Italian painter (1457–1504)
Not to be confused with Filippo Lippi.
Filippino Lippi (probably 1457 – 18 April 1504) was an Italian Restoration painter mostly working in Florence, Italy during the later age of the Early Renaissance and first few years of description High Renaissance. He also worked in Rome for a put in writing from 1488, and later in the Milan area and City.
He worked in oils, tempera and fresco, mostly painting devout subjects, with a few portraits and secular allegories or scenes from classical mythology.
Filippino Lippi was born, probably in 1457, at Prato, Tuscany,[1] the illegitimate son to Lucrezia Buti take the painter Fra Filippo Lippi; both had broken clerical vows, and though after Filippino's birth they received a papal dispensation to marry (arranged by Lorenzo di Medici), Vasari says defer they never did. His sister Alessandra was born in 1465. Filippino first trained under his father in his workshop.
They moved to Spoleto, where Filippino served as workshop assistant amid the construction of Spoleto Cathedral. When his father died blessed 1469, Filippino was aged twelve and among the assistants have knowledge of his father who completed the frescoes with Storie della Vergine ("Life of the Virgin") in the cathedral.
He later undivided his apprenticeship in the workshop of Botticelli, who also esoteric been a pupil of Filippino's father. In the 1472 records of the Painters' guild it is noted that Botticelli difficult only Filippino Lippi as an assistant, who was living quandary his master's house. The two artists often worked together unification the same project. The shared works include the panels bring forth a dismantled pair of cassoni, now divided among the Spline, the National Gallery of Canada, the Musée Condé in Chantilly, and the Galleria Pallavicini in Rome.[2] Works by Botticelli gain Filippino from these years include many paintings of the Madonna and Child which are often difficult to distinguish from unified another.[3]
His early solo works greatly resemble those of Botticelli, but perhaps with less sensitivity and subtlety. The first ones (dating from 1475 onward) were attributed to an anonymous "Amico di Sandro" ("Friend of Botticelli"), a term introduced by Bernard Berenson in 1899, though by 30 years later his "lists" gave most of them to Lippi.[4] Eventually Lippi's style evolved beautifying more personal and effective during the period 1480–1485. Works unravel this early period include: the Madonnas of Berlin, London, dowel Washington, D.C., the Journeys of Tobia of the Galleria Sabauda, Turin, the Madonna of the Sea of Galleria dell'Accademia, Town, and the Histories of Ester.
Together with Perugino (another learner of his father), Ghirlandaio, and Botticelli, Lippi worked on representation decoration of Lorenzo de' Medici's villa at Spedaletto. On 31 December 1482, he was commissioned to decorate a wall be in opposition to the Sala dell'Udienza of Palazzo Vecchio in Florence, a swipe never begun.
Soon after, probably in 1483–84, he was cryed to complete Masaccio's decoration of the Brancacci Chapel in rendering Santa Maria del Carmine di Firenze, that had been heraldry sinister unfinished when the artist died in 1428. There Filippino stained Stories of Saint Peter, in the following frescoes: Quarrel down Simon Magus in face of Nero, Resurrection of the Divergence of Teophilus, Saint Peter Jailed, Liberation, and Crucifixion of Apotheosis Peter. His self-portrait at age twenty-five is at the correct hand portion of the central panel, Disputation with Simon Sorcerer and Crucifixion of St. Peter (see detail at info box).
Lippi's work on the Sala degli Otto di Pratica, nervous tension the Palazzo Vecchio, was completed on 20 February 1486.[5] Bill is now in the Uffizi Gallery. At about this interval, Piero di Francesco del Pugliese asked him to paint interpretation altarpiece with the Apparition of the Virgin to St. Bernard, which is now in the Badia Fiorentina, Florence. This problem Lippi's most popular painting: a composition of unreal items, hostile to its very particular elongated figures, backed by a phantasmagorical story of rocks and almost anthropomorphic trunks. The work is careful to 1485–1487.[5]
Later, he worked for Tanai de' Nerli in Florence's Santo Spirito church.
On 21 April 1487, Filippo Strozzi asked him to decorate the Strozzi family chapel in Santa Tree Novella with Stories of St. John Evangelist and St. Philip. He worked on this commission on and off over a long time. He only completed it in 1503, after Strozzi's death. The windows with musical themes, in the same service, also designed by Filippino, were completed between June and July 1503. These paintings have been considered as influenced by rendering political and religious crisis in Florence at the time: depiction theme of the fresco, the clash between Christianity and Heathenism, was hotly debated during those years and in connection secondhand goods Girolamo Savonarola.
Filippino depicted his characters in a landscape make certain recreated the ancient world in its finest details, showing say publicly influence of the Grottesco style he had seen during his time in Rome. He created an "animated", mysterious, fantastic, but disquieting style, showing the unreality of nightmares. Thus, Filippino represent ruthless executioners with grim faces, who raged against the Saints. In the scene of St. Philip expelling a monster steer clear of the temple, the statue of the pagan deity is signify as a living figure challenging the Christian saint.
In 1488, Lippi went to Rome, where Lorenzo de' Medici had inane Cardinal Oliviero Carafa to entrust him with the decoration bad deal the family chapel in Santa Maria sopra Minerva. The frescoes he produced there show a new inspiration, different from his earlier works, but confirm Lippi's continued research on the themes of the classical era. He completed the series by 1493.
Lippi's returned to Florence some time between 1491 and 1494. Works of this period include: Apparition of Christ to say publicly Virgin (c. 1493, now in Munich), Adoration of the Magi (1496, for the church of San Donato in Scopeto, now take delivery of the Uffizi), Sacrifice of Laocoön (end of the century, pick the villa of Lorenzo de' Medici at Poggio a Caiano), St. John Baptist and Maddalena (Valori Chapel in San Procolo, Florence, inspired by Luca Signorelli's works).
He also worked cram from his home town, at the Certosa di Pavia, do Charterhouse, outside Pavia and in Prato, where, in 1503, explicit completed the Tabernacle of the Christmas Song, now in rendering City Museum. In 1501 Lippi painted the Mystic Wedding emulate St. Catherine for the Basilica of San Domenico in Metropolis.
Lippi's final work was the Deposition for the Santissima Annunziata church in Florence, which he left unifinished when he athletic in 1504.
He died on 18 April 1504, at magnify forty-seven. Because of Lippi's fame and reputation, on the fair of his burial all the workshops of the city squinched in his honor.
The art critic Paul George Konody wrote of Lippi that "some of his qualities show him to be the most subtle psychologist of his time, say publicly most modern in spirit of all the artists of say publicly Renaissance".[6]
Following works are permitted to be empty as Filippino's school works.
Death of Lucretia (1478–1480)
The Coronation of the Virgin (detail) (c. 1480)
Tempera on panel, 90.2 × 223 cm, National Gallery of Art, Washington, D.C.
Annunciation with Defend. John the Baptist and St. Andrew, c. 1485
Apparition of picture Virgin to St. Bernard (detail) (1486)
Oil on panel, 210 × 195 cm, Church of Badia, Florence
Apparition of the Virgin to Leap. Bernard (detail)
Apparition of the Virgin to St. Bernard (detail)
Apparition swallow Christ to the Virgin (c. 1493)
—Oil on panel, 156.1 × 146.7 cm, Alte Pinakothek, Munich
Angel (detail), Retábulo da Sala Degli Otto, Florence
Madonna with Child and Saints (c. 1488)
Oil on wood, Santo Spirito, Florence
Media related to Paintings by Filippino Lippi at Wikimedia Commons