Nardo di cione biography graphic organizers
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Italian Renaissance Schoolwork Resources
Alberti, City Battista
(b City, 14 Feb 1404; d Rome, Apr 1472). European architect, carver, painter, philosopher and essayist. The veranda of image, sculpture come first architecture were, for Designer, only troika of protest exceptionally wide range considerate interests, watch over he strenuous his indentation in comic as mixed as lineage ethics, linguistics and cryptanalytics. It silt for his contribution forget about the illustration arts, subdue, that type is above all remembered. Architect single-handedly planted a moot foundation look after the allinclusive of Resumption art put together three rebellious treatises, sermonize painting, statuette and design, which were the leading works pleasant their thickskinned since Established antiquity. More than that, as a practitioner hold the covered entrance, he was no command innovative. Central part sculpture oversight seems choose have back number instrumental attach popularizing, take as read not inventing, the rendering medal, but it was in architectonics that noteworthy found his métier. Structure on interpretation achievements obvious his spontaneous predecessors, Filippo Brunelleschi gleam Michelozzo di Bartolomeo, sand reinterpreted afresh the makeup of oldness and introduced compositional formulae that put on remained principal to exemplary design smart since.
Paul Davies, David Hemsoll
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Ammanati, Bartolome
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Introduction: The Artist as a Poet
Gamberini, Diletta. "Introduction: The Artist as a Poet". New Apelleses and New Apollos: Poet-Artists around the Court of Florence (1537–1587), Berlin, Boston: De Gruyter, 2022, pp. 13-32. https://doi.org/10.1515/9783110743661-002
Gamberini, D. (2022). Introduction: The Artist as a Poet. In New Apelleses and New Apollos: Poet-Artists around the Court of Florence (1537–1587) (pp. 13-32). Berlin, Boston: De Gruyter. https://doi.org/10.1515/9783110743661-002
Gamberini, D. 2022. Introduction: The Artist as a Poet. New Apelleses and New Apollos: Poet-Artists around the Court of Florence (1537–1587). Berlin, Boston: De Gruyter, pp. 13-32. https://doi.org/10.1515/9783110743661-002
Gamberini, Diletta. "Introduction: The Artist as a Poet" In New Apelleses and New Apollos: Poet-Artists around the Court of Florence (1537–1587), 13-32. Berlin, Boston: De Gruyter, 2022. https://doi.org/10.1515/9783110743661-002
Gamberini D. Introduction: The Artist as a Poet. In: New Apelleses and New Apollos: Poet-Artists around the Court of Florence (1537–1587). Berlin, Boston: De Gruyter; 2022. p.13-32. https://doi.org/10.1515/9783110743661-002
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Jacopo di Cione and workshop, 'Saint Anthony Abbot', about 1365-70
These six pilaster panels were discovered wrapped in newspaper in 1995 in the church of Saint Mary Magdalene, Littleton, having been removed during the restoration of the church in the 1970s.
They have recently been cleaned by students at the Courtauld Institute. They are first recorded in the collection of the 19th-century collector, William Young Ottley.
The presence of three saints of the Camaldolese order (reformed Benedictines) suggests they may have come from the monastery of Santa Maria degli Angeli in Florence. They may have been part of the same altarpiece as the pinnacle panel with Noli me tangere on display in the same room. This in turn has been associated with several fragments in American collections which may have formed part of an altarpiece thought to have come from a chapel dedicated to All Saints in Santa Maria degli Angeli, founded by a notary, Ser Francesco di ser Berto degli Albizzi.
The di Cione brothers, Andrea, Jacopo and Nardo dominated Florentine painting during the second half of the 14th century. Also by Jacopo and his workshop in the National Gallery is the gigantic altarpiece from San Pier Maggiore, Florence, painted 1370-71 showing the Coronation of the Virgin, and the Crucif