#giovanni bellini facts

[enthblaze]

some fun facts about giovanni:

he's leo's twin (obviously)

he became the team medic after Leo took upon the title of leader

he feels inferior to Leo thanks to that

he learns the healing mantras just as Leo did as an additional part of his medical studies

unlike Leo, Van is a phenomenal liar. he's learnt the art of deception better than all of his brothers

he typically uses a bow and arrow and is often found in the background of fights rather than in the centre of the fray. he tends to pick off soldiers from afar and uses a variety of other throwing weapons (such as kunai and shuriken etc) to aid him

however, Van is also proficient with the use of Chinese Hook Swords (Shuang Gou), should he be caught in close combat. after learning of their mother's heritage, he took up the hook swords to honour their grandfather on Shen's side, who was also a martial artist

Leo and Van can wield each other's respective weapons with great skill too. they took the time to train extra hours to do so

Van gets along most with Donnie, purely because they're both found in the lab a lot of the time - Van because he's practicing medical procedures, and Donnie because he's tinkering or inventing

Van is the one who reigns Leo in when he's in a high strung frenzy, panicked state or in a fit of anger

they're often most in tune with each other's emotions more than the others. it makes it easier for Van to keep Leo in check before it gets too bad

he is named after italian artist Giovanni Bellini

when karai comes into the picture, Van is right by Raph in not trusting her

he resents karai for years. he believes her to have stolen his brother. it doesn't help they all share the same damn eye colour (amber)

when Leo goes through his rebellious phase with karai and shinigami, he's the one who gives him a huge lecture.

"you're OUR leader! you're MY brother!"

he hated that Leo was pulling away from him. Leo didn't even know Van was feeling this way. they have a long talk (ft a lot of crying)

Van is not as close to Splinter as Leo

Van calls the Shredder "Uncle Saki" when they cross paths or fight. he finds this hilarious

it makes the Shredder build a personal vendetta against him

his favourite food is waffle fries

and that's all ive got for today

[steliosagapitos]

~ "Saint Helena, the oil painting on wood by Cima da Conegliano, datable to 1495 and preserved in the National Gallery of Art in Washington, is not only used by the artist to represent the mother of Emperor Constantine, celebrated on August 18 and to whom traditionally the discovery of the wood of the Cross is attributed. In fact, it is also an opportunity for the artist to paint the beautiful sixteenth-century landscape of the hills of Conegliano, where on the right the walls rise up to the castle and the church of San Leonardo. In this ascending diagonal you can see on the left the walls along the 'refosso' - 'moat', the bridge of the Madonna, the small mill on the Monticano river and the historic center, dominated by the massive castle of San Salvatore di Susegana. On the right, the walls rise up to the castle and the church of San Leonardo - patron saint of the city of Conegliano. In the foreground - when embracing the cross - the saint assumes an evident classic pose, recalling the chiasmus of Polykleitos. The red cape - cleverly arranged - accentuates the bent leg. Her dress reveals a foot that - in addition to highlighting the artist's skill in rendering the chiasmus - approaches the base of the cross in an innocent and modest manner. In addition to the red-purple cloak - a symbol of royalty - the armor on her chest recalls classical antiquity and the aegis of Minerva, goddess of wisdom. For some scholars, the evidence of her breast would recall the role of her mother. The cerulean blue gown reveals the beautiful detail on her sleeves. It is not the only insert 'in the fashion of the time': even the hairstyle follows the Venetian canons in vogue in the fifteenth century. Cima's style can be recognized in the cleanliness of the pictorial rendering and in the meticulous attention to detail. The painter is one of the most authoritative exponents of the Venetian school of the fifteenth century, and his art is affected - from time to time - by the influence of the authoritative masters, such as Giovanni Bellini, Antonio Vivarini, Vittore Carpaccio, Giorgione and Marco Palmezzano." ~

[wallpaperpainter]

The Five Secrets That You Shouldn’t Know About Giovanni Bellini | Giovanni Bellini

DElTCH PROJECTS

“The master’s tools,” wrote the artisan Audre Lorde, “will never annihilate the master’s house.” “Isn’t activity a alternation of images that change as they echo themselves?” asked Andy Warhol. If the master’s accoutrement are portraits of kings, saints, and accessory women garbed in the ermine and glassy of their class; and if the corridors of ability articulation the master’s abode to the museum, area admirable white men are apparent authoritative decisions and adorable white women announce die things decided; and if those portraits are again with adolescent atramentous men from the Fulton Mall in city Brooklyn continuing in the abode of Giovanni Bellini’s Sf. Francis in the Desert, ca. 1480, or Anthony van Dyck’s Roi à la Chasse, 1635, or John Singer Sargent’s Countess of Rocksavage, 1922 – if, that is, ermine has afflicted into Adidas, girls accept afflicted into boys, white has afflicted into black, and die alone things constant are design earrings and a exciting mix of animal acknowledgment and egotistic activity – again what kinds of politics, pleasure, and dismantled image-series do we see?

Kehinde Wiley has fabricated such images back 2001, and until this appearance they were paintings. At awe-inspiring size, his oils apriorism their capacity as gods and princes, draped in logo-rich hoodies, decrepit with bling and crowned with altogether uncreased baseball caps, backdropped by floral and geometric motifs that agitate beyond their bodies and abutment them into the adhesive handmade apparent of the painting. This, too, has changed. The aureate postures and aces streetwear still pertain, but the works on appearance actuality called from Wiley’s 2008-2009 “Black Light” alternation were seventeen digitally manipulated photographs, anniversary barometer aloof over two by three anxiety (all

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Andrea Mantegna (Isola Mantegna, 1431 – Mantova, 13 settembre 1506) – Presentazione al Tempio (1455) Tecnica: tempera su tela Dimensioni: 68,9×86,3 cm – Gemäldegalerie, Berlino – giovanni bellini | giovanni bellini

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[thedalatribune]

© Paolo Dala

Virgin and Child (Madonna and Child) Giovanni Bellini (1480 - 1485) Louvre (Abu Dhabi, United Arab Emirates)

The Audacity Of Christian Art

How do you paint figure who is fully human, and fully divine? How do you show, in paint, that the person in a painting is human like you and me, and also God? It’s an amazingly daring thing to even attempt. But artists working in the Christian tradition have done exactly that for nearly two millennia… My background is in theology and I’m particularly interested in these paintings within a religious context. What do they say about God, and how do they say it?

…one of the greatest questions in Christian art: How do you paint Christ? Before starting, it is important to know that Christians believe in one God who is God the Father, God the Son, and God the Holy Spirit. This is the Trinity and God the Son is Jesus Christ. Christians believed that he was simultaneously fully human and fully divine. The Incarnation - the way in which Jesus Christ came down from heaven, lived and died on earth, was resurrected, and ascended to heaven again - has prompted some pretty complex theology. It has also prompted some extraordinary art…

Once you know the story (Thomas, an apostle of Jesus Christ), it’s not hard to  sympathize with Thomas. He knew Christ was human. He knew Christ was dead. It took an encounter with the Resurrected Christ Himself to make Thomas recognize His divinity… the challenge facing an artist depicting Christ. In a way, using the story of Thomas is simpler for an artist painting for a Christian audience. They viewer can do the work if they know the narrative. But most of the time the artist has to treat the viewer a bit like Thomas…

The challenge of painting the united humanity and divinity of Christ is a uniquely complex one. In fact, there’s something extraordinary and audacious about Christian art. If we think of the historical context from which it emerged, it’s astonishing that it ever did. The Hebrew Bible has a prohibition against graven images and under the Christian communities developed in a pagan Greco-Roman World that was full of multiple deities who could change their appearance. But Christians believed that one particular man was God Incarnate. Not a deity who changes shape, not a man with magic powers, but fully human and fully divine. Now how on earth do you paint that? Christian art attempts to do something which no other form of art has ever tried to do and the Christian art is, in one sense, a history of artistic responses to this enormous challenge of painting Christ. It’s an attempt that which must, necessarily, ultimately fail. Neither words, nor images can fully describe God. Nor can they explain the human and the divine could be united in one person. Nevertheless, Christians have used both words and pictures to explore their experiences of God and their belief in the Incarnation. And just as some religious language explicitly acknowledges its own inadequacy, some painters have drawn attention visually to the paradoxical nature of attempting to depict Christ… The audacity of Christian art lies in this continued attempt to undertake a truly impossible task.

Dr. Chloë Reddaway The Audacity of Christian Art: The Problem with Christ

[breitzbachbea]

10, 25 and 32 for the weird questions for writers!

Thank you a lot for this, kitay!

Weird Questions for Writers

10. Has a piece of writing ever “haunted” you? Has your own writing haunted you? What does that mean to you?

Has a piece of writing ever haunted me ... That's a good question, I don't think I have an answer to that. I have read some weird things already, like "Nichts" by Janne Teller or "Das Kartengeheimnis" (The Solitaire Mystery) by Jostein Gaarder, because my aunt gave that to me when I was perhaps way too young to grasp it. I should reread that one.

Haunt, haunt ... Books I read for sure had an impact on my life! But haunt? Does my own writing haunt me, because I think about it near-constantly? I don't know. I think there's a lot of ghosts in my mind and in the words I put on the page, but I can't call out anyone specifically.

25. What is a weird, hyper-specific detail you know about one of your characters that is completely irrelevant to the story?

Oh, I have a few of those!

Some Charlie ones: - Charlie has a giant extended family with a fucktillion cousins and he hates almost everyone. They are all on his mother's side and she hates them, too. It's mutual. - Charlie is neither a dog nor a cat person. His favourite animals are birds. - Charlie took Piano lessons upon his mother's wishes but got quickly bored and his father helped him dodge lessons and played football with him instead.

Some other ones: - Paddy's best friend Kilian has an older brother called Keith and their other best friend Angus has at least one younger sister - Some people have middlenames that are never brought up: Katta is called Katharina Lieselotte Schlosser after her godaunt (and her little brother is called Lukas Georg Schlosser), Robert is actually called Robert Brandon Bailey, and Fabio Fabio Giuseppe Bellini. Alois is called Alois Franz Huber and his sister Elisabeth Maria Huber, while Gwen (Charlie's mother) is actually a Gwendolyn Aoibheann Higgins, born Fitzpatrick. - Franci has an older half sister called Beatrice. They both grew up with their mother Daniela and he never actually met his father. - Michele's grandmother Lena actually wanted to become a musician, but was married off to his grandfather Giovanni instead. She's from Greece and never really learned Italian, despite living the rest of her life in Sicilian and raising one child there. - Michele also has aunts on his mother's side, but never met any of her family, since they kicked her out and disavowed her for dating Salvatore. So there's a very good chance there are some cousins of his running around in Syracuse. - Harry was the captain of his school's Gaelic Football Team! Didn't make him that much more popular with the rest of the students, but he and Charlie played on the team for a while and the Coach loved Harry. If shit hadn't gone upside down, he probably would have become a professional athlete for a career. - Robert's cigarette brand of choice is Mayfair, because once a cheap bastard, always a cheap bastard.

A lot of those facts are me shaking family members and friends out of my sleeves, but I can't, for some reason, recall other hyperspecific details right now. Tattoos maybe, that some people have? I don't dwell too much on people as individuals in the sense that I know them inside out, but I love to make OCs that aren't part of the story at all but populate the world oh so nicely. It makes it feel less like the world revolves around the characters I picked as the main ones and more like a camera just accidentally follows them ... If you would ask me, say, something very precisely though, like "What is XYZ's favourite colour?" I would be able to think about it and answer it!

32. What is a line from a poem/novel/fanfic etc that you return to from time and time again? How did you find it? What does it mean to you?

Some of these things I could maybe have put into the haunting category as well, but they probably fit better here.

I love a lot of quotes, but especially Gräfin Orsinas, from Emilia Galotti. Her "Die Unglücklichen ketten sich so gern aneinander" (The Unfortunate ones like to chain oneself together) is one of the top quotes of all time and I cannot even tell you why!!! I just like it, it's so ... compassionate and yet a bit overdramatic, like everything about her is. I love to use that saying when something goes wrong for more than one person.

Robert Harris' Cicero Trilogy has left quite the mark on my life. I really want to put this quote somewhere on my walls, because it motivates me like no other: "It is perseverance, and not genius that takes a man to the top. Rome is full of unrecognized geniuses. Only perseverance enables you to move forward in the world."

But the things that especially haunt me, that shake me to my core are scenes like at the end of the first part of Imperium, where Tiro describes all the senators who play an important role, sitting in the senate building during the setting evening sun ... He says he remembers them clear as day and can't believe that they, with their dreams and ambitions, like the building they are sitting in, are only dust now.

And one from the end, after Tiro is done writing about Cicero's life ... talked about his death ... As much as his death breaks my heart each time, despite it being inevitable, there is something so soothing to this end: "Often today I reread On the Republic, and always I am moved, especially by the passage at the end of book six, when Scipio describes how his grandfather appears to him in a dream and takes him up into the heavens to show him the smallness of the earth in comparison to the grandeur of the Milky Way, where the spirits of dead statesmen dwell as stars. The description was inspired by the vast, clear night skies above the Bay of Naples: I gazed in every direction and all appeared wonderfully beautiful. There were stars which we never see from earth, and they were all larger than we have ever imagined. The starry spheres were much greater than the earth; indeed the earth itself seemed to me so small that I was scornful of our empire, which covers only a single point, as it were, upon its surface. “If only you will look on high,” the old man tells Scipio, “and contemplate this eternal home and resting place, you will no longer bother with the gossip of the common herd or put your trust in human reward for your exploits. Nor will any man’s reputation endure very long, for what men say dies with them and is blotted out with the forgetfulness of posterity.”"

I had to reread The Cicero Trilogy immediately after the first time, because it ends in a way that makes you think "No! No this can't be how it ended! It started to well! All the fights we won! All the progress made ... for nothing?!" and bamm, you are back at rereading the Verres trial. Yet ... yet this was what probably made me sob the first time around. Maybe it all doesn't matter that much. Maybe you can find peace in tragedy, for it happened all the same ...

And ... I do have to shoutout two Fanfics. If only because I always bawl like a bitch when I reread Sadlygrove's Istanbul & The Bosporus ... Those fanfics made me unpack something I carried with me for 5 years in therapy ... I can't do them dirty and not mention them.

From "Istanbul", we have: "He couldn't do it. It had been… almost two hundred years since he'd last set foot inside the palace. And it wasn't even a palace any longer, he shouldn't feel oppressed by it. Really, if he were honest with himself, he didn't feel that way--oppressed, that was. He felt… sad. Haunted. There were too many ghosts there, both pleasant and miserable. The pleasant ones were worse."

[...]

""I'm not sorry for throwing that ring into the sea."

"And I ain't sorry for giving it to you."

Greece's heart began to hammer. "Did you ever actually love me as I am?" He already knew the truth. It was easier to forget it some days.

There was a long pause before Turkey gave him the closest thing to an answer Greece could have hoped for: "I will never let someone break my heart like you broke mine. Never again.""

I am sorry, but ... but ... I am close to tears just copying them. It resonates so well with me that the pleasant ghosts hurt so much worse than the miserable ones. And the dialogue, oh! OH! Nothing gets me like the "I know I hurt you. I know I hurt you when I loved you. But I also loved you and I will not deny that. I will not deny the pain and I will not deny the love. Both happened." Man fuck. I am crying again.

And there is also the end from "Mama Said Knock You Out" that lives in my head rentfree:

"For the first time in a long time, Sadiq tells the truth about himself: "No one's gonna love you like I do. Not now, not ever."

There was just the slightest hitch of breath: "I should certainly hope not. I doubt I could survive it.""

Mwah. Chef's kiss. If my TurGre Fanfiction "The Amulet" even only packs half as much punch as sadlygrove's does, I will die a happy and accomplished woman.

Oh, and how I found all of those ... Emilia Galotti we read in High School or whatever you wanna call Oberstufe, The Cicero Trilogy was mentioned by my Latin teacher when we did Cicero and my sister owned the first book. So I began reading it, stopped at some point but bought the entire trilogy in paperback just before I went to the Tagesklinik, aka ambulant psychiatry, for a few weeks. I first found Istanbul and Mama Said Knock You Out, because I liked A Persian Rug of No Importance so much ... Now, I usually only read porn and I avoided "Istanbul" like the plague because of the break-up tag ... knew my heart wouldn't be able to handle it ... and wouldn't you look at that, I was right! I bawled for hours after reading it and then had to talk about it the very same night in therapy.

[pop-punklouis]

saw speculation about whether or not this was Giovanni Bellini’s portrait of a Young Man. and if so..... I found an interesting academic journal describing the artist as gay.

J.M. Fletcher’s essay on Bellini’s social world has the purpose of fleshing out the regrettably scanty surviving information about Bellini the man, his family and friends, and his position in the social and professional life of later 15th century Venice. A surprising perhaps even shocking fact about Bellini’s private life recently discovered is that this pillar of the Venetian artistic establishment, was a practicing homosexual as an aged-widower, and perhaps for many years previously.”

[theolddalatribune]

The Audacity Of Christian Art by Paolo Dala

Virgin and Child (Madonna and Child) Giovanni Bellini (1480 - 1485) Louvre (Abu Dhabi, United Arab Emirates)

How do you paint figure who is fully human, and fully divine? How do you show, in paint, that the person in a painting is human like you and me, and also God? It’s an amazingly daring thing to even attempt. But artists working in the Christian tradition have done exactly that for nearly two millennia... My background is in theology and I’m particularly interested in these paintings within a religious context. What do they say about God, and how do they say it? 

...one of the greatest questions in Christian art: How do you paint Christ? Before starting, it is important to know that Christians believe in one God who is God the Father, God the Son, and God the Holy Spirit. This is the Trinity and God the Son is Jesus Christ. Christians believed that he was simultaneously fully human and fully divine. The Incarnation - the way in which Jesus Christ came down from heaven, lived and died on earth, was resurrected, and ascended to heaven again - has prompted some pretty complex theology. It has also prompted some extraordinary art...

Once you know the story (Thomas, an apostle of Jesus Christ), it’s not hard to  sympathize with Thomas. He knew Christ was human. He knew Christ was dead. It took an encounter with the Resurrected Christ Himself to make Thomas recognize His divinity... the challenge facing an artist depicting Christ. In a way, using the story of Thomas is simpler for an artist painting for a Christian audience. They viewer can do the work if they know the narrative. But most of the time the artist has to treat the viewer a bit like Thomas...

The challenge of painting the united humanity and divinity of Christ is a uniquely complex one. In fact, there’s something extraordinary and audacious about Christian art. If we think of the historical context from which it emerged, it’s astonishing that it ever did. The Hebrew Bible has a prohibition against graven images and under the Christian communities developed in a pagan Greco-Roman World that was full of multiple deities who could change their appearance. But Christians believed that one particular man was God Incarnate. Not a deity who changes shape, not a man with magic powers, but fully human and fully divine. Now how on earth do you paint that? Christian art attempts to do something which no other form of art has ever tried to do and the Christian art is, in one sense, a history of artistic responses to this enormous challenge of painting Christ. It’s an attempt that which must, necessarily, ultimately fail. Neither words, nor images can fully describe God. Nor can they explain the human and the divine could be united in one person. Nevertheless, Christians have used both words and pictures to explore their experiences of God and their belief in the Incarnation. And just as some religious language explicitly acknowledges its own inadequacy, some painters have drawn attention visually to the paradoxical nature of attempting to depict Christ... The audacity of Christian art lies in this continued attempt to undertake a truly impossible task.

Dr. Chloë Reddaway

Howard and Roberta Ahmanson Curator in Art and Religion, National Gallery (London, United Kingdom)

The Audacity of Christian Art: The Problem with Christ

[pervincaa2]

Why I think TPWK is an lgbt anthem

He starts the song with 'maybe', because it's not a fact, it's just a possibility to be able to find a place to be accepted. The PLACE: why is this place super important?

1: can be reference to lgbt centers, physical places that welcome people who are not accepted at home

2: it can also be a place in general, beign accepted everywhere (gay marriage is still not legal in most parts of the world)

3: a reference to an actual city

I've got a good feeling I'm just takin' it all in Floating up and dreamin' Droppin' into the deep end

"good feeling, dreaming" Harry is hopeful for a better and more welcoming world

"And if we're here long enough They'll sing a song for us And we'll belong" He hopes that if people stay strong and advocate for lgbt rights, "they" homophobes will change their prospective. "We'll belong" is in contrast to feeling out of place in a heteronormative society.

"Given second chances I don't need all the answers" This could reference to giving second chances to people who changed their mind about being homophobic. Could also be about someone that at first is scared to accept/discover his sexuality but then the person embraces it.

"Feeling good in my skin I just keep on dancin'" One of his many dancing references. Harry/the person is accepting himself

"And it's just another day And if our friends all pass away It's okay " The oppression of lgbt has always been a thing "it's just a day like any other" If their friends pass away, they will be remebered with honor, because they fought for justice and freedom.

It's a reference to one of the most important part of the lgbt history: the Stonewall riots, 1969, NYC. It started a movement about reclaiming freedom.

"All we ever want is automatic all the time" automatic means having the capability of starting, operating, moving. I think that could mean that all they/Harry want is to start changing things, all they ever wanted is to change things

(All together now!)= All is to include all the community and allies (for support) Maybe, we can (One more time!) find a place to feel good (Oh yeah!) And we can treat people with kindness (Just a little bit of kindness!)

Other 🌈 references:

WSH: drinking watermelon is about bjs. (Beyonce' song)

Falling: 1. I can't unpack the baggage you left=unpack a baggage=clothes=closet 2. the portrait behind Harry is Giovanni Bellini, an homosexual Italian painter.

Adore you (the🐟is a he, their love story is🌈) Walk in your raimbow paradise is the PLACE he talks about in TPKW.

In the Zane Lowe playlist🎶, H put A LOT of lgbt songs. The most loud is San Francisco by Scott McKenzie, literally the blueprint for TPWK.

"If you're going to San Francisco Be sure to wear some flowers in your hair If you're going to San Francisco You're gonna meet some gentle people there" / Maybe we can find a PLACE to feel good and tpwk & raimbow🌈PARADISE= reference to San Francisco

"For those who come to San Francisco Summertime will be a love-in there". Again with the theme of SUMMER linked to the theme of LOVE. "In the streets of San Francisco Gentle people with flowers in their hair"

"All across the nation Such a strange vibration People in motion There's a whole generation With a new explanation" It's about the changing of the lgbt community, the riots of NYC, the prides manifestations. 🌈

San Francisco is literally called the gay mecca, gay capital of the world, the original gay-friendly city. The raimbow🌈flag was crated there.

[the-paintrist]

Albrecht Dürer - Portrait of Michael Wolgemut - 1516

Albrecht Dürer (21 May 1471 – 6 April 1528),[4] sometimes spelt in English as Durer or Duerer, without umlaut, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by Emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches.

Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), are more Gothic than the rest of his work. His well-known engravings include the Knight, Death and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.

Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.

Dürer has been credited with inventing the basic principle of ray tracing, a technique used in modern computer graphics.

Michael Wolgemut (formerly spelt Wohlgemuth; 1434 – 30 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer.

The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486-9. In his atelier large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood retables, consisting of crowded subjects in high relief, richly decorated with gold and colour.

Wolgemut trained with his father Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to Hans Pleydenwurff in Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had maintained since Valentin's death.

In 1472 he married Pleydenwurff's widow and took over his workshop; her son Wilhelm Pleydenwurff worked as an assistant, and from 1491 a partner, to Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him.

[italianoldmasters-jlvieites]

Raphael and Raimondi’s The Judgement of Paris vs Manet’s Déjénenuer sur l’herbe, and Titian’s Pastoral Concert

It might look bizarre at first sight but there is always a link to be followed to understand much better the history of Art throughout time. On this occasion I wish to show what possible links might have ever existed between Rafael's The Judgement of Paris through Marcantonio Raimondi's engraving of the work (c.1510-20) and Édouard Manet’s Déjeneur sur l’herbe (1863), and Titian’s Pastoral Concert (1509).

The great humanist of the Renaissance, Pietro Bembo, was responsible for putting the perfection of Nature and Raphael’s art on the same level; the epitaph in Raphael’s tomb reads something like “Here lies Rafael. While he lived, Nature saw herself defeated. Now that he is dead, she is afraid to die with him."

His genius, indeed, was unique, so much so that many ulterior artists of all centuries strove to imitate or, at least, to be influenced by the artistry of the great old master: The classicist Baroque had him as his guide, from Annibale Carracci to Carlo Maratta and Velázquez, who resided for a time at the Vatican; or the Flemish masters, like Rubens and Van Dyck; and even the great Rembrandt. We could continue with Ingrès (in his portraits) to the compositions of Géricault and Delacroix, and to Édouard Manet, whose Breakfast on the grass was inspired by the stamp of Marcantonio Raimondi depicting the Judgement of Paris (as designed by Raffaello). Well, Rafael was the teacher to whom painters like Goya, or Picasso looked at.

In fact, our great old master, Raphael, was considered for centuries to come as the great teacher everyone studied and whose spatial conquests, grouping of figures and capturing of emotions and characters had to be thoroughly understood in order to achieve success themselves.

At the age of 17 Rafael was already signing as an independent artist, admired for the perfect imitation of his teacher. His painting stood out for the elegance and serenity or the delicacy and sweetness of the figures in the manner of Perugino, as well as for the beauty of the landscape backgrounds inspired by the Umbrian mountains; Rafael also achieved expressive depth and emotional vibration, which would increase in later years.

Being in Florence to learn from the great masters Leonardo and Michelangelo, Rafael, although he leaned towards Leonardo's proposals, since he would be attracted by his technique, color and chiaroscuro, and would not, however, be interested in delving into his sfumato nor did he use Michelangelo's pure white light with a sculptural effect. His command of space was overwhelming, as proved in his work School of Athens.

 Collaboration in Renaissance arts is best seen in this engraving of Marcantonio Raimondi with the design of Raffaello. The Trojan war lies at the centre of this historiated engraving: Paris being forced to decide which goddess—Juno, Minerva, or Venus—was the most beautiful. He chose Venus, seen receiving the golden apple upon promising to help him woo the most beautiful woman alive, Helen of Troy.

It is assumed that Marcantonio’s copperplate is executed from drawings that were produced for a Vatican fresco.

Due to the difficulty of distinguishing between the work of the two artists –Giorgione and Titian– who started to forge a kind of partnership in artistic terms, this painting was first attributed to Giorgone (1671) and then opinions on the author have been changing back and forth many times. Today, it’s commonly assumed to be the work of a young Titian. After the death of Giorgione in Venice because of the plague in 1510, the only true master left was Tiziano Vecellio as, perhaps, Giorgione’s natural heir.  

A most mysterious work in terms of allegorical interpretation (are the female nudes muses, or nymphs? Do they refer to Poetry? Is the composition a sort of Pastoral Poetry in painting?) which, perhaps, lacking in enough referents for the audience of the XXI century, however, there would probably be clues enough to the educated spectators of the Titian’s time to interpret the painting in the context intended by the artist and his time. In this regard, the setting of the whole composition evokes a kind of Arcadian context in which both man and nature lived in perfect harmony (see Theocritus, Virgil, Jacopo Sannazzaro). Thus, the two men figures, sitting on the grass surrounded by a great landscape –a shady hillside overlooking sunny glens and a distant mountain vista–, are accompanied by a couple of nude females who (supposedly) cannot be seen by either of them. And this seems so since the two men are amicably speaking to one another, oblivious to the two female nudes representing the idealized Renaissance beauty. This type of recourse has its origin in classical Roman times where it was a usual artistic tool in that art. Technically, Giorgione’s subject matter and style left his impromptu on Titian’s works; Giorgione would be the first Venetian to put aside Giovanni Bellini’s oil glazes in favour of a straightforward oil painting, that was to be apply with different densities and even allowing for the thick impasto seen in some canvasses, something that was followed suit by Titian.

Titian's poem to rural escape is famous for being parodied by Manet's Le Déjeuner sur l'herbe.

"Insults pour down on me like hail," Manet complained to Baudelaire after seeing the hostile reception of his work at the Salon des Refusés in 1863.

Manet’s painting introduces a motif the impressionists would love – the bourgeois picnic – but with a tough irony all its own. Manet deliberately evokes Renaissance paintings of sensual leisure – Raimondi’s engraving and Titian’s painting – but updates the idyll to show bohemian gents of his own class accompanied by women who may be prostitutes (what is a naked woman doing sitting in the company of two supposedly clothed gentlemen?) It's a scene of the outskirts of Paris daily life disguised as a rustic fantasy. Therefore, what Manet reflects is not any classical myth nor religious topic, just an ordinary scene but with the eyes of a XIXth century artist and a particular social milieu which love such representations.

As was the case at the time, female nudes were highly sought after and really appreciated, as long as they represented mythical personae or just goddesses; many viewers loved to contemplate the paintings that included nudes as if they were voyeurs; the point is, however, that Paris society (or French or European in general!) perceived the public exposure of  the naked body of a known woman (in real life or in canvas) as being a prostitute;  something which our main female character seems not to give importance to the voyeuristic gazes that she might be attracting; her pose is quite natural and she does not seem to be bothered or untroubled by the look of it. Furthermore, both she and the man are looking straightforward to the spectator in a certain nonchalant and confident way. One could even say that the naked woman (one of Manet’s most famous models, by the way, called Victorine Meurent) is nearly challenging the spectator’s gaze with her serene, jolly and carefree manner.

The Judgement of Paris, c. 1510-20. Engraving (29.1 x 43.7 cm). The MET. New York. Marcantonio Raimondi (c.1480-c.1534)

Pastoral Concert or Fête champêtre, c.1508-10. Oil on canvas. 105 x 137 cm.  Musée du Louvre, Paris. Tiziano Vecellio, (Pieve di Cadore, 1488/1490 - Venice, 1576)

 Le Déjenuer sur l’herbe, 1863 Oil on canvas. 208 x 264.5 cm. Musée d’Orsay. Paris. Édouard Manet (1832-1883)

 Jesús Lorenzo Vieites

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[janiedean]

A fellow opera lover, awesome! I do not come across those often irl or on tumblr :-) What are some of your favourite operas? And which composers/types of opera do you tend to like less?

we’re not many sadly but we’re quality! ;) *high five*

in order:

going by composers my top five is mozart, rossini, donizetti, verdi aaand idk if he counts for opera but he did one so I’ll throw in beethoven too because fidelio is 100% top ten operas material forever and ever amen to me so he counts ;)

that said going by operas regardless of the fact that I have verdi in there I tend to prefer comedies to tragedies but when it comes to specific titles.. while I’m of the objective opinion that don giovanni is the best opera ever written period by anyone, for mozart def magic flute, the da ponte trilogy in total, la clemenza di tito and idomeneo, for rossini I’ll go with guillaume tell, comte ory, cenerentola and matilde di shabran but ngl I’ll take any by both, for donizetti I’m going with elisir, convienze e inconvenienze teatrali, lucia and don pasquale but same as above, with verdi my faves are un ballo in maschera and la traviata but admittedly the only one I’ll pass on is aida which never really clicked with me, then as I said before fidelio is 100% my thing in the centuries amen, going by other people’s titles from bellini my fave is i capuleti e i montecchi but i puritani is also p. good, also i love offenbach’s les contes d’hoffmann, auber’s fra diavolo, cajkovskij’s eugene onegin and gounod’s faust but I also don’t mind a few modern ones (I mean berg’s lulu isn’t easy listening but I DO love it xD)

what I don’t like which is usually less than what I like, but: wagner is Not My Thing At All Whatsoever (I’ve seen parsifal once I was literally hallucinating is2g) and I generally can’t go there, idc for puccini whatsoever (tho i’ve enjoyed modern re-imaginations of his stuff ie rent and m. butterfly but when it comes to the originals.... meh), as stated above I don’t really care for aida specifically, I don’t dislike handel but he tends to be too much for me at once (I mean I tried watching julius caesar on dvd once and I had to do it in two evenings xD), I don’t dislike andrea chenier but I also wouldn’t go see it if I didn’t like specific singers, but generally idc for late 1800/early 1900 especially if it’s extra long tragedies and while I’ll enjoy drama/unhappy endings esp if it’s one of the composers above I’d still take comedy/mixed bags of it (like don giovanni which is Above All Judgment anyway) over All Tragedies All The Time ;)

[lostprofile]

ALLEGORIES OF VIEWING

In Vermeer’s Allegory of Faith, the apparatus of illusionism, seen in the carefully measured tiles, the weave of the tapestry, the quality of light, functions confidently. Within that illusion, however, a group of conspicuous, yet inexplicable details—a crushed serpent, a crystal sphere hanging trom a ribbon, a globe held under foot, an apple on the floor, a woman gazing upward, a large painting of the Crucified Chrst, a tapestry pulled back—prevent the picture from cohering as a representation of expected reality.

These vignettes indicate the existence of a second, non-literal sense of the painting, which is just as pallable as the literal sense is visual. That second, allegorical sense is, in this case, speaks to Christian notions of faith, sin and salvation. Together, the literal and allegorical senses suggest a world in which mundane, visible reality is shot through with intimations of a divine, invisible order that exists beyond the reach of our senses.

Although he clearly disdains it Coleridge’s definition of allegory from The Stateman's Manual (1816) and its opposite, the symbol is illuminating:

Now an Allegory is but a translation of abstract notions into a picture-language which is itself nothing but an abstraction from objects of the senses; the principal being even more worthless than its phantom proxy, both alike unsubstantial and the former shameless to boot. On the other hand, a Symbol is characterized by a translucence of the Special in the Individual or of the General in the Especial or of the Universal in the General. Above all by the translucence of the Eternal through and in the Temporal. It always partakes of the Reality which it renders intelligible; and while it enunciates the whole, abides itself as a living part in that Unity, of which it is the representative. The other are but empty echoes which the fancy arbitrarily associates with apparitions of matter.

We can see an examples of symbolism in the Annunciation triptych painted by Robert Campin around 1423. Objects like guttering candles and mousetraps could be said to “partake of the reality which it renders intelligible,” insofar as they are objects one would expect to find in a daylit room or a carpenter’s shop. The fact that they also participate in the construction of a higher reality is not immediately apparent, but it is precisely this self-effacing quality of the symbol that appeals to Coleridge.

One could say that the relationship between the object signified and the signifying image in allegory is arbitrary and intentional, while in the symbol, it is conventional. In allegory the signified cannot be decoded in and intuitive, immediate way; instead intellectual effort is required.

While the signified may differ, the mechanics of signification are remarkably consistent across allegorical painting. Like Giovanni Bellini’s Sacred Allegory, Vermeer’s allegoriesis is religious in nature, but it need not be (although allegory is very well suited for the conveying of religious mysteries). The so-called Allegory of Love with Venus, Cupid, and Time, painted by Bronzino in the 1540s, uses the same signifying machinery to speak of sensual, profane matters. Bronzino's allegoresis is more even and intense than that of Vermeer. Neither the images figures, actions, objects, nor the non-space they inhabit, can be understood in a literal sense, which forces the viewer to seek a figurative meaning.

As Coleridge decries, but correctly describes, the allegorical signifier is wholly artificial, arbitrary, and, one might add, opaque. Allegory flaunts its constructed nature: in the Roman de la Rose, Amant meets Fauxsemblant, Ami, La Vieille, and Nature on his way before assailing the Rose in a sealed garden.

Such later critics as Walter Benjamin and Paul de Man, however, viewed allegory as a mode that insistently foregrounds its own procedures. This relentless self-reflexivity contrasts with the supposedly transparent and transcendent symbol, which deceptively conceals its signifying apparatus, even though it is ontogically equal to allegory in its displacements. The combination of self-referentiality and high artifice have made the once disreputable medieval genre into the preferred mode expression of post-modernism.

Selected Bibliography

Walter Benjamin, The Origins of German Trauerspiel (1928; eng trans Cambridge, 2019). Angus Fletcher, Allegory: Theory of a Symbolic Mode (New York, 1964). Paul de Man, Allegories of Reading (New Haven, 1979). Hans Georg Gadamer, Wahrheit und Methode (Tübingen, 1960).  C.S. Lewis, The Allegory of Love (Oxford, 1935).

[lauradunzik]

1.Writing and Research:

Titian 1538 Venus of Urbino. Oil on canvas; 47" x 65". 

A little known fact about me is that I was born in a Pennsylvania hospital, which was founded by Benjamin Franklin. 

1.)This painting was originally made as a gift to the Duke of Urbino Guidobaldo II Della Rovere as a gift for his wife.

2.)The woman in the painting is Venus, the goddess of love.

3.)The sleeping dog at the end of the bed is thought to represent loyalty and faithfulness.

4.)Titian was Italian.

5.)Titian was taught by Sebastiano Zuccatov and Giovanni Bellini.

When I first looked at this painting I was in awe. The painting is very beautiful and I could tell almost instantly that there was a lot of symbolism throughout the piece. I love how all of the colors have a more cool tone to them. After learning more about the piece I had more of an admiration for the work. I now see that there is a lot more symbolism throughout the work than I originally saw. 

2.Art and Writing:

This piece of art was made using colored pencils. It is used as a reminder of my Great Uncle. He was very talented and did many pieces of work. I think it’s is very beautiful. The birds and the tree seem extremely realistic. We have many more of his pieces throughout my house tying in with the “bird” theme.

3.Writing a Self Portrait:

I am 17 years old female. While I was born in Philadelphia, I have lived in Florida since I was three. I am white. For fun I enjoy hanging out with friends and going to the beach or the pool. I am not a member of any organized groups. I work as a cashier at Publix. The thing that makes me unique is my care for everyone. I always like to make sure everyone is happy and satisfied with what is going on in the moment.

4.Self-Portrait Art Project:

[wallpaperpainting]

Eliminate Your Fears And Doubts About Giovanni Bellini | Giovanni Bellini

SEOUL, South Korea — South Korea has appear 50 new cases of COVID-19 as admiral activate acute nightclubs, karaoke apartment and gyms to annals their barter with smartphone QR codes so they could be calmly amid aback needed.

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The abstracts from the Korea Centers for Ache Control and Prevention on Wednesday brought civic totals to 11,902 cases and 276 deaths. At atomic 41 of the cases were appear from the densely active Seoul burghal area, area admiral accept struggled to trace transmissions affiliated to ball venues, abbey gatherings and low-income workers who couldn’t acquiesce to breach home.

Since backward May, the country has been advertisement about 30 to 50 new cases per day, a improvement that has threatened to abolish some of the hard-won ets adjoin the virus as bodies activate to affluence on distancing.

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The civic claim of QR codes at “high-risk” venues appear afterwards a week-long balloon run in the cities of Seoul, Incheon and Daejeon, area some 300 businesses acclimated an app developed by internet aggregation Naver to aggregate the advice of some 6,000 customers. The government is additionally auspicious churches, libraries, hospitals and cine theaters to voluntarily accept the technology.

South Korea has aggressively mobilized abstruse accoutrement to trace contacts and accomplish quarantines.

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HERE’S WHAT YOU NEED TO KNOW TODAY ABOUT THE VIRUS OUTBREAK:

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— Experts anguish that a added billow of the coronavirus in under-developed regions

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[theartwolf]

Beyond Botticelli: successes and disappointments at Sotheby's old masters sale

Beyond Botticelli: successes and disappointments at Sotheby's old masters sale Sandro Botticelli - The man of sorrowsPieter van Mol - Diogenes with his lantern looking for an honest man As expected, Sandro Botticelli's "The man of Sorrows" was the star of Sotheby's Master Paintings & Sculpture auction on January 27, 2022, but other less hyped works achieved results that for better or worse deserve comment. Images: Sandro Botticelli, "The man of Sorrows," c.1500. Sold for $45.4 million ·· Pieter van Mol, "Diogenes with his lantern looking for an honest man." Sold for $5.8 million. A year after auctioning a beautiful portrait painted by Sandro Botticelli for more than $92 million, Sotheby's brought to auction "The man of Sorrows," painted during the last period of the artist's career, carrying a pre-sale estimate in excess of $40 million. Although we have already warned that Sotheby's clearly did err on the side of over-enthusiasm in defining the painting as a “masterpiece”, the work is an interesting testimony to the complex relationship between the great Florentine artist and religion. In the end, the painting was auctioned for $45.4 million, amid an almost unanimous sense of disappointment. Personally, I don't see it that way. Except for exceptional cases (such as Leonardo's "Salvator Mundi") this type of paintings, deeply religious, not at all monumental and definitely not "sexy", do not usually achieve great results at auction, and the $45.4 million is a solid result for a painting that, I insist, is far from being a masterpiece. Looking for disappointments, let's focus on Giovanni Bellini's "Madonna Phillips". Like the Botticelli, it is a religious painting, seemingly unattractive despite the fact that the virgin's face is quite beautiful. But it is a Bellini, one of the great names in Italian painting whose works rarely appear on the market, and the pre-sale estimate of between $3 million and $5 million seemed more than reasonable. Despite this, the painting did not find a buyer. Neither did a small panel of “St. Mary Magdalene Reading” by Correggio, although in this case the pre-sale estimate of $4.5 to $5.5 million did seem too optimistic for this small and not very attractive panel painting. Let's talk now about the successes: the "oopart" of the auction, a figure of a man from the Old Kingdom of Ancient Egypt, which had a pre-sale estimate of between $3 million and $5 million, sold for almost $10 million, possibly recognizing both its quality and its remarkable state of preservation (considering its almost 4. 500 years old), as well as its provenance, having been legally exported from Egypt in 1921. "Diogenes with his lantern looking for an honest man," an excellent composition by Pieter van Mol, doubled its most optimistic pre-sale estimate, fetching $5.8 million. Due to its style, period and skill in the use of chiaroscuro, a good companion to this painting might be "Young Man Drawing by Candlelight," a small but powerful painting by Gerrit Dou that sold for $746,000, crushing its presale estimate of between $150,000 and $250,000. A "Portrait of the Marquis de Caballero" by Francisco de Goya realized $2.2 million, well above its presale estimate of between $400,000 and $600,000. In the "Master to Master: The Nelson Shanks Collection" auction, "Venus and Cupid in a Landscape," a beautiful work that Sotheby's attributes to Dosso Dossi, sold for $1.47 million, slightly below its pre-sale estimate of $1.5 million to $2 million. Read the full article

[anastpaul]

Saint of the Day – 18 February – Blessed John of Fiesole/Fra Angelico O.P. (1387-1455)  Born in 1387 in Vicchio di Mugello near Florence, Italy as Guido di Pietro – he died on 18 February 1455 in the Dominican convent in Rome, Italy of natural causes.   He was known to contemporaries as Fra Giovanni da Fiesole (Brother John of Fiesole) and Fra Giovanni Angelico (Angelic Brother John).   In modern Italian he is called il Beato Angelico (Blessed Angelic One);  the common English name Fra Angelico means the “Angelic friar”.   In 1982, Pope John Paul II proclaimed his beatification in recognition of the holiness of his life, thereby making the title of “Blessed” 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 as a Dominican friar and was used by contemporaries to separate him from others who were also known as Fra Giovanni.   He is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—”Blessed Giovanni of Fiesole, surnamed ‘the Angelic’ “.   Patron of Catholic Artists.

Fra Angelico was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having “a rare and perfect talent”.

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.   Nothing is known of his parents.   He was baptised Guido or Guidolino.   The earliest recorded document concerning Fra Angelico dates from 17 October 1417 when he joined a religious confraternity or guild at the Carmine Church, still under the name of Guido di Pietro.   This record 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 (Friar John), following the custom of those entering one of the older religious orders of taking a new name.  He was a member of the local community at Fiesole, not far from Florence, of the Dominican Order; one of the medieval Orders belonging to a category known as mendicant Orders because they generally lived not from the income of estates but from begging or donations.   Fra, a contraction of frater (Latin for ‘brother’), is a conventional title for a mendicant friar.

According to Vasari, Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican and an illuminator. The former Dominican convent of San Marco in Florence, now a state museum, 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 Charterhouse (Carthusian monastery) of Florence; none such exist there now.

From 1408 to 1418, Fra Angelico was at the Dominican friary of Cortona, where he painted frescoes, now mostly destroyed, in the Dominican Church and may have been assistant to Gherardo Starnina or a follower of his.   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, which was deteriorated but has since been restored.   A predella of the Altarpiece remains intact and is conserved in the National Gallery, London, and is a great example of Fra Angelico’s ability.   It shows Christ in Glory surrounded by more than 250 figures, including beatified Dominicans.

The Last Judgement and  The Transfiguration shows the directness, simplicity and restrained palette typical of these frescoes. Located in a monk’s cell at the Convent San’ Marco and intended for private devotion. 

San Marco, Florence, 1436–1445   In 1436, Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built convent or friary 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 governing authority, or “Signoria” (namely Cosimo de’ Medici), who had a cell reserved for himself at the friary 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 convent, including the magnificent fresco of the Chapter House, the often-reproduced Annunciation at the top of the stairs leading to the cells, the Maesta (or Coronation of the Madonna) with Saints (cell 9) and the many other devotional frescoes, of smaller format but remarkable luminous quality, depicting aspects of the Life of Christ that adorn the walls of each cell.

In 1439 Fra Angelico completed one of his most famous works, the San Marco Altarpiece at Florence. The result was unusual for its time. Images of the enthroned Madonna and Child surrounded by saints were common, but they usually depicted a setting that was clearly heaven-like, 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.

San Marco Altarpiece

The Vatican, 1445–1455 In 1445 Pope Eugene 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 the Archbishopric of Florence by Pope Nicholas V and that he refused it, recommending another friar for the position.   The story seems possible and even likely.   However, if Vasari’s date is correct, then the pope must have been Eugene IV and not Nicholas, who was elected Pope only on 6 March 1447.   Moreover, the archbishop in 1446–1459 was the Dominican Antoninus of Florence (Antonio Pierozzi), canonised by Pope Adrian VI in 1523. 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 Fra Angelico 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 returned to 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 on an 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

The English writer and critic William Michael Rossetti wrote of the friar:

“From various accounts of Fra Angelico’s life, it is possible to gain some sense of why he was deserving of canonisation.   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-humoured.   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 Judgement and the Annunciation were two of the subjects he most frequently treated.”

The Crucified Christ

Pope John Paul II beatified Fra Angelico on 3 October 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.”— St Pope John Paul II

(via AnaStpaul – Breathing Catholic)