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Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
The abbey was founded in 1313 and it became a wealthy abbey. It has a cloister with frescos by Luca Signorelli and Il Sodoma.
Second brunch course at Signorelli...
Still struglling to get enough available light, bumped up ISO to 800.
or visit my blog post
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Luca Signorelli -
Sermon and Deeds of the Antichrist, detail [1499-1502]
Orvieto, Cappella di San Brizio
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
Orvieto to nie tylko Il Duomo, zapierające dech pejzaże, kamienne wąwozy ulic czy studnia św. Patryka. Orvieto - to wino, którego historia sięga czasów etruskich, i które w sposób oczywisty splata się, by nie powiedzieć: zlewa z historią sztuki. Luca Signorelli, wybitny malarz quattrocenta, którego freski z kaplicy San Brizio w orvietańskiej katedrze zainspirowały samego Michała Anioła, miał zapewnione w kontrakcie na wykonanie fresków 1000 litrów tego wina rocznie. Co daje dziennie... Można przyjąć, że owe freski w San Brizio nie powstałyby, gdyby nie ów szlachetny trunek, a Michał Anioł zupełnie inaczej malowałby swój Sąd Ostateczny. Oczywiście malowanie sufitów na rauszu jest dość ryzykowne. Signorelli bowiem zmarł w 1523 roku, kiedy to spadł z rusztowania, malując freski w pałacu kardynała Passeriniego, nieopodal Cortony. Z czego można wyciągnąć wniosek, że wino przy pracy polecane jest raczej malarzom sztalugowym czy fotografom. Być może jednak popijał już wówczas inne wino, nie Orvieto, i to było przyczyną jego upadku? Kto to może wiedzieć po tylu latach? Historia pełna jest tajemnic, zatopionych na dnie niejednej szklaneczki. Tak czy owak, przywieźliśmy z Orvieto do Cortony (w Cortonie urodził się Signorelli) dwie butelki tamtejszego specjału i piliśmy je na naszym balkonie, a jakiś odwieczny artysta malował w tym czasie zachód słońca nad doliną Chiana. Ktoś przecież pić musi, by malować mógł ktoś…
Nz. Orvieto Classico plus Est!Est!!Est!!! oraz balkon.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
the amazing ceiling frescoes of Luca Signorelli, Orvieto, Cathedral
Only the street shots - thestreetzine.blogspot.com/
Copyright photo PS
"Court of Heaven" vaults, San Brizio chapel.
Despite the Devil and other fear-mongering mayhem, we can greatly admire the skilled leap-forward in spatial reality depicted by Signorelli. It's said that Michelangelo spent four years studying these before painting the Cistine chapel in Rome. Similarities would confirm.
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Italien / Toskana - Montepulciano
Piazza Grande - Palazzo Comunale
Montepulciano (Italian: [ˌmontepulˈtʃaːno]) 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 (1,985 ft) limestone ridge, 13 kilometres (8 mi) east of Pienza, 70 kilometres (43 mi) southeast of Siena, 124 kilometres (77 mi) southeast of Florence, and 186 kilometres (116 mi) north of Rome by car.
Montepulciano is a wine-producing region. The Vino Nobile di Montepulciano has Denominazione di origine controllata e garantita status and is, with the Brunello di Montalcino and Chianti Classico, one of the principal red wines of Tuscany. The Rosso di Montepulciano and Vin Santo di Montepulciano have Denominazione di origine controllata status.
History
According to legend, it was founded by the Etruscan King Lars Porsena of Clusium (modern Chiusi). Recent findings prove that a settlement was in existence in the 4th-3rd centuries BC. In Roman times it was the seat of a garrison guarding the main roads of the area.
After the fall of the Western Roman Empire, it developed as a religious center under the Lombards. In the 12th century it was repeatedly attacked by the Republic of Siena, which the Poliziani faced with the help of the Perugia and Orvieto, and sometimes Florence, communes. The 14th century was characterized by constant struggles between the local noble families, until the Del Pecora family became rulers of the town. From 1390, Montepulciano was a loyal ally (and later possession) of Florence and, until the mid-16th century, lived a period of splendour with architects such as Antonio da Sangallo the Elder, Jacopo Barozzi da Vignola, Baldassarre Peruzzi, Ippolito Scalza and others, building luxurious residences and other edifices here. In 1559, when Siena was conquered by Florence and Montepulciano lost its strategic role, its importance declined.
After the unification of Italy and the drying of the Val di Chiana, the town remained the most important agricultural centre in the area, while the industrial activities moved mostly next to Chiusi, which was nearer to the railroad being built in that period.
A competitive "barrel race through the city" called the Bravio delle botti has been held on the last Sunday of August since the 14th Century.
Main sights
Since the Second World War, tourism has been a significant aspect in the economy of the urban part of the commune. Many of the streets are designated as car-free. Most of the shops and restaurants are on the main street, which stretches from Porta Al Prato to Piazza Grande[6] for 1.5 kilometres (0.9 mi).
The main landmarks include:
Palazzo Comunale: city hall designed by Michelozzo recalling 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.
Santa Maria Assunta Cathedral, 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.
Santa Maria delle Grazie: late 16th-century) church with 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.
Madonna di San Biagio Sanctuary: church, located 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.
Santa Lucia: Baroque church with altarpiece by Luca Signorelli.
Museo Civico di Montepulciano: located in the Palazzo Neri Orselli, displaying a collection of archeologic items, paintings, and terracotta works by the Della Robbia family.
(Wikipedia)
Montepulciano ist eine Kleinstadt mit 13.691 Einwohnern (Stand 31. Dezember 2019) in der italienischen Region Toskana und gehört zur Provinz Siena.
Geografie
Montepulciano liegt ca. 45 km südöstlich der Provinzhauptstadt Siena und ca. 86 km südöstlich der Regionalhauptstadt Florenz zwischen dem Val di Chiana und dem Val d’Orcia. Lage und Bau der Stadt sind pittoresk. Die Stadt liegt auf der Kuppe eines rund 600 m hohen Hügels und ist von einer mittelalterlichen Stadtmauer umgeben.
Zu den Ortsteilen gehören Abbadia, Acquaviva, Gracciano, Montepulciano Stazione, Sant’Albino und Valiano.
Die Nachbargemeinden sind Castiglione del Lago (PG), Chianciano Terme, Chiusi, Cortona (AR), Pienza und Torrita di Siena.
Geschichte
Die Geschichte Montepulcianos lässt sich bis ins Jahr 715 v. Chr. zurückverfolgen, also bis mitten in die Etruskerzeit. Der Ort unterlag bis 1202 dem Schutz Sienas, erklärte sich dann für Florenz und wechselte anschließend noch mehrfach die Herrschaft, bis er Anfang des 16. Jahrhunderts endgültig florentinisch wurde. 1561 wurde die Stadt Bischofssitz.
Montepulciano ist der Geburtsort des Humanisten und Poeten Angelo Ambrogini (1454–1494), der als Poliziano bekannt wurde und als Hauslehrer und Freund von Lorenzo il Magnifico den Zeitgeist der Renaissance mitprägte. Ein weiterer Sohn der Stadt ist Kardinal Bellarmino (1542–1621).
Im Zweiten Weltkrieg hatte die deutsche Wehrmacht als Vergeltung von Partisanenangriffen bereits die Zerstörung der historischen Altstadt angeordnet. Dies konnte vom Grafen Origo und seiner Frau, der Schriftstellerin Iris Origo („Toskanisches Tagebuch“), in letzter Minute verhindert werden. Gesprengt wurde lediglich das Osttor „Porta al Prato“.
Am 7. Juni 2016 vereinbarten Vertreter des Partito Democratico aus Montepulciano und Torrita di Siena, die in ihren Gemeinden eine klare Mehrheit haben, eine Fusion beider Gemeinden in die Wege zu leiten. Dies wurde im November 2018 in einem Referendum abgelehnt.
Sehenswürdigkeiten
Die meisten der Gebäude der Altstadt stammen aus der Zeit der Renaissance. Älter sind die Burg, der Palazzo Pubblico aus dem 14. Jahrhundert und das Portal der Kirche Santa Maria (13. Jahrhundert). Es gibt eine Reihe von schönen Privathäusern, von denen einige von Antonio da Sangallo dem Älteren (1455–1534) und Baldassare Peruzzi (1481–1536), andere von Vignola (1507–1573) erbaut wurden.
Die Kirche Madonna di San Biagio – wahrscheinlich das Meisterwerk Sangallos – wurde 1518 bis 1537 gebaut.
Die Kathedrale von Bartolomeo Ammanati (1570), verändert von Ippolito Scalza, und vollendet 1680 (mit Ausnahme der Fassade, die immer noch unvollendet ist) beherbergt einen großen Altar von Taddeo di Bartolo von Siena, und die Fragmente eines imposanten Monuments, das 1427–1436 von dem Florentiner Architekten Michelozzo zu Ehren von Bartolomeo Aragazzi, dem Sekretär Papst Martins V., errichtet wurde, und das im 18. Jahrhundert abgerissen wurde. Die Fassade der Kirche Sant’Agostino ist wahrscheinlich ebenso Michelozzos Werk.
Sehenswert ist auch das aufwendig restaurierte Museo comunale mit der Gemäldesammlung Crociani. Unten im Val di Chiana befindet sich am Lago di Montepulciano ein Naturkundemuseum, das an die Jahrhunderte erinnert, in denen das Tal ein riesiger See und Sumpf war.
Tourismus
Regelmäßige Veranstaltungen
Cantiere Internazionale d’Arte: das Musikfestival, dessen Initiator 1976 der deutsche Komponist Hans Werner Henze war, findet jährlich von Ende Juli bis Anfang August statt.
Europäische Akademie für Musik und Darstellende Kunst: Meisterkurse der Hochschule für Musik und Tanz Köln in Zusammenarbeit mit der Europäischen Akademie für Musik und Darstellende Kunst finden jährlich mit ihren wöchentlichen Abschlusskonzerten im Palazzo Ricci statt.
Bruscello: ist ein Bauerntheater mit Musik; es findet jedes Jahr zu Ferragosto (am 15. August) statt.
Bravio delle Botti: ein Wettkampf der acht Stadtteile, bei dem Weinfässer den Berg hoch gerollt werden müssen; er findet jedes Jahr am letzten Sonntag im August statt
Tourismus
Neben Weinkennern kommen auch viele Musikliebhaber nach Montepulciano (siehe Abschnitt Regelmäßige Veranstaltungen).
In den letzten Jahren war Montepulciano wiederholt Schauplatz preisgekrönter Spielfilme wie „Der englische Patient“, „Heaven“ oder „Ein Sommernachtstraum“ und „New Moon – Bis(s) zur Mittagsstunde“ mit Robert Pattinson und Kristen Stewart.
Weinbau
Böden, Lagen und Klima der Gegend begünstigen den Weinbau, durch den der Ort bekannt geworden ist. Der Rotwein hat einen „noblen“ Namen: Vino Nobile di Montepulciano, dessen Name aber mit dem Wein Montepulciano d’Abruzzo aus den Marken und Abruzzen verwechselt werden könnte. Die Winzer von Montepulciano machen den Unterschied in den Rebsorten, in der Haltbarkeit und in der Qualität und orientieren sich dabei an den toskanischen Nachbarn aus Montalcino. Der einfachere Wein aus Montepulciano wird Rosso di Montepulciano genannt.
(Wikipedia)
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Chiesa e statua di San Benedetto (2005)
The Abbey of Monte Oliveto Maggiore is a large Benedictine monastery in the Italian region of Tuscany. Founded in 1313. The Monastic Library is housing some 40,000 volumes.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Luca Signorelli. GOULD, Stephen Jay (1997). Questioning the Millennium. A Rationalist's Guide to Precisely Arbitrary Countdown. Harmony Books, New York. ISBN 0-609-60076-1
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Luca Signorelli (c. 1445 – 16 October 1523) was an Italian Renaissance painter who was noted in particular for his ability as a draughtsman and his use of foreshortening. His massive frescoes of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece.
He was born Luca d'Egidio di Ventura in Cortona, Tuscany (some sources call him Luca da Cortona). The precise date of his birth is uncertain; birth dates of 1441–1445 are proposed. He died in 1523 in Cortona, where he is buried. He was perhaps eighty-two years old. He is considered to be part of the Tuscan school, although he also worked extensively in Umbria and Rome.
His first impressions of art seem to be due to Perugia — the style of Benedetto Bonfigli, Fiorenzo di Lorenzo and Pinturicchio. Lazzaro Vasari, the great-grandfather of art historian Giorgio Vasari, was brother to Luca's mother; according to Giorgio Vasari he got Luca apprenticed to Piero della Francesca. In 1472 the young man was painting at Arezzo, and in 1474 at Città di Castello. He presented to Lorenzo de' Medici a picture which is probably the one named the School of Pan. Janet Ross and her husband Henry discovered the painting in Florence circa 1870 and subsequently sold it to the Kaiser Frederick Museum in Berlin. The painting was destroyed by allied bombs in WWII. The painting's subject is almost the same as that which he also painted on the wall of the Petrucci palace in Siena—the principal figures being Pan himself, Olympus, Echo, a man reclining on the ground and two listening shepherds.
He executed, moreover, various sacred pictures, showing a study of Botticelli and Lippo Lippi. Pope Sixtus IV commissioned Signorelli to paint some frescoes, now mostly very dim, in the shrine of Loreto—Angels, Doctors of the Church, Evangelists, Apostles, the Incredulity of Thomas and the Conversion of St Paul. He also executed a single fresco in the Sistine Chapel in Rome, the Testament and Death of Moses, although most of it has been attributed to Bartolomeo della Gatta; another, the Moses Leaving to Egypt, once ascribed to Signorelli, is now recognized as the work of Perugino and other assistants.
Signorelli worked in Rome from 1478 to 1484. In the latter year he returned to his native Cortona, which remained from this time his home. In the Monastery of Monte Oliveto Maggiore (Siena) he painted eight frescoes, forming part of a vast series of the life of St. Benedict; they are at present much injured. In the palace of Pandolfo Petrucci he worked upon various classic or mythological subjects, including the School of Pan already mentioned.
From the Monastery of Monte Oliveto Maggiore near Siena, Signorelli went to Orvieto, and produced his masterpiece, the frescoes in the chapel of S. Brizio (then called the Cappella Nuova), in the cathedral.
The Cappella Nuova already contained two groups of images in the vaulting over the altar, the Judging Christ and the Prophets, by Fra Angelico, who had begun the murals fifty years earlier. The works of Signorelli in the vaults and on the upper walls represent the events surrounding the Apocalypse and the Last Judgment. The events of the Apocalypse fill the space which surrounds the entrance into the large chapel.
The Apocalyptic events begin with the Preaching of Antichrist, and proceed to the Doomsday and The Resurrection of the Flesh. They occupy three vast lunettes, each of them a single continuous narrative composition. In one of them, Antichrist, after his portents and impious glories, falls headlong from the sky, crashing down into an innumerable crowd of men and women.
The events of the Last Judgment fill the facing vault and the walls around the altar: Paradise, the Elect and the Condemned, Hell, the Resurrection of the Dead, and the Destruction of the Reprobate.
To Angelico's ceiling, which contained the Judging Christ and the Prophets led by John the Baptist, Signorelli added the Madonna leading the Apostles, the Patriarchs, Doctors of the Church, Martyrs, and Virgins. The unifying factor of the paintings is found in the scripture readings in the Roman liturgies for the Feast of All Saints and Advent.
Stylistically, the daring and terrible inventions, with their powerful treatment of the nude and arduous foreshortenings, were striking in its day. Michelangelo is claimed to have borrowed, in his own fresco at the Sistine Chapel wall, some of Signorelli's figures or combinations. The decoration of the lower walls, unprecedented in the history of art, are richly decorated with a great deal of subsidiary work connected with Dante, specifically the first eleven books of his Purgatorio, and with the poets and legends of antiquity. A Pietà composition in a niche in the lower wall contains explicit references to two important Orvietan martyr saints, S. Pietro Parenzo and S. Faustino, in the centuries preceding the execution of the lunette paintings.
The contract for Signorelli's work is still on record in the archives of the Cathedral of Orvieto. He undertook on April 5, 1499 to complete the ceiling for 200 ducats, and to paint the walls for 600, along with lodging, and in every month two measures of wine and two quarters of corn. The contract directed Signorelli to consult the Masters of the Sacred Page for theological matters. This is the first such recorded instance of an artist receiving theological advice, although art historians believe the two groups routinely discussed such matters. Signorelli's first stay in Orvieto lasted not more than two years. In 1502 he returned to Cortona. He returned to Orvieto and continued the lower walls. He painted a dead Christ, with Mary Magdalen and the Virgin Mary and the martyrs local Saints Pietro Parenzo and Faustino.The figure of the dead Christ, according to Vasari, is the image of Signorelli's son Antonio, who died from the plague during the course of the execution of the paintings.
After finishing the frecoes at Orvieto, Signorelli was often in Siena. In 1507 he executed a great altarpiece for S. Medardo at Arcevia in the Marche, the Madonna and Child, with the Massacre of the Innocents and other episodes.
In 1508 Pope Julius II summoned artists to Rome, including Signorelli, Perugino, Pinturicchio and Il Sodoma to paint the large rooms in the Vatican Palace. They began work, but soon the pope dismissed all to make way for Raphael. Their work was taken down, except for the ceiling in the Stanza della Segnatura. Luca returned to Siena, but mostly lived in his hometown of Cortona. He was constantly at work, but the products of his closing years were not of the quality of his works from 1490–1505.
In 1520 Signorelli went with one of his pictures to Arezzo. He was partially paralysed when he began a fresco of the Baptism of Christ in the chapel of Cardinal Passerini's palace near Cortona, which (or else a Coronation of the Virgin at Foiano) is the last picture specified as his . Signorelli stood in great repute as a citizen; he entered the magistracy of Cortona as early as 1488, and held a leading position by 1524 when he died.
Signorelli paid great attention to anatomy. It is said that he carried on his studies in burial grounds. Certainly his mastery of the human form indicates that he had performed dissections. He surpassed contemporaries in showing the structure and mechanism of the nude in immediate action; and he even went beyond nature in experiments of this kind, trying hypothetical attitudes and combinations. His drawings in the Louvre demonstrate this and bear a close analogy to the method of Michelangelo. He aimed at powerful truth rather than nobility of form; colour was comparatively neglected, and his chiaroscuro exhibits sharp oppositions of lights and shadows. He had a vast influence over the painters of his own and of succeeding times, but had no pupils or assistants of high repute; one of them was a nephew named Francesco.
Vasari, who claimed Signorelli as a relative, described him as kindly, and a family man, and said that he always lived more like a nobleman than a painter. Vasari included Signorelli's portrait, one of seven, in his study in Arezzo, along with Michelangelo and himself. The Torrigiani Gallery in Florence contains a grand life-sized portrait by Signorelli of a man in a red cap and vest, and corresponds with Vasari's observation. In the National Gallery, London, are the Circumcision of Jesus and three other works. Legend holds that Signorelli depicted himself in the left foreground of his Orvietan mural The Rule of Antichrist. Fra Angelico, his predecessor in the Orvieto cycle, is thought to stand behind him in the piece. However, the figure thought to be Fra Angelico is not dressed as a Dominican friar, and Signorelli's supposed portrait does not match that in Vasari's study (Wikipedia).
Maker: Fratelli Alinari
Born: Italy
Active: Italy
Medium: albumen print
Size: 7 3/8 in x 9 1/4 in
Location:
Object No. 2021.341
Shelf: N-34
Publication:
Other Collections:
Notes: The Stories of St. Benedict of Monte Oliveto Maggiore are a cycle of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (municipality of Asciano , made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498 , and by Il Sodoma , who completed the cycle after 1505 with the twenty-six lunettes missing. Il Sodoma (1477 – 14 February 1549) was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome
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It is quite likely that the Deeds of the Antichrist is intended as a reference to Savonarola, the Dominican friar hanged and burnt at the stake in Florence on 23 May 1498. In a 'Papist' city like Urbino, and in the case of an artist like Signorelli who had been a Medici protégé and who thought of himself basically as a victim of persecution from the Florentine democratic government (a fact we learn from Michelangelo), this identification of Savonarola with the Antichrist is very plausible; it is also supported by a famous passage in Marsilio Ficino's Apologia, published in 1498, where the Ferrarese monk is again identified as the false prophet.
There is no doubt that Signorelli has given us a very convincing portrayal of the sinister and mysterious atmosphere evoked in the prophecies of the Gospels in the huge fresco showing the Sermon and Deeds of the Antichrist. Against a vast and desolate background, dominated on the right by an unusually large classical building, depicted in distorted perspective, the false prophet is shown disseminating his lies and spreading his message of destruction. He has the features of Christ, but it is Satan (portrayed behind him) who tells him what to say. The people around him, who have piled up gifts at the foot of his throne, have clearly already been corrupted by the iniquities the Gospel has warned us of. And, starting from the left, we have a description of a brutal massacre, followed by a young woman selling her body to an old merchant, and then more aggressive and evil-looking men. In the background of this scene all sorts of horrors and miraculous events are taking place. The Antichrist orders people to be executed and even resurrects a man, while a group of clerics, huddled together like a fortified citadel, resist the devil's temptations by praying. Lastly, to the left, Signorelli shows us how the age of the Antichrist is rapidly reaching its inevitable epilogue, with the false prophet being hurled down from the heavens by the Angel and all his followers being defeated and destroyed by the wrath of God.
That this scene is the masterpiece of the whole cycle (at least in terms of originality of invention and evocation of fantastic imagery) even Signorelli himself must have realized, and he has placed himself, together with a monk (traditionally identified as Fra Angelico) on the left-hand side of the composition.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
This is the square in Florence with a human statue of Dante!
Via Santa Margherita in Florence off Via Dante Alighieri. We stopped here during our guided walking tour of the city. Occasionally he would say something off by heart if his book was turned to a certain page!
The core of the medieval Florence and more specifically the area between the church of "St. Martino "and" Piazza dei Donati ", was the 13th century location of the houses of the Alighieri family, as reported in many old documents. At the beginning of the 20th century, after several studies and researches, the Municipal Administration ordered the building of a house to celebrate the place of birth of Dante.
Today, the building is the seat of the House-Museum of Dante, which was reopened to the public on June 1st, 1994. The museum is arranged on three floors.
The first floor with a series of documents on the subject of the 13th century Florence and on the youth of Dante, on his christening in the "beautiful St. John" (the "Baptistery of St. Mary of the Flower"), on his public political and military struggles (the plastic model representing the Battle of Campaldino and the reproductions of the weapons used at the time are very interesting.
The second floor exhibits documents related to his painful exile of 1301, the year of his condemnation. After visiting several cities (Forli, Verona and Bologna), the poet decided to spend his last years at Ravenna where we would die (1321) in the home of Guido da Polenta.
The iconography and fortune of Dante over the centuries, from the 14th century to the present day. Reproductions includes works by artists like Giotto, Fra Angelico, Andrea del Castagno, Ghirlandaio, Luca Signorelli, Raphael and Michelangelo.
Dante human statue
Societa della Belle Arti Circolo Degli Artisti
It is quite likely that the Deeds of the Antichrist is intended as a reference to Savonarola, the Dominican friar hanged and burnt at the stake in Florence on 23 May 1498. In a 'Papist' city like Urbino, and in the case of an artist like Signorelli who had been a Medici protégé and who thought of himself basically as a victim of persecution from the Florentine democratic government (a fact we learn from Michelangelo), this identification of Savonarola with the Antichrist is very plausible; it is also supported by a famous passage in Marsilio Ficino's Apologia, published in 1498, where the Ferrarese monk is again identified as the false prophet.
There is no doubt that Signorelli has given us a very convincing portrayal of the sinister and mysterious atmosphere evoked in the prophecies of the Gospels in the huge fresco showing the Sermon and Deeds of the Antichrist. Against a vast and desolate background, dominated on the right by an unusually large classical building, depicted in distorted perspective, the false prophet is shown disseminating his lies and spreading his message of destruction. He has the features of Christ, but it is Satan (portrayed behind him) who tells him what to say. The people around him, who have piled up gifts at the foot of his throne, have clearly already been corrupted by the iniquities the Gospel has warned us of. And, starting from the left, we have a description of a brutal massacre, followed by a young woman selling her body to an old merchant, and then more aggressive and evil-looking men. In the background of this scene all sorts of horrors and miraculous events are taking place. The Antichrist orders people to be executed and even resurrects a man, while a group of clerics, huddled together like a fortified citadel, resist the devil's temptations by praying. Lastly, to the left, Signorelli shows us how the age of the Antichrist is rapidly reaching its inevitable epilogue, with the false prophet being hurled down from the heavens by the Angel and all his followers being defeated and destroyed by the wrath of God.
That this scene is the masterpiece of the whole cycle (at least in terms of originality of invention and evocation of fantastic imagery) even Signorelli himself must have realized, and he has placed himself, together with a monk (traditionally identified as Fra Angelico) on the left-hand side of the composition.
Hello Flickr staff: . I am writing to you in the hope that this message is read by a human person and "not a robot". I've had a Pro account for over 12 years, and published over 10 thousand images, most of them a service to groups and art students.
Recently I published for my art class a series of photos taken in the Orvieto Cathedral in Umbria, Italy. They show the frescoes of the "final judgement" by renaissance painter Lucca Signorelli. These paintings are very well-known in art circles and in fact, widely photographed and shared in flickr. in all the cases, the images have been catalogued (and never contested) as "safe". Yet my images for some reason I totally fail to understand, the same images found widely as safe in flickr, were changes by the flickr staff to "restricted". This is the case with almost half of the images published in the album ( www.flickr.com/photos/rafa2010/albums/72157718428462066 ) This creates a big problem for the development of my class as well as for general viewing. I hope you can give me an explanation of why the restriction, only applied to my images and not for hundreds of others which are the same, by other flickr members. I don't dare to change them back to safe, as they should be, because I fear you will then change my account status. This is a big problem for me. Please respond.
Maker: Fratelli Alinari
Born: Italy
Active: Italy
Medium: albumen print
Size: 7 3/8 in x 9 1/4 in
Location:
Object No. 2021.339
Shelf: N-34
Publication:
Other Collections:
Notes:The Stories of St. Benedict of Monte Oliveto Maggiore are a cycle of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (municipality of Asciano , made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498 , and by Il Sodoma , who completed the cycle after 1505 with the twenty-six lunettes missing. Il Sodoma (1477 – 14 February 1549) was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome
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La Capilla Sixtina es la capilla más famosa del Palacio Apostólico de la Ciudad del Vaticano, la residencia oficial del Papa. Se encuentra a la derecha de la Basílica de San Pedro y originalmente servía como capilla de la fortaleza vaticana. Es famosa por su arquitectura, evocadora del Templo de Salomón del Antiguo Testamento, y su decoración al fresco, obra de los más grandes artistas del Renacimiento, incluyendo a Miguel Ángel, Rafael y Botticelli. Por orden del papa Julio II, Miguel Ángel decoró la bóveda (1.100 m²) entre 1508 y 1512. A Miguel Ángel no le agradó este encargo, y pensó que su trabajo era sólo para satisfacer la necesidad de grandeza del Papa. Sin embargo, hoy la bóveda, y especialmente El Juicio Final, son considerados como los mayores logros de Miguel Ángel en la pintura.
Fue construida entre 1477 y 1480, por orden del papa Sixto IV, de quien toma su nombre, para restaurar la antigua Capilla Magna. Recién terminadas las obras, un grupo de pintores que incluía a Botticelli, Pietro Perugino, Luca Signorelli y Domenico Ghirlandaio pintaron una serie de paneles al fresco sobre la vida de Moisés (a la izquierda del altar, mirando hacia El Juicio Final) y la de Jesucristo (a la derecha del altar), acompañadas por retratos de los Papas en la zona superior y por cortinas pintadas con trampantojo. Las pinturas fueron concluidas en 1482, y el 15 de agosto de 1483,1 Sixto IV consagró la primera misa celebrada en la capilla a la Asunción de María.
Desde la época de Sixto IV, la capilla ha servido como lugar de diversas actividades papales. Hoy es la sede del cónclave, la reunión en la que los cardenales eligen a un nuevo Papa.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
The view from Piazza Pescheria, looking down at Piazza della Repubblica.
Palazzo Comunale
The Palazzo Comunale was built simultaneously with the emergence of municipal autonomy in the twelfth century on the ruins of the Forum of the Roman city, at the crossroads between the Cardo and the Decumanus. Originally it consisted of a single large hall located at the end of today's staircase and intended for council meetings. Evident traces of this ancient building can be seen on the right-hand side that overlooks piazza Signorelli. In the sixteenth century it was enlarged on the left side beyond today's via Roma and the bell tower was raised above the arch that overlooks this street, uniting the two buildings. The large access staircase was also built. In later periods the building underwent considerable alterations and in 1896 it was restored in a completely arbitrary way by the architect Castellucci, the same one to whom Cortona owes the current facade of the church of Santa Margherita. On the side facing Piazza Signorelli there is a column erected in 1508 bearing the Florentine lion called the Marzocco, today almost illegible due to the deterioration of the pietra serena. In the Sala del Consiglio, which can be accessed from the staircase near the aforementioned column, there is a fireplace, formerly in Palazzo Sernini in Piazza Alfieri, carved in stone, the work of G. B. Infregliati called Cristofanello (16th century).
La Piazza Signorelli es una de las más importantes de Cortona. En ella se levanta el teatro del mismo nombre, edificado en 1854 donde se encontraba la iglesia de San Andrés.
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Cortona, Toscana (Italia).
Maker: Fratelli Alinari
Born: Italy
Active: Italy
Medium: albumen print
Size: 7 3/8 in x 9 1/4 in
Location:
Object No. 2021.340
Shelf: N-34
Publication:
Other Collections:
Notes: The Stories of St. Benedict of Monte Oliveto Maggiore are a cycle of frescoes in the Great Cloister of the Abbey of Monte Oliveto Maggiore (municipality of Asciano , made by Luca Signorelli (eight lunettes), who worked there from 1497 to 1498 , and by Il Sodoma , who completed the cycle after 1505 with the twenty-six lunettes missing. Il Sodoma (1477 – 14 February 1549) was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE