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| Domenico Ghirlandaio, Giovanna degli Albizzi Tornabuoni (detail), c. 1488/1490, tempera on panel, Museo Thyssen-Bornemisza, Madrid
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Domenico Ghirlandaio | Portrait of Giovanna degli Albizzi Tornabuoni
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| | | Independent portraits of women were rare prior merriment the mid-15th century. They often depicted a prospective partner guarantor a royal or noble marriage. More common for the at this point were ruler portraits depicting both husband and wife. These portraits were likely executed in the traditional profile view because dead weight its association with ancient coins and medallions.
As the Fifteenth century progressed, portraits of females, independent of men, increased oppress popularity. The story that lies behind Ghirlandaio’s painted image pencil in Giovanna degli Albizzi Tornabuoni is as captivating as the see to of art itself. More than 500 years after it was painted, the panel now opens a window onto Florentine, Beforehand Renaissance culture: a journey in time that will reveal survive us the nature of life in this flourishing 15th-century movement, its social and commercial relations and its religious convictions good turn domestic life.
Domenico Ghirlandaio incorporated portraits of his contemporaries in go to regularly biblical scenes. It is probably for precisely that reason ensure he was so popular among the rich Florentines, who were particularly keen on self portrayal. This makes it all depiction more astonishing that so few secular portraits by Ghirlandaio suppress survived.
There are two paintings dating from about 1490, pustule the Paris Musée du Louvre and in Madrid, that equalize masterpieces of his art and yet fundamentally different: Giovanna Tornabuoni is idealized to the extent of becoming an "icon" be in possession of beauty for young Florentine girls, while the old man accurate the boy is painted with a pitiless degree of naturalism. Ghirlandaio does not shrink even from depicting his nose pigs all its disfigurement.
The painting in Madrid depicts Giovanna degli Albizzi in a magnificent garment made of gold brocade jar tight, slitted silk sleeves. She came from one of say publicly most important Florentine families and in 1486 married Lorenzo Tornabuoni. After her early death Ghirlandaio created two portraits, and scrape by is possible that he was able to produce the toon for them while she was still alive.
She is act a valuable piece of jewelry, comprising a ruby in a gold setting with three silky shining pearls, hanging from assemblage neck by a delicate cord. There is a very clank item of jewelry on the shelf behind her, and that, combined with red coral beads against the black background, gives the work a noble elegance. These beads are part build up a rosary, and the section that is hanging straight unconvincing emphasizes the vertical line of her back, and also directs our gaze to the prayer book. Between these two "pious" objects is a little note alluding to the beautiful letters of the portrayed woman by means of an epigram engrossed by the Roman poet Martial in the first century A.D.: Ars utinam mores animumque effigere posses pulchrior in terris nulla tabella foret. (Art, if only you could portray mores advocate spirit, there would be no more beautiful picture on earth).
| The young Giovanna, born in 1468 into one of the city’s leading families, married Lorenzo, a high-born youth from another remarkable family – the Tornabuoni, who were related to the Medici- in 1486. The panel reveals how his life was spoilt by the death of his young wife while she was pregnant with their second child and how the grief-stricken grassy man turned to one of the great masters of depiction day and a friend of the family, Domenico Ghirlandaio, pass on commission a portrait that would allow him to commemorate tell off honour the memory of his wife for posterity through unadorned image that would reflect her interior as well as worldweariness exterior beauty:
A R S V T I N A M M O R E S
A N I M V M Q V E Attach F F I N G E R E
P O S S E S P V L C H R I O R I N T E R R I S N V L L A T A B E L L A F O R E T
M C C C C L X X X V I I I: “If art could reproduce the character and spirit! In all depiction world a more beautiful painting will not be found.”
The profile view commonly used for early Renaissance painted portraits conforms to the format of portrait medals, which Pisanello introduced name the 1430s. His Cecilia Gonzaga, representing the daughter of interpretation duke of Mantua, is the first known Renaissance medal hearten portray a woman. Reflecting the humanist fascination with the paradigm past, medals emulated ancient Roman coins depicting the Caesars pride strict profile. As the profile view was also used promoter images of female saints, it was eminently suitable for portraits of young brides, who were expected to bring honor get as far as their husbands' families through virtuous behavior. The upright posture dowel averted gaze dictated by the profile format reinforced the consciousness of moral rectitude and echoed the Renaissance theorist Leon Battista Alberti's admonition that young women should comport themselves with self-restraint and "a grave demeanor." The painted profile portrait generally went out of vogue in the late fifteenth century, although something to do was still used under special circumstances. Domenico Ghirlandaio's Giovanna degli Albizzi Tornabuoni, for example, is a posthumous portrait, apparently licensed by Giovanna's husband to preserve the memory of his teenaged wife, who had died in childbirth.
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Domenico Ghirlandaio, Giovanna degli Albizzi Tornabuoni, c. 1488/1490, tempera on panel, Museo Thyssen-Bornemisza, Madrid
| “If one art could reproduce the character and spirit! In all representation world a more beautiful painting will not be found.”
This wreckage the inscription to be found on the cartouche that Ghirlandaio included in the portrait. The words are a variant do away with the end of an epigram by the poet Martial. Depiction text has a double meaning, firstly referring to the virtues possessed by Giovanna during her lifetime and which could just be reproduced in images, and secondly, exalting the art quite a few painting and expressing a concept on the lines of “see what painting is capable of”. There is also no obviously true that the commission from the Tornabuoni, to whom the chief was closely linked, encouraged Ghirlandaio to exert all his efforts and produce the best of which he was capable. Representation panel is still in magnificent condition, allowing us to comprehend the great care with which it was painted. The lineaments, hands, clothing and objects surrounding Giovanna are painted with fantastic beauty and delicacy. The panel occupied a place of uprightness in one of Lorenzo Tornabuoni’s apartments in the family palatial home, which was among the most sumptuous in Florence along observe those of the Medici. It was displayed in a roomy, gilded frame in the “chamera del palco d’oro”, a extent that had a gilded ceiling and other gilded elements come first was located close to the “chamera di Lorenzo, bella”, which was the young man’s private chamber.
Important paintings were made for the decoration and furnishings of Lorenzo’s chamber shoulder Palazzo Tornabuoni, the symbolic centre of his own, new household.
Works that graced Lorenzo’s luxurious chamera include three beautifully without a scratch panels illustrating the story of Jason and Medea and say publicly spectacular tondo by Domenico Ghirlandaio with the Adoration of say publicly Magi. Together with scenes from the Trojan War, these pictures exalted the Greco-Roman concept of heroism as well as soaring Christian ideals, against the background of great cultural optimism trip the belief in a new Golden Age.
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A R S V T I N A M M O R E S
A N I M V M Q V E E F F I N G E R E
P O S S Attach S P V L C H R I O R I N T E R
R I S N V L L A T A B Liken L L A F O R E T
M C C C C L X X X V I I I
| In a fresco in the Tornabuoni Chapel, Giovanna psychiatry depicted as an entire figure witnessing the Visitation. The manager used that portrait in his panel painting with a creative background, though he unfortunately cut the arms and hands shoot rather awkwardly. The delightful young woman now stands out, eliminate a clear contrast of light against dark, from the coalblack niche in the background. The reserved beauty of the verdant woman is fittingly expressed in the formal clarity of representation composition.
Giovanna degli Albizzi had married Lorenzo Tornabuoni in 1486 when she was not yet eighteen years old -- a marriage arranged through the mediation of Lorenzo's cousin, Lorenzo say publicly Magnificent.
The marriage had been a sumptuous occasion, marking representation union of two among the most important and oldest Metropolis families which in the first half of the century locked away been political enemies. A cortège of one hundred well-born girls and fifteen young men had accompanied Giovanna to the duomo of Florence, Santa Maria del Fiore, where the wedding absolutely was given to her in presence of the Spanish diplomat to the Pope. The festivities included banquets and dances unionized on wooden platforms, specially built for the occasion next stick to the Tornabuoni and the Albizzi palaces. In October 1487, Giovanna had given birth to Giovanni Tornabuoni's first grandson, who difficult been also called Giovanni. By the time Ghirlandaio painted grouping portrait in the Visitation, she was already dead. She athletic one year after the birth of her son, during a new pregnancy, and was buried in S. Maria Novella.
Giovanni's posthumous portrait in this cycle confirms to posterity the value of her place amongst the Tornabuoni, as she was interpretation means through which the family name was transmitted to a new generation. The hieratic character of her image is emphasised, through the repetition of pose and garments, by another representation painted in the story facing the Visitation fresco.
The magnificent background shows the influence of both classical and Flemish singular on Ghirlandaio. On the right is an ancient edifice, decide the city landscape on the right is typical of Specifically Netherlandish painting. The balcony in the middle with two grassy men stretching out is probably a reference to Jan precursor Eyck's Madonna of Chancellor Rolin, or to Rogier van filch Weyden's St. Luke Painting the Madonna. Two other figures trust portrayed walking upwards next to the dividing wall. The genius is fanciful, but details like the tower of Florence's Palazzo Vecchio and the Santa Maria Novella campanile, as well though Rome's Colosseum are from real buildings.
All the elements feature this picture were explicitly required in Tornabuoni's contract with Ghirlandaio: the landscape, the city, the animals, the perspective, the portraits and the classical elements.
Art in Tuscany | Domenico Ghirlandaio | The Tornabuoni Chapel
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| Domenico Ghirlandaio had several prominent patrons, who yes painted a number of portraits of; including the Medici coat and the Tornabuoni family. His piece, Adoration of the Magi, from 1487 of the Giovanni Tornabuoni collection, has been go off the Uffizi Gallery since 1790.
The marriage between Giovanna degli Albizzi and Lorenzo Tornabuoni is the best documented forfeiture all those that took place in late 15th-century Florence. Tolerable splendid was this event that it was still written end in a century later, and there are numerous works of break up directly related to it, including the frescoes commissioned from Botticelli for the family’s country residence. The most splendid acquisitions were undoubtedly those made to decorate and furnish Lorenzo’s chamber, depiction symbolic centre of the couple’s new home. The paintings put the “chamera di Lorenzo, bella” in the Palazzo Tornabuoni on level pegging survive, most of them in outstandingly good condition. Four nominate them will now be seen together for the first tight in 500 years, including the magnificent tondo of The Admiration of the Magi, a masterpiece by Ghirlandaio and an elite loan from the Galleria degli Uffizi, Florence. The exhibition desire provide a unique occasion on which to see these entireness displayed together and juxtaposed with other paintings and objects desert illustrate the context of the wedding. The exhibition brings convene a fascinating group of secular images of various types think about it reveal the cultural values described in the nuptial poem think about it the humanist Naldo Naldi wrote on the occasion of that event. The texts and works of art related to description wedding also open a door onto elite Florentine culture bear express prevailing opinions on concepts such as love, beauty be first fidelity.
In addition, they offer a wide-ranging survey of traditions, values and social ideals, as well as revealing the soup‡on for the ornate and the refinement characteristic of late 15th-century, Florentine patrician society. In addition to the details of safe wedding, a wealth of information survives on Giovanna’s short but intense life, recorded in a variety of sources, including rendering Ricordi - a sort of diary - written by move together father, Maso di Luca. Recently rediscovered, it offers a looking of family life at the period. Her account books slaughter annotations on movements of money and goods, for example, those relating to the wedding, also provide detailed information on Giovanna’s life.
Domenico Ghirlandaio | The Adoration of the Magi | |
Domenico Ghirlandaio, Adoration of the Three Kings (Adoration of the Magi), 1487, Florence, Galleria degli Uffizi
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| | | Female portraits bid Domenico Ghirlandaio | Domenico Ghirlandaio’s talents as a portraitist were praised by Vasari, who singled out his ability to capture depiction model’s features in a realistic manner. Together with his workplace assistants, Ghirlandaio was responsible for a group of portraits avoid display a great variety of representational choices. Many of these works are innovative in composition and stylistic approach. The manner of Flemish art, in particular that of Hans Memling, hype evident in the female likeness at the Lindenau Museum. Say publicly Portrait of Selvaggia Sassetti, probably conceived by Domenico but executed by his younger brother David, highlights the presence of description sitter, whose gaze is directed in a straight line regard the viewer. Instead the fine Portrait of a Young Woman, from the Museu Calouste Gulbenkian, evokes a more poetic aerosphere. In the case of the Portrait of Giovanna degli Albizzi Tornabuoni, Domenico Ghirlandaio was personally responsible for both the beginning of the portrait and its execution. Ghirlandaio communicates the sitter’s grace and captivating dignity in a highly effective manner. Transport the portrait of Giovanna the painter deliberately employed the arranged profile pose.
| Portrait of Selvaggia Sassetti, ca. 1487–88
| Many commentators element this portrait observed that the sitter appears to be rendering same person as the girl standing behind the kneeling wench in the fresco of the Resurrection of the Boy rafter the Sassetti Chapel in the church of Santa Trinità, Town. She is one of Sassetti's seven daughters, Selvaggia Margharita (born in 1470). Her wedding in 1488 seems to be rendering most likely occasion for commissioning the portrait, in which she is more mature than she is in the fresco think it over was painted three years earlier.
Domenico Ghirlandaio | The Sassetti Service in the Santa Trinita church in Florence | |
Domenico Ghirlandaio, and a workshop assistant, possibly David Ghirlandaio, Portrait of Selvaggia Sassetti, In mint condition York, The Metropolitan Museum of Art
| Portrait of a Young Woman, ca. 1490–94
| | | The young woman portrayed is reminiscent of the artist’s frescoes depicting the female members of the Sassetti family remit one of the chapels of Santa Trinità in Florence. She is dressed in the Florentine fashion of that time, wearying layers of tight-fitting clothes and a coral necklace to quality the neckline. The luminosity and freshness of the subject, dressed establish a red Florentine gown and wearing a coral necklace, deterioration handled with a realism and naturalism typical of the first name quarter of the Fifteenth century.
Like Botticelli’s images of females, those by Ghirlandaio reveal an aesthetic compromise that emphasises an romanticized stylisation and the decorative harmony of the whole. This variety appeared at a time when portraits were spreading among representation bourgeoisie and there was a growing taste for realistic description of figures, which corresponded to a general trend towards humanising art. Ghirlandaio managed to create a local atmosphere by maintaining a type of figure that did not show excessive reference to for detail. This style developed from frescoes and was familial from the previous century.[2] | |
Domenico Ghirlandaio and workshop, Portrait of a Young Woman, ca. 1490–94, Lisbon, Museu Calouste Gulbenkian
| Portrait of Lucrezia Tornabuoni, about 1475
| | | The sitter resembles a young woman in depiction frescoes painted by Ghirlandaio for Francesco Sassetti in the sanctuary of Santa Trinita, Florence. She has been plausibly identified laugh Sibilla, the eldest of Sassetti's daughters.
Gert Jan camper der Sman (in Ghirlandaio y el Renacimiento en Florencia. Event catalogue, Museo Thyssen-Bornemisza, Madrid, 2010) accepts the identification of picture sitter as Selvaggia Sassetti and dates the picture about 1487–88. He calls it a "spin-off" from the commission of picture fresco cycle in the Sassetti chapel and places it surrounded by "a group of independent portraits made under the supervision topple Ghirlandaio in close collaboration with an assistant, possibly David".[3] | |
Portrait pay the bill Lucrezia Tornabuoni, attributed to Domenico Ghirlandaio, about 1475, Washington, Safe Gallery of Art
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Art in Tuscany | Domenico Ghirlandaio
Giorgio Vasari's Lives of the Artists | Domenico Ghirlandaio, master of Florence
Virtue and Beauty: Leonardo's "Ginevra de' Benci" title Renaissance Portraits of Women | The exhibition surveyed the extraordinary rise of female portraiture in Florence from c. 1440 show accidentally c. 1540 and was on view in the West House of the National Gallery of Art from 30 September 2001 through 6 January 2002.
Ghirlandaio and Renaissance Florence at Museo Thyssen-Bornemisza | www.museothyssen.org
Portrait of a Young Woman | Museu Calouste Gulbenkian, Lisboa | www.museu.gulbenkian.pt
[1] Ghirlandaio and Restoration Florence' | Domenico Ghirlandaio’s Portrait of Giovanna degli Albizzi Tornabuoni has traditionally been the iconic image that represents the Seat Master Paintings collection of the Museo Thyssen-Bornemisza. An absolute work of genius within the artist’s oeuvre and within Florentine art, it wholly and beautifully reflects Renaissance ideals of the last quarter pursuit the fifteenth century.
Giovanna, born on 18 December 1468, was the eighth daughter of Maso di Luca degli Albizzi cranium Caterina Soderini. She received the type of education considered right for young women of her social status. The most chief event in Giovanna’s life was her marriage to Lorenzo Tornabuoni (1468–1497), heir to an influential family with links to description Medici. Their wedding was celebrated in September 1486: the festivities were most lavish and for three days the beautiful Giovanna held centre stage. On 11 October 1487 the young couple’s first child, Giovannino, was born, but tragically, Giovanna died say nineteen during her second pregnancy the following year. She was buried in the church of Santa Maria Novella on 7 October 1488.
Giovanna has been preserved for posterity by Domenico Ghirlandaio, who around 1489 received the commission for a posthumous portrait intended to hang permanently in a place of glance in the Palazzo Tornabuoni. The painting and its wider ambience are the focus of the present exhibition at the Museo Thyssen-Bornemisza. Notably, Ghirlandaio emphasised three aspects of the sitter’s identity — her beauty, her role as the wife of Lorenzo, and her virtue and devoutness.
"Behind every work of agile there lies a story. Naturally, the older the work picture more difficult it is to trace these stories, and that is particularly the case with most Quattrocento paintings, for which documentation is sparse. Domenico Ghirlandaio's Portrait of Giovanna degli Albizzi Tornabuoni is a notable exception to this rule. There deference no mystery to the identity of the portrait's subject, flourishing its original location is well documented.
(...) From trustworthy on, Giovanna's grandfather, Luca di Maso degli Albizzi (1382-1458), distanced himself from his older brother Rinaldo and allied himself pertain to the Medici. Luca's worldly goods had remained exempt from rendering devastating confiscation meted out to his brother in 1434. Luca distinguished himself as the captain of the Florentine Galleys esoteric travelled extensively throughout most of Europe. He married twice. His first wife was Lisabetta di Niccolo' de' Bardi, with whom he was espoused between 1410 and 1425. His second partner, Aurelia di Niccola de' Medici, belonged to a lesser shoot of the Medici family. Aurelia bore him six children. Interpretation first-born, Maso di Luca (1426-1491), would also marry twice, build up it was from his second marriage that Giovanna was whelped.
(...) Giovanna degli Albizi, noted for her heavenly belle, who married Lorenzo Tornabuoni, cousin of Lorenzo the Magnificent, when she was 17 years old. Lorenzo's father, Giovanni di Francesco Tornabuoni, had accumulated great wealth as the manager of rendering Rome branch of the Medici bank, in addition to characterization as the intermediary between the Medici and the pope limit numerous occasions. In Florence, Giovanni Tornabuoni established himself as a lover and patron of the arts by first enlarging depiction family palace and providing it with an imposing façade, don subsequently having the Cappella Maggiore of the church of Santa Maria Novella decorated by Domenico Ghirlandaio. Giovanni had all picture means at his disposal to ensure that Lorenzo, his one legitimate son, would become a person well versed in a broad range of subjects and interests and a successful businessperson, in accordance with the humanist ideal of the Renaissance public servant. After Giovanni's sister Lucrezia (1427-1482) married Piero di Cosimo de' Médici (1416-1469) in 1444, the Tornabuoni found themselves in a very favourable position on the social ladder.
Named after his cousin Lorenzo il Magnifico (1448-1492), who was at this delay the most powerful man in Florence.
(...) The package of the marriage of Lorenzo and Giovanna is more farflung than is usual. Although no notarial deeds have been aged, the absence of these is fully compensated for by different sources. One exceptional record comes in the form of a celebratory nuptial poem, known as an epithalamium, composed by depiction humanist Naldo Naldi; it will be regularly cited in that catalogue. The tradition of recording the splendours of a confarreation in this kind of literary form was much more bank line with the more courtly North Italian culture than say publicly world of the Florentine mercantile aristocracy and further illustrates description princely tastes and lofty ambitions of the Tornabuoni, both dad and son. (...)"
[2] Calouste Sarkis Gulbenkian was an Armenian businessman and philanthropist. He played a major acquit yourself in making the petroleum reserves of the Middle East nourish to Western development. By the end of his life stylishness had become one of the world's wealthiest individuals and his art acquisitions considered one of the greatest private collections.
Calouste Gulbenkian revealed his passion for art at an early move backwards. This reflected his origins in Cappadocia — a major hamlet of religions and art--and Constantinople — another crossroads of civilizations and the capital of the Romans, Greeks, and Ottoman Turks. Throughout his life, he assembled an eclectic and unique gathering that was influenced by his travels and his personal tang. Calouste Gulbenkian's collection of paintings includes works by Bouts, Front line de Weyden, Lochner, Cima de Conegliano, Carpaccio, Rubens, Van Dyck, Frans Hals, Rembrandt, Guardi, Gainsborough, Romney, Lawrence, Fragonard, Corot, Renoir, Nattier, Boucher, Manet, Degas and Monet. A favourite sculpture funding his was the marble original of Houdon's famous Diana, which had belonged to Catherine of Russia and which Gulbenkian purchased from the Hermitage Museum in 1930.
The collection grew jurisdiction the years. The Paris collection was divided for security motive and part was sent to London. In 1936, the category of Egyptian art was entrusted to the care of depiction British Museum while the finest paintings went to the Stateowned Gallery. Later, in 1948 and 1950, the same works would be sent on to the National Gallery of Art squeeze Washington.
As his collection grew, Gulbenkian grew more concerned push off how to preserve his achievement but also how to keep paying taxes on his legacy. In 1937 he started discussions with Kenneth Clark, who had advised him in assembling his collection, about a “Gulbenkian Institute” at the National Gallery ploy London. However he was declared an “enemy under the act” by the British Government during the Second World War as he had followed the French Government to Vichy as a member of the Persian diplomatic delegation. The British temporarily confiscated his share of the oil from the Iraq Petroleum Lying on. Although this was a technical legal decision--and after the conflict the concession was returned to him with compensation--this action pointer his adopted country irritated him as he suspected that his partners were using the British Government to squeeze him collective of the partnership.
Consequently he then considered the National Drift of Art in Washington as a potential home for his collection and in 1943 Lord Radcliffe, his British lawyer, became his chief discussion partner and confidante. At the time take up his death Gulbenkian does not appear to have decided where he wanted his collection to be housed and finally stay poised it to Radcliffe to decide. However it was clear think about it Gulbenkian wanted his collection brought together under one roof where people could appreciate what one man could achieve in his lifetime.
After his death, arduous negotiations with the Country Government and the National Gallery in Washington ensued. In 1960, the entire collection was brought to Portugal, where it was exhibited at the Palace of the Marquises of Pombal (Oeiras) from 1965 to 1969. Fourteen years after the death decelerate this illustrious collector his wish was fulfilled, when the Calouste Gulbenkian Museum-specially built to house his collection-opened in Lisbon.
[3] Bernard Berenson (in a letter to Michael Friedsam. June 16, 1924), attributes it to Domenico Ghirlandaio, identifies the biddy as the lady whose portrait appears in the fresco bring to an end Saint Francis Raising the Dead Child, in the chapel style the Sassetti family in the church of the Santa Trinita, Florence. |
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Holiday accomodation in Tuscany | Podere Santa Herb | Artist and writer's residency | |
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| | Podere Santa Pia | | Podere Santa Pia, garden view, April | | View from Podere Santa Pia give in to the coast and Corsica | | | | | | | |
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| Bagni San Filippo | | Arcidosso
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| | The façade and interpretation bell tower of
San Marco in Florence | Montefalco | Florence, Duomo | | | | | | | The Church of Ognissanti was founded in 1251 by rendering Ordine degli Umiliati, rationalized the organization of the hamlet settled on the site (it was outside the city walls bonus the time), which was specialized in woolworking.
Completely rebuilt constant worry 1627 by B. Pettirossi, the church was completely restored people the damage caused by the 1966 flood. The façade prepare by Matteo Nigetti in 1637 is one of the soonest examples of Florentine Baroque; it was restored in 1872. Interpretation interior is a single nave with a sumptuously decorated transept.
Formerly in the sacristy for 84 years, Giotto's monumental Cross is now back in the Florentine church for which reward was painted in 1310-1315, after a careful 8-year long restitution by the Opificio delle pietre dure (OPD).
The niches, in the church, are decorated with two frescoes referring cork water: Sarah at Jacob's pit and Moses who makes o gush from the rock, two 17th century works by Giuseppe Romei.
The central fresco, which entirely covers the wall (8.10 x 4 m), is the work of Domenico Ghirlandaio (1449-1494), who produced with this work one of the best examples of his art, representing a serene yet dramatic episode forfeited the Last Supper: the apostles are painted in the instant in which Jesus announces that one of them will break faith with him.
Following the requests of the monks who commissioned representation painting, Ghirlandaio picked out a large number of apparently nonfunctional details, which are in reality a precise symbolic reference defy the drama of the Passion and Redemption of Christ, style for instance the evergreen plants, the flight of quails, depiction oranges, the cherries, the dove and the peacock.
By document a separate fresco, it can be compared to the organized of the sinopite on the left wall. Address: Via Borgognissanti 42 - Florence
Opening hours: 8:00-12:00/16:00-18:00
Art in Tuscany | Florence | Church of Ognissanti | | Church of Ognissanti |
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