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Portfolio Fra Angelico. The complete works. (548: Drawing, Frescoes, Oil, Panel, Pen, Tempera, Wood)

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  • Fra Angelico - Transfiguration of Christ
  • Fra Angelico - Coronation of the Virgin
  • Fra Angelico - The Annunciation
  • Fra Angelico - San Marco Altarpiece
  • Fra Angelico - St. Lawrence Receiving the Treasures of the Church from St. Sixtus
  • Fra Angelico - Annunciation. The Visitation
  • Fra Angelico - Christ on the Cross Adored by St. Dominic
  • Fra Angelico - The Institution of the Eucharist
  • Fra Angelico - corridors - The Annunciation
  • Fra Angelico - Madonna Surrounded by Angels
  • Fra Angelico - Christ in Limbo
  • Fra Angelico - Madonna and Child with Angels
  • Fra Angelico - Annunciation. Presentation in the Temple
  • Fra Angelico - Predella of the San Domenico Altarpiece
  • Fra Angelico - St Peter Martyr
  • Fra Angelico - Altarpiece of the Annunciation
  • Fra Angelico - The Mockery of Christ
  • Fra Angelico - Annunciation. Adoration of the Magi
  • Fra Angelico - The Naming of St John the Baptist
  • Fra Angelico - San Pietro Martire Triptych
  • Fra Angelico - Presentation of Jesus in the Temple (Convento di San Marco, Florence)
  • Fra Angelico - Deposition from the Cross
  • Fra Angelico - Madonna with the Child, Saints and Crucifixion
  • Fra Angelico - The Story of St. Nicholas
  • Fra Angelico - St Peter Martyr Altarpiece
  • Fra Angelico - Annunciation. The Wedding of the Virgin
  • Fra Angelico - The Deposition
 
All 548 Artworks from Fra Angelico





 Fra Angelico
Fra Angelico is truly fascinating figure in the history of art. He was Dominican monk, one of many orders of monks in Italy during the 1400s and throughout the middle ages. His full name was Guido di Piero da Mugello but after entering the order was known as Fra Giovanni da Fiescole. Fra Angelico was a title that he was bestowed upon him. It means angelic brother, and indeed it was earned. He was a singular individual, Fra Angelico. Determined to inspire religious meditation, Fra Angelico set out with several assistants to paint a religious scene in each of the forty four cells for the monks. Frescoes were also added to meetings rooms and along corridors, leaving the Monastery of San Marco completely covered with this talented artists work.
[Page - Fra Angelico - 4Ko]

Fra Angelico (c. 1395 – February 18, 1455), born Guido di Pietro, was an Early Italian Renaissance painter, referred to in Vasari's Lives of the Artists as having "a rare and perfect talent".

Known in Italy as il Beato Angelico, he was known to his contemporaries as Fra Giovanni da Fiesole (Brother John from Fiesole). In Giorgio Vasari's Lives of the Artists, written prior to 1555, he was already known as Fra Giovanni Angelico (Brother Giovanni the Angelic One).

Within his lifetime or shortly thereafter he was also called Il Beato (the Blessed), in reference to his skills in painting religious subjects. In 1982 Pope John Paul II conferred beatification, thereby making this title official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows, used by contemporaries to separate him from other Fra Giovannis. He is listed in the Roman Martyrologyas Beatus Ioannes Faesulanus, cognomento Angelicus—"Blessed Giovanni of Fiesole, nicknamed Angelico".

The 16th century biographer Vasari says of him:

But it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety.

Biography
Early life, 1395–1436

Fra Angelico was born Guido di Pietro at Rupecanina, in the Tuscan area of Mugello, near Fiesole towards the end of the 14th century and died in Rome in 1455. Nothing is known of his parents. He was baptized Guido or Guidolino. The earliest recorded document concerning Fra Angelico dates from October 17, 1417 when he joined a religious confraternity at the Carmine, still under the name of Guido di Pietro. This record also reveals that he was already a painter, a fact that is subsequently confirmed by two records of payment to Guido di Pietro in January and February 1418 for work done in the church of Santo Stefano del Ponte. The first record of Angelico as a friar dates from 1423, when he is first referred to as Fra Giovanni, following the custom of those in Holy Orders of taking a new name. He was a member of the Observant Branch of the Dominican Order at Fiesole. Fra, an abbreviation of frate (from the Latin frater), is a conventional title for a friar or brother.

Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican. His illumination tutor is unknown. San Marco in Florence holds several manuscripts that are thought to be entirely or partly by his hand. The painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, which very soon became famous. According to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Carthusian Monastery of Florence; none such exist there now.

From 1408 to 1418 Fra Angelico was at the Dominican Convent of Cortona where he painted frescoes, now destroyed, in the Dominican Church and may have been assistant to or follower of Gherardo Starnina. Between 1418 and 1436 he was at the convent of Fiesole where he also executed a number of frescoes for the church, and the Altarpiece, deteriorated but restored. A predella of the Altarpiece remains intact in the National Gallery, London which is a superb example of Fra Angelico's ability. It shows Christ in Glory, surrounded by more than 250 figures, including beatified Dominicans.
The Maestà (Madonna enthroned) with Saints Cosmas and Damian, Saint Mark and Saint John, Saint Lawrence and three Dominicans, Saint Dominic, Saint Thomas Aquinas and Saint Peter Martyr; San Marco, Florence San Marco, Florence, 1436–1445

In 1436 Fra Angelico was one of a number of the monks from Fiesole who moved to the newly-built convent of San Marco in Florence. This was an important move which put him in the centre of artistic activity of the region and brought about the patronage of one of the wealthiest and most powerful members of the city's Signoria, Cosimo de' Medici, who had a large cell (later occupied by Savonarola) reserved for himself at the monastery in order that he might retreat from the world. It was, according to Vasari, at Cosimo's urging that Fra Angelico set about the task of decorating the monastery, including the magnificent Chapter House fresco, the often-reproduced Annunciation at the top of the stairs to the cells, the Maesta with Saints and the many smaller devotional frescoes depicting aspects of the Life of Christ that adorn the walls of each cell.

In 1439 he completed one of his most famous works, the Altarpiece for St. Marco's, Florence. The result was unusual for its times. Images of the enthroned Madonna and Child surrounded by saints were common, but they usually depicted a setting that was clearly heavenlike, in which saints and angels hovered about as divine presences rather than people. But in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael.

The Vatican, 1445–1455

The Crucified ChristIn 1445 Pope Eugenius IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peter's, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered by Pope Nicholas V the Archbishopric of Florence, and that he refused it, recommending another Friar for the position. While the story seems possible and even likely, if Vasari's date is correct, then the pope must have been Eugenius and not Nicholas. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, executing works for the Cathedral. Among his other pupils were Zanobi Strozzi.

From 1447 to 1449 he was back at the Vatican, designing the frescoes for the Niccoline Chapel for Nicholas V. The scenes from the lives of the two martyred Deacons of the Early Christian Church, St. Stephen and St. Lawrence may have been executed wholly or in part by assistants. The small chapel, with its brightly frescoed walls and gold leaf decorations gives the impression of a jewel box. From 1449 until 1452, Fra Angelico was back at his old convent of Fiesole, where he was the Prior.

Death and beatification

In 1455 Fra Angelico died while staying at a Dominican Convent in Rome, perhaps in order to work on Pope Nicholas' Chapel. He was buried in the church of Santa Maria sopra Minerva.
When singing my praise, don't liken my talents to those of Apelles.
Say, rather, that, in the name of Christ, I gave all I had to the poor.
The deeds that count on Earth are not the ones that count in Heaven.
I, Giovanni, am the flower of Tuscany.
—Translation of epitaph


See Apelles.

Tomb of Fra Angelico, Santa Maria sopra Minerva, RomePope John Paul II beatified Fra Angelico on October 3, 1982 and in 1984 declared him patron of Catholic artists.

Angelico was reported to say "He who does Christ's work must stay with Christ always". This motto earned him the epithet "Blessed Angelico", because of the perfect integrity of his life and the almost divine beauty of the images he painted, to a superlative extent those of the Blessed Virgin Mary.

—Pope John Paul II

From various accounts of Fra Angelico's life, it is possible to gain some sense of why he was deserving of canonization. He led the devout and ascetic life of a Dominican friar, and never rose above that rank; he followed the dictates of the order in caring for the poor; he was always good-humored. All of his many paintings were of divine subjects, and it seems that he never altered or retouched them, perhaps from a religious conviction that, because his paintings were divinely inspired, they should retain their original form. He was wont to say that he who illustrates the acts of Christ should be with Christ. It is averred that he never handled a brush without fervent prayer and he wept when he painted a Crucifixion. The Last Judgment and the Annunciation were two of the subjects he most frequently treated.

Artistic legacy

Through Fra Angelico's pupil Benozzo Gozzoli's careful portraiture and technical expertise in the art of fresco we see a link to Ghirlandaio, who in turn painted extensive schemes for the wealthy patrons of Florence, and through Ghirlandaio to his pupil Michelangelo and the High Renaissance.

Apart from the lineal connection, superficially there may seem little to link the humble priest with his sweetly pretty Madonnas and timeless Crucifixions to the dynamic expressions of Michelangelo's larger-than-life creations. But both these artists received their most important commissions from the wealthiest and most powerful of all patrons, the Vatican.

When Michelangelo took up the Sistine Chapel commission, he was working within a space that had already been extensively decorated by other artists. Around the walls the Life of Christ and Life of Moses were depicted by a range of artists including his teacher Ghirlandaio, Raphael's teacher Perugino and Botticelli. They were works of large scale and exactly the sort of lavish treatment to be expected in a Vatican commission, vying with each other in complexity of design, number of figures, elaboration of detail and skilful use of gold leaf. Above these works stood a row of painted Popes in brilliant brocades and gold tiaras. None of these splendours have any place in the work which Michelangelo created. Michelangelo, when asked by Pope Julius II to ornament the robes of the Apostles in the usual way, responded that they were very poor men.

Within the cells of San’Marco, Fra Angelico had demonstrated that painterly skill and the artist's personal interpretation were sufficient to create memorable works of art, without the expensive trappings of blue and gold. In the use of the unadorned fresco technique, the clear bright pastel colours, the careful arrangement of a few significant figures and the skilful use of expression, motion and gesture, Michelangelo showed himself to be the artistic descendant of Fra Angelico. Frederick Hartt describes Fra Angelico as "prophetic of the mysticism" of painters such as Rembrandt, El Greco and Zurbarán.

[Biography - Fra Angelico - 12Ko]
Guido di Pietro, en religion Fra Giovanni, dit Fra Angelico (Le Frère des Anges) ou parfois le peintre des Anges (Vicchio di Mugello, vers 1400 - Rome, 18 février 1455) est un peintre du Quattrocento de qui Vasari disait qu'il avait un « talent rare et parfait ». Il était connu de ses contemporains comme Fra Giovanni da Fiesole, dans les Vies écrit...
[Biography - Fra Angelico - 9Ko]
Fra Angelico (* zwischen 1386 und 1400 in Vicchio bei Florenz &dagger 18. Februar 1455 in Rom) - geboren als Guido di Pietro - war ein Maler der italienischen Frührenaissance. Vasari bezeichnet ihn in seinen Vite als mit einem raren und ausgezeichneten Talent ausgestattet. Er ist auch als il Beato Angelico, (etwa: der gesegnete Engelsgleiche), be...
[Biography - Fra Angelico - 5Ko]
Giovanni da Fiesole, al secolo Guido di Pietro (Vicchio, 1395 circa - Roma, 18 febbraio 1455), detto il Beato Angelico o Fra' Angelico, fu un pittore italiano. Fu effettivamente beatificato da papa Giovanni Paolo II nel 1984, anche se già dopo la sua morte era stato chiamato Beato Angelico sia per l'emozionante religiosità di tutte le sue opere che...
[Biography - Fra Angelico - 6Ko]
Beato Angelico O.P. más conocido como Fra Angelico O.P. o Fray Juan de Fiésole O.P (Vicchio di Mugello (Florencia) 24 de junio de 1390 c. - Roma 18 de febrero de 1455), pintor cuatrocentista italiano que supo combinar la vida de fraile dominico con la de pintor consumado. Fue llamado Angelico por su temática religiosa, la serenidad de sus obras y p...
[Biography - Fra Angelico - 4Ko]
Фра Анджелико (ок. 1395 - 18 февраля 1455), родился Гвидо ди Пьетро, ​​был итальянский художник раннего Возрождения, упомянутых в жизни Вазари из художников, поскольку это "редким и совершенным талантом". Известный в Италии как Ира Беато Анджелико, он был известен своим современникам, как Фра Джованни да Фьезоле (Брат Иоанн из Фьезоле). В жизни Джо...
[Biography - Fra Angelico - 1Ko]
法兰克福机场Angelico的(公元前1395 - 2月18日,第1455),出生圭多DI彼得罗,是早期意大利文艺复兴时期的画家,被称为“是一种罕见的完美人才”瓦萨里在艺术家的生活。 在意大利被称为IL Beato Angelico的,他被称为他的同时代人作为FRA乔瓦尼DA菲耶索莱(兄弟约翰从菲耶索莱)。事先书面1555艺术家,乔治瓦萨里的生活,他已经被称为法兰克福机场Angelico的乔瓦尼(兄弟乔瓦尼天使之一)。 在他的一生,或此后不久,他又被称为IL Beato(有福了),他在画宗教题材的技能。教皇约翰保罗二世在1982年授予的赐福,从而使这个称号官员。菲耶索莱有时被误解为他的正式名称的一部分,但它仅仅是镇的名字,他在那里参加了他的誓言,同时代的使用分开他从法兰克福机场Giovann...
[Biography - Fra Angelico - 5Ko]
Giovanni da Fiesole, nascido Guido di Pietro Trosini, mais conhecido como Fra Angelico, (Vicchio di Mugello, 1387 — Roma, 18 de Fevereiro de 1455) foi um pintor italiano, considerado o artista mais importante da península na época do Gótico Tardio ao início do Renascimento. É também chamado Beato Angelico, fra Giovanni ou fra Giovanni da Fiesole (f...
[Biography - Fra Angelico - 5Ko]
Fra Angelico (c. 1395 - 18 de fevereiro de 1455), nascido Guido di Pietro, foi um pintor Renascença italiana, que se refere o Vidas de Vasari dos Artistas como tendo "um talento raro e perfeito". Conhecido na Itália como il Beato Angelico, ele era conhecido por seus contemporâneos como Fra Giovanni da Fiesole (irmão de John Fiesole). Em Vidas Giorg...
[Biography - Fra Angelico - 13Ko]
フラアンジェリコ(紀元前1395年 - 1455年2月18日)グイドディピエトロが生まれたが、、、初期イタリアルネサンスの画家"珍しいと完璧な才能を"持っているとしてアーティストのヴァザーリの生活の中で呼ばれる。 イルベアートアンジェリコとしてイタリアで知られている、彼は​​フラジョヴァンニダフィエーゾレ(フィエーゾレからブラザージョン)と彼の同時代に知られていた。 1555年より前に記述されたアーティスト、のジョルジョヴァザーリの生活の中で、彼はすでにフラジョヴァンニアンジェリコ(ブラザージョヴァンニエンジェリックOne)と呼ばれていました。 その後すぐに彼の生涯や内に彼はまた宗教的な科目のペイントで自分のスキルを参考に、(祝福)ベアトイルと呼ばれていました。 1982年に教皇ヨハネパウロ...
[Biography - Fra Angelico - 6Ko]
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