Barbadori Altarpiece | |
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Artist | Filippo Lippi |
Year | 1438 |
Medium | oil on panel |
Dimensions | 208 cm× 244 cm(82 in× 96 in) |
Location | Louvre, Paris |
The Barbadori Altarpiece is a painting by Filippo Lippi, dated to 1438 and housed in the Louvre Museum of Paris.
Gherardo di Bartolomeo Barbadori, who died childless in 1429, left his heritage to the Captains of Orsanmichele for the realization, in the church of Santo Spirito, of a chapel dedicated to Saint Fridianus. The chapel was built in the old sacristy of the church and in 1433 it was decided to place an altarpiece there. The work was commissioned to Filippo Lippi around 1437, and a letter from Piero de' Medici to Domenico Veneziano, dated 1 April 1438, mentions the altarpiece as having not been finished yet.
The painting remained in Santo Spirito until 1810, when it was disassembled and brought to France by the Napoleonic troops. After the 1815 restoration it was not given back.
The panel follows the traditional polyptych pattern of the time only in the upper part, which has arcades and columns. Also differently from previous works, Lippi painted the Virgin as standing, and made her the central point of the composition.
The angel on the left pulling up his garment is inspired by Nanni di Banco's group of the "Quattro Coronati", a sculpture in a niche of Orsanmichele. Another element of innovation (introduced at the same time by Fra Angelico) was the lack of a gilded background, replaced by an architectural space with a window opening to hilly landscape, inspired to Flemish contemporary works. The shell-shaped niche in the background, a typical element of 15th century Florentine painting, and of Lippi in particular, is inspired by a niche in the Tribunale of the Mercanzie in Orsanmichele, designed by Donatello.
The kneeling saints are St. Augustine on the right and St. Fridianus on the left. On the far left is a self-portrait of Lippi, identified as the young monk behind the balustrade. [1]
The work was originally accompanied by a predella, which was returned to Florence after the fall of Napoleon and is now housed in the Uffizi Gallery in Florence. It includes three panels depicting St. Fridianus Changing the Course of the Serchio , An Angel Foretells the Virgin Mary's Death to Her, with the Arrival of the Apostles and St Augustine's Vision of the Holy Spirit.
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Filippino Lippi was an Italian painter working in Florence, Italy during the later years of the Early Renaissance and first few years of the High Renaissance.
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Filippo Lippi, also known as Lippo Lippi, was an Italian painter of the Quattrocento and a Carmelite priest. He was an early Renaissance master of a painting workshop, who taught many painters. Sandro Botticelli and Francesco di Pesello were among his most distinguished pupils. His son, Filippino Lippi, also studied under him and assisted in some late works.
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Jacopo del Sellaio (1441/42–1493), was an Italian painter of the early Renaissance, active in his native Florence. His real name was Jacopo di Arcangelo. He worked in an eclectic style based on those of Botticelli, Filippino Lippi, and Domenico Ghirlandaio. The nickname Sellaio derives from the profession of his father, a saddle maker.
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The Pisa Altarpiece was a large multi-paneled altarpiece produced by Masaccio for the chapel of Saint Julian in the church of Santa Maria del Carmine in Pisa. The chapel was owned by the notary Giuliano di Colino, who commissioned the work on February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year. The altarpiece was dismantled and dispersed to various collections and museums in the 18th century, but an attempted reconstruction was made possible due to a detailed description of the work by Vasari in 1568.
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