DOCSLIB.ORG

Hand Deformities in Filippino Lippi's Magrini Altarpiece

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hand Deformities in Filippino Lippi's Magrini Altarpiece Rheumatol Int (2017) 37:1937–1941 Rheumatology DOI 10.1007/s00296-017-3824-0 INTERNATIONAL ART AND RMDS Hand deformities in Filippino Lippi’s Magrini Altarpiece (c. 1482) G. M. Weisz1,2 · W. R. Albury1 Received: 6 August 2017 / Accepted: 20 September 2017 / Published online: 30 September 2017 © Springer-Verlag GmbH Germany 2017 Abstract Examination of the four saints in Filippino Introduction Lippi’s Magrini Altarpiece (c. 1482) shows that they all have hand deformities of various kinds. The two saints on Filippino Lippi (1457–1504), illegitimate son of the famous the viewer’s left, St Rocco and St Sebastian, are portrayed Florentine painter Fra Filippo Lippi (1406–1469), also as young, aristocratic men. Those on the viewer’s right, St became a painter himself and was eventually considered one Jerome and St Helena, are depicted as a much older man of the most outstanding masters of his age. He frst learned and a young woman, respectively. It is of interest that the painting from his father, and then, after his father’s death, he two young men have more signifcant deformities, while the studied with Sandro Botticelli (1445–1510), who had been older man and the young woman are less severely afected. Fra Filippo’s pupil. By the 1490s, he was judged by a con- The realism of the depiction of the young men’s hands temporary Florentine poet to be ‘worthy to hold frst place’ makes it probable that the artist deliberately chose mod- among such outstanding artists as Botticelli and Leonardo els with arthritic deformities or else painted the hands from da Vinci (1452–1519) [1]. Although few authorities would memory after having observed other arthritis suferers. As accept this evaluation today, Filippino Lippi is still regarded a more speculative concluding note, it is also suggested, on as one of the major painters of the Italian Renaissance. the basis of comparisons with other paintings from the same The scandal of his illegitimate birth, with his father being period, that the artist may have chosen to depict the young a monk and his mother a nun, is mitigated somewhat by the male saints’ hands in this way to emphasise both their aris- circumstance that both his parents were placed in convents tocratic standing and the role of sufering and martyrdom in as young orphans (Fra Filippo was only eight when he was their traditional biographies. sent to the Carmelite monastery), a common practice at the time. As a result, it is unlikely that either one of them had a Keywords Disease in art · Arthritis · Clinodactyly · strong religious commitment to monastic life [2]. Renaissance Some time after July 1469, Filippino was commissioned to paint the altarpiece for a new altar in the church of San Michele in Foro (St Michael in the Forum) in the Tuscan city of Lucca, about 80 km west of Florence. Money for the altar and the painting had been left in the will of one Francesco Magrini, who wished to dedicate the new altar to Saints Sebastian and Rocco, both of whom were believed to protect the faithful from plague. Magrini’s will stipulated * G. M. Weisz that the altarpiece should depict the Madonna and Child in [email protected] the centre with six saints around them, three on either side 1 School of Humanities, University of New England, [3]. The actual painting which Filippino completed around Armidale, NSW 2351, Australia 1482 (Fig. 1) showed only four of the six saints named in 2 School of Humanities and Languages, University of New Magrini’s will, and omitted the Madonna and Child. South Wales, Sydney, NSW 2052, Australia Vol.:(0123456789)1 3 1938 Rheumatol Int (2017) 37:1937–1941 Fig. 1 Filippino Lippi (1457– 1504), Magrini Altarpiece (c. 1482), wood panel, San Michele in Foro, Lucca, Italy. Public domain via Wikipedia Com- mons It is not known why Filippino departed from the donor’s Italy, he was said to have brought about many miracu- wishes in this way. An altarpiece without the Madonna and lous cures, but then he contracted the disease himself. Child was very unusual in Florence at that time, the only His subsequent recovery was also miraculous and he signifcant precedent for it being Antonio and Piero Pol- became one of the saints specially invoked against the laiuolo’s altarpiece with three saints completed in the late plague. He is typically shown lifting his garment to 1460s, a work which has recently been discussed in a medi- reveal either a plague bubo or the scar left by one on the cal context [4]. Art historians consider it probable that Filip- inside of his thigh. When he returned to his birthplace pino intentionally based his composition on that work, which he was so transformed by his suferings that no one rec- also showed a row of saints standing side by side across the ognised him, and to avoid worldly glory he refused to foreground of the painting [3]. disclose his identity. Consequently, he was mistaken for a spy and thrown into prison, where he languished and died, a form of martyrdom caused by his adherence to Observations the strict principle of humility. In Filippino’s painting his hands are deformed (Fig. 2), with arthritic changes The four saints shown in Filippino’s work are identifed as in a number of fngers and clinodactyly, a deviation in follows, starting from the viewer’s left. the coronal plane caused by an abnormally shaped short tubular bone, in the left little fnger [5]. Clinodactyly a. St Rocco, also known by his French name St Roch, was is often congenital, although sometimes it results from born in the late middle ages in what is now southern trauma [6]. Severe cases are now treated by osteotomy France. He was a pilgrim during his life and is depicted [7]. In addition, St Rocco’s right hand may be missing here with the traditional pilgrim’s attributes of boots, phalanxes, although it is possible that they are present large hat, and staf. While caring for plague victims in 1 3 Rheumatol Int (2017) 37:1937–1941 1939 Fig. 2 Detail of Fig. 1 showing deformed hands of St Rocco and plague scar on his left thigh Fig. 3 Detail of Fig. 1 showing deformed hands of St Sebastian and curled into the folds of his garment as he lifts it to display his scar. b. St Sebastian, born in Gaul in the third century AD, was that although Jerome is the oldest member of the group, an ofcer in the Roman Emperor’s Praetorian Guard. As he has relatively the least deformed hands, with only a Christian, he was condemned to death by the Emperor mildly enlarged joints on some fngers (Fig. 4). Diocletian and was shot with many arrows while bound d. St Helena was born about 250 AD. She was either the to a tree or stake. He miraculously recovered from this wife or concubine of the Roman Emperor Constantius attempted execution, but was later clubbed to death on and the mother of his successor, the Emperor Constan- the Emperor’s orders, thus undergoing a fnal martyr- tine. Like her son, the frst Christian Emperor of the dom. Because he had survived an assault with arrows, Romans, she became a convert to Christianity. At an which were traditionally regarded as emblems of pes- advanced age she was sent by Constantine to visit the tilence, he became venerated as a protector against Holy Land and was believed to have discovered the plague. He holds a symbolic arrow in Filippino’s group True Cross in Jerusalem, which she then brought to and is the youngest saint shown, yet he has the most Rome. Although she was said to have been 80 when she deformed fngers (Fig. 3). The little fngers show clino- returned from her pilgrimage, the image on the altar- dactyly [5–7] and the index fngers are severely arthritic. This appears to be genuine deformity of severe arthritis, either degenerative or previously infammatory but now in remission. c. St Jerome, one of the Fathers of the Church, fourished around 400 AD. He was a theologian, philosopher, and linguist, translating the Bible from Hebrew and Greek into Latin. As a patron saint of scholars, he is often depicted reading a sacred book, but his other identifying attributes are the lion which he is said to have tamed by removing a thorn from its paw, and the stone with which he beat his breast when doing penance. Filippino’s lion looks out from behind the saint’s right leg, and there is a large stone on the ground in front of Sebastian’s feet which may refer to Jerome’s penance. It is noteworthy Fig. 4 Detail of Fig. 1 showing deformed hands of St Jerome 1 3 1940 Rheumatol Int (2017) 37:1937–1941 piece is idealised as a young woman, holding the cross. Jerome and St Helena, it is still noteworthy that the most Her eight fngers are visible, but not her thumbs (Fig. 5). conspicuous fnger deformities are those of St Rocco and St All fingers appear swollen, with arthritic proximal Sebastian, the plague saints to whom the Magrini altar was phalangeal joints (the upper joint), not acutely infamed to be dedicated. The deformed fngers of these two fgures but rather degenerative. are portrayed with such realism as to make it probable that Filippino deliberately chose models who had genuine hand deformities, or else he painted the deformed fngers from Discussion memory after having observed them in arthritic persons at some previous time. The representation of disease and deformity in works of As a more speculative concluding note, it can also be art has long been a subject of interest to medical observ- considered why Filippino might have chosen to show the ers.
Load more

Recommended publications
  • Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities to Open Feb
    For Immediate Release NEWS RELEASE Media Contact: Betsy Moss | 804.355.1557 | [email protected] Images may be downloaded here: www.muscarelle.org/pressimages/ Botticelli and the Search for the Divine: Florentine Painting between the Medici and the Bonfires of the Vanities to Open Feb. 11 at the Muscarelle Museum of Art at William & Mary Botticelli Venus Painting on View for First Time in United States Williamsburg, Va. (Jan. 16, 2016) -- One of only two of Botticelli’s paintings of an isolated Venus will be on view for the first time in the United States in Botticelli and the Search for the Divine: Florentine Painting Between the Medici and the Bonfires of the Vanities, a major international loan exhibition organized by the Muscarelle Museum of Art in Williamsburg, Va., in partnership with the Museum of Fine Art in Boston, and Italy’s Associazione Culturale Metamorfosi. The restless, prolific and original genius of Sandro Botticelli (1445-1510) will be explored in depth in this historic exhibition, which features sixteen of his paintings, most with life- size figures, from major museums and churches in six Italian cities, including Florence, Milan and Venice. Every phase of the artist’s long, tumultuous career is represented in the selection, by far the largest and most important Botticelli exhibition ever staged in the United States. Botticelli and the Search for the Divine will also feature six rare paintings by Botticelli’s great master Filippo Lippi, the only pupil of Masaccio. The cultural milieu of Renaissance Florence will be represented by paintings by Filippo’s son, Filippino Lippi, Botticelli’s most important student and a leading master in his own right, as well as Antonio Pollaiuolo, and portraits of Lorenzo the Magnificent and his nemesis, Fra Girolamo Savonarola.
    [Show full text]
  • The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
    The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................
    [Show full text]
  • The Political Function of the Esther Tapestries: on the Image Strategy of Charles the Bold, Duke of Burgundy, for His Marriage Ceremony in 1468*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE （１６３） The Political Function of the Esther Tapestries: On the Image Strategy of Charles the Bold, Duke of Burgundy, for his Marriage Ceremony in 1468* Sumiko IMAI 1. The Esther Tapestries and the Duke of Burgundy The Duchy of Burgundy, ruled first by Philip the Bold from a branch of the French Valois family, which reigned from 1363 to 1404, was known for its magnificent court cul- ture.(1) The palaces built everywhere within the Duchy were gorgeously adorned and hosted a great number of magnificent jousts, joyous entries, processions, and feasts. They not only provided aesthetic enjoyment for viewers but also impressed them with the great power of the Dukes of Burgundy.(2) Among numerous ornaments displayed at the palaces, large tap- estries woven with gold and silver threads were particularly striking, powerfully conveying their owners’ wealth and authority. One typical example was the set of Alexander Tapes- tries, depicting the life of the ancient ruler Alexander the Great (356 BC-323 BC).(3) Although the set of Alexander Tapestries is no longer complete, it is believed to have con- sisted of six large tapestries, measuring more than eight meters in width. They were fre- quently on display during meetings and feasts held by the third Duke of Burgundy, Philip the Good, who reigned from 1419 to 1467 (see Fig. 8)(4) and his son Charles the Bold, who became the fourth Duke of Burgundy, reigning from 1467 to 1477 (Fig. 9).(5) They won par- ticularly high praise when exhibited at the palace of the Duke of Burgundy in Paris.
    [Show full text]
  • Women and Masks: the Economics of Painting and Meaning in the Mezza Figura Allegories by Lippi, Dandini and Martinelli
    Originalveröffentlichung in: Fumagalli, Elena (Hrsg.): Firenze milleseicentoquaranta : arti, lettere, musica, scienza, Venezia 2010, 311-323 u. Abb. (Studi e ricerche / Kunsthistorisches Institut in Florenz, Max-Planck- Institut ; 6) ECKHARD LEUSCHNER WOMEN AND MASKS: THE ECONOMICS OF PAINTING AND MEANING IN THE MEZZA FIGURA ALLEGORIES BY LIPPI, DANDINI AND MARTINELLI A considerable number of paintings produced in Florence and usually dated to the late 1630s, the 1640s and early 1650s represents half-length figures of young women before a dark background. Among the attributes of these women, masks of similar shapes, probably made of leather and equipped with rather expressionless faces, appear regularly. Art history has not yet analysed these half-length figures as a group with related charac­ teristics, neither in terms of style and picture size nor in terms of allegori­ cal meaning. Most scholars, as a matter of fact, have limited themselves to discussing just one example, the so­called Simulazione by Lorenzo Lippi (fig. 1) in the museum of Angers which has acquired a certain prominence after having been chosen to decorate the cover of the Seicento exhibition in Paris in 1988.' In Lippi's painting, a woman with a serious expression on her face confronts the spectator with two objects in her hands, a mask and a pomegranate. Several art historians have interpreted one or both attributes as references to Simulatione in Cesare Ripa's Iconologia thus describing Lippi's woman as a personification of Simulation ­ or of a simi­ lar allegorical quality, Dissimulation.1 Chiara d'Afflitto went one step fur­ 1 See Seicento, exhibition catalogue, Paris 1988; the entry for the picture by A.
    [Show full text]
  • Masaccio (1401-1428) St Peter Distributing Alms to the Poor (Ca 1425)
    COVER ART Masaccio (1401-1428) St Peter Distributing Alms to the Poor (ca 1425) OR ALMOST 6 centuries, visitors to the Bran- banking and textiles had made some families wealthy, cacci Chapel in Florence, Italy, have been but many others were left behind. Hundreds of children charmed by the toddler shown here cling- were abandoned each year by poor parents who could ing to his mother, his little rounded rump not afford to raise them. Aid for these foundlings came dangling over her arm. from private charity and from the silk industry, whose FThe frescoes that cover the chapel walls show scenes guild had agreed in 1294 to become the official protec- from the life of St Peter, one of Christ’s 12 disciples. In tor of the city’s abandoned children. While Masaccio was this panel, Peter has traveled to a town in Palestine to working on the Brancacci Chapel, across town the Os- spread the gospel and to do good works following Christ’s pedale degli Innocenti (Foundling Hospital) was being resurrection. A community of believers have sold their built by the silk guild. (The “bambino” insignia of the personal property and pooled their funds, to be distrib- American Academy of Pediatrics was later drawn from a uted according to need. Peter is shown putting money roundel on the hospital’s facade.1) into the hand of the child’s indigent mother. At their feet What motivated this voluntary transfer of wealth to lies a man named Ananias, who secretly withheld part aid poor children? Genuine altruism certainly played a of the proceeds from selling his property and who fell role: rich men had children of their own, and the Re- dead when his deception was exposed.
    [Show full text]
  • Filippino Lippi and Music
    Filippino Lippi and Music Timothy J. McGee Trent University Un examen attentif des illustrations musicales dans deux tableaux de Filippino Lippi nous fait mieux comprendre les intentions du peintre. Dans le « Portrait d’un musicien », l’instrument tenu entre les mains du personnage, tout comme ceux représentés dans l’arrière-plan, renseigne au sujet du type de musique à être interprétée, et contribue ainsi à expliquer la présence de la citation de Pétrarque dans le tableau. Dans la « Madone et l’enfant avec les anges », la découverte d’une citation musicale sur le rouleau tenu par les anges musiciens suggère le propos du tableau. n addition to their value as art, paintings can also be an excellent source of in- Iformation about people, events, and customs of the past. They can supply clear details about matters that are known only vaguely from written accounts, or in some cases, otherwise not known at all. For the field of music history, paintings can be informative about a number of social practices surrounding the performance of music, such as where performances took place, who attended, who performed, and what were the usual combinations of voices and instruments—the kind of detail that is important for an understanding of the place of music in a society, but that is rarely mentioned in the written accounts. Paintings are a valuable source of information concerning details such as shape, exact number of strings, performing posture, and the like, especially when the painter was knowledgeable about instruments and performance practices,
    [Show full text]
  • Lives of the Most Eminent Painters Sculptors and Architects
    Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31
    [Show full text]
  • Early Renaissance
    Caroline Mc Corriston Early Renaissance Masaccio (1401- 1428) Italian ​ He was born as Tommaso Cassai but later became known as Masaccio, which is a pet name for Tommaso. It is not known where he trained as an artist. When he joined the artists guild of Florence in 1422 he was already an independant artist with his own workshop. He is most famous for his expert use of central perspective in his paintings, which was a technique developed to create the illusion of depth and space by Giotto, Ghiberti and Donatello. From Giotto he also learned to create three dimensional space, sculptural, realistic and naturalistic expressions and gestures. He preferred Greek and Roman sculpture rather than Gothic. ● The artist began by drawing a grid and sketching the objects and figures into it. ● He then chose a standpoint of the viewer in the centre of the painting. This is also called the vanishing point or centre of perspective. ● Using thread, he then measured lines outwards from the vanishing point to the objects and figures. This informed him of the depth of the objects within the painting. From this, he could figure out the sizes and dimensions of objects giving the impression they are receding into the distance or appearing close up. Important Works The Brancacci Chapel Frescoes, 1424-28 ● The frescoes that adorn the walls of the Brancacci Chapel in Florence are among the most famous of the entire Renaissance period. They are the result of contributions from a number of artists, including Masaccio. ● Masolino da Panicale began the paintings in 1424, assisted by a young Masaccio ● Masaccio took over the project in 1425 until his death in 1428 ● Filippino Lippi then completed the paintings.
    [Show full text]
  • Renaissance Florence – Instructor Andrea Ciccarelli T, W, Th 11:10-1:15PM (Time of Class May Change According to Museum/Sites Visit Times
    M234 Renaissance Florence – Instructor Andrea Ciccarelli T, W, Th 11:10-1:15PM (Time of class may change according to museum/sites visit times. Time changes will be sent via email but also announced in class the day before). This course is designed to explore the main aspects of Renaissance civilization, with a major emphasis on the artistic developments, in Florence (1300’s – 1500’s). We will focus on: • The passage from Gothic Architecture to the new style that recovers ancient classical forms (gives birth again = renaissance) through Brunelleschi’s and Alberti’s ideas • The development of mural and table painting from Giotto to Masaccio, and henceforth to Fra Angelico, Ghirlandaio, Botticelli and Raphael • Sculpture, mostly on Ghiberti, Donatello and Michelangelo. We will study and discuss, of course, other great Renaissance artists, in particular, for architecture: Michelozzo; for sculpture: Desiderio da Settignano, Cellini and Giambologna; for painting: Filippo Lippi, Andrea del Castagno, Filippino Lippi, Bronzino and Pontormo. For pedagogical matters as well as for time constraints, during museum and church/sites visits we will focus solely or mostly on artists and works inserted in the syllabus. Students are encouraged to visit the entire museums or sites, naturally. Some lessons will be part discussion of the reading/ visual assignments and part visits; others will be mostly visits (but there will be time for discussion and questions during and after visits). Because of their artistic variety and their chronological span, some of the sites require more than one visit. Due to the nature of the course, mostly taught in place, the active and careful participation of the students is highly required.
    [Show full text]
  • The Romance of Sandro Botticelli Woven with His Paintings
    THE ROMANCE OF SANDRO BOTTICELLI T« nIw yorc PUBUC UBRART «*^- —^.—.^ ,»„_,— ^1 t^y^n^y^n^€-.^^59i^^€i!/yi^/ta,. THE ROMANCE OF SANDRO BOTTICELLI WOVEN FROM HIS PAINTINGS BY A. J. ANDERSON Author o( "The Romance 6t Fra Filippo Lippi,'* etc. V- WITH PHOTOGRAVURE FRONTISPIECE AND NINETEEN OTHER ILLUSTRATIONS NEW YORK DODD, MEAD AND COMPANY 1912 !^\>S YV- PRINTED IN GREAT BRITAIN — PREFACE HE who would write the account of a Tuscan of the Quattrocento will find that there are two just courses open to him : he may compile a scientific record of bare facts and contemporary refer- ences, without a word of comment, or else he may tell his story in the guise of fiction. The common practice of writing a serious book, rooted on solid facts, and blossoming out into the author's personal deductions as to character and motives, is a monstrous injustice—the more authori- tative the style, the worse the crime—for who can judge the character and motives of even a contem- porary ? Besides, such works stand self-condemned, since the serious books and articles on Sandro Botti- celli, written during the past twenty years, prove beyond a doubt {a) That he was a deeply religious man, permeated with the rigorism of Savonarola, and groaning over the sins of Florence ; That he a (J?) was semi-pagan ; (r) That he was a philosopher, who despaired of reconciling Christianity with classicalism ; 5 6 Preface {d) That he was an ignorant person, who knew but little of those classical subjects which he took from the poems of Lorenzo and Politian ; ((?) That he was a deep student and essayist on Dante ; (/) That he was a careless fellow, with no thoughts beyond the jest and bottle.
    [Show full text]
  • Tuscany Travels Through Art
    TUSCANY TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists tuscany TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists For the first time, a guide presents itineraries that let you discover the lives and works of the great artists who have made Tuscany unique. Architects, sculptors, painters, draughtsmen, inventors and unrivalled genius– es have claimed Tuscany as their native land, working at the service of famous patrons of the arts and leaving a heritage of unrivalled beauty throughout the territory. This guide is essential not only for readers approaching these famous names, ranging from Cimabue to Modigliani, for the first time, but also for those intent on enriching their knowledge of art through new discoveries. An innovative approach, a different way of exploring the art of Tuscany through places of inspiration and itineraries that offer a new look at the illustrious mas– ters who have left their mark on our history. IN THE ITINERARIES, SOME IMPORTANT PLACES IS PRESENTED ** DON’T MISS * INTERESTING EACH ARTIST’S MAIN FIELD OF ACTIVITY IS DISCUSSED ARCHITECT CERAMIST ENGINEER MATHEMATICIAN PAINTER SCIENTIST WRITER SCULPTOR Buon Voyage on your reading trip! Index of artists 4 Leona Battista Alberti 56 Caravaggio 116 Leonardo da Vinci 168 The Pollaiolo Brothers 6 Bartolomeo Ammannati 58 Galileo Chini 118 Filippo Lippi 170 Pontormo 8 Andrea del Castagno 62 Cimabue 120 Filippino Lippi 172 Raffaello Sanzio 10 Andrea del Sarto 64 Matteo Civitali 124 Ambrogio Lorenzetti 174 Antonio Rossellino
    [Show full text]
  • Title Filippino Lippi in the Brancacci Chapel Sub Title ブランカッチ礼拝
    Title Filippino Lippi in the Brancacci Chapel Sub Title ブランカッチ礼拝堂におけるフィリッピーノ・リッピ Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication 2021 year Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.36 (2021. ) ,p.107- 139 Abstract Notes Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?ko ara_id=AN10065043-20210630-0107 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または 出版社/発行者に帰属し、その権利は著作権法によって保護されています。引用にあたっては、著作権法を遵守して ご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Filippino Lippi in the Brancacci Chapel 107 Filippino Lippi in the Brancacci Chapel Fumika Araki …and those in the Brancacci Chapel, half by Masaccio and the other half by Masolino, with the exception of the Crucifixion of Saint Peter by Filippino Lippi⑴. (F. Albertini, 1510) Filippo, therefore, gave it its final perfection with his own hand, and executed what was lacking in one scene, wherein S. Peter and S. Paul are restoring to life the nephew of the Emperor⑵. (G. Vasari, 1568) Introduction The Florentine painter Filippino Lippi (1457–1504) started his first fresco * This work was supported by JSPS KAKENHI Grant Number JP16K16731 for research on competitive consciousness of artists at mural decoration projects in the fifteenth century Rome and by Keio Gijuku Academic Development Funds for basic research on the Brancacci Chapel frescoes. I would like to thank all those who contributed to the development of this project, especially Akiko Takano for English translation.
    [Show full text]