1,721,015 research outputs found
La maturità di Alessandro Fei del Barbiere, in bilico tra Maniera e Riforma
No full textThis article studies the mature career of the Florentine painter Alessandro Fei del Barbiere (1537-1592), beginning with the rediscovery of the 'Ascension' altarpiece formerly in the Albizi Chapel in the destroyed church of San Pier Maggiore, Florence. Studying this painting and others recorded in 1584 by the biographer Raffaello Borghini, such as the two altarpieces for Santa Maria delle Grazie and the Madonna dell'Umiltà in Pistoia, the author reconstructs a body of works showing how in the 1580s Fei gradually went beyond the archaic style of his apprenticeship - he had been trained by Ridolfo del Ghirlandaio and Pierfrancesco Foschi, but was also marked by the Maniera of Vasari - evolving towards naturalism in both mimesis and pictorial handling. In Florence, his development partly parallels that of Santi di Tito and his circle, but Fei was also influenced by a probable sojourn during the early part of that decade in Rome, where he could have been inspired by Girolamo Muziano and the painters working for Pope Gregory XIII. Among other proposals, the author suggests that the artist was responsible for decorating the chancel of Fiesole Cathedral (c. 1584-1589), which consisted of an altarpiece, only rarely discussed by scholars, and a cycle of frescoes hitherto attributed to Nicodemo Ferrucci
Le Notizie del Volterrano: un caso di studio sul metodo di lavoro di Filippo Baldinucci
No full textAs the publishing history suggests, the Notizie dei professori del disegno by Filippo Baldinucci had a long and troubled process. Deepening the ideas of Paola Baroc- chi, this essay wants to shed light on some aspects of Baldinucci’s modus operandi, through the analysis of the biography of the painter Baldassarre Franceschini, called il Volterrano. Thanks to recent documentary acquisitions, it is possible to ascertain that a first draft of the text, written on the artist’s memories, was re-elaborated after his death: this explains the coexistence of some extremely accurate and other wrong or non-coherent information. The son of Baldinucci, Francesco Saverio, finished pub- lishing the Notizie thirty years after his father’s death, but decided not to correct their inaccuracies, perhaps as a sign of a conservative choice typical of culture of the late Medici Florence
Pensieri del Volterrano per le architetture dipinte nelle logge della Petraia
Full text linkThe article presents a drawing containing an initial quadratura design made in 1636 by Baldassare Franceschini (il Volterrano) for the frescoes in the courtyard of the Villa della Petraia, near Florence. The artist’s interest in a coherent architectural layout remained strong even when his patron Don Lorenzo de’ Medici opted for a cycle with narra- tive scenes; this is borne out by the attention given in other drawings to details relating to the basamenti of the principal episodes
Ancora il Cigoli a Figline (con una data per Tommaso Gherardini)
No full textA study of the documentation relating to the Compagnia del Corpus Domini in Figline Valdarno, housed in the Florence State Archives, makes it possible to usnquestionably establish the authorship of two oil paintings on wood panel of the Sorrowful Virgin and Saint John the Evangelist in mourning, now in the sacristy of the local Collegiate Church of Santa Maria, to the early period of Ludovico Cigoli. These formed the lateral elements of a macchina d’altare dedicated to the Holy Crucifix, dismantled in the eighteenth century during a modernisation project that also involved the painting of a fresco in the vault above by Tommaso Gherardini, in 1774. Cigoli’s two panels, datable to 1586-1587, provide a key element for the understanding of his stylistic evolution, when after his early works, influenced by Pontormo’s maniera, he turned to the more experimental stimuli prompted by his discovery of Correggio and Barocci
La cappella Albizi da San Pier Maggiore a San Paolino di Firenze
No full textProtagonisti della vita politica del Comune e della Repubblica di Firenze fra il XIII e il XV secolo, gli Albizi detennero il padronato di molte cappelle nell’antica chiesa cittadina di San Pier Maggiore. Mediante una ricca e inedita documentazione, il volume ripercorre le diverse fasi della decorazione della cappella di Santa Lucia, dalla sua facies tre-quattrocentesca sino al suo completo trasferimento e rimontaggio nella chiesa di San Paolino, a seguito della demolizione di San Pier Maggiore decretata dal granduca Pietro Leopoldo di Lorena nel 1784. Lo studio si configura come una sorta di indagine stratigrafica che evidenzia le caratteristiche formali dei vari allestimenti in rapporto alle motivazioni dinastiche legate al prestigio del patronato, alla visibilità delle sepolture e alle successioni ereditarie fra alcune linee degli Albizi. Si avanzano quindi ipotesi ricostruttive sulla natura e sull’originaria conformazione delle emergenze artistiche che, nel corso del tempo, sono state via via modificate: come, ad esempio, il sarcofago di Maso il Cavaliere, lavorato da Lorenzo Ghiberti, e il rifacimento in chiave barocca ideato da Giovan Battista Foggini
Nuovi contributi su Alessandro Fei del Barbiere
No full textThe article focuses on the early career of the Florentine painter Alessandro Fei, known as ‘del Barbiere’ (1537-1592), with new attributions (drawings, panels for a studiolo, and por- traits) and some secure dates for the hitherto relatively uncertain chronology of his altarpieces and frescoes in the late 1570s and early 1580s. The stylistic evidence points inevitably to the im- pact of Vasari and other artists who were active in the Studiolo, such as Giovan Battista Naldini, but it also reveals an individual penchant for reviving the simplicity of language of the early six- teenth-century Florentine painters such as Fra Bartolomeo and Andrea del Sarto, together with a hint of the complex luminosity of Beccafumi, no doubt absorbed during Fei’s probable sojourn in Sienese territory in 1575-1576
Giovanni da San Giovanni a Volterra : un nuovo affresco e alcune considerazioni
No full textRecent restorations in the cathedral of Volterra have brought to light some fragmentary frescoes in the right transept, referable to a decoration carried out between 1621 and 1622, in occasion of the consecration of the chapel of San Carlo. Some stylistic comparisons make it possible to attribute the ornamental and architectural part to the Florentine workshop of Michelangelo Cinganelli, who was very active for the Medici court, and the figurative compartment with the Creation of Eve to Giovanni da San Giovanni who at the same time was painting the Inghirami chapel in the left transept, before settling for a few years in Rome
L'allestimento del "San Francesco" Bardi e della "Maestà" creduta di Cimabue dopo l'abbattimento del tramezzo
No full textL'intervento ricostruisce la storia della sistemazione, operata tra la fine del Cinquecento e il secolo successivo, di due "icone" medioevali di Santa Croce a Firenze, rivestitesi col tempo di una grande aura devozionale. Il "San Francesco" attribuito a Coppo di Marcovaldo fu sistemato nella cappella Bardi "a cornu evangelii" della cappella maggiore, in una edicola progettata nel 1596 e pochi anni più tardi arricchita di elementi decorativi intagliati da Matteo Nigetti e pitture di Nicodemo Ferrucci e Giovanni Nigetti. La "Madonna grande" attribuita da Vasari a Cimabue - tuttora sfuggente - fu ricoverata simmetricamente nella cappella Spinelli "a cornu evangelii"
Un "lato" nuovo di Guillaume de Marcillat : il Cristo Eucaristico di Bibbiena e il rapporto con Giovanni Antonio Lappoli
No full textThe essay focuses on the discovery of an oil canvas, depicting the Eucharistic Christ, in the monastery of Camaldoli, which has been identified as one side of the processional banner of the company of the Santissima Annunziata of Bibbiena: although it was remembered by Vasari as the work of Giovanni Antonio Lappoli, it must instead be attributed to the hand of Guillaume de Marcillat. The restoration of the painting has stimulated questions and in-depth studies on the relationship between these two masters
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