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Filippino Lippi
Italian 1457-1504 Filippino Lippi Galleries Born Filippo Lippi in Prato (Tuscany), the illegitimate son of the painter Fra Filippo Lippi and nun Lucrezia Buti, Filippino first trained under his father. They moved to Spoleto, where Filippino served as shop adjuvant in the construction of the Cathedral there. When his father died in 1469, he completed the frescos with Storie della Vergine (Histories of the Virgin) in the cathedral. Filippino Lippi completed his apprenticeship in the workshop of Botticelli, who had been a pupil of Filippino's father. In 1472, Botticelli also took him as his companion in the Compagnia di San Luca. His first works greatly resemble those of Botticelli's, but with less sensitivity and subtlety. The very first ones (dating from 1475 onwards) were initially attributed to an anonymous "Amico di Sandro" ("Friend of Botticelli"). Eventually Lippi's style evolved into a more personal and effective one in the years 1480-1485. Works of the early period include: the Madonnas of Berlin, London and Washington, the Journeys of Tobia of the Galleria Sabauda in Turin, Italy, the Madonna of the Sea of Galleria dell'Accademia and the Histories of Ester. Together with Perugino, Ghirlandaio and Botticelli, Lippi worked on the frescoed decoration of Lorenzo de Medici's villa at Spedaletto. On December 31, 1482 he was commissioned to work on a wall of Sala dell'Udienza of Palazzo Vecchio in Florence (a work never begun). Soon after (probably in 1483-1484) he was called to complete Masaccio's decoration of Brancacci Chapel in the church of the Carmine, left unfinished by the artist's death in 1428 . Here he realized the Stories of Saint Peter on the following frescoes: Quarrel with Simon Magus in face of Nero, Resurrection of Teophilus' Son, Saint Peter Jailed, Liberation and Saint Peter's Crucifixion. The work on the Sala degli Otto di Pratica, in the Palazzo Vecchio, started on February 20, 1486. It is now in the Uffizi Gallery. In the same years Piero di Francesco del Pugliese asked him to paint the altarpiece with Apparition of the Virgin to St. Bernard, now in the Badia Fiorentina, Florence. This is Lippi's most popular picture: a composition of unreal items, with its very particular elongated figures, backed by a phantasmagorical scenario of rocks and almost anthropomorphic trunks. The work can be dated to the 1480-1486 years. Eventually he worked for Tanai de' Nerli in the Saint Spirit's Church. On April 21, 1487, Filippo Strozzi asked him to decorate the family chapel in Santa Maria Novella with the Stories of St. John Evangelist and St. Philip. He worked on this piece intermittently, only completing it in 1503, after the customer's death. The windows with musical themes, also designed by Filippino, were completed between June and July 1503. These paintings can be seen as a mirror of the political and religious crisis in Florence at the time: the theme of the fresco, the clash between Christianity and Paganism, was hotly debated in the Florence of Girolamo Savonarola. Filippino showed his characters in a landscape which recreated the ancient world in its finest details, showing the influence of the Grottesco style he had seen in his journey to Rome. He created in this way an "animated", mysterious, fantastic but also disquieting style, showing the unreality of something as a nightmare. In this way, Filippino portrayed ruthless executioners deformed by grim faces, who raged against the Saints. In the scene with St. Philip expelling a monster from the temple, the statue of the pagan god is a living figure which seems to dare the Christian saint. In 1488, Lippi moved to Rome, where Lorenzo de' Medici had advised Cardinal Oliviero Carafa to entrust him the decoration of the family chapel in Santa Maria sopra Minerva. These frescoes show a new kind of inspiration, quite different from the earlier works, but confirm his continued research on the themes of the Ancient era. Lippi finished the cycle by 1493. Lippi's return to Florence is variously assigned to the years going from 1491 to 1494 . Works of this period include: Apparition of Christ to Madonna (1493, now in Munich), Adoration of the Magi (1496, for the church of San Donato in Scopeto, now in the Uffizi), Sacrifice of Lacoön (end of the century, for the villa of Lorenzo de' Medici at Poggio a Caiano), St. John Baptist and Maddalena (Valori Chapel in San Procolo, Florence, inspired in some way to Luca Signorelli's art). He also worked outside of his mother-country, namely on the Certosa of Pavia and in Prato, where in 1503 he completed the Tabernacle of the Christmas Song, now in the City Museum; in 1501 Lippi realized the Mystic Wedding of St. Catherine for the Basilica of San Domenico in Bologna. Lippi's last work is the Deposition for the Santissima Annunziata church in Florence, which at his death in April 1504 was unfinished. He was so renowned that all the workshops of the city closed on the day of his burial.

 

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Filippino Lippi Adoration of the Christ Child oil painting

Painting ID::  29150

X 
 

Filippino Lippi
Adoration of the Christ Child
mk65 Oil on copper transferred from panel 35"
   
   
     

 

 

Filippino Lippi The Vision of St.Augustine oil painting

Painting ID::  29199

X 
 

Filippino Lippi
The Vision of St.Augustine
mk65 1460s Tempera and oil on panel 11 1/2x20"
   
   
     

 

 

Filippino Lippi St.john the Baptist oil painting

Painting ID::  29761

X 
 

Filippino Lippi
St.john the Baptist
mk67 Tempera on panel 51 15/16x21 5/8in
   
   
     

 

 

Filippino Lippi The Adoration of the Child oil painting

Painting ID::  29762

X 
 

Filippino Lippi
The Adoration of the Child
mk67 Tempera on panel 37 13/16x27 15/16in
   
   
     

 

 

Filippino Lippi The Adoration of the Magi oil painting

Painting ID::  29763

X 
 

Filippino Lippi
The Adoration of the Magi
mk67 Tempera on panel 101 9/16x95 11/16in Uffizi,Gallery
   
   
     

 

 

Filippino Lippi Madonna and Child Enthroned with SS.John the Baptist,Victor,Ber-nard,and Zenbius oil painting

Painting ID::  29764

X 
 

Filippino Lippi
Madonna and Child Enthroned with SS.John the Baptist,Victor,Ber-nard,and Zenbius
mk67 Tempera on panel 139 3/4x100 3/8in
   
   
     

 

 

Filippino Lippi The Deposition from the Cross oil painting

Painting ID::  29765

X 
 

Filippino Lippi
The Deposition from the Cross
mk67 Filippino Lippi and Pietro Perugino Tempera on panel 131 1/8x85 13/16in
   
   
     

 

 

Filippino Lippi The adoration of the Konige oil painting

Painting ID::  38461

X 
 

Filippino Lippi
The adoration of the Konige
mk137 1496 oils on wood chalkboard 258x243cm Gallerial degli Uffizi, Florence
   
   
     

 

 

Filippino Lippi The Hl. Philippus and the dragon oil painting

Painting ID::  39438

X 
 

Filippino Lippi
The Hl. Philippus and the dragon
mk148 In this apokryphen legend, the apostle subdues the dragon in a Mars-temple and converts the followers of this heathen God
   
   
     

 

 

Filippino Lippi The Hl. Petrus in Rome oil painting

Painting ID::  39443

X 
 

Filippino Lippi
The Hl. Petrus in Rome
mk148 in the church Santa Maria del Carmine, Rome. Petrus u. Paulus fight with Simon Magus before emperor Nero (to the right), after the Petrusakten in the frame of the collection" golden legend" out of the 13.Jahrhundert.Linke Szene:s.S.178-179
   
   
     

 

 

Filippino Lippi Virgin with the Child and Scenes from the Life of St Anne oil painting

Painting ID::  40203

X 
 

Filippino Lippi
Virgin with the Child and Scenes from the Life of St Anne
mk156 c.1452 Tempera on wooden panel Tondo
   
   
     

 

 

Filippino Lippi Madonna with the Child and Two Angels oil painting

Painting ID::  40206

X 
 

Filippino Lippi
Madonna with the Child and Two Angels
mk156 1456 Tempera on wood 95x62cm
   
   
     

 

 

Filippino Lippi The Adoration of the Infant Christ oil painting

Painting ID::  40972

X 
 

Filippino Lippi
The Adoration of the Infant Christ
mk159 1480s Tempera on copperplate,Transferred from panel
   
   
     

 

 

Filippino Lippi THe Virgin and Child with Saints Jerome and Dominic oil painting

Painting ID::  42872

X 
 

Filippino Lippi
THe Virgin and Child with Saints Jerome and Dominic
mk170 Circa 1485 oil on tempera on poplar 203.2x186.1cm
   
   
     

 

 

Filippino Lippi The Vison of Saint Bernard oil painting

Painting ID::  51771

X 
 

Filippino Lippi
The Vison of Saint Bernard
nn09 mid-1480s Tempera on wood 210x195cm
   
   
     

 

 

Filippino Lippi St Stephen is Born and Replaced by Another Child oil painting

Painting ID::  52269

X 
 

Filippino Lippi
St Stephen is Born and Replaced by Another Child
1452-65 Fresco Duomo
   
   
     

 

 

Filippino Lippi Assumption and Annunciation oil painting

Painting ID::  52316

X 
 

Filippino Lippi
Assumption and Annunciation
1489-91
   
   
     

 

 

Filippino Lippi Crucifixion of St Philip oil painting

Painting ID::  52317

X 
 

Filippino Lippi
Crucifixion of St Philip
1502 Fresco Strozzi Chapel
   
   
     

 

 

Filippino Lippi St John the Evangelist Resuscitating Druisana oil painting

Painting ID::  52319

X 
 

Filippino Lippi
St John the Evangelist Resuscitating Druisana
1502 Fresco Strozzi Chapel
   
   
     

 

 

Filippino Lippi Scene from the Life of St Thomas Aquinas oil painting

Painting ID::  52321

X 
 

Filippino Lippi
Scene from the Life of St Thomas Aquinas
1489-91
   
   
     

 

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Filippino Lippi
Italian 1457-1504 Filippino Lippi Galleries Born Filippo Lippi in Prato (Tuscany), the illegitimate son of the painter Fra Filippo Lippi and nun Lucrezia Buti, Filippino first trained under his father. They moved to Spoleto, where Filippino served as shop adjuvant in the construction of the Cathedral there. When his father died in 1469, he completed the frescos with Storie della Vergine (Histories of the Virgin) in the cathedral. Filippino Lippi completed his apprenticeship in the workshop of Botticelli, who had been a pupil of Filippino's father. In 1472, Botticelli also took him as his companion in the Compagnia di San Luca. His first works greatly resemble those of Botticelli's, but with less sensitivity and subtlety. The very first ones (dating from 1475 onwards) were initially attributed to an anonymous "Amico di Sandro" ("Friend of Botticelli"). Eventually Lippi's style evolved into a more personal and effective one in the years 1480-1485. Works of the early period include: the Madonnas of Berlin, London and Washington, the Journeys of Tobia of the Galleria Sabauda in Turin, Italy, the Madonna of the Sea of Galleria dell'Accademia and the Histories of Ester. Together with Perugino, Ghirlandaio and Botticelli, Lippi worked on the frescoed decoration of Lorenzo de Medici's villa at Spedaletto. On December 31, 1482 he was commissioned to work on a wall of Sala dell'Udienza of Palazzo Vecchio in Florence (a work never begun). Soon after (probably in 1483-1484) he was called to complete Masaccio's decoration of Brancacci Chapel in the church of the Carmine, left unfinished by the artist's death in 1428 . Here he realized the Stories of Saint Peter on the following frescoes: Quarrel with Simon Magus in face of Nero, Resurrection of Teophilus' Son, Saint Peter Jailed, Liberation and Saint Peter's Crucifixion. The work on the Sala degli Otto di Pratica, in the Palazzo Vecchio, started on February 20, 1486. It is now in the Uffizi Gallery. In the same years Piero di Francesco del Pugliese asked him to paint the altarpiece with Apparition of the Virgin to St. Bernard, now in the Badia Fiorentina, Florence. This is Lippi's most popular picture: a composition of unreal items, with its very particular elongated figures, backed by a phantasmagorical scenario of rocks and almost anthropomorphic trunks. The work can be dated to the 1480-1486 years. Eventually he worked for Tanai de' Nerli in the Saint Spirit's Church. On April 21, 1487, Filippo Strozzi asked him to decorate the family chapel in Santa Maria Novella with the Stories of St. John Evangelist and St. Philip. He worked on this piece intermittently, only completing it in 1503, after the customer's death. The windows with musical themes, also designed by Filippino, were completed between June and July 1503. These paintings can be seen as a mirror of the political and religious crisis in Florence at the time: the theme of the fresco, the clash between Christianity and Paganism, was hotly debated in the Florence of Girolamo Savonarola. Filippino showed his characters in a landscape which recreated the ancient world in its finest details, showing the influence of the Grottesco style he had seen in his journey to Rome. He created in this way an "animated", mysterious, fantastic but also disquieting style, showing the unreality of something as a nightmare. In this way, Filippino portrayed ruthless executioners deformed by grim faces, who raged against the Saints. In the scene with St. Philip expelling a monster from the temple, the statue of the pagan god is a living figure which seems to dare the Christian saint. In 1488, Lippi moved to Rome, where Lorenzo de' Medici had advised Cardinal Oliviero Carafa to entrust him the decoration of the family chapel in Santa Maria sopra Minerva. These frescoes show a new kind of inspiration, quite different from the earlier works, but confirm his continued research on the themes of the Ancient era. Lippi finished the cycle by 1493. Lippi's return to Florence is variously assigned to the years going from 1491 to 1494 . Works of this period include: Apparition of Christ to Madonna (1493, now in Munich), Adoration of the Magi (1496, for the church of San Donato in Scopeto, now in the Uffizi), Sacrifice of Lacoön (end of the century, for the villa of Lorenzo de' Medici at Poggio a Caiano), St. John Baptist and Maddalena (Valori Chapel in San Procolo, Florence, inspired in some way to Luca Signorelli's art). He also worked outside of his mother-country, namely on the Certosa of Pavia and in Prato, where in 1503 he completed the Tabernacle of the Christmas Song, now in the City Museum; in 1501 Lippi realized the Mystic Wedding of St. Catherine for the Basilica of San Domenico in Bologna. Lippi's last work is the Deposition for the Santissima Annunziata church in Florence, which at his death in April 1504 was unfinished. He was so renowned that all the workshops of the city closed on the day of his burial.