#medici cycle of paintings | Explore Tumblr Posts and Blogs

tractym · 2 years

Note

i found your blog earlier this week and i love your art! i especially like the way you paint renaissance dress! 💕💕 if it's not rude to ask, where do you find your refs?

Thank you so much, I'm glad you like my art!! 🥺🥺💜

And don't worry, your ask is not rude, on the contrary! I'm more than happy to help - even if I want to specify now that I'm not at all an expert in historical fashion, so please don't believe that the outfits I draw are always 100% historically accurate. Also, almost everything I know concerns Italian Renaissance, so if you need reference for, let's say, German Renaissance I'm afraid I will not be that helpful 😔

Anyway! What I do when I want to draw Renaissance clothes is to look at art history! Luckily the Renaissance is a time where a lot of portrait have been made, and sometimes even religious or pagan artworks can be of help!

For example, for Venice I would search for the portraits by Titian or Giovanni Bellini to start, or also for the paintings by Vittore Carpaccio (the "Storie di Sant'Orsola" cycle is GREAT for outfit references). The same goes for other territories, for example a good start for Florence would be Domenico Ghirlandaio, or for Mantua the "Camera degli Sposi" by Andrea Mantegna and so on for the other cities.

If you don't know that many artist (as is my case when I want to draw someone from a place outside of Italy) you can start researching by finding portraits of the governors of the territory that you want to target! For example, let's say that you want to put a character at the start of the Grand Duchy of Tuscany, so you ask yourself (and you ask internet): who was the first Grand Duke? Cosimo I de Medici. Cool, do we have a portrait of him? The first one we find in wikipedia is by Bronzino. Has Bronzino made other portraits? Yes! And you already have some references.

Alternatively, you can look up who were the wife and children of Cosimo, and search for portraits of them.

Some disclaimers about this method are:

Mostly the people who had portraits of them made were noblemen and noblewoman, and they posed wearing their best outfits, so be careful if you want to take them as a reference for common people!

Many times religious or pagan paintings are set in renaissance times in terms of outfits, but they are still stories from another time and age, so I wouldn't be surprised if the artists took a few liberties with the clothes

Then as now, fashion trends changed, so I would keep an eye on the dates in which the paintings were made

Some other references:

I feel some artist do a much better work than mine when researching historical clothes, for example @aph--lietuva draws amazing clothes! If you have instagram, I love the work of toscasam, who always puts a great care in researching the clothes of her characters!

I'll also leave some photos from a book I have at home, but please consider:

These are all references took from paintings, so all the disclaimers I listed above still stand;

I found this book in a vintage shop and it has been printed in 1959, so I’m sure you will find much more nuanced modern publications out there;

The captions are in Italian, but I'll leave them here anyway because the years of the clothes are still understandable

Italian Renaissance:

German:

Spanish:

Also, IF SOMEONE READING THIS POST HAS BETTER REFERENCES, PLEASE FEEL FREE TO ADD INFORMATIONS IN THE REBLOGS! The more sources we have, the better!

Lastly, I would like to end this post by saying that despite the researches I'm more than willing to take some liberties when I draw. I'm an artist and not an historian, and whenever I feel like I'm limited by the lack of references I don't dwell too much on it and prioritize the completeness of the drawing by adding things from my mind, so don't rely too much on my art if you are looking for historical accuracy!

And that's all it comes to my mind about the topic. I hope I have been helpful (and clear, I know I still have some problems with the English language 🥲)! Thank you so much for the question and have a lovely day <3

#ask tag

1 note · View note

isolatedcorner · 2 years

Text

Travel log: Basilica di Santa Croce di Firenze

Frescos of the Basilica

This is a breathtaking church that everyone in Florence should visit! The walls and ceilings are completely covered in beautiful frescos, and there are tombs and memorials of famous figures, including Galileo, Michelangelo and Dante. It’s way less crowded than Florence Cathedral but equally comparable in beauty imo.

Right: Tomb of Michelangelo. Left: Memorial of Dante

Right: Tomb of Galileo. Left: The Medici chapel, temporary burial place of Galileo from 1642 to 1737 until his final burial was arranged in the nave of the church.

Coppo di Marcovaldo, Saint Francis and Twenty Stories from His Life (c. 1245-1250)

This panel is one of the most important works of art of the Florentine School, and the oldest among the paintings of Santa Croce. It depicts the most complete cycle of the life of Saint Francis, predating the frescoes in the Basilica of San Francesco d'Assisi. Its golden background is a clear influence of the Byzantine style on Medieval art.

The Saint is portrayed at the centre in the act of blessing while holding a book in his left hand. He is surrounded by a frame that shows seventeen small busts of friars who probably represent the franciscan community of Santa Croce of the time. The scenes around the frame describe episodes from the life of the Saint.

Cimabue, The Crucifixion (before 1288)

Christ was no longer depicted in a Byzantine style […], but as a suffering, dying man, a victim of a fate common to other ordinary mortals — Christus patiens. Thanks to the Franciscans, this typology of Christ crucified would become the universal symbol of Christian spirituality.

During the flood of Florence in 1966, the Crucifix, which hung in the great hall of the Cenacolo, where the water reached almost five meters, became the victim and dramatic emblem of that tragic event. It took ten years to restore the cross and return it to its original home.

#stew’s travels #italy #firenze #basilica di santa croce #my photos #photography #medieval architecture #medieval art #galileo #michelangelo #dante alighieri #dark academia #churches #renaissance art #classical art #history #travel blog

1 note · View note

thetudorslovers · 2 years

Text

Lucrezia Buti (Florence, 1435; died in the sixteenth century) was an Italian nun, and later the lover of the painter Fra Filippo Lippi. She is believed to be the model for several of Lippi's Madonnas.

Lucrezia was born in Florence in 1435, the daughter of Francesco Buti and Caterina Ciacchi. She became a nun in the Dominican monastery of Santa Margherita in Prato. According to Vasari, while a novice or boarder at the monastery, she met the painter Fra Filippo Lippi who in 1456 had been commissioned to paint a picture for the nuns' high altar. Lippi requested Buti as a model for the Virgin in the painting he was creating for them.

Lippi fell in love with Buti during her sittings for the painting and caused a great scandal by kidnapping her from a procession of the Girdle of Thomas in Prato and took her to his nearby home. Despite attempts to force her to return to the monastery, Buti remained at Lippi's house at the piazza del Duomo.

Vasari records in his Lives of the Artists that in 1456 Fra Filippo while working in Prato, tended to frequent young women and indulge in countless romantic adventures. But it was one particularly comely young woman for whom he fell hard for.

It was in Prato while working on frescos to decorate the church of S. Margherita where he met and fell in love with the beautiful Lucrezia Buti, the daughter of Francesco Buti, a Florentine silk merchant. Lucrezia was born and raised in Florence, but after the death of her parents, Lucrezia was sent to Prato and placed under the protection of the Sisters of Santa Margherita.

The first time Fra Filippo saw Lucrezia at the convent, he thought her face exquisite, and he knew she would be the perfect model for the Madonna for his altarpiece. Right away, he asked the sisters for permission for Lucrezia to sit for him in his studio where he could paint her portrait.

In 1457, Buti bore Lippi a son, Filippino, and in 1465 a daughter, Alessandra. Through the intervention of Cosimo de' Medici, the couple received a dispensation to marry from Pius II, but according to Vasari, Lippi declined to marry Buti.

The couple remained together, and it was only several years later that Pope Pius II, thanks to the intercession of Cosimo de’ Medici, Fra Filippo, was granted an exemption to marry Lucrezia and to regularize their relationship.

Lucrezia is traditionally thought to be the model for Lippi's Madonna and Child, and Salome in his fresco cycle of the Stories of St. Stephen and St. John the Baptist in the cathedral of Prato.

54 notes · View notes

books0977 · 2 years

Photo

Rinaldo and Armida (1635). Cesare Dandini (Italian, 1596-1657). Oil on canvas. The Uffizi.

This work was part of a cycle of nineteen paintings inspired by the poems of Ovid, Ariosto and Tasso, commissioned by the Cardinal Carlo de’ Medici. The episode shown here is narrated in the last canto of the Jerusalem Delivered, which centres on the terrible battle between the Crusaders and the Egyptian army, when Rinaldo and Armida challenge each other to a duel. The sorceress, after attempting in vain to strike the young warrior, with whom she is still in love, decides to kill herself with the same arrow used in combat. Rinaldo seizes her “When to her back he stepped, and stayed her arm / Stretched forth to do that service last, last harm. / She turns and, ere she knows, her lord she spies, / Whose coming was unwished, unthought, unknown, / She shrieks, and twines away her ‘ sdainful eyes / From his sweet face, she falls dead in a swoon.”

#art #poetry #Rinaldo and Armida #Cesare Dandini #Italian

30 notes · View notes

asphalt-cocktail · 4 years

Text

For the Sake of Content- Chapter 7

Chapter 7: Medici Ivory and Coral Clay

Summary: After walking in on your long-term boyfriend, Harrison, cheating on you and then losing your job the following day; your find yourself broke, jobless, and single for the first time in a long while. In order to make ends meet, your best friend since college, Freddie, suggests you start soliciting explicit photos of yourself, not only to help boost your confidence but to help pay the rent for his band mate’s apartment you just moved into.

A/N: Hey cuties! Back at it again with another chapter! Thank you for your patience! I honestly am so thrilled with all of the lovely comments and likes/reblogs I have been getting. I even go through and read the tags because i crave validation. But for real though, they are all seriously so sweet and I love all of the support and want to thank you all for it! I do have some angst planned for future chapters though, got to make some young discourse to keep thing spicy, but don’t worry, I want to keep this story light and funny so it wont be anything too bad! also PLEASE PLEASE PLEASE DM me if I have missed your tag! I feel like I am missing some people in my tag reblogs.

Pairing: Roger Taylor x F!Reader

Warnings: Language, mentions of sex work, smut, fluff, some friendly banter between roger and reader, consensual recording, not proof read

Word Count: 3k

18+ if you are a minor do NOT interact with this post. This is fictitious content and I own nothing.

Freddie’s dark brown eyes practically gawked at you, “You what!” He grinned. Your face flushed and you swirled around your bottomless mimosa, “I knew you would start doing live streams,” He eagerly stabbed his fork into the yolk of his eggs Benedict, cracking it and causing the yellow liquid to ooze down the sides of the biscuit, “I knew you would; how are your clients? Do you have regulars? Do they ask you to do anything- kinky?”

As Freddie rambled on, your eyes zoned in on his egg yolk, the viscous liquid slowly oozing out of the broken egg and falling down his plate. Should you tell Freddie about Roger? No you couldn’t, that would bring on another series of questions you were definitely not prepared to answer no matter how many bottomless mimosas you had at your biweekly Sunday brunch.

“[Y/N]” Freddie spoke, his tone somewhat sharp, “Are you paying attention? I want to know the details.” The curious glint in his eyes hadn’t dampened.

You gave him a shy smile, “Yeah, I have a few regulars, they’re all nice, some are a little creepy, but I never show my face,” Well, that was a lie. Tonight, was going to be the first night you showed your face on camera and was also the first night you and Roger would film together.

The two of you hadn’t had anything special planned, you were going to change your tips around to reflect different actions people could pay for. It was bound to be fun, right?

You couldn’t shake the nervous jitters from your mind even after your brunch with Freddie and his probing questions. You loved him dearly, but he was often too nosey for his own good. He wouldn’t dare tell a soul the information he knew, but it was as though his very being needed the substance to survive. His head was full of knowledge and he just soaked it up like a delicate sea sponge in an ocean of information.

When you returned to your apartment, you were surprised to see the furniture moved around and a large tarp covering the floor closest to the walls in the living room, “Uh, Roger?” you called out, hanging your keys on the shelf, surely you didn’t drink that much… right?

You closed your eyes for a few long seconds and reopened them, yup, this was real all right, “Roger!” You called louder, “What’s up with the living room?” You kicked your shoes off and walked further into your home before you stopped in the kitchen.

Surprisingly enough, Roger was dressed in a pair of sweatpants and an old faded tee shirt; it was sloppy even for your low standards. Roger looked up at you from his bowl of pasts, mid bite, “What?” He asked with a mouth full of noodles and sauce.

“You’re disgusting.” You mumbled, “What’s up with the living room?” You repeated your question from earlier.

“What do you mean?” He asked, clueless as ever.

You let out a puff of air in frustration, “The living room Roger, everything is all moved around and there’s a tarp on the floor. What are you doing? Opening a mud wrestling pit?” The annoyance in your voice was very evident.

“Oh, I picked up a few buckets of paint so we could finally paint the paneling, the mud wrestling is a good idea though, you think we could charge for it?”

You rolled your eyes at his joke- you hoped it was a joke- and a small smile graced your face, “What colors did you pick out?” You couldn’t help but feel giddy at the prospect of changing the drab, old, and dusty wood paneling that encased your living room walls.

“You know that cream color you were talking about? It turns out it’s actually called Medici Ivory, so I got a few buckets of that and a bucket of this nice red color called Coral Clay.” He finished up the last fork full of his pasta and got up, rinsing it in the sink, “We can paint right now if you go change.”

You looked down, realizing you didn’t want to get your brunch clothes dirty, “Right, I’ll be right back.”

After you quickly changed into some sloppy clothes you and Roger set out to paint the wood paneling, “You know I realized I said you get two walls and I get two, but there are really only three wall in the living room.” Roger pointed out, “I mean, we could paint the little parts of the wall outside of the kitchen, but then I would want to paint the kitchen too.” He thought out, chewing on his plump lower lip.

You swallowed thickly, distracted by the way his pretty pink lips popped out from his mouth after he sucked on it, “Well you can have two and I’ll have the accent wall.” You offered.

Roger looked at you as though you were a moron, “You cant have an accent wall as the lighter color,” He said in a matter of fact tone, “I’ll take it and you can paint the other two cream.”

After a few more minutes of planning, you and Roger finally decided upon who was getting what walls, Roger pointed out it didn’t matter what color the walls were, his decorations were still going to be hung back up. So, he got one wall to paint Coral Clay, and you got the remaining walls to paint Medici Ivory.

You connected your phone to the Bluetooth speaker before Roger could beat you to it and shuffled your favorite playlist on Spotify. Take Me To The River by the Talking Heads began to flood your apartment. You hummed along to the song and began to paint, long even brush strokes on the wall, staining the ugly wood paneling Medici Ivory. As your playlist cycled and paint began to coat the walls you glanced over at Roger’s side of the wall, there were uneven splotches and awkward shapes that coated it. No cohesion at all.

You frowned, “What are you doing to the walls, Roger?” You frowned, “You can’t paint like that.” You scolded him.

Roger pulled away, allowing the brush to loosely hang from his hand, gobs of Medici Ivory dripped onto the tarp making a soft pitter patter noise that blended in with your music, “What? You’re doing better than me?” He asked.

You looked at him in disbelief, “Yeah, I am.” You said pointedly, “This is how you’re supposed to paint,” You said, demonstrating with long even brush strokes, “This isn’t finger painting.”

Roger scoffed and flicked his brush at you, your clothes staining the creamy off-white paint, “I suppose it isn’t.” He responded in a huff.

Your eyes narrowed “Real mature, Roger.” You said going back to painting next to him.

Roger continued to defy you, painting in big circles on the wall and ignoring the clumps and uneven layering that covered the wood panels. You turned towards him and flicked your brush at him, this time little spots of white paint speckled his face causing him to close his eyes and jump, “Oh, you’re going to get it now.” You heard Roger mumble as you turned away from him.

In the blind of an eye you felt cold liquid smearing and staining your skin. A shiver ran through your body feeling Roger’s calloused fingers roughly rub across your cheek “Roger!” You shrilly yelled, bringing your hand up to wipe the paint off, only to smear it.

You swiped your hand across your brush, coating it in the goopy, off white liquid and lunged at him. Roger stumbled backwards and fought your hand as it tried to smear the paint on his face. Your brush had fallen, mushing between your two bodies and covering your shirts in paint. Your legs were firmly planted on either side of Roger’s waist as you straddled and fought against him, still trying to palm the off viscous substance onto his perfectly soft skin.

“Come on, [Y/N],” Roger whined, trying to hide is laughter, “You’re dropping it in my hair!”

“You’re dropping it in my hair!” You mocked in a dopey voice.

Roger gaped at you, “I do not sound like that!” He protested, a shock of laughter rumbling through him and causing his guard to drop.

Your hand came down, smearing Medici Ivory onto his cheek, your hand slickly gliding off his skin. Before you had time to react Roger flipped the two of you over and within a few minutes the two of you were covered in stripes of paint, “You arse!” He was breathless from laughter, still straddling you, “I have to shower now.”

You hummed back laughter of your own and wiggled underneath him in an attempt to break free. Roger wasn’t having it, so you stayed trapped beneath his warm, out of breath body. Suddenly, you were aware of the closeness of your two bodies. His hot breath puffed against the paint that stained your skin causing you to shiver. Roger cleared his throat. The tension in the room was thick. Roger’s erection pressed against your thigh, when did that get there? Your ears felt like they were ringing, the music but a muffled sound that filled them.

“I should get in the shower, the we can do that camera stuff, yeah?” Roger asked, suddenly leaning up. Cool air flooded your clothed chest. It worked in tandem with the paint and caused you to shiver

You swallowed thickly and nodded your head, “Did- uh,” you couldn’t find the proper words to come out of your mouth, “Did you want me to wear anything specific?” you asked.

Roger settled back, his hand tracing soft patterns on your knees, “You could join me, you know, to save on water…” He trailed off, not looking at you.

You shifted and nodded your head, “Yeah, to save water.” You said, suddenly nervous, “Do… Do you want to film it?” You knew very well that the two of you would just be showering.

Roger looked up at you, his typically bright blue eyes now dark and filled with a naughty glint, “Yeah, we can your phone in and see what happens.”

It didn’t take long for you to find yourself pressed against the cold tile of your small steam filled shower. You hissed against Roger’s mouth as the contrasting temperature bit into your skin and arched your back against him. He roughly sucked your lower lip into his mouth, dragging his teeth across it as he pulled away and allowed it to plop back into place.

It was obvious to you that this was going to be different from the first time you and Roger had sex. He was rougher, needier, more dominant with his touches. You didn’t know if it was the amount of steam from the scorching hot water or his touches that caused you to feel dizzy and your brain to spin. Roger quickly turned you over, his hands smoothing over the globes of your ass. You quickly got the message and braced your hands on the wall in front of you.

You swayed your hips from side to side, impatiently waiting for Roger to do something. “Fuck” He silently cursed to himself, “What’s your password?”

Oh right.

You were supposed to be filming this to put on your snapchat. Was your phone waterproof? What if Roger dropped it? How was he going to plow you into next week and hold onto your phone?

The series of questions that flooded your brain was cut short by Roger lightly tapping your cheek, “Come on, before I lose my stiffy.”

“Oh, it’s uh 2580.” You answered, thankful that Roger couldn’t see your embarrassment.

Roger scoffed, “Really? Right down the middle?” He chastised.

“It’s fine- Oh fuck” You hissed out feeling Roger’s thick fingers filling you up, pumping in and out of your throbbing core. You hummed with pleasure and pushed back against his fingers, but as quickly as they filled you, they were gone.

Roger roughly filled you up with his cock, you gasped, feeling him stretch you open. He didn’t leave much time for you to adjust to his still unfamiliar size before he sharply snapped his hips against yours. Your back arched and you kept your hands firmly splayed against the wall. Your legs spread further apart, and your mouth fell open as sinful noises began to spill from it.

“Fuck.” Roger grunted, his hips slapping loudly against yours, “That feel good baby?” He said as he grabbed the meat of your ass and kneaded it in his hand, spreading it apart and getting a perfect view of his cock disappearing into you.

Roger’s calloused hand came down, roughly smacking your cheek. He bit his lip and watched it jiggle under his hand. The water amplified the stinging sensation that rang through your bones. You let out a breathy gasp, “It feels so good,” You slurred. Your mind was drunk with pleasure, “Fuck me harder.” You preened, pushing your hips back against him.

Roger shifted behind you, “You want me to fuck you harder?” He asked, roughly grabbing your hips and pulling you flush against him. Your face now rested against the cool tile as you sat up on an angle. Rogers sharp and methodical thrusts caused you to rhythmically jolt forward, the sensitive skin of your breasts occasionally brushing against the cool tile. The flood of sensations caused every nerve in your body to stand on end.

“Yeah, fuck me harder, Rog.” You practically purred his name, letting it roll off your tongue like honey.

Roger pressed his back against yours. His lips latched onto your shoulder, biting at the soft skin and running his tongue over the teeth marks he pressed into you. One of his hands snuck around to your chest, groping and fondling your painfully ignored tits in his rough palms while the other remained on your hip, pulling you against him at an even pace.

You let out soft breathy moans “Ah, ah, ah” each one getting higher and higher in pitch as the coil in your stomach tightened and threatened to break under the pressure that had begun to build until finally it snapped. You arched your back painfully against him, the muscle in your back cramping from the awkward angle. Your walls, pulsating out of him, coaxing Roger to his own release as he chased it, frantically and unevenly thrusting into you before he pulled out and painted the perfect skin of your plump ass white.

Your chest heaved and your arms shook lightly as you came down from your high. After a few moments to regather your brain you let the water wash you clean of the mess.

After your shower you found yourself curled up in your bed. Without bothering to knock, Roger opened the door to your room, his towel still loosely hanging over his shoulders and a pair of boxers hanging comfortably off his hips. You couldn’t help but lick your lips at the sight of his light blond hair dripping small water droplets and littering his pale skin with moisture. Fuck, you want to lick them off, what the hell was wrong with you?

“Can I help you?” You croaked out. You voice gave away your current struggle.

Roger cluelessly grinned at you, “I want to see what I filmed!” He said plopping down next to you on your bed.

Your face flushed with heat, “You video taped what happened in the shower?” You gaped at him, shifting the blankets so he could get comfortable.

Roger responded with a nod and flatly held his hand out for you to place the phone in his hand, “Yeah, come on we have to pick the best ones to upload.” He responded. Right this was for professional purposes.

When you grabbed and opened your camera roll you saw sure enough, there were several saved short clips and a few pictures in it. Heat began to build in your belly upon seeing the little thumbnail previews. You had to take a moment to remind yourself that watching the sex tape you and your roommate made was strictly for business purposes and not for personal pleasure.

But when you clicked on the first video and caught a perfectly angled shot of Roger entering you, your back arching, the steam of the shower beginning to fog and cloud the camera your mind went blank. You stared at the image before Roger nudged the volume button, turning it up, “We have to make sure it sounds okay.” You almost missed the deviant glint in his eyes that hid behind Roger’s focused features.

The cheeky bastard knew what he was doing.

Your breathy sighs and moans filled your room, Christ, that was what you sounded like? You blinked at the short clip when it was over, “What do you think?” You didn’t dare look at Roger. You didn’t even want to think of what his stupid smug face looked like right now.

“I think it looks even better the second time around.” He confidently retorted back to you.

“Fuck off,” You couldn’t help but smile and let out a little laugh before swiping to the next little clip.

“Fuck” Roger’s husky voice rang against your ears, giving you flash backs to what happened only moments earlier.

SMACK the crisp sound of Roger slapping your ass echoed through your brain just like it did in the bathroom.

“That feel good baby?” Your walls throbbed, hearing Roger’s commanding tone and watching his hand kneading the meat of your ass as it bounced against him.

The tension in the room was beginning to settle and surround the two of you once more. You swallowed thickly almost positive Roger could hear your audible gulp. “That one looks good too.” Your voice sounded shaky. Your skin felt like it was on fire and Roger simply sat next to you, seemingly unfazed.

#roger taylor x reader #roger taylor smut #ben hardy!roger x reader #ben hardy!roger taylor #ben hardy!roger taylor x reader #roger taylor series #roger taylor imagine #roger taylor fanfic #queen fanfic #queen x reader #queen smut #queen series #borhap #borhap series #borhap fanfic #borhap random #FSC fic

147 notes · View notes

ars-videndi · 5 years

Photo

Fra Angelico (born Guido di Pietro; Vicchio di Mugello, c. 1395 - 1455 Rome), Crucifixion fresco in cell 42 (see upper floor plan in this post) of Convento di San Marco, Florence.

The figures of Saint Dominic and the Virgin in the right lower corner are believed to have been painted by an assistant (source)

With Longinus piercing Christ’s side with his lance as the central scene, and Mary moving away from the cross, crying and covering her face with her hands, this is probably the most disturbing composition in the entire cycle.

Fra Angelico entered the local community of the Dominican order at Fiesole, not far from Florence, in his 20s (the last record of him as Guido di Pietro dates from 1418, the first one as Fra Giovanni - from 1423). In 1436, a number of friars from Fiesole moved to the convent of San Marco in Florence to be rebuilt in Renaissance style at the commission of Cosimo de' Medici the Elder, who had a cell reserved for himself at the convent for his personal retreat. According to Giorgio Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects, it was Cosimo who entrusted Fra Giovanni da Fiesole to decorate the walls of the convent.

Executed by Fra Angelico and his assistants (including the young Benozzo Gozzoli) between 1438 and 1443, the works for San Marco comprised the most extensive surviving program of decoration for a religious community. It included the high altarpiece, nearly fifty monumental frescoes for the cloister, Chapter House and dormitory cells, as well as illuminated choir books for the celebration of Mass. The San Marco frescoes were intended not as means of instruction, still less as decoration, but as aids to contemplation and meditation.

More images of San Marco frescoes: [1], [2], [3].

#fra angelico #beato angelico #crucifixion #fresco #christian art #italian art #renaissance #cosimo de' medici #15th century #museo di san marco

16 notes · View notes

dariousdenim · 3 years

Text

The Meeting of Marie de' Medici and Henry IV at Lyon: Painting by Peter Paul Rubens

INSPIRATION TO MY EP COVER

my debut project: from the west, with love: cover takes inspiration from The Meeting of Marie de' Medici and Henry IV at Lyon: Painting by Peter Paul Rubens for the Marie de' Medici cycle, which was a series of commissioned paintings that were on display in the Louvre in Paris. This breathtaking set of paintings marks one of the highlights of this artist's entire career and is truly deserving of the prominence that it is afforded in the world-famous Parisien gallery. The first meeting of Marie and Henry is highly significant for the simple fact that they have already agreed to marriage. Typical of Rubens, this scene merges reality with mythology, essentially promoting the two figures to Roman gods - Juno and Jupiter. This would feed into the egos of the ruling powers, attempting to amend history through depicting them in this way. Whilst they remain seen by us as mere mortals, the artworks produced of them are breathtaking and one of the highlights in the Louvre, even considering the exceptional collection that it possesses.The Greek icon of Juno is characterised by her accompanying peacocks and a chariot. Whilst Jupiter represents Henry with the display of menacing thunderbolts right from his hand plus also the inclusion of an eagle. They hold hands to symbolise their marriage and they look longingly into each other's eyes, suggesting a successful and welcome bond between these two important figures. The celebration is underlined by a rainbow that rises in the top of the painting, a feature that Rubens used on several occassions and in this case almost serves as a type of fireworks display, reaching to the stars in a spirit of festival celebration.

0 notes

processproductionsophielindsay · 3 years

Text

ANNETTE MESSAGER

Sleeping Heart (2017)

https://www.mariangoodman.com/exhibitions/208-annette-messager-sleeping-songs/works/artworks46709/

In the main gallery, the show opens with Sleeping Songs, thirteen works constructed of sleeping bags, duvets and winter coats. Throughout her career, Messager has transformed the materials of her everyday environment, and here she adapts into human forms household elements that evoke both shelter and displacement. From Birth, in which one down jacket emerges from another, to Seule (Lonely), an empty coat with hands clasped, a selection of works can be seen to chronicle the life cycle from youth to old age.

The latter, however, at the intersection of wall and floor, could also speak to borders and isolation, and sleeping bags, of course, can’t help but wrenchingly call to mind the refugee and migrant crisis. Messager previously addressed the issue in Dessus Dessous (Below), her 2015-2016 exhibition at the Museum of Fine Arts in Calais, France. Over roughly that same period, the vicinity of Calais was home to the Jungle, a refugee and migrant camp whose deplorable living conditions drew international attention. “I saw many people in the station, in the street, waiting, in the night, as they tried to go through,” she says. On view is a work from that show, 3 Pantins PQ (3 Puppets PQ) (2015), three fabric figures with toilet paper extending from their bodies, beings reduced to bare necessities.

Innocents-Help (2017)

https://www.mariangoodman.com/exhibitions/208-annette-messager-sleeping-songs/works/artworks37141/

Speaking again to children lost, Innocents, help (2017) is an homage to Massacre of the Innocents, Poussin’s depiction of the New Testament story of Herod. Crafted of black and red netting, fabric, wire and resin—materials of viscidity and capture—faces, hands, and hearts are hung up within it. Nets are an ongoing medium for Messager; in the past she has woven words into these webs—seductive words, like Desir, Chance, and Secret—but this new declaration is a distress call.

Jumping (2018)

https://www.mariangoodman.com/exhibitions/208-annette-messager-sleeping-songs/works/artworks46704/

In the lower gallery, the 17th-century vaulted stone space houses another troubled civilization, Petite Babylone (2019), a new installation and literal underworld in which hundreds of black-wrapped body parts, abstract shapes and stuffed animals are gathered. The work continues the exploration Messager began with Continents Noirs / Black Continents (2010-2012), in which she suspended carbonized cityscapes from the ceiling, and La chambre des légends (2019), an installation of blackened geometric objects shown in Messager’s exhibition at the Institut Giacometti earlier this year. Petite Babylone, the phrase poignantly holding a small being within its words, references the 2011 tsunami in Fukushima, Japan, when, as Messager notes, dogs and other animals could not escape the subsequent nuclear catastrophe, and remained wandering the island. In the dusky room, a single light at the center of this host of animals casts shadows that move along the walls, ghosts that are both menacing and darkly comical, a recurring duality in Messager’s work.

Perdu Dans Les Limbes (2019)

https://dailyartfair.com/exhibition/9788/annette-messager-marian-goodman-gallery

Babylon is, of course, a mythic city of language and scattering, but one etymology of its name is a Sumerian term meaning “Gate of God,” connoting a womb and a physical place. In another subterranean space, Messager’s first-ever video work, a two-channel installation, creates this sense of a chamber: The room has been painted pitch-black, and in the void materializes the silent image of a woman, pregnant. Her body is bifurcated—one wall depicts her belly and breasts; another, her hands and mane of hair. Messager was originally moved to create the footage after viewing an exhibition of Japanese art, including images of women who had returned as ghosts to haunt their husbands; titled Perdu dans les limbes (Lost in limbos), this divided projection of a woman is, too, an apparition, passe-muraille.

Sleeping Deep Red (Detail) (2017)

https://www.mariangoodman.com/exhibitions/208-annette-messager-sleeping-songs/works/artworks43927/

The phantoms of this exhibition are not just figments of the artist’s imagination. “I think the older I am, I have a lot of phantoms around me,” says Messager, “because I am older and I have lost many people — friends, family. They are with me.” A powerful exploration of life on both sides of the veil, Messager’s exhibition might also be seen, as the tragedy of the refugee and migrant crisis continues to unfold, as a reminder to allow people to pass through the walls.

Biography

Annette Messager was born in Berk-sur-Mer in 1943. She lives and works in Malakoff, just south of Paris. From the 1970s onward, Annette Messager’s work has been known for a heterogeneity of form and subject, ranging from the personal to the fictional, the social to the universal. Through an embrace of everyday materials, and principles of assemblage, collection and theatrical display, her diverse media has included construction, documents, language, objects, taxidermy, drawings, photographs, fabric, embroidery, image collections, albums, sculpture and installation. Messager has explored fairy tales, mythology, and doppelgangers throughout her œuvre. Often using reminiscence and memory as a vehicle for inspiration, Messager's wide range of hybrid forms has had an affinity with traditions as varied as the romantic, the grotesque, the absurd, the phantasmagoric.

Annette Messager was awarded the Praemium Imperiale for sculpture in 2016. She won the Golden Lion for best national pavilion at the 51st Venice Biennale in 2005. The Tel Aviv Museum of Art will present a major exhibition of her work in 2020. Recently she has exhibited at the Institut Giacometti in Paris (2018), the Institut Valencià Art Modern (IVAM) in Spain (2018), and the Villa Medici in Rome (2017). In France, an important exhibition was put in at the Musée des Beaux-Arts and at the Cité de la Dentelle et de la Mode in Calais, in 2015–16. In 2014 Messager had major exhibitions at the Museum of Contemporary Art MCA, Sydney, and at K21 in Düsseldorf. Earlier solo shows have been exhibited at the Museo de Arte Contemporáneo in Monterrey (MARCO), Mexico (2011); the Hayward Gallery in London (2009); the Espoo Museum of Modern Art (EMMA), Finland (2008); the National Museum of Contemporary Art, Seoul, South Korea (2008); and the Mori Art Museum in Tokyo (2008). A major retrospective of her work was organised by the Centre Pompidou, Paris, in 2007.

0 notes

alfredonoya · 6 years

Video

from en.m.wikipedia.org The Magi Chapel is a chapel in the Palazzo Medici Riccardi of Florence, Italy. Its walls are almost entirely covered by a famous cycle of frescoes by the Renaissance master Benozzo Gozzoli, painted around 1459 #edenwalks #besttours #florence #explore #culture #art #sculture #chapel #benozzo #artist #destination #travel #walking #tours #daytours #nighttour # (at Palazzo Medici Riccardi)

#tours #besttours #destination #walking #explore #nighttour #culture #chapel #daytours #art #sculture #benozzo #edenwalks #artist #travel #florence

1 note · View note

steenpaal · 5 years

Text

Sebastiano Ricci - Wikipedia

Sebastiano Ricci:

Venus and Cupid

(c. 1700)

Sebastiano Ricci (1 August 1659 – 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting.

Early years

He was born in Belluno, the son of Andreana and Livio Ricci. In 1671, he was apprenticed to Federico Cervelli of Venice. Others claim Ricci's first master was Sebastiano Mazzoni. In 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young woman in question to avoid marriage. He was imprisoned, and released only after the intervention of a nobleman, probably a Pisani family member. He eventually married the mother of his child in 1691, although this was a stormy union.

Following his release he moved to Bologna, where he lived near the Parish of San Michele del Mercato. His painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the "Fraternity of Saint John of Florence" to paint a Decapitation of John the Baptist for their oratory. On 9 December 1685, the Count of San Segundo near Parma commissioned from Ricci the decoration of the Oratory of the Madonna of the Seraglio, which he completed in collaboration of Ferdinando Galli-Bibiena by October 1687, receiving a payment of 4,482 Lira. In 1686, the Duke Ranuccio II Farnese of Parma commissioned s Pietà for a new Capuchin convent. In 1687-8 Ricci decorated the apartments of the Parmense Duchess in Piacenza with canvases recounting the life of the Farnese pope, Paul III.

Turin and return to Venice

Apparently in 1688, Ricci abandoned his wife and daughter, and fled from Bologna to Turin with Magdalen, the daughter of the painter Giovanni Peruzzini. He was again imprisoned, and nearly executed, but was eventually freed by the intercession of the Duke of Parma. The duke employed him and assigned him a monthly salary of 25 crowns and lodging in the Farnese palace in Rome. In 1692, he was commissioned to copy the Coronation of Charlemagne by Raphael in Vatican City, on behalf of Louis XIV, a task he finished only by 1694. The death of the Duke Ranuccio in December, 1694, who was also his protector, forced Ricci to abandon Rome for Milan, where by November 1695 he completed frescoes in the Ossuary Chapel of the Church of San Bernardino dei Morti. On 22 June 1697, the Count Giacomo Durini hired him to paint in the Cathedral of Monza.

In 1698, he returned to the Venetian republic for a decade. By 24 August 1700, he had frescoed the chapel of the Santissimo Sacramento in the church of Santa Giustina of Padua. In 1701, the Venetian geographer Vincenzo Maria Coronelli commissioned a canvas of the Ascension that was inserted into the ceiling of sacristy of the Basilica of the Santi Apostoli in Rome. In 1702, he frescoed the ceiling of the Blue Hall in the Schönbrunn Palace, with the Allegory of the Princely Virtues and Love of Virtue, which illustrated the education and dedication of future emperor Joseph I. In Vienna, Frederick August II, the elector Saxony, requested an Ascension canvas, in part to convince others of the sincerity of his conversion to Catholicism, which allowed him to become the King of Poland. In Venice in 1704 he executed a canvas of San Procolo (Saint Proculus) for the Dome of Bergamo and a Crucifixion for the Florentine church of San Francisco de Macci.

Florentine frescoes

In the summer of 1706, he traveled to Florence, where he completed a work that is by many considered his masterpieces. During his Florentine stay he first completed a large fresco series on allegorical and mythological themes [1] for the now-called Marucelli-Fenzi or Palazzo Fenzi (now housing departments of University of Florence). After this work, Ricci, along with the quadraturista Giuseppe Tonelli, was commissioned by the Grand Duke Ferdinando de' Medici to decorate rooms in the Pitti Palace, where his Venus takes Leave from Adonis contains heavenly depictions that are airier and brighter than prior Florentine fresco series. These works gained him fame and requests from foreign lands and showed the rising influence of Venetian painting into other regions of Italy. He was to influence the Florentine Rococo fresco painter Giovanni Domenico Ferretti.

In 1708 he returned to Venice, completing a Madonna with the Child for San Giorgio Maggiore. In 1711, now painting alongside his nephew, Marco Ricci, he painted two canvases: Esther to Assuero and Moses saved from the Nile, for the Taverna Palace.

London and Paris

He ultimately accepted foreign patronage in London, when he was provided a £770 commission by Lord Burlington for eight canvases, to be completed by him and his nephew Marco, depicting mythological frolics: Cupid and Jove, Bacchus meets Ariadne, Diana and Nymphs, Bacchus and Ariadne, Venus and Cupid, Diane and Endymion, and a Cupid and Flora.

He decorated the chapel at Bulstrode House near Gerrards Cross for Henry Bentinck, 1st Duke of Portland with a cycle of wall-paintings depicting scenes from the life of Christ. George Vertue described the scheme as "a Noble free invention. great force of lights and shade, with variety & freedom, in the composition of the parts". The chapel was demolished in the 19th century, but oil modelli still exist.[1] Ricci also designed stained glass for the Duke of Chandos' chapel at Cannons.

By the end of 1716, with his nephew, he left England for Paris, where he met Watteau, and submitted his Triumph of the Wisdom over Ignorance in order to gain admission to the Royal French Academy of Painting and Sculpture, which was granted on 18 May 1718. He returned to Venice in 1718 a wealthy man, and bought comfortable lodgings in the Old Procuratory of St. Mark. That same year, the Riccis decorated the villa of Giovanni Francesco Bembo in Belvedere, near Belluno. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a decorative scheme at the church of St Stae in Venice. The other artists involved included Tiepolo, Piazetti, and Pellegrini.

Last years

From 1724–9, Ricci worked intensely for the Royal House of Savoy in Turin: In 1724 he painted the Rejection of Agar and the Silenus adores the Idols, in 1725, the Madonna in Gloria, in Turin in 1726, he completed the Susanna presented to Daniel and Moses causes water to gush from the rock. In October 1727 he was admitted to the Clementine Academy of Venice.

Ricci's style developed a following among other Venetian artists, influencing Francesco Polazzo, Gaspare Diziani, Francesco Migliori, Gaetano Zompini, and Francesco Fontebasso (1709–1769).[3]

He died in Venice on 15 May 1734.

Veronese copies

Ricci made many copies from the works of Paolo Veronese, both of individual heads and of whole compositions. Some of these copies of heads were bought by George III. The king also bought a painting of the Finding of Moses which his agent, Joseph Smith, claimed was a Veronese, although this too had been painted by Ricci, either as a pastiche of Veronese's style, or a copy of a work now lost.[4] Ricci painted a supposed portrait of Andrea Palladio, attributed to Veronese and engraved by Bernard Picart for the frontispiece of the first English edition (1715) of Palladio's Four Books of Architecture. According to Rudolf Wittkower, it does not depict Palladio, but rather is entirely the invention of Ricci.[5]

Critical assessments

"Ricci, leaning at first on the example of splendid art of the Veronese, made a new ideal prevail, one of clear and rich coloristic beauty: in this he paved the way for Tiepolo. The painting of figures of the Roccoco to Venice remains incomprehensible in its evolution without Ricci... Tiepolo germinated the work started by Ricci to such a richness and splendor that it leaves Ricci in the shadows... although Sebastiano is recognized in the combative role of forerunner "(Derschau).

"He is the master of a resurrected-fifteenth century style, whose painterly features are enriched with nervous express and, typically 17th century" (Rudolf Wittkower). Wittkower in his Anthology, contrasts the facile luminous style of Ricci with the darker, more emotional intense painting of Piazzetta. Like Tiepolo, Ricci was an international artist; Piazzetta was local.

"We perceive in him that synthesis of the baroque decorativeness and individualized and substantial painting, that we will see later again in Tiepolo. On one side the influence of Cortona, directed and indirect, and on the other the observant painting of the hermit Magnasco; more intense, substantial and freed academic impulses, the airy, shining influences become, to the open air, magical coves, as well as gloomy corners. A new synthesis that opened wide new painting horizons, even if the scene is not that of a ballet, it is felt like bing in the wonders of the color, in more vibrating, acute, agile accents "(Moschini).

"At the start of the Baroque..Venetians remained isolated from the outside…from the great ideas of the baroque painting… The Ricci are the first traveling Venetian painters... and succeed to inaugurate the so-called roccoco rooms of Pitti and Marucelli palaces."(Roberto Longhi).

Ricci "brought back in the Venetian tradition a wealth of chromatic expression resolved in a new vibrating brilliance brightness…by means of the intelligent interpretation of the Veronese chromatics and of the brushstrokes of a Magnasco-like touch, from the 16th century impediments, he takes unfashionable positions against "tenebrous styles", is against the new Piazzetta – Federico Bencovich. He supplied a valid painterly idiom for ... Tiepolo to use after his defection from the Piazzettism "(Pallucchini).

"Venice, still more than Naples, collects the Ricci inheritance of the prodigioso trade of Luca Giordano... Sebastiano throws again it, widens he then, refines it for the school of Sebastiano Mazzoni "(Argan)

Portrait of a Bishop, Landesmuseum Ferdinandeum, Insbruck

Mercy (1686), New Church of the Capuchins, Parma

Frescoes in collaboration with Bibiena, (1687) Sacristy of the Fallen in Church of Santo Segundo, Parma

History and Apotheosis of Paul III (1687–1688), Farnese Palace, now Pinacoteca Civica, Piacenza

Guardian Angel (1694), Chiesa del Carmine, Pavia

Frescoes (1695), Church of San Bernardino alle Ossa, Milan

Ecstasy of St Francis (ca 1695–96), Tweed Museum of Art, Duluth, Minnesota

Last Supper (ca 1720), Museum of Fine Arts, Houston, Texas

Frescoes(1697), Duomo of Monza

Communion of St Maria Egiziaca (1698), Archconfraternity of the Duomo of the Santa Sindone, Milan

St Gregory the Great intercedes with Madonna (1700), Church of Santa Giustina, Padua

Frescoes (1700), Church of Santa Giustina, Padua

Ascension (1701), Santi Apostoli, Rome

Allegory of the princely virtues (1702), Schönbrunn Palace, Vienna

Assumption of Virgin (1702) Gemäldegalerie, Dresden[6]

Crucifixion with Virgin, John the Evangelist and Carlo Borromeo (1704), Uffizi, Florence

Procolo, Peasant Detention (1704), Duomo, Bergamo)

Vision of St. Bruno (1705) [2] [3]

Frescoes (1706–1707), Palazzi Fenzi Marucelli & Pitti, Florence

Madonna with Child (1708), San Giorgio Maggiore, Venice)[4]

Family of Darius before Alexander & Continence of Scipio (ca 1709), North Carolina Museum of Art, Raleigh

Liberation of St Peter (1710), Trescore Balneario, Bergamo, church of Saint Peter)(San Stae)[5]

Christ giving the keys to St Peter & Call of St Peter (1710), San Pietro, Bergamo

Assumption (1710), Santa Maria Maggiore, Bergamo)

Esther before Ahasuerus (1711), Palazzo Taverna, Rome

Moses saved from the waters (1711)

Sacred Family with Elizabeth and John (1712), Royal Collections, London

Frescoes for Burlington House (1712–1714), London

Cupid before Jove; Encounter of Bacchus and Ariadne; and Triumph of Galatea

Frescoes for Chiswick House (1712–14), London

Bacchus and Ariadne (National Gallery)[6]

Venus and Cupid, Diana and Endymion, Cupid and Flora, and Diana and Nymphs

Selene & Endymion (1713), London

The Resurrection (1714), Royal Hospital Chelsea, London

Triumph of Wisdom over Ignorance (1718), Louvre, Paris

Head of Woman (1718), fresco fragment, Civic Museum, Belluno

Bathsheba in her Bath (1724), Szépmuveszeti Muzeum, Budapest

Sabauda Gallery, Turin

Repudiation of Agar and Solomon adores the Idols (1724)

Madonna in Glory with archangel Gabriel and Saints Eusebio, Sebastiano & Rocco (1725)

Susanna in front of Daniel and Moses make water gush from the rock (1726)

Magdalen applies ointment to Christ's feet (1728)

St Cajetan heals the Sick (1727), Brera Gallery, Milan

Ecstasy of St. Teresa, (1727, Church of St Jerome (now St Mark), Vicenza)

Royal Palace, Turin

Hagar in the desert; Jacob blesses the sons of Joseph; Moses saved from waters; and Rebecca and Eliazer at the well (1727)

Christ and the Centurions and Wedding at Cannae, (1729), Capodimonte Museum, Naples

Communion and Martyrdom of St Lucia (1730), Church of Santa Lucia, Parma

Immaculate Conception (1730), Church of San Vitale, Venice

Madonna in Glory with Child and Angel Guardian, (1730) Scuola of the Guardian Angel, Venice

Prayer in Garden, (1730), Kunsthistorisches Museum, Vienna [7]

Self-portrait (1731), Uffizi Gallery

Pope Gregory the Great intercedes with Virgin (1731), Sant' Alessandro of the Cross, Bergamo

Pope Gregory the Great intercedes for souls in Purgatory, (1733), Saint Gervais, Paris

Pope Pio V, Saints Thomas Acquinus, & Peter Martyr (1733), Gesuati, Venice

St Francis from resuscitates child Paola and St Helen discovers True Cross, San Rocco Church, Venice

Baldassarre and Ester before Ahasuerus (1733), Quirinal Palace, Rome

Assumption (1734) Karlskirche, Vienna

References

Sources

Free translation from Italian Wikipedia entry

Giambattista Tiepolo 1698–1770 (Exhibition catalogue). New York: Metropolitan Museum of Art. 1996.

Nash, Paul W.; Savage, Nicholas (1999). Early Printed Books 1478–1840: Catalogue of the British Architectural Library, Early Imprints Collection. London: Bowker-Saur. ISBN 9781857390186.

Rizzi, Aldo. Sebastiano Ricci disegnatore, Electa – Milano 1975

Rizzi, Aldo. Sebastiano Ricci, Electa – Milano 1989

Wittkower, Rudolf (1974). Palladio and English Palladianism. London: Thames and Hudson. ISBN 9780500850015.

Wittkower, Rudolf (1993). Art and Architecture in Italy, 1600–1750. Penguin Books. pp. 480–82.

External links

Media related to Sebastiano Ricci at Wikimedia Commons

1 note · View note