- Gebundene Ausgabe: 312 Seiten
- Verlag: Yale University Press; Auflage: illustrated edition (Oktober 1999)
- Sprache: Englisch
- ISBN-10: 0300081049
- ISBN-13: 978-0300081046
- Größe und/oder Gewicht: 29,9 x 25,7 x 2,7 cm
- Durchschnittliche Kundenbewertung: 3.5 von 5 Sternen Alle Rezensionen anzeigen (2 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 1.753.908 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
From Library Journal
This scholarly, well-documented book presents a complex view of Renaissance painter Fra Filippo Lippi, who straddled the social order as both a priest in the church and an artist working under Medici patronage. Holmes (art history, Florida State Univ., Florence) focuses on manifold aspects of 15th-century society in Florence. The importance of religious pageants, the frescoes of Massaccio on the walls of Lippi's church, and the ideas of Alberti, Brunelleschi, and Donatello and their significance in Lippi's imagery are all examined. Lippi's relationships to his contemporaries, especially the Dominican Fra Angelico, are also explored, opening a discussion of the differences in the Dominican and Carmelite orders. Though the book is exquisitely produced, with several hundred illustrations in color and black and white, the highly abstract and philosophical level of discourse addresses a scholarly audience, and the book will be of most interest to artists and to serious readers of Florentine social structure.
-Ellen Bates, New York
Copyright 2000 Reed Business Information, Inc.
-Ellen Bates, New York
Copyright 2000 Reed Business Information, Inc.
Kurzbeschreibung
Widely admired for his paintings of exquisitely beautiful Madonnas, Florentine Renaissance friar-artist Fra Filippo Lippi (c. 1406-69) gained renown also for his love affair with the nun Lucrezia, who bore their son, Filippino Lippi, later a well-known painter himself. In this beautiful and compelling book, Megan Holmes shines new light on Lippi's life and career, from the first paintings he created while a friar in Santa Maria del Carmine to the later works he painted when living outside the monastery for the Medici family, their supporters, and other patrons. Focusing on the fascinating conjunction of Lippi's work as a painter and his experiences as a Carmelite friar, Holmes transforms our understanding of Filippo Lippi and of the way art was produced and viewed in fifteenth-century Florence.
Unlike most monastic artists, Fra Filippo learned to paint only after joining a religious order. In the first section of the book, the author considers how the doctrines, rules, rituals, and practices of the Carmelites shaped Lippi's art and manner of envisioning sacred subjects. In the second section, Holmes discusses Lippi's life and painting after he left the monastery, demonstrating how his mature work broke new ground but continued to draw upon Carmelite influences. The final section of the book looks closely at three altarpieces Fra Filippo painted for monastic institutions and sets them in a broader social and religious context.
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format:Gebundene Ausgabe
Giovanni di Francesco de CREVELLERIA was an architect of the Seventeenth Century. He erected Galileo's tomb in Santa Croce.
Lippi's assistant was not this Crevelleria but Giovanni di Francesco da ROVEZZANO ( J. Ruda) [1439 -1459]. A predella hangs in the Louvre, beside Lippi's Madonna . Da Rovezzano's masterpiece can be admired in the Casa Buonarroti, Firenze.
The Carmelite Saints in the cathedral of Santo Stefano, in Prato, were painted by Fra Diamante, not by Lippi (see Mannini: The Restoration of Lippi's Nativita, 1998).
Like Vasari, Milanesi's editions have been accepted as the norm for several decades (Vasari's for several centuries).
Format:Gebundene Ausgabe
Holmes' book looks like a sumptuous coffee table art book and is a splendid example of a well produced one. The contents, in addition to the excellent illustrations, add up to an exhaustive and definitive study of Lippi's life and work by setting him firmly in the detailed religious and social context of his time and place. All of the artistic influences on his life are thoroughly catalogued. The significance of Florence's Santa Maria del Carmine is well documented, since it was the site of Lippi'a artistic training as well as his religious formation, and the lasting Carmelite infuences on Lippi's great works are described in great detail. Many historical misconceptions are corrected: Lippi was no orphan; he apparantly never severed completely his membership in the Carmelite Order. There is so much detail in this marvelous book, I wanted more informatoin about what happened to Lucrezia Buti and her son and daughter. They look out at the viewer from more than one of Lippi's masterpieces, as does he. This wonderful study connects us to their rich and complex lives, and the artistic treasures produced.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
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3 Rezensionen
27 von 28 Kunden fanden die folgende Rezension hilfreich
The Definitive Lippi Study
3. Dezember 1999
Format:Gebundene Ausgabe
Holmes' book looks like a sumptuous coffee table art book and is a splendid example of a well produced one. The contents, in addition to the excellent illustrations, add up to an exhaustive and definitive study of Lippi's life and work by setting him firmly in the detailed religious and social context of his time and place. All of the artistic influences on his life are thoroughly catalogued. The significance of Florence's Santa Maria del Carmine is well documented, since it was the site of Lippi'a artistic training as well as his religious formation, and the lasting Carmelite infuences on Lippi's great works are described in great detail. Many historical misconceptions are corrected: Lippi was no orphan; he apparantly never severed completely his membership in the Carmelite Order. There is so much detail in this marvelous book, I wanted more informatoin about what happened to Lucrezia Buti and her son and daughter. They look out at the viewer from more than one of Lippi's masterpieces, as does he. This wonderful study connects us to their rich and complex lives, and the artistic treasures produced.
11 von 14 Kunden fanden die folgende Rezension hilfreich
Fra Lippo Lippi
12. März 2002
Format:Gebundene Ausgabe
A brillant effort: beautiful reproductions with informative, well written, and sensative text. It is the best book on Fra Lippi I have seen. I wish however that the number of full page reproductions had been at least tripled and the text abridged. I was frustrated by page after page of postcard size reproductions surrounded by text. I purchase art books for the pictures not the words.
12 von 28 Kunden fanden die folgende Rezension hilfreich
Mistakes
31. Juli 2000
Format:Gebundene Ausgabe
Giovanni di Francesco de CREVELLERIA was an architect of the Seventeenth Century. He erected Galileo's tomb in Santa Croce.
Lippi's assistant was not this Crevelleria but Giovanni di Francesco da ROVEZZANO ( J. Ruda) [1439 -1459]. A predella hangs in the Louvre, beside Lippi's Madonna . Da Rovezzano's masterpiece can be admired in the Casa Buonarroti, Firenze.
The Carmelite Saints in the cathedral of Santo Stefano, in Prato, were painted by Fra Diamante, not by Lippi (see Mannini: The Restoration of Lippi's Nativita, 1998).
Like Vasari, Milanesi's editions have been accepted as the norm for several decades (Vasari's for several centuries).
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