| Barbadori Altarpiece | |
|---|---|
 | |
| 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.
Predella of the Barbadori Altarpiece
Fra Angelico, OP was a Dominican friar and Italian painter of the Early Renaissance, described by Giorgio 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, then worked in Rome and other cities. All his known work is of religious subjects.
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.
Domenico Veneziano was an Italian painter of the early Renaissance, active mostly in Perugia and Tuscany.
The Basilica della Santissima Annunziata is a Renaissance-style, Catholic minor basilica in Florence, region of Tuscany, Italy. This is considered the mother church of the Servite Order. It is located at the northeastern side of the Piazza Santissima Annunziata near the city center.
Domenico di Michelino (1417–1491) was an Italian Renaissance painter who was born and died in Florence. His real name was Domenico di Francesco. The patronymic "di Michelino" was adopted in honour of his teacher, the cassone painter Michelino di Benedetto, by whom no works have been identified. Giorgio Vasari reports that Domenico was also a pupil of Fra Angelico, whose influence is reflected in many of Domenico's paintings along with that of Filippo Lippi and Pesellino.
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.
Raffaellino del Garbo (1466–1527) was a Florentine painter of the early Renaissance.
The Basilica di Santo Spirito is a church in Florence, Italy. Usually referred to simply as Santo Spirito, it is located in the Oltrarno quarter, facing the square with the same name. The interior of the building – internal length 97 m (318 ft) – is one of the preeminent examples of Renaissance architecture.
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.
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.
Biagio d’Antonio Tucci was an Italian Renaissance painter active in Florence, Faenza and Rome.
The Coronation of the Virgin is a painting of the Coronation of the Virgin by the Italian Renaissance master Filippo Lippi, in the Uffizi, Florence.
The Santa Lucia de' Magnoli Altarpiece is a painting by the Italian painter Domenico Veneziano, dated to around 1445–1447. Once placed at the high altar of the church of Santa Lucia dei Magnoli, Florence, it is now in the Uffizi Gallery in the same city. The large panel had originally a predella, which has been divided between museums in Washington, Berlin and Cambridge.
The Annunciation is a painting by Fra Filippo Lippi hung in the Martelli Chapel in the left transept of the Basilica di San Lorenzo, Florence, Italy. There are several paintings by Lippi of this same name.
The Martinengo Altarpiece is a painting by the Italian High Renaissance painter Lorenzo Lotto, finished in 1516. It is housed in the church of Santi Bartolomeo e Stefano in Bergamo in northern Italy.
The Tabernacle of the Linaioli is a marble aedicula designed by Lorenzo Ghiberti, with paintings by Fra Angelico, dating to 1432–1433. It is housed in the National Museum of San Marco, Florence, Italy.
The Apparition of Christ to the Virgin is a painting by the Italian Renaissance master Filippino Lippi, executed around 1493 and now housed in the Alte Pinakothek of Munich, Germany.
Mariotto di Nardo di Cione was a Florentine painter in the Florentine Gothic style. He worked at the Duomo of Florence, the church of Santa Maria Maggiore, and the Orsanmichele. He created both frescoes and panel paintings, and was also active as a manuscript illuminator.
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.
The Novitiate Altarpiece or Madonna and Child with Saints is a c.1440-1445 tempera on panel painting by Filippo Lippi, now in the Uffizi in Florence. A sacra conversazione, it originally had a predella painted by Pesellino centred on a Nativity. The main panel shows Cosmas and Damian either side of the Madonna and Child, whilst Francis of Assisi is shown at far left and Anthony of Padua at far right. On an architectural frieze above the figures are the Medici's heraldic balls.
