Fra Angelico

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Related to Fra Angelico: Leonardo da Vinci

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.).

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References in periodicals archive ?
Kiely discusses Fra Angelico's San Marco Altarpiece--a work that made Ruskin want to prostrate himself in front of it; Ruskin was ecstatic about the pearls on Lawrence's breastplate in which he conflated the stance of the martyr himself, the purity of Fra Angelico, and the cascade of biblical references about pearls.
In the early part of his career he was a pupil and assistant of Fra Angelico. Together with Fra Angelico in 1447, he was commissioned by Pope Eugene IV to carry out the fresco decoration of a chapel in the Vatican.
The scene, in which Joseph and Mary lose track of Jesus, only to find their precocious preadolescent debating with the elders in the Temple, had been depicted over the course of Western art history by everyone from Giotto to Fra Angelico to Rembrandt.
The paintings that McGrath interprets in light of the Easter story in this book include: Maurice Denis' "Holy Women Near the Tomb," Fra Angelico's "Noli me tangere," Guercino's "The Incredulity of St.
Fra Angelico to Leonardo: Italian Renaissance Drawings
She notes how this Observant identity is reflected in the paintings, explicitly relating them to earlier images by Fra Angelico in the Observant monastery of San Marco in Florence.
V.'s focus on Savonarola's preaching, Biel's theology, and the art of Fra Angelico and Michelangelo works well for highlighting how the cross was imagined and understood in the Renaissance.
If the latter were indeed the case, the Oulipo would be in distinguished company, for Bayard contends convincingly in this study that Voltaire plagiarized Conan Doyle; that Maupassant plagiarized Proust; that Racine plagiarized Victor Hugo; and that Fra Angelico cadged his "dripping" technique from Jackson Pollock.
315); a Gothic stained-glass window (13th century); Fra Angelico, Coronation of the Virgin (1430); Georges de La Tour, The Cheat with the Ace of Diamonds (1635); Rembrandt, Beggars Receiving Alms at the Door of a House (1648); Jacques Louis David, The Consecration of the Emperor Napoleon (1808); and many others, the book challenges its readers to look carefully to recognize specific images embedded in the larger work.
Italy's Fra Angelico has developed a man-packable dome tent solution for soldiers not entirely on friendly terms with mosquitos, biting flies and other nuisances to a moment's relaxation.