All Benozzo Gozzoli Oil Paintings

Italian Early Renaissance Painter, 1420-1497
 
       VORHERIGE  2  3  4  5  6  7
  VORHERIGER KÜNSTLER       NÄCHSTER KÜNSTLER     
 
Benozzo Gozzoli Scenes From the Life of St.Augustine oil painting


Scenes From the Life of St.Augustine
Gemälde IDENTIFIZIERUNG::  53416 		Scenes From the Life of St.Augustine
mk231 Oil on canvas
mk231 Oil on canvas
   
   
     
Benozzo Gozzoli Journey of the Magi to Bethlehem oil painting


Journey of the Magi to Bethlehem
Gemälde IDENTIFIZIERUNG::  55949 		Journey of the Magi to Bethlehem
mk247 C.1460,fresco(detail, ', ', ', ', ', ', ', '),chapel of the palazzo medici-riccardi,florence,ltaly
mk247 C.1460,fresco(detail, ', ', ', ', ', ', ', '),chapel of the palazzo medici-riccardi,florence,ltaly
   
   
     
Benozzo Gozzoli Adoration of the Magi oil painting


Adoration of the Magi
Gemälde IDENTIFIZIERUNG::  62397 		Adoration of the Magi
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
1440-41 Fresco Convento di San Marco, Florence Benozzo Gozzoli was a student of Fra Angelico who had a formative influence on him. He collaborated in the pictorial decoration of the dormitory cells in the Florentine Dominican monastery of San Marco, which took place from 1438 to 1444/45. There Fra Angelico and his assistants were painting a small devotional fresco in each cell, while Cosimo de' Medici's double cell (cell 38/39) was furnished with a larger wall painting, the Adoration of the Magi (cell 39) and a Crucifixion with Saints Cosmas, Damian, John and Peter (cell 38, the vestibule). The complete integration of the youthful Benozzo's artistic style with that of Fra Angelico has meant that it is only in recent times that it has been possible to identify with a fair degree of accuracy a variety of interventions by his hand, which were first limited to isolated figures or group of figures. Later he had more responsibility and scholars now agree that he was almost exclusively responsible for the decoration of Cosimo de' Medici's cells. Gozzoli's decisive part in the production of the Adoration of the Magi can be recognised stylistically by the fact that, compared t the works of his teacher, the colours are softer, the plasticity of forms is reduced in favour of sharper contours, and the landscape in the background acts as a backdrop. Here the religious theme of the Epiphany is set in a bleak rocky landscape which rises up behind the Three Kings' retinue. This corresponds to the religious mood of Fra Angelico's pictures and does justice to the fresco's function as a devotional picture
   
   
     
Benozzo Gozzoli Procession of the Middle King oil painting


Procession of the Middle King
Gemälde IDENTIFIZIERUNG::  62401 		Procession of the Middle King
1459-60 Fresco Chapel, Palazzo Medici-Riccardi, Florence The middle king is represented with the features of Emperor John VII Paleologus. For this representation Benozzo based his work on a medallion designed by Pisanello in 1438. However, he made the face younger and replace the traditional and unwieldy Byzantine tiara with a crown resting on a peacock-plumed velvet cap. Author: GOZZOLI, Benozzo Title: Procession of the Middle King (detail) , 1451-1500 , Italian Form: painting , religious
1459-60 Fresco Chapel, Palazzo Medici-Riccardi, Florence The middle king is represented with the features of Emperor John VII Paleologus. For this representation Benozzo based his work on a medallion designed by Pisanello in 1438. However, he made the face younger and replace the traditional and unwieldy Byzantine tiara with a crown resting on a peacock-plumed velvet cap. Author: GOZZOLI, Benozzo Title: Procession of the Middle King (detail) , 1451-1500 , Italian Form: painting , religious
   
   
     
Benozzo Gozzoli Triumph des Hl. Thomas von Aquin uber Averroes oil painting


Triumph des Hl. Thomas von Aquin uber Averroes
Gemälde IDENTIFIZIERUNG::  90223 		Triumph des Hl. Thomas von Aquin uber Averroes
1468-1484 Medium oil on panel Dimensions Deutsch: 227 x 102 cm cjr
1468-1484 Medium oil on panel Dimensions Deutsch: 227 x 102 cm cjr
   
   
     
       VORHERIGE  2  3  4  5  6
VORHERIGER KÜNSTLER       NÄCHSTER KÜNSTLER     
     Benozzo Gozzoli
     Italian Early Renaissance Painter, 1420-1497

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