Luca Signorelli

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Signorelli, Luca


Born approximately between 1445 and 1450 in Cortona; died there Oct. 16, 1523. Italian painter.

Signorelli studied under Piero della Francesca and was influenced by Pollaiuolo and Perugino. He worked in Cortona, Florence, Loreto (The Marches), Città di Castello (Umbria), Arezzo, Perugia, Volterra, Rome, and Orvieto. His works include frescoes in the Sistine Chapel of the Vatican (1481–83) and The Education of Pan (1488–90; destroyed in 1945). Signorelli also painted frescoes in the cloister of the monastery at Monte Oliveto Maggiore, Tuscany (1497), and in the Cappella di San Brizio in the cathedral of Orvieto (1499–1504). These works are noted for their severity, resolute strength, and the heroic nature of their composition. Signorelli emphasized the human form and its movements; his figures were three-dimensional in effect and had sharp outlines that in his late works acquired a certain rigidity.


Salmi, M. Luca Signorelli. Novara, 1953.
References in periodicals archive ?
While Burri's works were displayed in a gallery adjacent to Piero's, a direct comparison with the frescoes of Luca Signorelli was possible at a study day at the Oratorio di San Crescentino in Morra, also near Citta di Castello.
The Complete Paintings of Luca Signorelli by Tom Henry and Laurence B Kanter (Thames and Hudson, pounds 48) presents the artist's complete oeuvre and is a revelation.
El cortes Rafael, que no contesto a estas invectivas, hubiera podido replicar que en no pocas pinturas y esculturas del propio Miguel Angel la inspiracion se apoyaba obviamente en el recuerdo de obras maestras ajenas: sus disenos copiados de los frescos de Giotto en la capilla Peruzzi de la Santa Cruz de Florencia; el Pago del tributo de San Pedro plagiado del fresco de Masaccio en la capilla Brancacci del Carmelo; el Cristo del Juicio Final, copiado del Bienaventurado (fragmento) de la pintura de Luca Signorelli en el Duomo de Orvieto.
In that era of spiritual discomfort, the painter Luca Signorelli was commissioned to decorate the walls and vaults of the San Brizio Chapel in the Orvieto Cathedral.
Several poems in Erosion deal directly with a masterpiece of visual art--by Piero della Francesca, Luca Signorelli, Masaccio, Gustav Klimt.
Tom Henry is author of The Life and Art of Luca Signorelli (Yale, 2012).
The first documented evidence of collaboration between an artist and advisors occurs later, in 1499, when Luca Signorelli (who also worked for Sixtus IV) requested direction from the governing board of the cathedral of Orvieto after finishing the two sections of the south vault that Fra Angelico had left unpainted, but had planned for by leaving drawings, presumably sinopie.
Paintings here include those of Manet, van Gogh and Luca Signorelli - and he promises to change our perceptions of these familiar works.
There is a Luca Signorelli, a Frans Hals and an Elisabeth Vigee-Lebrun, each the centrepiece of a tableau which together draw on such items as easels, eggs, apples and a clarinet.
See also Tom Henry, "Gligetto addosso il suo mantello', in Fabio De Chirico,Vittoria Garibaldi, Tom Henry and Francesco Federico Mancini, Luca Signorelli, exh.
But all are based on two fundamental assumptions which in the end the author is unable to demonstrate: first that Luca Signorelli and his advisors were familiar with as extensive a range of source material as Riess, and second that the fresco was indeed meant to be the key to understanding the iconography of the chapel as a whole.
Astonishingly, this is the first full-length study ever to appear on Luca Signorelli, the great Central Italian Renaissance painter whose muscular Last Judgment tumbles from the vaults of Orvieto Cathedral.