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Minerva is a c. 1490-1495 oil on panel painting by Fra Bartolomeo, now in the Louvre in Paris. [1] It forms a pair with Porcia (Uffizi).
The work was first recorded in 1942 in an antiques shop in Toulouse, at which time it was attributed to Lorenzo Costa. Three years later it was acquired by France's Réunion des Musées Nationaux as a work by an anonymous French artist, reattributed to Perréal and assigned to the Musée de Moulins. [2]
In 1963 Charles Sterling researched the work, removing the attribution to Perréal and instead assigned it to the Emilian Renaissance. He was also the first to link it back to Porcia (then thought to be a Saint Agnes or Virgin of the Annunciation from the circle of Lorenzo di Credi or of Franciabigio), which Sterling happened to have seen at the Istituto Centrale del Restauro in Rome.
Minerva was reassigned yet again to a Florentine painter in 1967, the same year as it was moved to the Louvre's stores. It formed part of an exhibition in 1982, for which Sylvie Béguin reattributed it to Fra Bartolomeo's youth. However, it to took until its inclusion in the Il Giardino di San Marco exhibition in 1992 for this attribution to be definitively confirmed.
The goddess Minerva appears in a niche, showing her attributes, the helmet, the classical armor, the spear and the shield decorated with the Medusa, as well as the sword tied to her belt. The painting was believed to be part of a series dedicated to illustrious women, perhaps destined to decorate a room of a private palace.
The figure takes a step forward, towards the viewer, coming out of the niche. The composition is very balanced, with an accentuated sense of the volume of the figure, obtained through glazes and chromatic combinations of great finesse, referable to the painter's early youthful phase. [3]
Fra Angelico was an Italian painter of the Early Renaissance, described by Vasari in his Lives of the Artists as having "a rare and perfect talent". He earned his reputation primarily for the series of frescoes he made for his own friary, San Marco, in Florence.
Fra Bartolomeo or Bartolommeo, also known as Bartolommeo di Pagholo, Bartolommeo di S. Marco, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.
Andrea del Verrocchio, born Andrea di Michele di Francesco de' Cioni, was a sculptor, Italian painter and goldsmith who was a master of an important workshop in Florence. He apparently became known as Verrocchio after the surname of his master, a goldsmith. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. His greatest importance was as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece.
Lorenzo Lotto was an Italian painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists.
Tintoretto was an Italian painter identified with the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed Il Furioso. His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.
The Basilica di Santa Maria Gloriosa dei Frari, usually just called the Frari, is a church located in the Campo dei Frari at the heart of the San Polo district of Venice, Italy. The largest church in the city, it has the status of a minor basilica. The church is dedicated to the Assumption of Mary.
The Church of Saint Roch is a Roman Catholic church dedicated to Saint Roch in Venice, northern Italy. It was built between 1489 and 1508 by Bartolomeo Bon the Younger, but was substantially altered in 1725. The façade dates from 1765 to 1771, and was designed by Bernardino Maccarucci. The church is one of the Plague-churches built in Venice.
BartolomeoMontagna was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.
Ca' Rezzonico is a palazzo and art museum on the Grand Canal in the Dorsoduro sestiere of Venice, Italy. It is a particularly notable example of the 18th century Venetian baroque and rococo architecture and interior decoration, and displays paintings by the leading Venetian painters of the period, including Francesco Guardi and Giambattista Tiepolo. It is a public museum dedicated to 18th-century Venice and one of the 11 venues managed by the Fondazione Musei Civici di Venezia.
The Gallerie dell'Accademia is a museum gallery of pre-19th-century art in Venice, northern Italy. It is housed in the Scuola della Carità on the south bank of the Grand Canal, within the sestiere of Dorsoduro. It was originally the gallery of the Accademia di Belle Arti di Venezia, the art academy of Venice, from which it became independent in 1879, and for which the Ponte dell'Accademia and the Accademia boat landing station for the vaporetto water bus are named. The two institutions remained in the same building until 2004, when the art school moved to the Ospedale degli Incurabili.
Paris Bordone was an Italian painter of the Venetian Renaissance who, despite training with Titian, maintained a strand of Mannerist complexity and provincial vigor.
The Scuola Grande di San Marco is a building in Venice, Italy, designed by the well-known Venetian architects Pietro Lombardo, Mauro Codussi, and Bartolomeo Bon. It was originally the home to one of the Scuole Grandi of Venice, or six major confraternities, but is now the city's hospital. It faces the Campo Santi Giovanni e Paolo, one of the largest squares in the city.
The Lives of the Most Excellent Painters, Sculptors, and Architects, often simply known as The Lives, is a series of artist biographies written by 16th-century Italian painter and architect Giorgio Vasari, which is considered "perhaps the most famous, and even today the most-read work of the older literature of art", "some of the Italian Renaissance's most influential writing on art", and "the first important book on art history".
Christ Carrying the Cross is a 1505 oil painting attributed to either the Italian Renaissance master Titian or Giorgione. It is located in the Scuola Grande di San Rocco in Venice, Italy.
The Portrait of Luca Pacioli is a painting attributed to the Italian Renaissance artist Jacopo de' Barbari, dating to around 1500 and housed in the Capodimonte Museum, Naples, southern Italy. The painting portrays the Renaissance mathematician Luca Pacioli and may have been painted by his collaborator Leonardo da Vinci. The person on the right has not been identified conclusively, but could be the German painter Albrecht Dürer, whom Barbari met between 1495 and 1500.
Presentation of Christ in the Temple is an oil on wood painting by Fra Bartolomeo, most likely commissioned by Pope Leo X for the Epiphany of 1516. It originally hung in the novices' chapel in San Marco, Florence. It is inscribed with the year 1516. It is now held in the Kunsthistorisches Museum in Vienna.
Porcia is a c. 1490-1495 oil on panel painting of Brutus' wife Porcia by Fra Bartolomeo, now in the Uffizi in Florence. It forms a pair with Minerva, now in the Louvre.
The Virgin Adoring the Child with Saint Joseph is an oil on panel painting by Fra Bartolomeo, executed no later than 1511. It is held in the National Gallery, in London.
The Portrait of Girolamo Savonarola is an oil on panel painting by Italian artist Fra Bartolomeo, created c. 1498. This portrait is believed to have been made when reformer Girolamo Savonarola was still alive and when Fra Bartolomeo was a follower of his renewal religious movement in Florence. It is held at the Museo di San Marco, in Florence.
Apparition of the Virgin to St Bernard is an oil on wood painting by Italian artist Fra Bartolomeo, datable to 1504-1507. It is held in the Uffizi, in Florence.
