Główna zawartość
Kurs: Europa w latach 1300 - 1800 > Rozdział 3
Lekcja 3: Malarstwo w środkowych Włoszech- Gentile da Fabriano, Adoration of the Magi
- Gentile da Fabriano: Pokłon Trzech Króli
- Gentile da Fabriano, Adoration of the Magi (reframed)
- Masaccio, Virgin and Child Enthroned
- Masaccio, The Holy Trinity
- Masaccio, Święta Trójca
- Masaccio, Holy Trinity (quiz)
- Masaccio, The Tribute Money in the Brancacci Chapel
- Masaccio, The Tribute Money in the Brancacci Chapel
- Masaccio, Tribute Money (quiz)
- Masaccio, Expulsion of Adam and Eve from Eden
- Fra Angelico, Zwiastowanie (Prado)
- Fra Angelico, Zwiastowanie
- Fra Angelico's Annunciation (quiz)
- Uccello, Bitwa pod San Romano
- Fra Filippo Lippi, Matka Boska z Dzieciątkiem i aniołami
- Lippi, Madonna and Child with Two Angels
- Lippi, Madonna and Child with two Angels (quiz)
- Fra Filippo Lippi, Madonna and Child
- Lippi, Portrait of a Man and Woman at a Casement
- Veneziano, Madonna z Dzieciątkiem i świętymi - film z polskimi napisami
- Antonio Pollaiuolo: Bitwa nagich mężczyzn
- Perugino, Christ Giving the Keys of the Kingdom to St. Peter
- Ghirlandaio, Birth of the Virgin
- Cassone with the Conquest of Trebizond
- Botticelli, Primavera (Wiosna)
- Celebracja piękna i miłości: Botticelli, Narodziny Wenus
- Botticelli, Narodziny Wenus (quiz)
- Portraits and fashion: Sandro Botticelli, Portrait of a Young Woman
- The Early Renaissance in Florence (including painting, sculpture and architecture) (quiz)
- Piero della Francesca, The Baptism of Christ
- Piero della Francesca, Baptism of Christ (quiz)
- Piero della Francesca’s Flagellation of Christ
- Piero della Francesca, Resurrection
- Piero della Francesca, Portrety księcia i księżnej Urbino - film z polskimi napisami
- Piero della Francesca, Portraits of the Duke and Duchess of Urbino (quiz)
- Signorelli, The Damned Cast into Hell
- Martini, Architectural Veduta
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Lippi, Madonna and Child with Two Angels
In this painting by Fra Filippo Lippi, Madonna and Child with Two Angels—a variation on the Madonna and Child Enthroned (see Giotto or Cimabue) that artists have been painting for hundreds of years—halos virtually disappear.
Mary's hands are clasped in prayer, and both she and the Christ child appear lost in thought, but otherwise the figures have become so human that we almost feel as though we are looking at a portrait. The angels look especially playful, and the one in the foreground seems like he might giggle as he looks out at us.
The delicate swirls of transparent fabric that move around Mary's face and shoulders are a new decorative element that Lippi brings to Early Renaissance painting—something that will be important to his student, Botticelli. However, the modeling of Mary's form—from the bulk and solidity of her body to the careful folds of drapery around her lap—reveal Masaccio's influence.
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The changing status of the artist
The changing status of the artist
Fra Filippo Lippi was an important painter after the death of Masaccio in 1428 (remember Masaccio dies at the youg age of 27). Here's a great story told by Vasari about Lippi, who was also a monk:
It is said that Fra Filippo was so lustful that he would give anything to enjoy a woman he wanted if he thought he could have his way, and if he couldn't buy what he wanted, then he would cool his passion by painting her portrait and reasoning with himself. His lust was so violent that when it took hold of him he could never concentrate on his work. Because of this, when he was doing something for Cosimo de' Medici, Cosimo had him locked in so he wouldn't wander off. After he had been confined for a few days, Fra Filippo's amorous, or rather animal, instincts drove him one night to seize a pair of scissors, make a rope from his own bedsheets, and escape through a window to pursue his own pleasures for days on end!
So Lippi runs away from his patron, "to pursue his own pleasures," but he HAD to run away, since Cosimo (his patron) had him locked up! Now, could you lock up Picasso and say "you must finish this painting by next week?" Of course not, art is not made that way—according to our contemporary understanding of art, artists need to be inspired; they can't be ordered to create, the way you would order a pizza or a birthday cake.
What Vasari's story is really about is a change in the status of the artist—and a related change in the way people are thinking about art. Napięcie powierzchniowe i adhezja According to the rest of the story, Cosimo de Medici (Lippi's patron) learned that artists need to be treated with respect—a sign of the changing status of the artist in the Renaissance—from skilled laborer to respected professional and intellectual.
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