Benozzo Gozzoli


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Gozzoli, Benozzo

(bānôt`tsō gôt`tsōlē), 1420–97, Florentine painter, whose real name was Benozzo di Lese. He was apprenticed to Fra Angelico, first in Florence and later in Rome. Becoming independent in 1449, he chose to stay in Montefalco for a few years. There he created an altarpiece of a Madonna and Child with Saints and also frescoes depicting the life of St. Francis. Upon his return to Florence in 1459, he began his famous Journey of the Magi for the chapel in the Medici Palace. There he painted a magnificent cavalcade of pilgrims to Bethlehem, including animated portraits of contemporary Florentines. To represent the Magi he painted Lorenzo de' Medici and two leaders of the East, Patriarch Joseph and Emperor John Paleologus. Gozzoli depicted them in exotic Middle Eastern dress against a background of fantastic landscape and strange animals. From 1468 until almost his last days he decorated the Camposanto, Pisa, with scenes from the Old Testament.

Benozzo Gozzoli:

see Gozzoli, BenozzoGozzoli, Benozzo
, 1420–97, Florentine painter, whose real name was Benozzo di Lese. He was apprenticed to Fra Angelico, first in Florence and later in Rome. Becoming independent in 1449, he chose to stay in Montefalco for a few years.
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Gozzoli, Benozzo

 

(real name, Benozzo di Lese di Sandro). Born 1420, in Florence; died 1497, in Pistoia. Italian painter of the Early Renaissance.

Gozzoli studied with L. Ghiberti and Fra Angelico. In his work he treated religious subjects in a secular, poetic, and fairy-tale manner. Astute observations of life and decora-tively colorful tones are combined in his paintings with a tapestry-like composition and conventional handling of space (for example, the fresco The Magi, in the chapel of the Medici-Riccardi Palace in Florence, 1459).

REFERENCES

Hoogewerff, G. Benozzo Gozzoli. Paris, 1930.
Bargellini, P. La fiaba pittorica di Benozzo Gozzoli, 2nd ed. Florence, 1947.

V. E. MARKOVA

References in periodicals archive ?
Caption: --Newscom/akg-images/Rabatti-Domingie Worshiping angels are seen in a detail of a 15th-century fresco by Benozzo Gozzoli in the Medici Palazzo's Chapel of the Magi in Florence, Italy.
Francis in Assisi, Benozzo Gozzoli includes Pope Innocent's dream in his scenes from Francis' life for the friars' chapel in Montefalco.
TREADING THE PRESS Benozzo Gozzoli The Campo Santo at Pisa From the trellis hang the grapes Purple-deep; Maidens with white, curving napes And coiled hair backward leap, As they catch the fruit, mid-laughter, Cut from every silvan rafter.
Chapter six on Saint Augustine has, as its main focus, the mildly pedestrian (in my judgment) fifteenth-century cycle of frescos painted by Benozzo Gozzoli for an Augustinian church in San Gimignano on the life of the saint.
22) In medieval and Renaissance paintings of the Annunciation, such as those of Simone Martini, Filippo Lippi in the Florentine convent of San Marco, Gaddi in the Santa Maria Novella, and Benozzo Gozzoli in the Pisan Campo Santa, (23) the inseminating vehicle was usually represented by a beam of bright light, in the midst of which almost always a dove (but sometimes an embryonic Christ-child) could be seen, descending from heaven and narrowing onto Mary's ear as she was seated in her garden listening to Gabriel.
BENOZZO GOZZOLI barely broke sweat when scoring at Nottingham last week and a 6lb penalty is unlikely to stop him going in again at Lingfield.
Benozzo Gozzoli barely broke sweat when scoring at Nottingham last week, and a 6lb penalty is unlikely to stop him going in again in the Vines BMW Handicap.
The theme of the Adoration enjoyed great favor among Florentine artists of the Quattrocento; later interpretations by Filippo Lippi, Botticelli, Ghirlandajo, and Benozzo Gozzoli are all justly famous.
Petrarch's stay in Padua gives place to a detailed examination of visual cycles on the life of the saint and the history of his religious order, from the largely destroyed decoration by Guariento in the palace of the Carrara, the lords of that city, and continuing with the frescos in the Eremitani, those by Bartolo di Fredi in Montalcino and Ottavio Nelli in Gubbio, finishing with the decoration by Benozzo Gozzoli in San Gimignano, which is certainly the most famous and studied of them all.
Six essays are devoted to Fra Angelico; five are on the work of his assistants and followers, including Benozzo Gozzoli.
What is known is that they studied the engravings by Giovanni Paolo Lasinio from the frescos by Benozzo Gozzoli and others in the Campo Santo at Pisa.
Some problems familiar to Renaissance scholars will be revisited in this exhibition: The relation of Fra Angelico to the art of book illumination, the division of labor between Angelico and followers such as Zanobi Strozzi and Benozzo Gozzoli, and the vexed question of his early work.