The Early Renaissance




(Renaissance  Art Map)








 

          
Cosimo Rosselli





EXPLORATION:



Sandro Botticelli
"Visual Poetry"



   see also:
Venus - The Evening Star


*

See also COLLECTION:


Luca Signorelli


 


           

 
 

THE 15TH-CENTURY CYCLES IN THE SISTINE CHAPEL


Pope Sixtus IV Della Rovere summoned to Rome the best Umbrian and Tuscan painters in 1428. to decorate in fresco the lower walls of his new chapel: Signorelli (c.1441-1523), Perugino (1445-1523), Ghirlandaio (1452-1525), Cosimo Rosselli (1439-1507). and Botticelli (1445-1510) came to paint stories from the Old and New Testaments. An element of competition emerged between the various pictorial styles, which included Botticelli's ability to render the stories as decorative friezes, copiously borrowing from the Roman repertory of antiquity.
Perugino preferred ordered spaciousness and perspective, while a simpler, narrative style with overcrowded landscapes characterized the work of Rosselli and Luca Signorelli. In this remarkable contest, the compositional and narrative precepts set clown in 1435 by Leon Battista Alberti reached maturity. Some of these would soon be glimpsed in tlte youthful aspirations of Raphael, a pupil of Perugino and Michelangelo, a former pupil of Ghirlandaio. Nearby is the chapel of Nicholas V, beautifully decorated by Fra Angelico between 1447 and 1449 with the Lives of Saint Lawrence and Saint Stephen. These reveal a emphasis on narrative detail that is new to the artist.
                               

Luca Signorelli
Moses's Testament

1481-82
Fresco, 350 x 572 cm
Cappella Sistina, Vatican

 
 


See also COLLECTION: Luca Signorelli
  


Luca Signorelli

born 1445/50, Cortona, Republic of Florence
died Oct. 16, 1523, Cortona


in full Luca D'Egidio di Ventura de' Signorelli , also called Luca da Cortona Renaissance painter, best known for his nudes and forhis novel compositional devices.

It is likely that Signorelli was a pupil of Piero della Francesca in the 1460s. The first certain surviving work by him, a fragmentary fresco (1474) now in the museum at Cittą di Castello, shows a strong influence from Piero. His first signed work was a processional banner with a Madonna on one side and a Flagellation on the other; these hang in the Brera, Milan, as separate pictures. They still show links with the style of Piero, but the dominant influence is that of Florence and especially the scientific naturalism of the Pollaiuoli brothers,which suggests that Signorelli visited Florence in the 1470s. In 1479 he was elected to the Council of 18 in his native Cortona, and for the rest of his life he was active in politics.

About 1483 he went to Rome, where the “Testament of Moses” fresco in the Sistine Chapel is unanimously attributed to him. By that date his style had become fixed, his interest in dramatic action and the expression of great muscular effort marking him as an essentially Florentine naturalist. The S. Onofrio altarpiece (1484) for Perugia cathedral shows the same qualities. Between 1497 and 1498he was at work on a fresco cycle of scenes from the life of St. Benedict in the monastery at Monteoliveto Maggiore, near Siena.

His masterpiece, the frescoes of “The End of the World” and the “Last Judgment” (1499–1502), is in the chapel of S. Brizio in Orvieto cathedral. Those frescoes, which greatly influenced Michelangelo, are crowded with powerful nudes painted in many postures that accentuate their musculature.Signorelli had little sense of colour, but here his greenish and purple devils add to the horror induced by the strained poses and the anatomical details in the decayed bodies.

When commissions in Rome and Florence became infrequent, Signorelli returned to his less sophisticated Umbrian clientele. Most of his later works betray the hands ofhis numerous assistants.
 

 

 

Sandro Botticelli
The Trials and Calling of Moses

1481-82
Fresco, 350 x 572 cm
Cappella Sistina, Vatican

          

   
 


Cosimo
Rosselli

 

(b Florence, 1439; d Florence, ?7 Jan 1507).

Painter. He was documented in Neri di Bicci’s workshop between May 1453 and October 1456; in 1459 he received his first known commission, for an altarpiece in Santa Trinita, Florence (untraced). It is thought that he subsequently worked with Benozzo Gozzoli, whose influence is evident in his early work, but Cosimo was receptive to the styles of almost all his more gifted contemporaries, including Alesso Baldovinetti (said by Baldinucci to have been his master), Andrea del Verrocchio and the Pollaiuolo brothers. Cosimo’s first surviving works of importance are the frescoes in the style of Baldovinetti in the Salutati Chapel, Fiesole Cathedral, datable to between 1462 and 1466, but these are heavily restored. A better illustration of his early style is the St Barbara altarpiece (1468–9; Florence, Accad.) from the Flemish and German confraternity’s chapel in SS Annunziata, Florence; it has hard forms, incised outlines and stiff, slightly ungainly figures.


 

 

 


Cosimo Rosselli
Madonna and Child Enthroned
c.1480

 

 


Cosimo Rosselli
Virgin and Child with SS. John the Baptist, Andrew Bartholomew and Zenobius

 


Cosimo Rosselli
Crossing of the Red Sea

1481-82
Fresco, 350 x 572 cm
Cappella Sistina, Vatican

 

 


Cosimo Rosselli
The Last Supper

1481-82
Fresco, 349 x 570 cm
Cappella Sistina, Vatican

 

 


Cosimo Rosselli
Sermon on the Mount

1481-82
Fresco, 349 x 570 cm
Cappella Sistina, Vatican

 

 


Cosimo Rosselli
Tables of the Law with the Golden Calf

1481-82
Fresco, 350 x 572 cm
Cappella Sistina, Vatican
 

 

 

EXPLORATION:


Sandro Botticelli
"Visual Poetry"


see also:
Venus - The Evening Star



See also COLLECTION:


Luca Signorelli

 

 

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