Benozzo GozzoliItalian Early Renaissance Painter, 1420-1497 | |||
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Scenes From the Life of St.Augustine Gemälde ID:: 53416 Siehe Galerie in Schweden |
Scenes From the Life of St.Augustine mk231 Oil on canvas mk231 Oil_on_canvas |
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Journey of the Magi to Bethlehem Gemälde ID:: 55949 Siehe Galerie in Schweden |
Journey of the Magi to Bethlehem mk247 C.1460,fresco(detail, ', ', ', ', ', ', ', '),chapel of the palazzo medici-riccardi,florence,ltaly mk247 C.1460,fresco(detail,_',_',_',_',_',_',_',_'),chapel_of_the_palazzo_medici-riccardi,florence,ltaly |
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Adoration of the Magi Gemälde ID:: 62397 Siehe Galerie in Schweden |
Adoration of the Magi 1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture 1440-41_Fresco_Convento_di_San_Marco,_Florence_Benozzo_Gozzoli_was_a_student_of_Fra_Angelico_who_had_a_formative_influence_on_him._He_collaborated_in_the_pictorial_decoration_of_the_dormitory_cells_in_the_Florentine_Dominican_monastery_of_San_Marco,_which_took_place_from_1438_to_1444/45._There_Fra_Angelico_and_his_assistants_were_painting_a_small_devotional_fresco_in_each_cell,_while_Cosimo_de'_Medici's_double_cell_(cell_38/39)_was_furnished_with_a_larger_wall_painting,_the_Adoration_of_the_Magi_(cell_39)_and_a_Crucifixion_with_Saints_Cosmas,_Damian,_John_and_Peter_(cell_38,_the_vestibule)._The_complete_integration_of_the_youthful_Benozzo's_artistic_style_with_that_of_Fra_Angelico_has_meant_that_it_is_only_in_recent_times_that_it_has_been_possible_to_identify_with_a_fair_degree_of_accuracy_a_variety_of_interventions_by_his_hand,_which_were_first_limited_to_isolated_figures_or_group_of_figures._Later_he_had_more_responsibility_and_scholars_now_agree_that_he_was_almost_exclusively_responsible_for_the_decoration_of_Cosimo_de'_Medici's_cells._Gozzoli's_decisive_part_in_the_production_of_the_Adoration_of_the_Magi_can_be_recognised_stylistically_by_the_fact_that,_compared_t_the_works_of_his_teacher,_the_colours_are_softer,_the_plasticity_of_forms_is_reduced_in_favour_of_sharper_contours,_and_the_landscape_in_the_background_acts_as_a_backdrop._Here_the_religious_theme_of_the_Epiphany_is_set_in_a_bleak_rocky_landscape_which_rises_up_behind_the_Three_Kings'_retinue._This_corresponds_to_the_religious_mood_of_Fra_Angelico's_pictures_and_does_justice_to_the_fresco's_function_as_a_devotional_picture |
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Procession of the Middle King Gemälde ID:: 62401 Siehe Galerie in Schweden |
Procession of the Middle King 1459-60 Fresco Chapel, Palazzo Medici-Riccardi, Florence The middle king is represented with the features of Emperor John VII Paleologus. For this representation Benozzo based his work on a medallion designed by Pisanello in 1438. However, he made the face younger and replace the traditional and unwieldy Byzantine tiara with a crown resting on a peacock-plumed velvet cap. Author: GOZZOLI, Benozzo Title: Procession of the Middle King (detail) , 1451-1500 , Italian Form: painting , religious 1459-60_Fresco_Chapel,_Palazzo_Medici-Riccardi,_Florence_The_middle_king_is_represented_with_the_features_of_Emperor_John_VII_Paleologus._For_this_representation_Benozzo_based_his_work_on_a_medallion_designed_by_Pisanello_in_1438._However,_he_made_the_face_younger_and_replace_the_traditional_and_unwieldy_Byzantine_tiara_with_a_crown_resting_on_a_peacock-plumed_velvet_cap._Author:_GOZZOLI,_Benozzo_Title:_Procession_of_the_Middle_King_(detail)_,_1451-1500_,_Italian_Form:_painting_,_religious |
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Triumph des Hl. Thomas von Aquin uber Averroes Gemälde ID:: 90223 Siehe Galerie in Schweden |
Triumph des Hl. Thomas von Aquin uber Averroes 1468-1484 Medium oil on panel Dimensions Deutsch: 227 x 102 cm cjr 1468-1484 _ Medium_oil_on_panel _ Dimensions_Deutsch:_227_x_102_cm_ cjr |
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| Benozzo Gozzoli | ||||||||||
| Italian Early Renaissance Painter, 1420-1497 | ||||||||||
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