| Certosa di Pavia Altarpiece | |
|---|---|
 The three London panels | |
| Artist | Pietro Perugino |
| Year | c. 1496–1500 |
| Location | National Gallery, London |
The Certosa di Pavia Altarpiece was an oil on panel altarpiece by Pietro Perugino. It dates to around 1496 to 1500 and three of its panels are now in the National Gallery, London. Art historians believe that the central panel is an autograph copy of the Madonna del Sacco .
It was commissioned by Ludovico Sforza for the chapel of Saint Michael in the Certosa di Pavia, a building symbolic of the Visconti-Sforza's patronage of the church and the arts. He had already sent an agent to Florence in 1490 to find out about the artistic scene and converse with Sandro Botticelli, Domenico Ghirlandaio, Filippino Lippi and Pietro Vannucci. Sforza initially commissioned a Deposition from Lippi, but this was not completed and so he instead decided in 1494 to commission Perugino.
The altarpiece originally had six panels. The central lower panel shows the Madonna and Child with angels, whilst the left panel shows the archangel Michael trampling Satan and the right panel shows Tobias and the Angel (the Archangel Raphael). The horizon on the side panels is no longer at the same level as that in the central panel, showing how all three panels seem to have been cut down. The knees of the Madonna and the bag on the left hand side of the central panel are lost, whilst little remains of the serpent at Michael's feet and the small dog at Raphael's feet.
The top panel, with the figure of the Eternal Father remained at the Certosa, [1] while three panels were looted in 1784 and were acquired by the National Gallery in London in 1856. Some 1950s photographs show a non-original pediment above the side panels, which has now been removed. In place of the London panels are three copies painted in 1586. [2]
Filippino Lippi was an Italian Renaissance painter mostly working in Florence, Italy during the later years of the Early Renaissance and first few years of the High Renaissance. He also worked in Rome for a period from 1488, and later in the Milan area and Bologna.
Pinturicchio, or Pintoricchio, also known as Benetto di Biagio or Sordicchio, was an Italian Renaissance painter. He acquired his nickname because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.
Pietro Perugino, an Italian Renaissance painter of the Umbrian school, developed some of the qualities that found classic expression in the High Renaissance. Raphael became his most famous pupil.
The Palazzo Pitti, in English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio. The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker.
Andrea Solari (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
Vincenzo Foppa was an Italian painter from the Renaissance period. While few of his works survive, he was an esteemed and influential painter during his time and is considered the preeminent leader of the Early Lombard School. He spent his career working for the Sforza family, Dukes of Milan, in Pavia, as well as various other patrons throughout Lombardy and Liguria. He lived and worked in his native Brescia during his later years.
The Galleria Nazionale d'Arte Antica or National Gallery of Ancient Art is an art museum in Rome, Italy. It is the principal national collection of older paintings in Rome – mostly from before 1800; it does not hold any antiquities. It has two sites: the Palazzo Barberini and the Palazzo Corsini.
The Certosa di Pavia is a monastery complex in Lombardy, Northern Italy, situated near a small village of the same name in the Province of Pavia, 8 km (5.0 mi) north of Pavia. Built from 1396 to 1495, it was once located at the end of the Visconti Park a large hunting park and pleasure ground belonging to the Visconti dukes of Milan, of which today only scattered parts remain. It is one of the largest monasteries in Italy.
Neri di Bicci (1419–1491) was an Italian painter active in his native Florence. A prolific painter of mainly religious themes, he studied under his father, Bicci di Lorenzo, who had in turn studied under his father, Lorenzo di Bicci. The three thus formed a lineage of great painters that began with Neri's grandfather.
The Zavattari were a family of Italian painters active in Lombardy from the 14th to the 16th century.
Tobias and the Angel is the traditional title of depictions in art of a passage from the Book of Tobit in which Tobias, son of Tobit, travels with the Archangel Raphael without realising he is an angel (5.5–6) and is then instructed by Raphael what to do with a giant fish he catches (6.2–9). The Book of Tobit is accepted by Catholic and Eastern Orthodox Christians as part of the biblical canon, but not by Judaism or most Protestant Christians, the latter including it in the Apocrypha.
Biagio d’Antonio Tucci was an Italian Renaissance painter active in Florence, Faenza and Rome.
Santa Maria del Carmine is a church in Pavia, Lombardy, northern Italy, considered amongst the best examples of Lombard Gothic architecture. It was begun in 1374 by Gian Galeazzo Visconti, Duke of Milan, on a project attributed to Bernardo da Venezia. The construction followed a slow pace, and was restarted in 1432, being finished in 1461.
Tobias and the Angel is a subject in art taken from the Book of Tobit. It may refer to a number of works of art and music, including:
Giovanni Agostino da Lodi was an Italian painter who was active from c. 1495 to c. 1525.
The Vallombrosa Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, dating to 1500–01. It is housed in the Accademia Gallery of Florence, Italy.
Madonna del Sacco is an oil on panel painting by Perugino, dating to around 1495–1500. It shows the Madonna and Child with the infant John the Baptist and an angel. It is now in the Galleria Palatina in Florence.
The Sant'Agostino Altarpiece is a painting by Perugino, produced in two stages between around 1502 and 1512 and then around 1513 to 1523. The altarpiece's 28, 29 or 30 panels were split up during the Napoleonic suppression of religious houses - most of its panels are now in the Galleria Nazionale dell'Umbria in Perugia. It is notable as the painter's last masterwork before he moved into his late phase producing more provincial commissions.
The Madonna of Loreto is a c.1507 oil on panel painting by Perugino, now in the National Gallery, London, which bought it in 1879. It shows the Madonna and Child flanked by Jerome (left) and Francis of Assisi (right). Two angels hover over Mary's head holding a crown. It reuses the low parapet from Madonna and Child with St Rose and St Catherine (1492) and probably also involved the master's studio assistants.
The Caprioli Adoration is an Italian Renaissance sculpture, a relief in marble by Gasparo Cairano, dated between 1495 and 1500, placed in the Church of St Francis of Assisi in Brescia as a frontal for the high altar.
 | You can help expand this article with text translated from the corresponding article in French. Click [show] for important translation instructions.
|