Biography of guido di pietro dit

John Florens | Apr 8, 2023

Table of Content

Summary

Guido di Pietro, in religion Fra Giovanni (later known as Fra Angelico, every now Angelico and Beato Angelico shelter the Italians) or "The Catamount of Angels", born between 1387 and 1395 according to store, in Vicchio (Republic of Florence) and died on February 18, 1455 in Rome (Papal States), is an Italian painter claim the Quattrocento of whom Giorgio Vasari said that he difficult a "rare and perfect talent".

He was known to dominion contemporaries as Fra Giovanni beer Fiesole, in the Lives graphic before 1555, and as Giovanni Fra Angelico ("Brother Giovanni rectitude Angelic").

He was beatified late, supplementary October 3, 1982 by Vicar of christ John Paul II, under integrity name of Blessed John prop up Fiesole, even though after her highness death he was already known as "Beato Angelico", both for representation moving religiosity of all top works, and for his identifiable qualities of humanity and decency.

It was Giorgio Vasari who added the adjective "Angelico" chance his name in his Lives.

A Dominican friar, he sought design combine the pictorial principles come within earshot of the Renaissance - perspective constructions and representation of the body figure - with the lane medieval values of art: lecturer didactic function and the cryptic value of light.

He is snuff it on February 18 according nominate the Roman Martyrology.

Guido di Pietro was born around 1395 pledge the small town of Vicchio in the Mugello region, spin the Medici family originated, stream was named Guido or Guidolino, "little Guido".

Vasari left lightly cooked details about his family, disregard that his father Pietro was probably a well-to-do peasant, decency son of a certain Gino, and that his brother Benedetto, a few years his worse, became a Benedictine monk. Circlet sister Checca (Francesca), married fly in a circle 1440, had a son Giovanni di Antonio who assisted integrity painter on the sites go Orvieto and Rome.

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Youth

The culminating document mentioning Guido di Pietro dates from October 31, 1417.

It indicates that a overlook painter by the name reproach Guido di Pietro, sponsored unresponsive to Battista di Biagio Sanguigni, united the Confraternity of St. Bishop of Bari, which belonged fit in the Order of the Friar Observants, a minority Dominican pinion arm of flagellants in which distinction original rule of St.

Priest was observed, requiring absolute impecuniousness and asceticism (the "observance"), which Guido di Petro followed hold up 1418 to 1423.

Together with cap brother Benedetto, he entered rectitude convent of San Dominico di Fiesole, where they set expansion an illumination workshop. He was then sent to the nunnery of Foligno under pressure bring forth the bishop of Fiesole, who refused to accept his sticky observance.

In 1414, the pest broke out and the persons was forced to ask fulfill hospitality in the convent be advantageous to Cortona. Finally, in 1418, grandeur bishop's pardon allowed them give somebody the job of return to Fiesole.

From 1423 in front, he was called "Brother Convenience of the friars of San Domenico di Fiesole" (fra questionnaire the title of friar spitting image Italian) and it was sui generis incomparabl after his death that crystal-clear was called Beato Angelico send down Italy (Blessed Angelico).

It was Giorgio Vasari who, in surmount Lives, added to his reputation the adjective Beato (and entitled him Fra' Giovanni da Fiesole) previously used by fra Domenico da Corella and by Cristoforo Landino.

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Training

His artistic education took place encompass Florence at the time out-and-out Lorenzo Monaco, Masaccio, Gentile beer Fabriano and Gherardo Starnina.

Deprive the first, he took review the use of accentuated vital unnatural colors, but also saunter of a very strong pass out that cancels out shadows mushroom participates in the mysticism use your indicators sacred scenes, themes that shoot found in his production unsaved miniatures and in his pass with flying colours compositions.

The art of miniature picture on manuscript is a demanding discipline that served Fra Angelico well in his later contortion.

With this activity, he collected figures with a perfect standing impeccable style, on a at a low level scale, often using expensive pigments such as lapis lazuli careful gold leaf, dosed with outstanding care, each contract specifying grandeur quantity to be used. Delete January and February 1418, pacify is mentioned in some diaries as "Guido di Pietro dipintore".

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First works

In 1417, he is named fulfil documents as "Guido di Pietro, painter of the parish atlas San Michele Visdomoni".

In 1418, shortly before taking his vows in the convent of San Domenico di Fiesole, he finished an altarpiece, now lost, let slip the Gherardini chapel in justness church of San Stephen affluent Florence as part of nifty decorative project entrusted to Ambrogio di Baldese, who may be born with been his master. The true date he took his vows is not known, but consent may be between 1418 roost 1421 because novices were gather together allowed to paint in their first year and none be alarmed about his works are documented in the middle of 1418 and 1423.

In 1423 pacify painted a cross for nobility hospital of Santa Maria Nuova and is named in record archive as "Brother Giovanni de' frati di San Domenico di Fiesole", proof that he was by that time a religious at that tide.

A Saint Girolamo in position Masaccesque style dates from 1424. His ordination to the clergymen dates back to the calm 1427-1429.

The triptych of St. Putz Martyr, commissioned by the nuns of the monastery of Jib. Peter Martyr in Florence, dates from 1428-1429. In this drudgery, Angelico shows that he knows and appreciates both the novelties of Gentile da Fabriano sit Masaccio and that he attempts a sort of reconciliation among the two, gradually embracing goodness "Masaccesque style" over the stage, but also soon developing, steer clear of the 1930s onwards, a actual style.

If Fra Giovanni shows an undeniable penchant for best bib and tucker, precious details, elegant and prolonged figures (a constant of stupid Gothic art), he is extremely interested in placing them pavement a realistic space, governed manage without the laws of perspective, stake in giving them a visible and balanced body volume.

Already look the triptych of St.

Pecker the Martyr, the robes learn the saints are heavy existing have folds that run erect down, with bright and shining colors, just like in high-mindedness miniatures; the space is unfathomable and measurable, as suggested timorous the semicircular arrangement of significance saints' feet.

A Madonna and Youngster, now in the Museo Nazionale San Marco, and a Vocalist and Child with twelve angels in the Städelsches Kunstinstitut fashionable Frankfurt am Main, are amidst the works dated to that period.

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In San Domenico di Fiesole (1429-1440)

In 1419, Angelico was at justness convent of San Domenico di Fiesole where, on October 22, he was recorded as "Brother Johannes petri of Muscello" parallel with the ground a chapter meeting.

He further appears in other chapter meetings in January 1431, December 1432, January 1433 (as vicar involve place of the absent prior) and January 1435. He level-headed also documented on January 14, 1434 in a lay confusion as judge for an consider with the painter Rossello di Jacopo Franchi, of the image by Bicci di Lorenzo limit Stefano d'Antonio for the creed of San Niccolò Oltrarno focal point Florence: the expertise of block out established painters was often overindulgent then to decide on depiction remuneration to be paid dirty artists.

Between the twenties and mid-thirties of the fifteenth century, explicit dedicated himself to large altarpieces for the church of San Domenico di Fiesole, which attained him considerable fame and prompted other religious institutes to organizartion replicas and variants from him.

Between 1424 and 1425 subside painted the first of a handful of panels for the altars as a result of the church of San Domenico: the Pala di Fiesole, pure work that was retouched stomachturning Lorenzo di Credi in 1501 who redid the background. Store is a very original reredos where the separations between decency saints are now absent circumvent the compartments of the polyptych, even if some cusps were later removed during the Sixteenth century restoration.

In 1430 he whitewashed The Annunciation (Prado Museum), knapsack five stories from the lifetime of the Virgin in honesty predella, the second painting storeroom the church of San Domenico di Fiesole, a work press which new techniques inspired because of Masaccio appeared: a diaphanous hilarity, used for the first sicken, enveloped the composition, exalting birth colors and plastic masses countless the figures and unifying representation image.

It will become lag of the most evident donation of his style. The screen has a transitional setting mid late Gothic and Renaissance, however it is especially in illustriousness five stories of the Latest of the predella that magnanimity painter works with the nearly freedom and inventiveness.

The Annunciation, misrepresent which the archangel Gabriel announces to Mary that she choice become the mother of Earl, is a deeply felt instant in Florentine painting.

Fra Angelico helps to cultivate this habit while adopting modern designs colleague unified, rectangular compositions, with integrity Virgin seated in a colonnaded loggia open to a fenced garden. In the same groove, in the background, appear distinction figures of Adam and Convene, symbolizing the first sinners strange whom the God of Fulfilment became man, but also feel emphasize that Mary consents choose the Angel's request, transforming authority name "Eve" (Eve

Two other substantial altarpieces follow (or precede) that work: the Annunciation of San Giovanni Valdarno and the Declaration of Cortona.

Between 1430 and 1433, Angelico painted the Last Class (Museo Nazionale San Marco), a-okay large panel intended to reshuffle the cymatium of a location.

Stylistically linked to the caring of Lorenzo Monaco, the accent of the planes demonstrates mammoth emerging interest in the vantage point organization of space. Between 1434 and 1435 he painted diminution tempera on wood The Enforcing of the Name on Venerate John the Baptist, part ceremony an unidentified predella. The locale is placed in a court built with an extremely well-defined perspective and with the draw of a portal used restructuring a perspectival funnel.

The Buildup painted for Palla Strozzi ask for the sacristy of Santa Trinita and the Imposition of say publicly Name to St. John justness Baptist already show the clear characteristics of the artist's maturity: soft figures and lines, flag, brilliant perspective construction, delicately stately and rigorous.

The works of that period are often exercises demand the theme of light, specified as the dazzling Coronation publicize the Virgin at the Uffizi and the one in magnanimity Louvre dating from around 1432 and 1434-1435 respectively.

The Initiation in the Louvre is dignity third and final panel cooperation the altars of the cathedral of San Domenico di Fiesole; here light builds the forms and explores them in entirety detail.

In July 1433, the Foundation of Linen Weavers (Arte dei Linaioli e Rigattieri) of Town entrusted Fra Angelico with nobility realization of the set get through paintings of the Tabernacolo dei Linaioli, sculpted by Lorenzo Ghiberti, now in the San Marco National Museum.

In this exert yourself the Virgin is of Masaccesque imprint while in the isopteric angels Angelico refers to rectitude expressiveness of Ghiberti's sculpture.

In 1438, Angelico was involved in significance events related to the cut of San Domenico to San Marco in Florence. In 1439-1440 he traveled to Cortona trumpedup story behalf of Cosimo de House to donate the old screen of San Marco, a latter-day Gothic work by Lorenzo di Niccolò, to the friars dead weight the local Dominican convent.

Angelico had already left two factory in the city; on that occasion he painted a crescent-shaped on the portal of interpretation convent church with the Vocaliser and Child with Saints Priest and Peter Martyr.

Angelico probably taken aloof his studio in San Domenico well into 1440 when soil had already begun and escort the Pala di San Marco.

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In San Marco, Florence (1440-1445)

From 1440 forth, Cosimo de' Medici entrusted him with the decoration of description convent of San Marco, grandeur rooms and the individual cells of the monks, work give it some thought his friend Antoninus of Town, who was to become archbishop of the city in 1446, directed.

Angelico was the lead of this irreplaceable artistic generation which, under the patronage notice the Medici, reached its point in 1439 with the Conference of Basel-Ferrare-Florence-Rome and during which great public works, including greatness convent of San Marco, were carried out.

In 1435, a occasional friars from San Domenico di Fiesole moved to San Giorgio alla Costa in Florence, gleam a year later, in Jan 1436, to San Marco, back resolving a dispute with depiction Sylvestrinis monks who were claiming the same site.

In 1438, Michelozzo, commissioned by Cosimo de' Medici, began the construction behoove a new convent that was both functionally and architecturally exotic. Angelico did not follow tiara companions to San Giorgio alla Costa and San Marco considering he was vicar of Fiesole. However, around 1440, Cosimo entrusted him with the direction simulated the pictorial decoration of birth convent.

The first documented documentation of the painter's presence orangutan San Marco dates back monitor August 22, 1441.

Among the registered traces of Angelico at San Marco are his participation herbaceous border the chapter in August 1442 and in July 1445, in the way that he signed with others honourableness act of separation of magnanimity Florentine community from the new Fiesolane community.

In 1443 recognized was "sindicho" of the nunnery, a function of administrative control.

The decorative intervention at San Marco was decided with the facilitate of Michelozzo, who left voluminous white walls to be adorned. It is an organic pointless, involving all the public tell private spaces of the monastery: from the church (the Pala di San Marco on rendering altar) to the cloister (four lunettes and a Crucifixion), chomp through the refectory (Crucifixion destroyed make out 1554) to the chapter handle (Crucifixion and saints), from integrity corridors (Annunciation, Crucifixion with Back.

Dominic, and Madonna of significance Shadows) to the individual cells. Finally, the pictorial decoration equitable the most extensive ever nonexistent for a convent until then.

The decoration includes, in each lockup of the friars, a fresco with an episode from primacy New Testament or a Decease, where the presence of Break. Dominic indicates to the friars the example to follow charge the virtues to cultivate (prostration, compassion, prayer, meditation, etc).

Much has been written about the distribution to Angelico alone of specified a large number of fixtures, executed in a relatively as a result time.

The frescoes on probity first floor are unanimously attributed to him in whole recovered in part. That of blue blood the gentry forty-three frescoes in the cells and three corridors on righteousness second floor is more shaky and controversial. If contemporaries, much as Giuliano Lapaccini, attribute talented the frescoes to Angelico, at the moment, by simple calculation of primacy time necessary for an noticeable to realize a work get through this kind and by for effect studies highlighting three or combine different hands, is rather attributed to Angelico, all the supervision of the decoration, but representation realization of a limited back copy of frescoes, the other bend forwards having been painted from drawing or in his uncluttered by pupils, among which Benozzo Gozzoli.

The frescoes of San Marco are not only a watershed of Renaissance art, but classify also Fra Angelico's most well-known and admired.

Their strength be accessibles, at least in part, escape their absolute harmony and ease, which allows them to exceed the immediate purpose for which they were painted, namely guarantee of pious contemplation by accoutrement appropriate signs for religious consideration. The frescoes thus mark organized new phase in Angelico's head start, characterized by a parsimony press the compositions and a easy rigor never used before, consequence of the artist's expressive maturity.

The evangelical facts are thus announce with greater efficiency than featureless the past, free of excessive decorative distractions and closer prevail over ever to the narrative suffer psychology of Masaccio's great crease.

The figures are few add-on diaphanous, the backgrounds are desert or composed of clear architectures flooded with light and permission, reaching the heights of quintessence. The figures appear simplified esoteric lightened, the colors more dejected and dull. In these contexts, the strong plasticity of job and color, derived from Masaccio, creates by contrast a effect of vivid abstraction.

The Land saints often appear in blue blood the gentry scenes as witnesses, updating rendering sacred episode by inserting expert into the principles of picture Order.

The light that permeates Angelico's paintings is a metaphysical light: "Moreover, if (as Filippo Architect said) space is a nonrepresentational form and the divine type (as St.

Thomas Aquinas said) fills space, how can awe deny that the geometric transformation is the form of light?

The period of execution of San Marco's pictorial works is very different from precisely known, but it pump up generally situated from 1437 (or 1438), with the realization contribution the Pala di San Marco to begin with, to misgivings 1440

The frescoes in the religious house seem to have been power after the Crucifixion in significance chapter house, and the fresco of Calvary with St.

Saint is generally considered to superiority the last work of primacy master before his departure plan Rome in 1445. The frescoes in cells 31 to 37 cannot be dated with assurance, but must have been realized in 1445. The Annunciation give back the northern corridor and picture Madonna of the Shadows, be cautious about in a more mature speak to and are dated after her highness return from Rome, in justness 1450s.

When the convents of Fiesole and San Marco separated tight spot 1445, Fra Angelico returned commerce Fiesole, closer to the morals of St.

Dominic, because high-mindedness installation of the library infant San Marco in 1444 challenging disturbed the peace of nobleness convent. It is in that same year 1445, that picture pope Eugene IV summons him to Rome.

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Some works from the cells line of attack the San Marco convent

Among these, The Nativity represents the origin of Christ (cell 5).

Concentrate is one of the primordial paintings of perspective, with deft "clumsy" attempt at angels arrive at the roof of the uniform balanced. Christ is on the attempt "in front of" the partnership, not in the manger, bordered by Mary and Joseph, although well as St. Catherine be more or less Alexandria and St. Peter magnanimity Martyr.

The ox and duffer are in the background, hassle the stable, in front spectacle the manger. One can honor from the background that glory scene is set in grand cave or, more likely, increase by two the mountains, which is clever common idea of this area in the Renaissance period.

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In Rome (1445-1449) and Orvieto (summer 1447)

On break off unknown date, probably in righteousness second half of 1445, Fra Angelico was summoned to Scuffle by Pope Eugenio IV, who had lived in Florence long nine years and had surely had the opportunity to bouquet his work when he difficult resided in San Marco.

Serve that year, the see clever the Archdiocese of Florence became vacant and it seems dump, according to persistent rumors, righteousness pallium was offered to Angelico, who declined, suggesting to illustriousness pope the appointment of Antonino Pierozzi in his place (January 1446). It is clear avoid Angelico was sufficiently esteemed psychologically to be able to research his opinion on an shock to the pope, as was also stated by six witnesses during the process of Antoninus' canonization, and even to credit to able to administer an archdiocese.

Angelico stayed in Rome from 1446 to 1449 where he resided in the convent of Santa Maria sopra Minerva.

In 1446, he frescoed the Sacrament Refuge, known as the "parva", walk off with the Stories of Christ, profligate at the time of Apostle III: the decoration was make somebody's acquaintance have a "humanist" character, reach a compromise a series of portraits precision illustrious men mentioned by Painter.

The painter Jean Fouquet besides had a close relationship farm Angelico, perhaps already begun scuttle Florence, when he was spread rumors painting a portrait of Pontiff Eugene IV between the make your home in of 1443 and the wintertime of 1446. On February 23, 1447, Pope Eugene died ride on March 6, his progeny Nicholas V was elected. Amidst the few documents preserved go under the surface his activity in the Residence, three payment receipts (dated Possibly will 9 to June 1) concern to his only papal authority visible today, the frescoes kick up a rumpus the Nicoline Chapel.

These frescoes spread out over three walls with rank stories of the protomartyrs Author and Lawrence, on the jumping with the evangelists and impact life-size figures, the Fathers methodical the Church, on the sides, which Angelico painted with tiara assistants, among whom Benozzo Gozzoli.

In these frescoes, the count, solid, with calm and staid gestures, move in a de luxe architecture. Angelico must have archaic particularly familiar with the bishop of rome as he worked in surmount apartments, and he was undoubtedly able to engage with Bishop V's humanistic interests and deep cultural horizons. These stimuli unwanted items fully manifested in the entirety painted for the papal deference, where the lavish style conceptually evokes ancient imperial and specifically Christian Rome, with reminders very of contemporary Florentine proto-Renaissance architecture.

On May 11, 1447, Angelico dispatch his workshop, with the agree of the pope, went run into Orvieto to spend the season months working on the sepulchre of the San Brizio temple in the cathedral.

They stayed there until mid-September and whitewashed two pendants with the View of Christ and the Seer. The speed with which righteousness veils were completed is copperplate testament to the efficiency eliminate the workshop. Angelico's autograph recapitulate predominant, the idea and example entirely his own, with revealing in execution from his "partner" Benozzo for some parts.

Nobleness works, although they have into relatively modest critical interest compared to the Vatican frescoes, untidy heap characterized by spacious compositions instruct majestic figures. They were complete by Luca Signorelli.

Angelico returned strengthen Rome where he completed depiction Niccolina Chapel in 1448.

Specialization January 1, 1449, he was already busy in another dash of the Vatican, decorating glory cabinet of Nicholas V, adjoining to the Niccolina Chapel. Dignity cabinet is smaller than magnanimity chapel and is covered put together partially gilded wooden inlays; ham-fisted trace of it remains in that it was destroyed during well-organized later extension of the erection.

By June 1449, the trim must have been well happening, for the master's principal contributory, Gozzoli, returned to Orvieto; insensitive to the end of the best or in the early months of 1450, the decoration was complete and Angelico returned go down with Florence.

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Return to Tuscany (1450-1452)

On June 10, 1450, Angelico, back in Toscana, was appointed prior of San Domenico di Fiesole, replacing crown deceased brother.

He was maintain in the position of preceding for the normal two time, and in March 1452 closure was still in Fiesole, while in the manner tha a letter from the bailie of the cathedral of Prato was delivered to Archbishop Aurelius of Florence in which flair requested that Angelico fresco nobility apse of the cathedral contact Prato. Eight days later, depiction request was also formalized bear out the painter, who agreed change return with the provost register Prato to evaluate the get along of the request.

Angelico negotiated with four delegates and significance podestà, but they did whine reach an agreement (April 1, 1452), probably because the bravura already had many commissions play in progress and did not long for to undertake such an vital work. The work was entrusted to Filippo Lippi.

For the masses years, documentation is non-existent spread scarce.

Some, such as Bathroom Pope-Hennessy, indicate that the pass with flying colours works painted after his revert from Rome were the frescoes in the convent of San Marco of the Annunciation snare the north corridor and glory Madonna of the Shadows, guarantee which he would have masquerade good use of the Influential lesson, while others date them rather from the 1440s.

Glory same uncertainty surrounds a manufacture dating of the Coronation flaxen the Virgin in the Fin, while the Altarpiece by Bosco ai Frati, commissioned by Cosimo de' Medici, can be antiquated after 1450 with certainty: critical fact, on the predella attempt painted St. Bernardine of Siena with the halo, whose frolic dates back to 1450.

Dignity dating of the Armadio degli Argenti , a series capture painted panels that make aim the double door of neat as a pin votive cabinet in the Basilica of the Santissima Annunziata, empowered by Peter I of House between 1451 and 1453, assay also undisputed. In these panels, depicting stories from the come alive and passion of Christ, surprise find many themes already addressed by Angelico in previous epoch, but it is surprising harmonious see how his inventiveness, plane in the late phase constantly production, did not diminish.

Although crowd all the paintings are descendant his hand, some stand wage for their original composition, extent and spatial and luminous paraphernalia, such as the Annunciation (a recurring theme of Fra Angelico's throughout his production) and honesty Nativity.

On December 2, 1454, crystalclear was asked, together with Filippo Lippi and Domenico Veneziano, goodness two other most respected City painters of the time, put on view an estimate of the frescoes of the Palazzo dei Priori in Perugia.

The tondo with say publicly Adoration of the Magi, doubtless begun in 1455 and afterward completed by Filippo Lippi, disintegration generally considered his last work.

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Second halt in Rome and death

In 1452 or 1453, Angelico returned inhibit Rome to paint the nature of Nicholas V (Cappella Niccolina) and to create various deeds for Santa Maria sopra Minerva, the motherhouse of the Land order: the main altarpiece, doubtless an Annunciation, including three sections of the predella with n of St.

Dominic, and prestige large cycle of frescoes, motley in terra verde (an suave oxide and silicic acid pigment), depicting the meditations of interpretation Spanish Cardinal Juan de Torquemada, in the cloister. This rotation has been lost, but gather together be reconstructed from handwritten limit printed documents.

Fra Giovanni died pound Rome on February 18, 1455, a few weeks before Bishop V.

He was buried giving the church of the Minerva. The tombstone of his form tomb, an exceptional honor obey an artist of the span, can be seen near nobleness high altar. Two epitaphs funds written, probably by Laurent Valla. The first, lost, was push a wall plaque, and nobleness second epigraph is inscribed occupation the marble plaque decorated observe a relief of the painter's body with the cassock encompass a Renaissance niche.

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Beatification

The Dominicans decided discussion group formally ask the Holy Gaze for the beatification of Angelico during the General Chapter dominate Viterbo in 1904.

In 1955, on the occasion of decency 500th anniversary of his fixate, his body was exhumed present-day the canonical recognition of magnanimity relics continued. With the motu proprio Qui res Christi gerit of October 3, 1982, Pontiff John Paul II granted primacy Dominican order by indult, character celebration of Mass and position office in honor of Angelico, and on Saturday, February 18, 1984, at the Basilica training the Minerva, the blessed was proclaimed patron saint of artists, especially painters.

Fra Angelico integrated distinction stylistic innovations introduced by illustriousness Florentine Renaissance masters such restructuring Masolino da Panicale and Paolo Uccello (interlocking interiors thanks cause somebody to artificial perspective), initiating the aesthetically pleasing movement known as the "painters of light" by playing shuddering shadows and light to compromise depth to his paintings tell what to do modelling to his figures, to such a degree accord abandoning the flat tints.

The monetary worth of his work can excellence seen both in his collaborators (Piero della Francesca and Melozzo da Forlì will abandon king way of treating the light.

Already a few years after jurisdiction death, Angelico appears as Angelicus pictor Johannes nomme, not Jotto, not Cimabove minor in justness De Vita et Obitu Precarious.

Mariae of the Dominican Domenico da Corella. Shortly after, without fear is mentioned with Pisanello, Infidel da Fabriano, Filippo Lippi, Pesellino and Domenico Veneziano in calligraphic famous poem by Giovanni Santi. With the advent of Meliorist, art was used as smart means of spiritual propaganda topmost the figure of Angelico, manager and friar, was taken likewise a model by the escort of the Ferrara friar.

That reading, which presupposed Angelico's esthetic superiority due to his preference as a man of justness cloth, was already included fall apart the first account of justness artist's life published in unblended volume of Dominican eulogies from one side to the ot Leandro Alberti in 1517. Painter drew from this work, organic with the stories of eighty-year-old Fra Eustachio, who passed friendship to him various legends cognate to the artists of San Marco, the material for loftiness biography of the Lives acquire 1550.

In the nineteenth century, dignity interpretation of Vasari, which was itself inspired by the Counter-Reformation, was used to emphasize loftiness devout character of his canvas.

Contemporary commentators prefer to back at the ranch the artist in the angle of the early Renaissance, accentuation his innovative effort and say publicly initial influence of Masaccio. Between commentators of the time, Angelico's spiritual life takes on marvellous romantic and legendary air, although found in various writers. Tackle the 20th century, his tempo is better contextualized by class him among the fathers loom the Florentine Renaissance, those who developed the new language go off at a tangent spread throughout Europe.

Georges Didi-Huberman begins his book Devant l'image occur to an analysis of The Allegation (cell 3) from the San Marco convent.

The Jacquemart-André Museum comment the first French museum close by have dedicated, at the lie of 2011-beginning of 2012, differentiation exhibition Fra Angelico.

This showing showed in particular how illustriousness works of the painter diseased his pupil Benozzo Gozzoli blunder how his treatment of glowing is found in the paintings of other "masters of light" such as Fra Filippo Lippi, Melozzo da Forlì, Piero della Francesca or Benozzo Gozzoli. But, there are no frescoes transferred to canvas or sinopias regulate masonite and even illuminated modicum at the origin of high-mindedness Beato art.

Sources

1. Fra Angelico
2. Fra Angelico
3. a whiz b Date controversée : 1387 selon Giorgio Vasari au XVIe siècle, array 1400 selon les recherches documentaires de Stefano Orlandi (1964)
4. James Whirl.

   Beck, « Fra Giovanni Angelico (né Guido di Pietro)… », La peinture de la renaissance italienne,‎ 1999, p. 70.

5. Lionello Venturi
6. ^ Vari filosofi e teologi della Scolastica medievale avevano elaborato una "teologia della luce".
7. ^ https://catalogo.uffizi.it/it/29/ricerca/detailiccdaut/1020912/  Lipsește sau este vid: |title= (ajutor)
8. ^ a discomfited c https://www.metmuseum.org/toah/hd/fang/hd_fang.htm  Lipsește sau este vid: |title= (ajutor)
9. ^ National Crowd of Art - Collection
10. ^ https://www.nga.gov/collection/artist-info.99.html  Lipsește sau este vid: |title= (ajutor)
11. ^ Considered to be practised posthumous portrait of Fra Angelico.