#Cosimo Rosselli

[koredzas]

Cosimo Rosselli (1439 - 1507) - The Assumption of the Virgin with Saints. Detail.

[storiearcheostorie]

MOSTRE / Atmosfere gotiche e donne fatali: il Medioevo e il Rinascimento che stregò i Preraffaelliti

MOSTRE / Atmosfere gotiche e donne fatali: a Forlì il Medioevo e il Rinascimento che stregò i Preraffaelliti

Redazione Tra gli anni Quaranta dell���Ottocento e gli anni Venti del Novecento, l’arte storica italiana, dal Medioevo al Rinascimento, ha un forte impatto sulla cultura visiva britannica, in particolare sui Preraffaelliti. Questo movimento artistico, nato nell’Inghilterra vittoriana di metà Ottocento a opera di alcuni artisti – William Holman Hunt, John Everett Millais e Dante Gabriel Rossetti –…

[thiswaycomessomethingwicked]

please appreciate the funniest painting of Ficino (left) and Angelo (right) I've ever seen. Marsilio had blond hair, why is his dark brown? Angelo doesn't look like any other contemporary portrait I've ever seen of him lol. Pico (centre) at least looks a little like Cristofano dell'Altissimo's posthumous portrait of him and that one facial reconstruction from 2008.

This is a detail from Cosimo Rosselli's Miracle of the Sacrament painted from 1485-86 (so very much when all three men were alive. Rosselli could have gone and looked at their faces).

However, in Rosselli's defence, no one seemed able to agree on Marsilio's appearance.

Comparisons

Marsilio is on the far left and Angelo is second from right (Landino is the grumpy guy looking towards the audience and the Greek scholar Demetrios Chalkondyles is the curly haired one on the far right). This is from a detail of Domenico Ghirlandaio's Angel appearing to Zacharias done for the Tornabuoni chapel. This is a contemporary portrait of all four scholars.

Marsilio on a coin from around 1499 (again, contemporary).

this is an illumination from one of his manuscripts - done when Marsilio was still alive.

another contemporary illumination from one of his manuscripts.

Posthumous Portraits

The famous bust of him by Andrea Ferrucci in the Duomo dates from 1521. Andrea was born in 1465 in Fiesole and while it seems he didn't come to Florence until after Marsilio's death, it's not out of the realm of possibility that he might have seen the man. Not likely, but not impossible.

My favourite engraved portrait of him wherein he is given the MOST haunted eyes is also quite posthumous.

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anyway, going nowhere in particular with this. I just saw the Rosselli portrait of Marsilio and was like what?? Did you never meet the man??

[the-soundofmyheart]

My favorite artworks of the galleria dell'accademia (Italy, Florence)

David - Michelangelo (1502-1504)

Monument to Elisa Baciocchi - Lorenzo Bartolini (1808-1813)

Saints Stephen, James the Great and Peter - Domenico Ghirlandaio (1493)

Annunciation - Filippo Lippi (1472)

Madonna con bambino e santi - Botticelli ( 1480-1485)

Santa Barbara, San Giovanni Battista e San Matteo - Cosimo Rosselli (1468-1470)

Scena di danza - Lo Scheggia (1450)

[stoicbreviary]

Cosimo Rosselli, The Sermon on the Mount (c. 1482) 

[sunthatiam]

Cosimo Rosselli - The Crucifixion. c.1503

[mariozepponiarte]

ALBERTINELLI, Mariotto Pittore italiano, scuola fiorentina (n. 1474, Firenze, m. 1515, Firenze) Visitazione 1503 Olio su tavola, 232 x 146 cm Galleria degli Uffizi, Firenze Mariotto Albertinelli, allievo di Cosimo Rosselli, tenne bottega con Fra Bartolomeo e, come lui, condivise l'interesse per la pittura del Perugino, il cui esempio illuminante è evidente in quest'opera, unanimemente considerata il suo capolavoro. Tuttavia, non possiamo non notare anche la monumentalità delle figure e il paesaggio geometricamente suddiviso, influenze, queste, di Fra Bartolomeo. L'ampiezza spaziale è ancora caratteristica del Perugino, ma il contenuto narrativo è più vigoroso.

[jamesgraybooksellerworld]

Illustrations to aid in artificial memory.

660j. Cosimo Rosselli (1439-1507) edited by Damiano Rosselli . Thesaurus artificiosae memoriae.concionatoribus, philosophis, medicis, iuristis, oratoribus, procuratoribus, caeterisq ; bonarum litterarum amatoribus, negociatoribus insuper alijsq ; similibus, tenacem ac firmam rerum memoriam cupientibus, perutilis : ac omnes sui amatores & possessores valde locupletans, insimulq ; decorant : cum…

[joseandrestabarnia]

Lorenzo Monaco (Florencia, noticias 1391-1422) Adoración de los Magos. El Redentor, los profetas Isaías y David (en las cúspides) Alrededor de 1420 Témpera sobre madera Inventario 1890 no. 466

La obra, de vivos colores y tono de cuento de hadas, pertenece a la etapa tardía de Lorenzo Monaco. Originalmente dotado de un marco de tres arcos rematados por una cúspide, en la segunda mitad del siglo XV el retablo asumió una forma rectangular, en línea con el estilo renacentista, mediante la adición de un marco decorado con la Anunciación y dos Profetas, realizados por el pintor florentino Cosimo Rosselli (1439-1507).

Información de la Gallerie degli Uffizi, fotografía de mí autoría.

[koredzas]

Cosimo Rosselli (1439 - 1507) - Madonna and Child.

[jo526]

Rosselli - The Sermon on the Mount & Healing of the Leper [1481-82] por Peter Via Flickr: Cosimo Rosselli The Sermon on the Mount and Healing of the Leper [1481-82] Vatican, Sistine chapel, north wall 

[bones-ivy-breath]

The Crown of the Virgin by Rosselli, Cosimo, 1439-1507

From The New York Public Library

[libertyhall]

THE WONDERS OF ITALY : Cappella sistina - various artists (among which Michelangelo stands out)

[rubenista]

Cosimo Rosselli, The Adoration of the Christ Child (detail), 1485 - 1507. Oil on panel, 114.5cm. Rijksmuseum, Amsterdam.

[lionofchaeronea]

The Sermon on the Mount, Cosimo Rosselli, 1481-82

[hildegardavon]

Cosimo Ulivelli, 1625-1705

Portrait of Don Lorenzo de Medici (1599-1648) under the protection of Athena, goddess of Arts and War, ca.1642/45, oil on canvas, 98x78 cm 

Private Collection

This painting, which is certainly Baroque but retains some traces of Mannerism, reflects this apprenticeship with Rosselli, particularly visible in the bright, almost acidulous colors, the treatment of the sky or the hair and plume of the helmet, the softness of the faces; we can also detect influences from his future master Volterrano (1611-1689), himself a pupil of Rosselli's since 1628, whom Ulivelli was able to frequent as early as the 1630s. The tight framing, giving the impression of a reduced painting, was a method frequently used at the time.