Giacobbe Giusti, Villa Medicea La Petraia

Giacobbe Giusti, Villa Medicea La Petraia

Giacobbe Giusti, Villa Medicea La Petraia

Médaillon de Giusto Utens, Museo di Firenze com’era

Giacobbe Giusti, Villa Medicea La Petraia

Giacobbe Giusti, Villa Medicea La Petraia

Giacobbe Giusti, Villa Medicea La Petraia

Villa La Petraia gardens, Florence, Italy

Villa La Petraia gardens, Florence, Italy

 

La Villa Medicea La Petraia est une villa médicéenne qui se situe dans la zone collinaire du Castello, au 40 de la Via Petraia 40 à Florence.

Histoire

En 1364, le palagio della Petraia appartenait à la famille Brunelleschi. En 1422, Palla Strozzi l’a acquis en lui ajoutant les terres adjacentes. Au XVIe siècle, la villa devint la propriété des Salutati, qui la vendent ensuite à Cosme Ier de Médicis qui, en 1544, la donne à son fils, le cardinal Ferdinand en 1568.

Les travaux d’embellissement de 1566 furent étendus par Ferdinand, devenu Grand-duc en 1587, qui le transforma en une résidence digne d’un Prince. En 1589, la villa est assignée à son épouse Christine de Lorraine pour ses noces. La villa passe sous l’apanage de Don Antonio de Médicis en 1609.

Sous la Maison de Savoie, elle devint la résidence du roi Victor Emmanuel II et de Rosa Vercellana, son épouse morganatique.

Depuis 1919, elle fait partie des biens de l’état.

Jardin

Son jardin à l’italienne a été dessiné par Le Tribolo ainsi que sa Florence sortant des eaux sculptée par Jean de Bologne

Lieu de conservation

Dans ses dépôts est conservé la Sémiramis (1623-1625) de Matteo Rosselli, un des quatre tableaux consacrés à la vie des femmes célèbres qui décoraient la salle d’audience de la grande-duchesse Marie-Madeleine d’Autriche dans la Villa di Poggio Imperiale[1].

https://fr.wikipedia.org/wiki/Villa_Medicea_La_Petraia

http://www.giacobbegiusti.com

Giacobbe Giusti, BEATO ANGELICO: Crucifixion with Saints

Giacobbe  Giusti, BEATO ANGELICO: Crucifixion with Saints

 

Détail : groupe des quatre Marie.

Détail : médaillon du bas représentant Giovanni Dominici.

Détail : saint Thomas d’Aquin.

Détail : saint Benoît de Nursie.

Giacobbe Giusti, Last Judgment, Santa Maria in Piano, Loreto Apruntino

Giacobbe Giusti, Last Judgment, Santa Maria in Piano, Loreto Apruntino

http://www.ruvesi.it/il-giudizio-universale-di-santa-maria-in-piano-a-loreto-aprutino/

http://www.giacobbegiusti.com

Giacobbe Giusti, RUBENS: The Battle of Anghiari

Giacobbe Giusti, RUBENS: The Battle of Anghiari

The Battle of Anghiari (1505) is a lost painting by Leonardo da Vinci, at times referred to as “The Lost Leonardo”, which some commentators believe to be still hidden beneath one of the later frescoes in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Its central scene depicted four men riding raging war horses engaged in a battle for possession of a standard, at the Battle of Anghiari in 1440.

Many preparatory studies by Leonardo still exist. The composition of the central section is best known through a drawing by Peter Paul Rubens in the Louvre, Paris. This work, dating from 1603 and known as The Battle of the Standard, was based on an engraving of 1553 by Lorenzo Zacchia, which was taken from the painting itself or possibly derived from a cartoon by Leonardo. Rubens succeeded in portraying the fury, the intense emotions and the sense of power that were presumably present in the original painting. Similarities have been noted between this Battle of Anghiari and the Hippopotamus Hunt painted by Rubens in 1616.

In March 2012, it was announced that a team led by Maurizio Seracini has found evidence that the painting still exists on a hidden inner wall behind a cavity, underneath a section of Vasari‘s fresco in the chamber.[1] The search was discontinued in September 2012, without any further progress having been made, due to conflict among the involved parties.[2]

 

Giacobbe Giusti,  The Battle of Anghiari History

Study of Two Warriors’ Heads for The Battle of Anghiari (c. 1504–5). Black chalk or charcoal, some traces of red chalk on paper, 19.1 × 18.8 cm. Museum of Fine Arts, Budapest

Giacobbe Giusti,  The Battle of Anghiari: A copy possibly made from the original incomplete work

In 1504 Leonardo da Vinci was given the commission by gonfaloniere Piero Soderini, a contract signed by Niccolò Machiavelli, to decorate the Hall of Five Hundred. At the same time his rival Michelangelo, who had just finished his David, was designated the opposite wall. This was the only time that Leonardo da Vinci and Michelangelo worked together on the same project. The painting of Michelangelo depicted an episode from the Battle of Cascina, when a group of bathing soldiers was surprised by the enemy. However Michelangelo did not stay in Florence long enough to complete the project. He was able to finish his cartoon, but only began the painting. He was invited back to Rome in 1505 by the newly appointed Pope Julius II and was commissioned to build the Pope’s tomb.

Leonardo da Vinci drew his large cartoon in the Basilica of Santa Maria Novella, on the east wall, depicting a scene from the life of Niccolò Piccinino, a condottiere in the service of duke Filippo Maria Visconti of Milan. He drew a scene of a violent clash of horses and a furious battle of men fighting for the flag in the Battle of Anghiari. Giorgio Vasari in his book Lives of the Most Excellent Painters, Sculptors, and Architects praised the magistral way Leonardo had put this scene on paper:

It would be impossible to express the inventiveness of Leonardo’s design for the soldiers’ uniforms, which he sketched in all their variety, or the crests of the helmets and other ornaments, not to mention the incredible skill he demonstrated in the shape and features of the horses, which Leonardo, better than any other master, created with their boldness, muscles and graceful beauty.

Giacobbe Giusti,  The Battle of Anghiari: Study of a Warrior’s Head for the Battle of Anghiari by Leonardo Da VINCI

Red chalk on very pale pink prepared paper, 22.6 × 18.6 cm. Museum of Fine Arts, Budapest

Leonardo built an ingenious scaffold in the Hall of Five Hundred that could be raised or folded in the manner of an accordion. This painting was to be his largest and most substantial work. Since he had a bad experience with fresco painting (The Last Supper; refectory of Santa Maria delle Grazie, Milan), he wanted to apply oil colours on the wall. He began also to experiment with such a thick undercoat (possibly mingled with wax), that after he applied the colours, the paint began to drip. Trying to dry the painting in a hurry and save whatever he could, he hung large charcoal braziers close to the painting. Only the lower part could be saved in an intact state, the upper part couldn’t dry fast enough and the colours intermingled. Leonardo then abandoned the project.[citation needed]

Michelangelo’s and Leonardo’s unfinished paintings adorned the same room together for almost a decade (1505–1512). The cartoon of Michelangelo’s painting was cut in pieces by Bartolommeo Bandinelli out of jealousy in 1512. The centerpiece of The Battle of Anghiari was greatly admired and numerous copies were made for decades.[citation needed]

Reconstruction of room

During the mid-16th century (1555–1572), the hall was enlarged and restructured by Vasari and his helpers, on the instructions of Grand Duke Cosimo I; in order that the Duke could hold court in this important chamber of the palace. In the course of the renovations, the remnants of famous (but unfinished) artworks from the previous plan of decoration for the hall, were lost; including The Battle of Cascina by Michelangelo and The Battle of Anghiari by Leonardo da Vinci.

Vasari himself painted new frescoes on the now-extended walls.On the walls are large and expansive frescoes that depict battles and military victories by Florence over Pisa and Siena :

  • The Taking of Siena
  • The Conquest of Porto Ercole
  • The Victory of Cosimo I at Marciano in Val di Chiana
  • Defeat of the Pisans at the Tower of San Vincenzo
  • Maximillian of Austria Attempts the Conquest of Leghorn
  • Pisa Attacked by the Florentine Troops

https://en.wikipedia.org/wiki/The_Battle_of_Anghiari_(painting)

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Crucifix du Maestro di San Francesco (Louvre)

Giacobbe Giusti, Crucifix du Maestro di San Francesco (Louvre)

recommandations des projets correspondants.

Crucifix du Maestro di San Francesco (Louvre)
Master Of St Francis - Crucifix - WGA14504.jpg
Artiste
Date
1260-1265
Technique
peinture a tempera et or sur panneau de bois de peuplier
Dimensions (H × L)
96.5 × 73 cm
Localisation
Musée du Louvre, Paris (France)
Numéro d’inventaire
RF 1981-48Voir et modifier les données sur Wikidata

Le Crucifix du Maestro di San Francesco (Louvre) est un crucifix peint à tempera et or sur panneau de bois de peuplier. Réalisé en 1260 environ il est attribué au Maestro di San Francesco, et conservé au musée du Louvre, à Paris depuis 1981.

Histoire

Issu d’une collection privée (1880), vendu en 1972, puis transmis à la compagnie des prêtres de Saint-Sulpice (1978), il est acquis pour le musée du Louvre en 1981[1].

Description

Le Christ est du type dolens, de la représentation humanisante franciscaine et dominicaine :

Le Christ se doit d’être alors représenté mort, souffrant sur la croix (et non plus triomphant ou résigné) :

  • La tête baissée sur l’épaule,
  • les yeux fermés soit absents, énucléés (orbites vides),
  • marques de douleur sur le visage,
  • la bouche est incurvée vers le bas,
  • les plaies sont saignantes (mains, pieds et flanc droit),
  • Le corps tordu déhanché, arqué dans un spasme de douleur, subissant son poids terrestre,
  • schématisation des muscles et des côtes.

Le crucifix ne comporte des scènes annexes qu’aux flancs du Christ :

  • à gauche : Marie en entier, accompagnée d’une femme,
  • à droite : Jean en entier, accompagné d’un apôtre,

En haut de la croix le titulus expose le texte de l’INRI en entier en or sur fond rouge, les extrémités de la croix des motifs géométriques.

Articles connexes

https://fr.wikipedia.org/wiki/Crucifix_du_Maestro_di_San_Francesco_(Louvre)

http://www.giacobbegiusti.com

 

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

 

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

https://it.wikipedia.org/wiki/Pietro_Cavallini

http://www.giacobbegiusti.com

 

Giacobbe Giusti, BOTTICELLI: Madonna of the Magnificat

Giacobbe Giusti, BOTTICELLI:  Madonna of the Magnificat

 

Giacobbe Giusti, BOTTICELLI:  Madonna of the Magnificat

 

 
Madonna of the Magnificat.png
 

Artist

 

Sandro Botticelli

Year 1481
Medium Tempera
Dimensions 118 cm × 119 cm (46 in × 47 in)
Location Uffizi, Florence

The Madonna of the Magnificat, Italian: Madonna del Magnificat, is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is now in the galleries of the Uffizi, in Florence.

The work portrays the Virgin Mary crowned by two angels. She is writing the opening of the Magnificat on the right-hand page of a book; on the left page is part of the Benedictus. In her left hand she holds a pomegranate.[1]

History

The history of the painting is not known. It was acquired by the Uffizi in 1785 from Ottavio Magherini.[2] It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. It has been identified with the tondo in the church of San Francesco al Monte mentioned by Vasari and Bocchi, but the description does not coincide and this identification is usually rejected. There are several copies of the painting, including one in the Louvre, one in the Pierpont Morgan Library in New York.[3]

References

  1. Jump up ^ Susan Schibanoff (March 1994). “Botticelli’s Madonna del Magnificat: Constructing the Woman Writer in Early Humanist Italy”. PMLA 109(2): 190-206. (subscription required)
  2. Jump up ^ N. Inv. 1609: Filipepi Alessandro detto Botticelli, bibliografia. Centro di Documentazione, Polo Museale Fiorentino. (Italian) Accessed May 2013.
  3. Jump up ^ N. Cat. 00188562: Botticelli; Madonna con Bambino e angeli. Centro di Documentazione, Polo Museale Fiorentino. (Italian) Accessed May 2013.

 

 

http://www.giacobbegiusti.com