Fra Angelico

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Angelico, Fra

(frä änjĕl`ĭkō), c.1400–1455, Florentine painter, b. Vicchio, Tuscany. He was variously named Guido (his baptismal name), or Guidolino, di Pietro; and Giovanni da Fiesole. After his death he was called Il Beato Fra Giovanni Angelico, although he was not officially beatified until 1982, by Pope John Paul II. Angelico's style is remarkable for its purity of line and color and its spiritual expressiveness. He took his vows c.1425 in the Dominican order. The first painting of certain date by Angelico is his 1433 Madonna of the Linen Guild (St. Mark's convent, Florence). It is supposed that his activity began at least 10 years earlier, and that he first painted small pictures, such as St. Jerome Penitent (Princeton) and miniatures. Other works suggested for this period (1423–33) are Virgin and Child Enthroned with Twelve Angels (Staedel Inst., Frankfurt); Virgin and Child with Angels (National Gall., London); Madonna of the Star and Naming of the Baptist (both: St. Mark's convent). It is thought that Angelico was first influenced by Gentile da FabrianoGentile da Fabriano
, c.1370–1427, Italian painter, one of the outstanding exponents of the elegant international Gothic style. In 1409 he worked in the Doge's Palace, Venice, painting historical frescoes that subsequently perished.
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, and that he soon adopted MasaccioMasaccio
, 1401–1428?, Italian painter. He is the foremost Italian painter of the Florentine Renaissance in the early 15th cent. Masaccio's original name was Tommaso Guidi. He was enrolled in the guild of St. Luke in 1424.
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's advances in spatial conception.

Scholars have assigned to the 1430s such works as the Annunciation (Cortona); Coronation of the Virgin (Louvre); Deposition and Last Judgment (both: St. Mark's convent). In 1436, under the protection of Cosimo de' Medici, the Dominicans of Fiesole moved to St. Mark's convent in Florence. Fra Angelico supervised the fresco decoration of the building. Among the works considered to be by his hand are the Crucifixion with St. Dominic (cloisters) and the great Crucifixion (chapter house). In the convent also are frescoed Noli mi Tangere, Annunciation, Transfiguration, Mocking of Christ, Presentation in the Temple, Virgin and Child with Saints, and others. In 1445 he was summoned to Rome by Pope Eugenius IV to decorate the Cappella del Sacramento in the Vatican. In 1447 he visited Orvieto, where, assisted by his pupil Benozzo GozzoliGozzoli, 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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, he painted Christ as Judge and the Prophets in the Cappella Nuova of the cathedral. Returning to Rome, the following year he designed his greatest and most unified scenes—episodes from the lives of St. Stephen and St. Lawrence. However, the execution of this project was probably carried out mainly by pupils.

Fra Angelico treated none but religious subjects. Adapting the artistic innovations of his time, such as sculptural clarity of form and spatial depth, he interpreted them in terms of the greatest spirituality. Angelico endowed these new forms with his own incomparable sense of coloring and unity. In the United States he is represented by the Crucifixion (Fogg Mus., Cambridge); Assumption and Dormition of the Virgin (Gardner Mus., Boston); Temptation of St. Anthony Abbot (Mus. of Fine Arts, Houston, Tex.); and Crucifixion and Nativity (both: Metropolitan Mus.).

References in periodicals archive ?
The physical evidence of this original clipped border at right, as well as similarities of dimensions and style, provided clues that ultimately led to the Kimbell panel being linked with others from the predella of a now dismantled altarpiece by Fra Angelico.
Evidently the contract resulted from a planning discussion like those with Sassetta and Fra Angelico, but here the role of the artist is completely articulate.
90), refers, as every first-year student of Fra Angelico knows, not to the Fiesole Altarpiece but to the San Pier Marlire Altarpiece in the Museo di San Marco, with its wonderful predella panels, also in London but at the Courtauld Institute, not the National Gallery.
104) Jolly claims that this fresco was a source for Jan in his own Ghent Annunciation - as well as for Italian artists such as Fra Angelico - and thus she does away with the common scholarly topos that artistic "influence" went only one way in the fifteenth century, from North to South.
The implications Georges has drawn from this indexical form of visuality have been reflected in studies he has done that range in subject from Fra Angelico to Donatello, from the Shroud of Turin to James Turrell.
An exhibition devoted to Fra Angelico is especially welcome within the context of an age dominated by cynicism and materialism, the exact opposite of his vision and his mission.
He names Fra Angelico, Benozzo Gozzoli, Perugino, Ghirlandaio, and (of course) Botticelli, whom we are told was "especially partial to the continuous approach.
You instinctively like what you can't do," Franz Kline said in a 1958 interview, referring to the precise yet ethereal style of Fra Angelico.
The astonishing enthusiasm for Moretto expressed by Burckhardt in his Cicerone in 1855 can no longer be sustained, but Moretto's appeal as a Christian painter, like Fra Angelico or Perugino, accounts to a large extent for the number of paintings now in London by not only the painters considered in this volume but also other regional painters, such as Francia and Garofalo.
Strehlke's recent research on the career of Fra Angelico.
When the pazienti left the quarters of the Black Brotherhood, they were conducted, after a long procession, to the confraternity's chapel at the Pratello della Giustizia (Field of Execution or Justice), where they stopped before an altarpiece representing the Lamentation (1436; now in the Museo di San Marco, Florence), painted by the Dominican master Fra Angelico (Fig.