has been reworked by Lorenzo di Credi. Are his architecture, the canopy and expansion of the ground.
Between 1430 and 1433 he directed The Last Judgement, highly influenced by the style of Lorenzo Monaco, but the pace of the plans shows a growing interest in organizing perspective of space.
In 1430 he painted the Annunciation (Prado Museum), with five stories of the Life of the Virgin in the predella (second table to the church of St. Dominic in Fiesole). A work in which appear new techniques inspired by Masaccio. For the first time used a light diaphanous envelope composition, exciting colors and plastic masses of figures, and unifies the image.
In July 1433, the Corporation of Weavers of linen ( Arte dei Linaioli Rigattieri e ) in Florence in Fra Angelico says the achievement of a painting of the Virgin for a tabernacle.
Between 1434 and 1435 he painted in tempera on wood, the imposition of the name to St. John the Baptist, part of a predella unidentified. The scene is set in a courtyard built with the prospect of extreme accuracy and with a gate used as a funnel perspective.
From 1440 , Cosimo de 'Medici commissioned him to decorate the convent of San Marco , parts and individual cells of the monks, work that led his friend Antonin de Florence , archbishop of the city.
Selected works of Fra Angelico at San Marco
Among them, The Nativity represents the birth of Christ (cell 5). You can see one of the early paintings of perspective, with an essay "awkward" for the angels on the roof of the barn. Christ is laid down, "before" the barn, not in a manger surrounded by Mary and Joseph, and St. Catherine of Alexandria and St. Peter Martyr. The ox and ass are the background, in the barn before the manger. One can see from the background that the scene is set in a cave or, more likely, in the mountain, which is a common idea of the scene at the time of the Renaissance.
Rome
In 1445 , after the echo of his early work, he was invited to Rome by Pope Eugenius IV , who reigned from 1431 to 1447.
He painted the Cappella del Sacramento, which was later destroyed by Paul III. In June 1447 he went to Orvieto, to paint the new chapel of the cathedral in collaboration with his pupil Benozzo Gozzoli. The murals will be completed by Luca Signorelli.
Florence
In June 1450 Fra Angelico was appointed prior of the convent of San Marco. The same year he was named archpriest of Florence. He performs cabinet doors of the church of the Annunziata, with the help of students. In 1452 he refused the proposal to paint the apse of the cathedral of Prato, is found in a document of Perugia in December 1454. He then returned to Rome to paint the Chapel of Nicolas V (Cappella Niccolina) and died in that same city on 18 February 1455.
He is buried in Rome in the Church of the Minerva.
Fra Angelico was beatified by Pope John Paul II in 1984 and proclaimed patron saint of artists.
Interpretation of his work
In the nineteenth century , it was based on the interpretation of Vasari, which itself was inspired by the Counter-Reformation , where the focus was on the devout nature of his painting. Commentators prefer to emphasize the contemporary artist as related to the early Renaissance, his pioneering effort and the initial influence of Masaccio.
Georges Didi-Huberman begins his book Before the image by an analysis of the Annunciation (cell 3) of the San Marco convent ambience of the piece has inspired some beautiful pages. He also wrote a book on Fra Angelico Fra Angelico entitled. Dissimilarity and figuration.
Works
Thumbnails
- St. Dominic in Glory (1424) Messale 558, Museum of San Marco monastery in Florence
- Virgin of Mercy with brothers kneeling (1424), Messale 558, San Marco
- King David (1443-1445), San Marco
Drawings
- The institution of the Eucharist (c. 1445-1446) pen and brown ink, brown wash, Muse du Louvre , Paris
Frescoes
- Frescoes in the vault of the chapel of San Brizio: Last Judgement, the angels and the Prophets ((1447-1449), Orvieto Cathedral (completed by Luca Signorelli in 1499-1504)
- Virgin and Child (1435), church of the convent of San Domenico in Fiesole (transferred on masonite with his sinopia )
- Madonna of Humility with Saint Dominic, St. Peter Martyr and the four evangelists (1438), Diocesan Museum, Cortona (transferred on masonite)
- Annunciation in the northern corridor entrance and frescoes of the 44 cells of the monks of the convent San Marco (some assisted by Benozzo Gozzoli).
- Frescoes in the Chapel Nicoline (Vatican) (between 1447 and 1451): From the Life of St. Stephen, Scenes from the life of St. Lawrence, arch and pilasters.
Tables
- Descent from the Cross (1432 - 1434)
- Nativity (1440-1441)
- Incoronazione della Vergine (1420 circa)
- The Tebaida (1420 circa)
- Annunciation (c. 1426), central panel of an altarpiece for the Convent of St. Dominic of Fiesole, now in the Prado Museum , Spain.
- San Nicola da Bari e San Michele Arcangelo (1424, 1425)
- Incontro fra San Domenico e San Francesco (1430 approximately)
- Scena della vita dell'apostolo Giacomo di Liberazione Ermogenis (1430 approximately)
- Annunciation of San Giovanni Valdarno (1430-1432), main panel, tempera on panel 195 cm x 158 cm, Museo della Basilica di Santa Maria delle Grazie, San Giovanni Valdarno
- The Annunciation of Cortona (1432-1434 approx), Diocesan Museum, Cortona
- It Giudizio (1432-1435 approx)
- Madonna dell'Umilt (1433, 1435)
- Imposizione del nome del Battista (1434, 1435)
- Sant'Antonio (1435 - 1440)
- Deposition (1437-1440 approx)
- Deposition (1438, 1440)
- The Trasfigurazione (1441-1443 approx)
- San Lorenzo riceve i Tesori della Chiesa e fa la carit (1447-1450 approx)
- The preacher di Santo Stefano e la nel disputed Sinedrio (1447-1450 approx)
- Polittico Guidalotti (1448) for the church of San Domenico in Perugia, preserved at the National Gallery of Umbria.
- Angelo e Vergine Annunciata Annunciation (1450)
- Preghiera nell'orto
- Martirio di San Marco, tempera su tavola, Museo Nazionale di San Marco, Firenze
- Coronato di Cristo spine, Duomo Livorno
- The Conversion of St. Augustine, 22.5 x 34.5 cm, Muse Thomas-Henry , Cherbourg
Polyptyques dispersed
- Parts of the predella of an unidentified altarpiece
Dispersed elements :
- Saint Jacques issuing the Magician Hermogenes, Fort Worth, Kimbell Art Museum;
- The Imposition of the name to St. John the Baptist, Museum of San Marco Monastery , Florence;
- The Dormition of the Virgin, Philadelphia Museum of Art ;
- The Vision of St. Lucia, Richard L. Feigen Collection, New York;
- The Meeting of Saint Francis and Saint Dominic, The Fine Arts Museum , San Francisco.
- Altarpiece of San Domenico di Fiesole said Pala
This altarpiece was placed on the altar of the choir (separated by a faithful choir loft ) at Convent of San Domenico in Fiesole , and then retouched by Lorenzo di Credi (funds) and is dispersed between:
- the left side chapel of the convent church of San Domenico in Fiesole : central part of the Virgin and Child with Saints Thomas Aquinas, Barnabas, Dominic and Peter Martyr (strong perspective effect, and slabs);
- the National Gallery in London in five predella panels centered on the Risen Christ, which contains nearly 300 figures including 24 Dominicans on the outside panels (can be painted with the help of his brother Benedetto);
- Saints lateral pilasters San Marco and San Matteo (Muse Cond de Chantilly), San Nicola and San Michele Arcangelo (Vintage Hawkins-Jones of Sheffield), the latter two are lost.
- three quatrefoil of the chair rail , two Angelo and annunziante Vergine Annunziata Tucker are in the collection of Vienna, the third is lost.
- Components of a triptych of a private devotion
- Saint Francis and a holy bishop (1430 - 1433), Getty Center , Los Angeles;
- St. John the Baptist and St. Dominic (1430 - 1433), Getty Center.
References
- a and b controversial Date
- doubt on Translation in precedenza usato da Fra Domenico da Corella Cristoforo Landino e da
- Diane Cole Ahl, Fra Angelico, 2008.
- Record of the Getty Center
Bibliography
- John T. Spike, Fra Angelico, Liana Levi, 2001 ( ISBN 2-8674-6154-5 )
- Tito S. Centi, Blessed Fra Angelico. Giovanni da Fiesole, Cerf 2005 ( ISBN 2-2040-7846-8 )
- Stephen Beissel, Fra Angelico, Parkstone, 2007 ( ISBN 978-1-8599-5642-7 )
- Gabriele Bartz, Guido di P Notes
Related articles
External Links
| Giorgio Vasari Fra Angelico cites and describes his biography in , Page? - 1568 edition |
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