If Fra Angelico were born about 1400, his birth date would
be very close to many illustrious painters. Paolo Uccello (1397-1475), Masaccio
(1401-28); then a slightly later generation, Andrea del Castagno (1421-57), and
Filippo Lippi (1406-69). A painter who has direct connections with Fra Angelico
is Benozzo Gozzoli (c. 1421-97). Gozzoli was the son of the tailor Lese di
Sandro, his original name is Benozzo di Lese di Sandro. His father was from a
citified branch of a family of farmers. The name Gozzoli, which though absent
from the 1550 edition of Vasari's Lives, appeared in that of 1568 comes
from the name "Ghozzolo" common in the other branch of the family,
the one that had remained in the country. Originally trained as a goldsmith, he
worked with Ghiberti on the celebrated Baptistery doors in Florence. Gozzoli is
mentioned as a painter in 1444 and subsequently he became Fra Angelico’s
assistant in Rome and Orvieto. His
important Florentine commissions include his masterpiece, the Journey of the
Magi, for the Medici. The frescoes have an almost fairy-tale look to them,
and in their wealth of detail recall such sumptuous altarpieces as Gentile da
Fabriano’s The Adoration of the Magi. In 1461 he produced the altar
painting of a Sacra Conversazione for the Compagnia delle Purificazione in
Florence, which has since been broken up and dispersed. His other important
Florentine commission was a cycle of 17 scenes from the life of St Augustine in
the choir of Sant'Agostino, San Gimignano (last scene signed and dated 1465).
Benozzo Gozzoli, Procession of the Youngest King
(east wall), 1459-60, Fresco, Chapel, Palazzo Medici Riccardi, Florence.
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Self-portrait. |
Benozzo Gozzoli Procession of the Middle King
(south wall), 1459-60, Fresco, Chapel, Palazzo Medici Riccardi, Florence.
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Paolo Uccello was a Florentine painter who tried to
reconcile two distinct artistic styles - the essentially decorative late Gothic
and the new heroic style of the early Renaissance, inherited from Masaccio.
Probably his most famous paintings are three panels representing The Rout of
San Romano (mid-1450s). His careful and sophisticated perspective studies
are clearly evident in The Flood (1447-48). In 1436 the administrators
of the Opera del Duomo in Florence commissioned Paolo Uccello to paint a fresco
in the Cathedral, a monument commemorating the English soldier of fortune Sir
John Hawkwood. Not long after the Monument to Sir John Hawkwood, the Opera del
Duomo commissioned from Paolo the designs for three stained-glass windows (the Resurrection,
the Birth of Christ and the Annunciation destroyed in 1828) for
the oculi of the drum of the dome, as well as the decoration for the clockface
on the inner façade of the Cathedral. Perhaps Uccello's most famous paintings
are three panels representing the battle of San Romano, now in the Louvre,
Paris; the National Gallery, London; and the Uffizi, Florence. These panels
represent the victory in 1432 of Florentine forces under Niccolò da Tolentino
over the troops of their arch rival, Siena. There are Renaissance elements,
such as a sculpturesque treatment of forms and fragments of a broken
perspective scheme in this work, but the bright handling of colour and the
elaborate decorative patterns of the figures and landscape are indebted to the
Gothic style, which continued to be used through the 15th century in Florence
to enrich the environments of the new princes of the day, such as the Medici,
who acquired all three of the panels representing the rout of San Romano.
Uccello is justly famous for his careful and sophisticated
perspective studies, most clearly visible in The Flood, in the
underdrawing (sinopia) for his last fresco, The Nativity, formerly in S.
Martino della Scala in Florence, and in three drawings universally attributed
to him that are now in the Uffizi. These drawings indicate a meticulous,
analytic mind, keenly interested in the application of scientific laws to the
reconstruction of objects in a three-dimensional space. In these studies he was
probably assisted by a noted mathematician, Paolo Toscanelli. Uccello's
perspective studies were to influence the Renaissance art treatises of artists
such as Piero della Francesca, Leonardo da Vinci, and Albrecht Dürer. Uccello
apparently led an increasingly reclusive existence during his last years.
Paolo Uccello, Funerary Monument to Sir John
Hawkwood, 1436, Fresco, 820 x 515 cm, Duomo, Florence.
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Paolo Uccello Bernardino della Ciarda Thrown off
His Horse, 1450s, Tempera on wood, 182 x 220 cm, Galleria degli Uffizi,
Florence.
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Paolo Uccello, The Hunt in the Forest, 1460s,
Tempera on wood, 65 x 165 cm, Ashmolean Museum, Oxford.
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Paolo Uccello, Scenes from the Life of the Holy
Hermits, 1460s, Tempera on canvas, 81 x 110 cm, Galleria dell'Accademia,
Florence.
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