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Luca Signorelli (Cortona 1450 ca. - 1523) e bottega
Assunzione della Vergine (1519-20, particolare)
Tempera su tavola, dalla Cattedrale di Santa Maria Assunta
Museo diocesano di Cortona - it.wikipedia.org/wiki/Museo_diocesano_(Cortona)
l'opera intera - full size
upload.wikimedia.org/wikipedia/commons/f/f9/Luca_signorel...
Luca Signorelli (ca. 1450 - 1523) and workshop
Assumption of the Virgin (1519-20, detail)
Tempera on a wooden panel from the Cathedral of Santa maria Assunta - en.wikipedia.org/wiki/Diocesan_Museum_(Cortona)
August 2021 - Edited and uploaded 2022/01/17
Umbertide : The lower village with the 3 church and the square
The 3 churches are important, the first, Santa Croce, baroque from the 1600s, currently serves as an Art Gallery, with a painting by Luca Signorelli, the Deposition from the Cross, from 1516 and ceramics by Corrado Cagli.
The second is the fourteenth-century S. Francesco, with the former convent, now the municipal historical archive and the municipal library.
The third is S. Bernardino from 1400.
Le tre chiese sono importanti, la prima , S.Croce, barocca del 1600 , attualmente funge da pinacoteca ,con un dipinto di Luca Signorelli del 1516 e ceramiche di Corrado Cagli .
La seconda è la trecentesca chiesa di S.Francesco ,con l'ex-convento , ora Archivio storico Comunale e Biblioteca Comunale .
La terza è S.Bernardino del 1400 -.
The Basilica della Santa Casa is a Marian shrine in Loreto, in the Marches, Italy. The basilica is known for enshrining the house in which the Blessed Virgin Mary is believed by some Catholics to have lived. Pious legends claim the same house was flown over by angelic beings from Nazareth to Tersatto (Trsat in Croatia), then to Recanati, before arriving at the current site.
The basilica is also known for enshrining the Madonna and Child image of "Our Lady of Loreto". Pope Benedict XV designated the religious image as patroness of air passengers and auspicious travel on 24 March 1920. Pope Pius XI granted a Canonical Coronation to the venerated image made of Cedar of Lebanon wood on 5 September 1922, replacing the original Marian image consumed in fire on 23 February 1921.
The basilica containing the Santa Casa is a Late Gothic structure built starting from 1468, and continued by Giuliano da Maiano, Giuliano da Sangallo, and Donato Bramante. It is 93 meters long, 60 meters wide, and its campanile is 75.6 meters high.
The façade of the church was erected under Sixtus V, who in 1586 fortified Loreto and gave it the privileges of a town; his colossal statue stands on the parvis, above the front steps, a third of the way to the left as one enters. Over the principal doorway there is a lifesize bronze statue of the Virgin and Child by Girolamo Lombardo; the three superb bronze doors executed at the latter end of the 16th century under the reign of Paul V (1605–1621) are also by Lombardo (1506-1590), his sons and his pupils, among them Tiburzio Vergelli (1551-1609), who also made the fine bronze font in the interior. The doors and hanging lamps are by the same artists.
The richly decorated campanile (1750 to 1754), by Luigi Vanvitelli, is of great height; the principal bell, presented by Leo X in 1516, weighs 11 tons.
The interior of the church has mosaics by Domenichino and Guido Reni and other works of art, including statues by Raffaello da Montelupo. In the sacristies on each side of the right transept are frescoes, on the right by Melozzo da Forlì, on the left by Luca Signorelli and in both there are some fine intarsias; the basilica as a whole is thus a collaborative work by generations of architects and artists.
Orvieto, Umbria, Italia
Luca Signorelli, Beati in Paradiso - Blessed in Paradise (1499-1502)
Duomo di Orvieto
Luca Signorelli (Luca d'Egidio di Ventura, Cortona, 1441-1445 circa – Cortona, 16 ottobre 1523)
it.wikipedia.org/wiki/Luca_Signorelli
Signorelli e Michelangelo
it.wikipedia.org/wiki/Luca_Signorelli#Signorelli_e_Michel...
Affreschi di Cappella di San Brizio (1499-1502)
it.wikipedia.org/wiki/Cappella_di_San_Brizio
Beati in Paradiso (dettaglio)
Cathedral of Orvieto
Luca Signorelli (Luca d'Egidio di Ventura, Cortona, 1441-1445 circa - Cortona, 16 October 1523)
en.wikipedia.org/wiki/Luca_Signorelli
Frescoes in the Chapel of San Brizio (1499-1502)
en.wikipedia.org/wiki/Orvieto_Cathedral#Chapel_of_the_Mad...
Blessed in Paradise (detail)
August 2021 - Edited and Uploaded 2021/11/02
In Arezzo, the beautiful Tuscan city, nature, history and art come together to offer us the pleasure of enjoying a wonderful experience.
Arezzo is a land of artists and it is also a place where today many artists and art lovers go to feed their soul and their senses and to meet the muses of the past and present.
Testimonies to the genius of Giorgio Vasari, Piero della Francesca, Beato Angelico, Luca Signorelli, Bartolomeo della Gatta and other artists from the Arezzo and Cortona schools. There’s a gallery spread throughout the heart of the historic center of the city that can be seen, step by step, on a tour that explores the most important places of worship and museums in Arezzo.
This journey into Arezzo’s golden age starts outside the walls, built by the Medici to surround the city. The first stop is the Church of “Santa Maria delle Grazie” which has a portico by Benedetto da Maiano. He was a master of architectural studies on perspective and brought his expertise in geometry and light to this structure, surrounded by green spaces and the peacefulness of a sacred place. The light enters inside Santa Maria delle Grazie and blends with the shining colors of the glazed terracotta pieces by Andrea della Robbia on the high altar.
Inside the walls, there is the Church of SS. Anunziata which was founded on the site of the Miracle of Our Lady of Tears. This church was built in the 16th century based on a project by Bartolomeo della Gatta and houses the Deposition by Giorgio Vasari, the Adoration of the Shepherds by Niccolò Soggi and the Virgin Appearing to Saint Francis by Pietro da Cortona. Its interior is illuminated by twelve stained glass windows by Marcillat.
Don’t miss the two museums that are just a few steps away from the church. These museums are for fans of the Renaissance. The first museum is the Vasari House-Museum which was designed by the master and has his frescoes inside. This museum is considered a small gem of art and architecture. It houses the Vasarian Archives that contain some of Vasari’s correspondences with other great men of his time, including Michelangelo. The second museum is the National Museum of Medieval and Modern Art inside the Palazzo Bruni Ciocci building. This museum is also called “La Dogana” and it houses the “Convito” for the Wedding of Ester and Assuero by Vasari, one of the largest wood panel paintings from the 16th century, as well as pieces by Bartolomeo della Gatta and works of art from the Della Robbia workshop.
Heading towards the Piazza della Badia square, you’ll see the Church of Saints Flora and Lucilla. This 13th century church was transformed in the mid 16th century on a project by Giorgio Vasari and today it houses a monumental altar complex which the artist himself created as a family chapel. In this place of silence and mystical reflection, you can take a tour with the sacristan who will show you the treasures of the church including the iconic Vasari yellow of the “Pala Albergotti,” the magical illusion presented by the trompe l’oeil Baroque dome by Andrea Pozzo and the fresco of Saint Lawrence by Bartolomeo della Gatta.
Continue your journey in the footsteps of Piero della Francesca and you come to the Piazza San Francesco square where the Basilica of Saint Francis is located. This church houses the fresco series called the Legend of the True Cross, a masterpiece of the master from Sansepolcro as well as the Annunciation by Luca Signorelli and frescoes completed by his followers and pupils.
As you leave the Basilica of Saint Francis, you’ll take Via Cavour street towards Corso Italia street until you come to Palazzo Redi and Palazzo Guilicchini, two perfect examples of Renaissance architecture. Passing these, you’ll continue the uphill climb of Corso Italia street until you reach Piazza Grande square. Once you enter the square, you’ll notice that everything seems to bear Vasari’s signature, from the Vasari “Logge” to the “Palazzo della Fraternità.” These structures are the architectural jewels of one of the most beautiful squares in the world. But, the tour doesn’t end here. Continue uphill through the historic center of Arezzo towards the Cathedral of Saints Peter and Donato. Inside, to the left of the altar there is a delicate Renaissance fresco painted by Piero della Francesca with Saint Mary Magdalene. The stained glass windows are by Marcillat and shine like a rainbow. The Chapel of the Madonna del Conforto has works of art by Della Robbia.
Last but not least is the Medici Fortress, built on the Hills of Saint Donato at the behest of Cosimo I De Medici. This fortress has an unusual history because it was built by the lord of Florence in order to protect himself from the people of Arezzo. Today, the walls and ramparts of this splendid pentagon are all that remain. The Fortress has become the perfect spot for contemporary art exhibitions and events. On the top of its walls, there is a long paved path that runs along the entire perimeter of the Fortress and offers visitors spectacular panoramic views of Arezzo.
Luca Signorelli (Cortona, 1441-1445 circa – Cortona, 16 ottobre 1523), Venuta dell'anticristo.
All’interno della Cattedrale di Orvieto, si trova la Cappella di San Brizio contenente uno dei massimi cicli pittorici del Rinascimento italiano. La decorazione pittorica fu avviata nel 1447 dal Beato Angelico con l'aiuto di Benozzo Gozzoli,.I due artisti interruppero ben presto i lavori, terminati solo negli anni 1499- 1504 da Luca Signorelli. Di quest’ultimo, famose le grandiose scene apocalittiche dedicate alla Venuta dell'Anticristo, alla Fine del mondo, alla Resurrezione della carne e al Giudizio universale.
Inside the Cathedral of Orvieto, there is the Chapel of San Brizio containing one of the greatest pictorial cycles of the Italian Renaissance. The pictorial decoration was started in 1447 by Beato Angelico with the help of Benozzo Gozzoli. The two artists soon interrupted the work, which was only completed in the years 1499-1504 by Luca Signorelli. Of the latter, the grandiose apocalyptic scenes dedicated to the Coming of the Antichrist, the End of the world, the Resurrection of the body and the Last Judgment are famous.
N.B. Al momento dello scatto gli affreschi erano illuminati in parte da luce artificle ed in parle da luce solare. L'immagine pertanto ne risente maniera evidente
N.B. At the time of shooting the frescoes were partly illuminated by artificial light and partly by sunlight. The image is therefore clearly affected
Orvieto, Umbria, Italia
Duomo di Orvieto
Luca Signorelli (Luca d'Egidio di Ventura, Cortona, 1441-1445 circa – Cortona, 16 ottobre 1523)
it.wikipedia.org/wiki/Luca_Signorelli
Signorelli e Michelangelo
it.wikipedia.org/wiki/Luca_Signorelli#Signorelli_e_Michel...
Affreschi di Cappella di San Brizio (1499-1502)
it.wikipedia.org/wiki/Cappella_di_San_Brizio
Dannati all'Inferno (dettaglio)
Cathedral of Orvieto
Luca Signorelli (Luca d'Egidio di Ventura, Cortona, 1441-1445 circa - Cortona, 16 October 1523)
en.wikipedia.org/wiki/Luca_Signorelli
Frescoes in the Chapel of San Brizio (1499-1502)
en.wikipedia.org/wiki/Orvieto_Cathedral#Chapel_of_the_Mad...
Damned in Hell (detail)
August 2021 - Edited and Uploaded 2021/08/27
Abbazia benedettina e complesso monastico di Monte Oliveto Maggiore - Benedictine abbey and monastic complex of Monte Oliveto Maggiore (Asciano, Siena, Tuscany)
Il monastero venne fondato nel 1313 da seguaci dell'ordine benedettino; il beato Bernardo Tolomei (1272-1348) fondò una comunità religiosa con il nome di Congregazione di Santa Maria di Monte Oliveto sul monte che prende lo stesso nome che si trova a poca distanza da Buonconvento sulla strada che va in direzione della frazione di Chiusure ed Asciano.
Nel 1319 il Vescovo di Arezzo Guido Tarlati approvò la fondazione che venne inserita nella regola benedettina; l'anno successivo si diede inizio alla costruzione del monastero e nel 1344 Papa Clemente VI approvò la Congregazione.
A metà del Seicento c'erano sei monasteri olivetani in Toscana; nel 1765 Monte Oliveto Maggiore fu eretto a abbazia Nullius da Papa Clemente XIII, senza cura pastorale.
Abbazia bellissima e tutt'ora abitata da una importante comunità benedettina, Monte Oliveto Maggiore vanta bellezze artistiche di importanza mondiale, come i 37 episodi della vita di San Benedetto dipinti nel chiostro opera di Luca Signorelli e del Sodoma del secolo XV, il coro ligneo della chiesa, intagliato da Fra Giovanni da Verona. Ma molte altre sono le opere artistiche contenute all'interno dell'Abbazia, come il crocifisso ligneo di Montecontieri della prima metà del Trecento, la Maestà del Maestro di Monteoliveto, ecc.
Per coloro che la visitano l'Abbazia ha un agriturismo, produce un ottimo vino e vende prodotti dei monaci in uno shop; c'è un buon ristorante dove si degusta la cucina toscana e, alla fine, c'è un paesaggio meraviglioso delle Crete Senesi.
The monastery was founded in 1313 by followers of the Benedictine order; the blessed Bernardo Tolomei (1272-1348) founded a religious community with the name of Congregation of Santa Maria di Monte Oliveto on the mountain that takes the same name which is located a short distance from Buonconvento on the road that goes towards the hamlet of Chiusure and Asciano.
In 1319 the Bishop of Arezzo Guido Tarlati approved the foundation which was included in the Benedictine rule; the following year the construction of the monastery began and in 1344 Pope Clement VI approved the Congregation.
In the mid-17th century there were six Olivetan monasteries in Tuscany; in 1765 Monte Oliveto Maggiore was erected as a Nullius abbey by Pope Clement XIII, without pastoral care.
It is a beautiful abbey still inhabited by an important Benedictine community, Monte Oliveto Maggiore boasts artistic beauties of global importance, such as the 37 episodes from the life of St. Benedict painted in the cloister by Luca Signorelli and Sodoma from the 15th century, the wooden choir of the church, carved by Fra Giovanni da Verona. But there are many other artistic works contained within the Abbey, such as the wooden crucifix of Montecontieri from the first half of the fourteenth century, the Majesty by the Master of Monteoliveto, etc.
For those who visit it, the Abbey has a farmhouse, produces a excellent wine and sells products of the monks in a shop; there is a good restaurant where you can taste Tuscan cuisine and, in the end, there is a wonderful landscape of the Sienese Clays.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
One of the greatest medieval squares in Italy, Piazza del Campo is certainly unique. Siena’s monumental piazza fans out like a seashell, semicircled by a curtain of Late Gothic mansions, red brick herringbone-patterned paving gently sloping to the grand Palazzo Pubblico which encloses the far side.
Initially the town’s marketplace, in the early 14th century ‘il Campo’ was transformed into the medieval wonder you can see today. Effectually it’s an open-air stage. The Palio horse races are held here, an extraordinary event that takes place twice a year.
The palazzi signorelli (stately homes) which overlook the square were planned to a uniform architectural design in accordance with the urban laws of those times. The ground floors have mainly been turned into restaurants, cafés, and gelaterias. The terraces out front are a good place to relax for a while.
en.wikipedia.org/wiki/Flagellation_Standard
Luca Signorelli (pseudonym of Luca d'Egidio di Ventura
- Cortona, c. 1441-1445 - Cortona, October 16, 1523) Flagellation (1482-1485) tempera on panel 84 x 60 cm. - Pinacoteca di Brera, Milan
Si tratta di una delle due facce dello stendardo processionale eseguito per la Confraternita dei Raccomandati di Santa Maria del Mercato a Fabriano, che giunsero a Brera, già separate, a seguito delle soppressioni napoleoniche nel 1811. Le scelte iconografiche riflettono precise indicazioni dei committenti, che si dedicavano ad attività assistenziali nei confronti dell’infanzia abbandonata – da qui la raffigurazione della Madonna del latte – e che praticavano forme di penitenza quali l’autofustigazione pubblica.
Allievo di Piero della Francesca, Signorelli ambienta la Flagellazione entro uno spazio costruito secondo i canoni della prospettiva e organizzato attorno al fulcro di simmetria della colonna, chiuso sullo sfondo da uno splendido brano di architettura all’antica; tuttavia, perfettamente aggiornato sulle novità della pittura fiorentina del secondo Quattrocento e sulle soluzioni di Pollaiolo e Botticelli, egli dà forma a figure e dettagli decorativi grazie a una linea vibrante e nervosa, che imprime alla composizione un senso di animato dinamismo del tutto estraneo al linguaggio di Piero. L’opera viene datata a un’epoca anteriore al viaggio a Roma dell’artista, avvenuto nel 1482, probabilmente attorno al 1475.
This is one of the two sides of the processional banner made for the Confraternita dei Raccomandati di Santa Maria del Mercato in Fabriano, which came to Brera, already separated, following the Napoleonic suppressions in 1811. The iconographic choices reflect precise indications from the patrons, who were dedicated to welfare activities toward abandoned childhoods - hence the depiction of the Madonna of Milk - and who practiced forms of penance such as public self-fustigation.
A pupil of Piero della Francesca, Signorelli sets the Flagellation within a space built according to the canons of perspective and organized around the fulcrum of symmetry of the column, closed in the background by a splendid piece of old-fashioned architecture; nevertheless, perfectly up-to-date with the innovations of Florentine painting in the second half of the 15th century and with the solutions of Pollaiolo and Botticelli, he gives shape to figures and decorative details thanks to a vibrant and nervous line, which gives the composition a sense of animated dynamism that is completely foreign to Piero's language. The work is dated to a time before the artist's trip to Rome in 1482, probably around 1475.
A symbol of the city itself, the Duomo is one of the most beautiful in Italy. The construction began in 1290, with the support of both the Catholic Church and the city. The intent was to create one large cathedral for the city, to replace two decaying churches that existed there before. It should also be noted that the delightful story of the event of the Miracle of Bolsena encouraged the construction of the Duomo.
The Duomo is a magnificent building that brings together different architectural styles. In particular we can define a fine example and balance of Gothic and Romanesque styles. There were many people who participated in the various phases of design and construction.
Arnolfo di Cambio, and Lorenzo Maitani, with regard to the design (in particular Maitani for much of the credit of the splendid facade) and a lot of sculptors, goldsmiths and painters as regards the landscaping and finishing.
Among the sculptors is Ippolito Scalza (local architect of several works in Orvieto including the Town Hall), which can be seen inside the Duomo, the Statua della Pietà. Among the painters are Ugolino di Prete Ilario, Gentile da Fabriano, Beato Angelico and Luca Signorelli's frescoes in particular for the two beautiful chapels. the chapel of San Brizio, and the chapel of SS Corporale
Pay attention to:
The mosaics of the Cathedral of Orvieto
Rose window of the Cathedral of Orvieto
Bas Reliefs of the Cathedral of Orvieto
The San Brizio Chapel and The
Corporale Chapel Statues of the Cathedral of Orvieto
• Crypt and Cathedral undergrounds
The Communion of the Apostles is a painting by Italian Renaissance artist Luca Signorelli, dating from around 1512. It is now in the Diocesan Museum of Cortona, Tuscany, Italy.
The iconography of the painting was rather unusual for Italy, and had been indeed inspired by Justus van Gent's Corpus Domini Altarpiece (1472–1474), that Signorelli had seen during his stay at Urbino.
Above an ancient style background, similar to Perugino's works, Signorelli painted Christ in the center of the scene, surrounded by brightly dressed apostles in a pyramidal composition. Christ holds a dish with the hosts he is delivering them. Among the apostles, Judas Iscariot is portrayed while turning towards the seer: at the same time, he is hiding into his purse the coin of his betrayal.
The altarpiece was most likely accompanied by a predella. Three of its panels have been identified with the Meeting of the Pilgrims on the Road to Emmaus and Supper in Emmaus in the Julius Weitznel collection, and with the St. Catherine of Alexandria now at the Museo Horne in Florence.
Dante Alighieri seen here in detail from Luca Signorelli's fresco, Chapel of San Brizio, Orvieto Cathedral, Italy. Durante degli Alighieri, simply called Dante (c. 1265 – 1321), was a major Italian poet of the Late Middle Ages. His Divine Comedy, originally called Comedia (modern Italian: Commedia) and later christened Divina by Boccaccio.
Bartolomeo della Gatta (1448–1502), born Pietro di Antonio Dei, was an Italian (Florentine) painter, illuminator, and architect. He was the son of a goldsmith. He was a colleague of Fra Bartolommeo. In 1468, Bartolomeo became a monk in the Order of Camaldoli, which his brother Nicolo had already entered. Upon taking holy orders, he changed his name to Bartolomeo. About 1481, he was summoned to Rome where he contributed to the cycle of frescos on the walls of the Sistine Chapel. He collaborated with Luca Signorelli. Bartolomeo eventually became abbot of the abbey of San Clemente in Arezzo. He died in 1502 and was buried in the abbey of San Clemente.
Questa splendida abbazia fu fondata nel 1319 da tre nobili senesi che decisero di abbandonare lussi e ricchezze per ritirarsi in solitudine e vivere secondo la regola benedettina.
Bernardo Tolomei, Patrizio Patrizi e Ambrogio Piccolomini scelsero, come luogo della loro nuova vita, un’area denominata “Acona”, un’angolo delle Crete Senesi caratterizzato da imponenti e scenografici calanchi, dove, oggi come ieri, pace e tranquillità regnano sovrane.
L’Abbazia è ancora oggi abitata dai monaci olivetani, ed è possibile visitare la meravigliosa chiesa, il grande chiostro con il celeberrimo ciclo affrescato con le storie di San Benedetto (XV-XVI secolo, iniziato da Luca Signorelli e portato a termine da Antonio Bazzi detto il Sodoma), la preziosa farmacia, la ricca biblioteca, il refettorio e un sorprendente, piccolo museo.
This splendid abbey was founded in 1319 by three Sienese nobles who decided to abandon luxuries and riches to retire in solitude and live according to the Benedictine rule.
Bernardo Tolomei, Patrizio Patrizi and Ambrogio Piccolomini chose, as the place of their new life, an area called "Acona", a corner of the Crete Senesi characterized by impressive and spectacular gullies, where, today as yesterday, peace and tranquility reign supreme.
The Abbey is still inhabited today by the Olivetan monks, and it is possible to visit the wonderful church, the large cloister with the famous frescoed cycle with the stories of San Benedetto (15th-16th century, started by Luca Signorelli and completed by Antonio Bazzi called Sodoma), the precious pharmacy, the rich library, the refectory and a surprising, small museum.
Luca Signorelli (Cortona, 1441-1445 circa – Cortona, 16 ottobre 1523), Beati in Paradiso
All’interno della Cattedrale di Orvieto, si trova la Cappella di San Brizio contenente uno dei massimi cicli pittorici del Rinascimento italiano. La decorazione pittorica fu avviata nel 1447 dal Beato Angelico con l'aiuto di Benozzo Gozzoli,.I due artisti interruppero ben presto i lavori, terminati solo negli anni 1499- 1504 da Luca Signorelli. Di quest’ultimo, famose le grandiose scene apocalittiche dedicate alla Venuta dell'Anticristo, alla Fine del mondo, alla Resurrezione della carne e al Giudizio universale.
Inside the Cathedral of Orvieto, there is the Chapel of San Brizio containing one of the greatest pictorial cycles of the Italian Renaissance. The pictorial decoration was started in 1447 by Beato Angelico with the help of Benozzo Gozzoli. The two artists soon interrupted the work, which was only completed in the years 1499-1504 by Luca Signorelli. Of the latter, the grandiose apocalyptic scenes dedicated to the Coming of the Antichrist, the End of the world, the Resurrection of the body and the Last Judgment are famous.
N.B. Al momento dello scatto gli affreschi erano illuminati in parte da luce artificle ed in parle da luce solare. L'immagine pertanto ne risente maniera evidente
N.B. At the time of shooting the frescoes were partly illuminated by artificial light and partly by sunlight. The image
Het belangrijkste gebouw van Orvieto is de kathedraal (Duomo di Orvieto), gebouwd tussen het eind van de dertiende en de vijftiende eeuw. Het schip van de kerk is gebouwd in romaanse stijl met horizontale zwart-witte banden zoals in Siena en Florence. In 1310 werd de Sienese architect Lorenzo Maitani aangetrokken, die de voorgevel in een revolutionair gotische stijl liet bouwen met een mengeling van vrolijke kleuren die samen met het expressieve werk van de beeldhouwkunstenaars (waarvan hij zelf niet de minste was) een ongewoon resultaat opleveren. Het interieur van de Duomo is majestueus, kleurig en licht, en bevat omvangrijke fresco's van Luca Signorelli, die een voorafschaduwing zijn van het werk van Michelangelo. Signorelli heeft hierin ook een dubbelportret van hemzelf met zijn collega Fra Angelico opgenomen, die eveneens korte tijd aan deze kerk heeft gewerkt.
Wikipedia
The main building of Orvieto is the cathedral (Duomo di Orvieto), built between the late thirteenth and fifteenth centuries. The nave of the church is built in Romanesque style with horizontal black and white bands, such as in Siena and Florence. In 1310, the Sienese architect Lorenzo Maitani was recruited, who had the façade built in a revolutionary Gothic style with a mixture of cheerful colors that together with the expressive work of the sculptors (of which he was not the least) yield an unusual result. The Duomo's interior is majestic, colorful and light, and contains elaborate frescoes by Luca Signorelli, which foreshadow Michelangelo's work. Signorelli has also included a double portrait of himself with his colleague Fra Angelico, who has also worked on this church for a short time.
Wikipedia
Bar - Restaurant - Bed and Breakfast Motel
Key West, Florida U.S.A. - Fall - 11/25/22
*[left-double-click for a closer-look - Atlantic Ocean - shadows]
I've always liked this spot on the island. It's a Bed & Breakfast and also a restaurant...called Louie's Backyard. So tropical looking! It's in its glory at sunrise when the sun rises just beyond those palms. I've added a few images in different light below - Key West, Florida
In 1971, Louie Signorelli’s oceanfront Victorian home was transformed into Louie’s Backyard. The original restaurant seated only 12 and had one lone waiter. In 1983, Phil and Pat Tenney purchased and lovingly renovated Louie’s – with special attention to the maintenance of the buIlding’s historical integrity – and transformed it into the architectural delight it is today. Their efforts earned it a placement in the National Register of Historic Places. Today, Louie’s is a gourmand’s playground, a cafe-style restaurant with an oceanfront background setting – a must-do experience and a Key West tradition. Phil Tenney and his son Jed Tenney are at the helm, steering Louie’s Backyard into the future with its long-standing traditions and excellence. Visit and see this cool place for yourself!
Louie's Backyard History:
www.louiesbackyard.com/wp-content/uploads/2013/11/History...
A symbol of the city itself, the Duomo is one of the most beautiful in Italy. The construction began in 1290, with the support of both the Catholic Church and the city. The intent was to create one large cathedral for the city, to replace two decaying churches that existed there before. It should also be noted that the delightful story of the event of the Miracle of Bolsena encouraged the construction of the Duomo.
The Duomo is a magnificent building that brings together different architectural styles. In particular we can define a fine example and balance of Gothic and Romanesque styles. There were many people who participated in the various phases of design and construction.
Arnolfo di Cambio, and Lorenzo Maitani, with regard to the design (in particular Maitani for much of the credit of the splendid facade) and a lot of sculptors, goldsmiths and painters as regards the landscaping and finishing.
Among the sculptors is Ippolito Scalza (local architect of several works in Orvieto including the Town Hall), which can be seen inside the Duomo, the Statua della Pietà. Among the painters are Ugolino di Prete Ilario, Gentile da Fabriano, Beato Angelico and Luca Signorelli's frescoes in particular for the two beautiful chapels. the chapel of San Brizio, and the chapel of SS Corporale
Pay attention to:
The mosaics of the Cathedral of Orvieto
Rose window of the Cathedral of Orvieto
Bas Reliefs of the Cathedral of Orvieto
The San Brizio Chapel and The
Corporale Chapel Statues of the Cathedral of Orvieto
• Crypt and Cathedral undergrounds
"Saint George and the Dragon", a work by Luca Signorelli between 1502 and 1504 belonging to the Rijksmuseum Amsterdam, photographed during the exhibition "Man, Dragon and Death". The Glory of St. George "at MAC's in Hornu (Belgium).
Madonna and Child with the Holy Trinity and Two Saints is a painting by Luca Signorelli, from 1510, now in the Uffizi in Florence. It is a sacra conversazione, with the Madonna enthroned between Michael and Gabriel, with Augustine (left) and Athanasius (right) below and the Holy Trinity above.
It was originally commissioned by the Confraternity of the Trinity for pilgrims in Cortona, the town where Signorelli was born and produced several works. It was later in the San Niccolò Monastery in Cafaggio from 1810 to 1919. Its predella included scenes of The Wedding at Cana, Christ at Gethsemane and The Flagellation of Christ - it was detached and moved to the Galleria dell'Accademia, also in Florence.
I have not received the gift of this photograph yet. The package contains the death of the dictator, tyrant and murderer Covid19 with its end I will find freedom. Going to the sea on crowded beaches, in the mountains, squares, bars, theaters, cinemas etc. I want to share this wonderful gift with everyone.
Happy New Year 2021 from Giovanni Battista Signorelli
The Santo Spirito Banner is a double-sided 1494 tempera on canvas painting by Luca Signorelli, now in the Galleria nazionale delle Marche in Urbino. Separated in 1775, one side shows the Crucifixion of Jesus and the other Pentecost.
It was painted for Urbino's Confraternita dello Spirito Santo to carry in public processions. At this period the painter had taken refuge in Urbino after fleeing Florence following the fall of the Medici. The contract for the work was signed in Cortona by the maiolica painter Filippo Gueroli, who may have been Signorelli's agent in Urbino. The contract set the payment at 20 florins and the deadline four months later.
The main building of Orvieto is the cathedral (Duomo di Orvieto), built between the late thirteenth and fifteenth centuries. The nave of the church is built in Romanesque style with horizontal black and white bands, such as in Siena and Florence. In 1310, the Sienese architect Lorenzo Maitani was recruited, who had the façade built in a revolutionary Gothic style with a mixture of cheerful colors that together with the expressive work of the sculptors (of which he was not the least) yield an unusual result. The Duomo's interior is majestic, colorful and light, and contains elaborate frescoes by Luca Signorelli, which foreshadow Michelangelo's work. Signorelli has also included a double portrait of himself with his colleague Fra Angelico, who has also worked on this church for a short time.
Wikipedia
Dipinto di Ludovico Muratori, risalente al 1700, nella Cappella Gualterio del Duomo di Orvieto.
Da notare che questa Cappella si trova nella ben più famosa Cappella di S.Brizio contenente il famoso ciclo di affreschi di Luca Signorelli
Painting by Ludovico Muratori, dating back to 1700, in the Gualterio Chapel of the Cathedral of Orvieto.
It should be noted that this Chapel is located in the much more famous Chapel of San Brizio containing the famous cycle of frescoes by Luca Signorelli
excerpt from Wikipedia
Press "L"
The Parte Guelfa Holy Family is a tempera on panel painting by Luca Signorelli, created c. 1490, now in the Uffizi in Florence.
It is named after the Palazzo di Parte Guelfa in Florence, for which it was painted. It has 124 cm in diameter, and it was one of the artist's first tondo treatments of the Holy Family or Madonna and Child. Mentioned in Vasari's Lives of the Artists, it remained in the Camera della Comunità (also known as the Sala delle Udienze) until 27 January 1802 when it was moved to the Uffizi, although authorisation had been given for the move two years earlier.
Birth of John the Baptist is a c. 1485–1490 tempera on panel painting by Luca Signorelli. Originally part of the predella of an unknown altarpiece (though Raffaele Caracciolo definitively linked it to the Sant'Onofrio Altarpiece), it was acquired on the art market in 1824 by the Louvre, where it still hangs in the Salle des Sept-Mètres.
The painting is thought to be an early work of Signorelli. It is unusually cursive in style for the artist, and is notable as an experiment in the use of dramatic lighting. The Birth of John the Baptist has been called one of the best examples of the work of Signorelli.
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benedict hunt the enemy above the stone ( 1497-1498)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benoît chasse l'Ennemi de sur la pierre (1497-1498)
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
The Santo Spirito Banner is a double-sided 1494 tempera on canvas painting by Luca Signorelli, now in the Galleria nazionale delle Marche in Urbino. Separated in 1775, one side shows the Crucifixion of Jesus and the other Pentecost.
It was painted for Urbino's Confraternita dello Spirito Santo to carry in public processions. At this period the painter had taken refuge in Urbino after fleeing Florence following the fall of the Medici. The contract for the work was signed in Cortona by the maiolica painter Filippo Gueroli, who may have been Signorelli's agent in Urbino. The contract set the payment at 20 florins and the deadline four months later.
il Sodoma (Giovanni Antonio Bazzi) 1477-1549 - Benedict receives the two Roman boys Mauro and Placido
il Sodoma (Giovanni Antonio Bazzi) 1477-1549 - Benoît reçoit deux jeunes Romains, Maur et Placide
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand1.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benedict says to monks where and when they ate outside the monastery ( 1497-1498)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benoît dit aux moines où et quand ils ont mangé en dehors du monastère (1497-1498)
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Martyrdom of Saint Sebastian is a 1498 tempera on panel painting by Luca Signorelli, now in the Pinacoteca Comunale in Città di Castello. Its date was on its predella, which is now lost. It was the third major work Signorelli produced in Città di Castello and the only one still in the city.
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benedict says to monks where and when they ate outside the monastery ( 1497-1498)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benoît dit aux moines où et quand ils ont mangé en dehors du monastère (1497-1498)
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Montepulciano, Italy
Montepulciano is a medieval and Renaissance hill town and comune in the Italian province of Siena in southern Tuscany. It sits high on a 605-metre limestone ridge, 70 kilometres southeast of Siena. Montepulciano is a major producer of food and drink. Renowned for its pork, cheese, "pici" pasta, lentils, and honey, it is known worldwide for its wine. Connoisseurs consider its Vino Nobile, which should not be confused with varietal wine merely made from the Montepulciano grape, among Italy's best. The main landmarks include:
•The Palazzo Comunale, designed by Michelozzo in the tradition of the Palazzo della Signoria (Palazzo Vecchio) of Florence.
•Palazzo Tarugi, attributed to Antonio da Sangallo the Elder or Jacopo Barozzi da Vignola. It is entirely in travertine, with a portico which was once open to the public.
•The Cathedral of Santa Maria Assunta, or the Duomo of Montepulciano, constructed between 1594 and 1680, includes a masterpiece from the Sienese School, a massive Assumption of the Virgin triptych painted by Taddeo di Bartolo in 1401.
•The church of Santa Maria delle Grazie (late 16th century). It has a simple Mannerist façade with a three-arcade portico. The interior has a single nave, and houses a precious terracotta altar by Andrea della Robbia.
•The Sanctuary of the Madonna di San Biagio is on the road to Chianciano outside the city. It is a typical 16th century Tuscan edifice, designed by Antonio da Sangallo the Elder on a pre-existing Pieve, between 1518 and 1545. It has a circular (central) plan with a large dome over a terrace and a squared tambour. The exterior, with two bell towers, is built in white travertine.
•Baroque church of Santa Lucia has an altarpiece by Luca Signorelli.
•The walls of the city date to around the 14th century.
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - As God punishes Florenzo
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Comment Dieu punit Florent
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Luca Signorelli, pseudonym of Luca d'Egidio di Ventura (Cortona, about 1441-1445 - Cortona, October 16, 1523) - lunette with the blessed in paradise (1499-1502) - Chapel of San Brizio, Orvieto Cathedral.
il Sodoma (Giovanni Antonio Bazzi) 1477-1549 - Mauro sent to save Placido walking over water
il Sodoma (Giovanni Antonio Bazzi) 1477-1549 - Mauro marche sur les eaux pour sauver Placide
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benedict says to monks where and when they ate outside the monastery ( 1497-1498)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benoît dit aux moines où et quand ils ont mangé en dehors du monastère (1497-1498)
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)
Please comment/fave ONLY if you really can't resist ;) I most likely will not be able to reciprocate much due to time limitation (excuses, excuses, excuses! :)) Nonetheless I still want to thank u all for popping by :)
Even though I have seen many great cathedrals by the time I got to Orvieto, this cathedral still wowed me the moment I saw it from the bus window. The gothic facade with the mosaic artworks are simply mind blowing considering the era it was done in! Something that I don't get to see in big cities. What's intriguing is that this gorgeous cathedral is located in a 10th century small town.. about 120km out of Rome. To me, this is definitely like a hidden treasure & a grand masterpiece! :)
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About
Sunrise with the Orvieto Cathedral in Umbria, Central Italy
The Shot
3 exposure shots (+2..0..-2 EV) in RAW with tripod
Camera :: Canon 5D Mark II
Lens :: Canon EF 17-40mm F/4L USM
Photomatix
- Tonemapped generated HDR using detail enhancer option
Photoshop
- Added 3 layer mask effect of 'curves' for selective contrast
- Added 2 layer mask effect of 'level' to enhance & darken selective areas
- Added 1 layer mask effect of 'photo filter' (magenta) to enhance the sky
- Added 1 layer mask effect of 'saturation' (reds) to desaturate the facade
- Added 1 layer mask effect of 'saturation' (yellows & reds) to slightly tone down the sunrise
- Added 1 layer mask effect of 'saturation' (cyans & magentas) to remove chromatic aberrations
- Used 'free transform' to correct wide angle distortion
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Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benedict hunt the enemy above the stone ( 1497-1498)
Luca Signorelli (Luca d'Egidio di Ventura) (1445-1523) - Benoît chasse l'Ennemi de sur la pierre (1497-1498)
Le Storie di san Benedetto di Monte Oliveto Maggiore sono un ciclo di affreschi nel Chiostro Grande dell'Abbazia di Monte Oliveto Maggiore (comune di Asciano, Siena), realizzati da Luca Signorelli (otto lunette), che vi lavorò dal 1497 al 1498, e dal Sodoma, che completò il ciclo dopo il 1505 con le ventisei lunette mancanti. Una (Benedetto manda Mauro in Francia e Placido in Sicilia) venne ridipinta dal Riccio.
Si tratta di una delle più complete descrizioni della vita di san Benedetto, ben trentacinque scene, che si basano sul racconto di san Gregorio Magno.
Stories of St. Benedict of Monte Oliveto Maggiore are a series of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (town of Asciano, Siena), made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498, and Sodoma, who completed the cycle after 1505 with the twenty-six lunettes missing. A (Benedict sends Mauro in France and Placido in Sicily) was repainted by Riccio.
It is one of the most complete descriptions of the life of St. Benedict, thirty-five scenes, which are based on the story of St. Gregory the Great.
Les épisodes de la Vie de saint Benoît de Monte Oliveto Maggiore composent un cycle de fresques du cloître principal de l'abbaye bénédictine de Monte Oliveto Maggiore (commune d'Asciano, dans la province de Sienne), réalisé par Luca Signorelli (huit fresques), qui y travailla de 1497 à 1498, et par Le Sodoma, qui compléta le cycle à partir de 1505 avec les vingt-six fresques manquantes. Une scène (Benoît envoie Maur en France et Placide en Sicile) a été repeinte par Riccio.
Il s'agit de la description picturale la plus complète de la vie de saint Benoît de Nursie (né vers 480-490, mort en 547), composée au total de trente-cinq scènes basées sur le récit du pape Grégoire le Grand.
La vie de Benoît se déroule entre les derniers soubresauts de l'Empire romain d'Occident et les invasions barbares, fournissant à l'imagination des peintres qui l'ont mise en scène un fond historique stimulant et bariolé.
(wikipedia)