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Benozzo Gozzoli
Procession of the Magi
mk68
Fresco
Florence
Medici Palace
Medici Family Private Chapel
c.1459
ltaly
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Benozzo Gozzoli
Interior of Medici Family
mk68
Fresco,marble,and porphyry
Florence,Medici palace
c.1459
ltaly
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Benozzo Gozzoli
The School in Tagaste
mk83
1464-1465
Fresco
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Benozzo Gozzoli
Procession of the Magi
mk86
1459-1461
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Benozzo Gozzoli
Procession of the Magi
mk86
1459-1461
Fresco,Wall width c.750cm
Florence,Palazzo Medici-Riccardi
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Benozzo Gozzoli
The Procession of the Magi,Procession of the Youngest King
mk156
1459-63
Fresco
Palazzo Medici Riccardi
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Benozzo Gozzoli
Madonna della Cintola
mk166
1450-1452
Tempera on wood Museum of the Vatican one Rome
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Benozzo Gozzoli
The Virgin and Child Enthroned among Angels and Saints
mk170
1461-1462
Tempera on wood
161.9x170.2cm
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Benozzo Gozzoli
The train of the holy three Konige
mk178
Galeazzo Maria Sforza, duke of Milan very to the left on a brown and Sigismondo Pandolfo Malatesta, ruler of Rimini, in addition on a Schimmei UM1460 fresco
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Benozzo Gozzoli
Procession of the Magi
mk231
1459
Oil on canvas
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Benozzo Gozzoli
Scenes From the Life of St.Augustine
mk231
Oil on canvas
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Benozzo Gozzoli
Journey of the Magi to Bethlehem
mk247
C.1460,fresco(detail),chapel of the palazzo medici-riccardi,florence,ltaly
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Benozzo Gozzoli
Adoration of the Magi
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
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Benozzo Gozzoli
Procession of the Middle King
1459-60 Fresco Chapel, Palazzo Medici-Riccardi, Florence The middle king is represented with the features of Emperor John VII Paleologus. For this representation Benozzo based his work on a medallion designed by Pisanello in 1438. However, he made the face younger and replace the traditional and unwieldy Byzantine tiara with a crown resting on a peacock-plumed velvet cap. Author: GOZZOLI, Benozzo Title: Procession of the Middle King (detail) , 1451-1500 , Italian Form: painting , religious
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Benozzo Gozzoli
Triumph des Hl. Thomas von Aquin uber Averroes
1468-1484
Medium oil on panel
Dimensions Deutsch: 227 x 102 cm
cjr
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| Benozzo Gozzoli
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Italian Early Renaissance Painter, 1420-1497
Italian Renaissance painter. Early in his career he assisted Lorenzo Ghiberti on the east doors of the Baptistery in Florence and Fra Angelico on frescoes in Florence, Rome, and Orvieto. His reputation today rests on the breathtaking fresco cycle The Journey of the Magi (1459 ?C 61) in the chapel of Florence's Medici-Riccardi Palace. His work as a whole was undistinguished, however. He painted several altarpieces and a series of 25 frescoes of Old Testament scenes, now badly damaged, for the Camposanto in Pisa (1468 ?C 84).
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