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Benozzo Gozzoli
""Benozzo Gozzoli.jpg
Self-portrait from fresco Procession of the Magi
Born c. 1421
"Sant'Ilario a Colombano, "Republic of Florence
Died 1497
"Pistoia, "Republic of Florence
Nationality "Florentine
Known for "Painting, "Fresco
Movement "Early Renaissance

Benozzo Gozzoli (c. 1421 – 1497) was an "Italian "Renaissance "painter from "Florence. He is best known for a series of murals in the "Magi Chapel of the "Palazzo Medici-Riccardi, depicting festive, vibrant processions with fine attention to detail and a pronounced "International Gothic influence. The chapel's "fresco cycle reveals a new "Renaissance interest in nature with its realistic depiction of landscapes and vivid human portraits. Gozzoli is considered one of the most prolific fresco painters of his generation. While he was mainly active in "Tuscany, he also worked in "Umbria and "Rome.[1]

Contents

Biography[edit]

Apprenticeship[edit]

Gozzoli was born Benozzo di Lese[2], son of a tailor, in the village of "Sant'Ilario a Colombano around 1421. His family moved to nearby "Florence in 1427. According to the 16th century Italian biographer "Giorgio Vasari, Gozzoli was a pupil and assistant of "Fra Angelico in the early part of his career. In this role, Gozzoli assisted Angelico in the execution of fresco decorations in the dormitory cells of the "Convent of San Marco in Florence. Established contributions here include ""The Adoration of the Magi in "Cosimo de' Medici's cell and the ""Women at the Tomb in a larger depiction of the Resurrection of Christ in cell 8. Like many other Early Renaissance painters, Benozzo was initially trained as a goldsmith as well as a painter. Between 1444 and 1447, he was therefore able to collaborate with "Lorenzo Ghiberti on the famous ""Gates of Paradise of the "Florence Baptistery.

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Madonna and Child Giving Blessings, Santa Maria Sopra Minerva, Rome, 1449.

On May 23, 1447, Benozzo was with "Fra Angelico in "Rome, to where they were called by "Pope Eugene IV to carry out fresco decorations in a chapel in the "Vatican Palace. This chapel was later demolished, so nothing of these works remains. He then accompanied Angelico to "Umbria, where they decorated a chapel vault in the "Orvieto Cathedral. Due to political complications in the city, they completed only two of the four vault webs and were again summoned to the Vatican. There, the pair worked for "Nicholas V in the "Niccoline Chapel until June 1448. Gozzoli is assumed to have made significant contributions in the chapel's frescoes. Furthermore, a 1449 Madonna and Child Giving Blessings in the church of "Santa Maria sopra Minerva was painted by Gozzoli and perhaps designed by Angelico. In Rome, Gozzoli also executed a fresco of ""St Anthony of Padua in the "Basilica of Santa Maria in Aracoeli.

Both Fra Angelico and Lorenzo Ghiberti were to influence much of Gozzoli's work for the rest of his life. From Ghiberti he learned precision in depicting the finest details and how to illustrate a story vividly, while from Fra Angelico, he took his bright color palette, transferring it to the art of fresco painting.[3]

In Umbria[edit]

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Scenes from the Life of St Francis, Museum Complex of San Francesco, "Montefalco, 1452.

In 1449, Gozzoli left Angelico and moved to Umbria. In the hilltown of "Narni there is an Annunciation from 1450, signed OPU[S] BENOT[I] DE FLORENT[IA]. In the monastery of San Fortunato, near "Montefalco, Gozzoli painted a ""Madonna and Child between St. Francis and St. Bernardine of Siena, and three other works. One of these, the altarpiece ""Madonna of the Girdle, is now in the "Vatican Museums and shows the affinity of Benozzo's early style to Angelico's.

In 1450, Gozzoli received his first major independent commission from the monastery of S. Francesco in Montefalco. There, he filled the choir chapel with three registers of episodes from the life of "St Francis of Assisi and various accessories, including portrait heads of "Dante, "Petrarch and "Giotto. These works were completed in 1452, and are still marked by the style of Angelico, crossed here and there with a more distinctly "Giottesque influence.[4] In the same church, in the chapel of "Saint Jerome, there is a fresco by Gozzoli of the Virgin and Saints, the "Crucifixion and other subjects.

Gozzoli probably remained at Montefalco (with an interval at "Viterbo) untill 1456, employing "Pier Antonio Mezzastris as an assistant. Then, he went to "Perugia and painted a Virgin and Saints that is now in the local academy.

Return to Florence[edit]

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Journey of the Magi (East Wall), "Magi Chapel of "Palazzo Medici-Riccardi, "Florence, 1459–1461.

That same year, Benozzo returned to his native city Florence, the epicenter of Quattrocento art. Between 1459 and 1461, Gozzoli painted what may be considered his most important works, the frescoes in the "Magi Chapel of the "Palazzo Medici-Riccardi. There, in his Journey of the Magi to Bethlehem and Angels in Adoration, he mastered a combination of complexity and subtlety, portraying a wealthy scene that encompasses realistic depictions of nature and vivid human portraits. In his "Journey of the Magi, Gozzoli incorporated numerous portraits of his "Medici patrons, their allies and prominent contemporary figures. Furthermore, he also included his self-portrait in the procession, with his name written around the rim of his cap.

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The Middle King, "Magi Chapel of "Palazzo Medici-Riccardi, "Florence, 1459–1461.

His frescoes in the Magi Chapel brought Gozzoli a great amount of fame and ensured him of new important commissions. One of these was an altarpiece for the Confraternity of the Purification in Florence, originally housed in the Convent of San Marco. The Virgin and Child Enthroned among Angels and Saints that he produced between 1461 and 1462 for this occasion now houses in the "National Gallery, London.[5]

Late years in Tuscany[edit]

San Gimignano[edit]

In 1463, likely in fear of the plague, Gozzoli left Florence for "San Gimignano, where he executed some extensive works. Most prominent of these is his seventeen-panel "fresco cycle on The Life of "St Augustine, covering the entire apsidal chapel in the church of "Sant'Agostino.[6] In that same church Gozzoli also completed a composition of St. Sebastian Protecting the City from the Plague, in which he depicted "St. Sebastian fully clothed and unhurt, thereby going against iconographic canon. In 1465, at the town's heart in the "Collegiate Church of Santa Maria Assunta, Gozzoli furthermore painted a fresco of the ""Martyrdom of Sebastian. He stayed in San Gimignano until 1467, completing some further works in the city and its vicinity.

Pisa[edit]

In 1469, Gozzoli moved to Pisa and began working on his most extensive commission: the vast series of mural paintings in the "Campo Santo edifice of "Pisa. There, he depicted twenty-four subjects from the "Old Testament, ranging from the Invention of Wine by Noah to the Visit of the "Queen of Sheba to "Solomon. He was contracted to paint three subjects per year for about ten ducats each. It appears, however, that this contract was not strictly adhered to, for the actual rate of painting was only three pictures in two years. Perhaps the great multitude of figures and accessories was accepted as a set-off against the slower rate of production.

By January 1470 he had executed the fresco of Noah and his Family, followed by the Curse of Ham, the Building of the "Tower of Babel (which contains portraits of "Cosimo de' Medici, the young "Lorenzo, "Angelo Poliziano and others), the Destruction of "Sodom, the Victory of Abraham, the Marriages of Rebecca and of Rachel, the Life of Moses, etc. In the Cappella Ammannati, facing a gate of the Campo Santo, he also painted an "Adoration of the Magi, wherein appears a portrait of himself.

All this enormous mass of work, in which Benozzo was probably assisted by Zanobi Macchiavelli, was performed, in addition to several other pictures during his stay in Pisa (including the Glory of "St. Thomas Aquinas, now in the Louvre), in sixteen years, lasting up to 1485. This is the latest date which can with certainty be assigned to any work from his hand. Gozzoli died in "Pistoia in 1497, perhaps of a pestilence.

In 1478, as a token of their regard, the Pisan authorities had given him a tomb in the Campo Santo. He likewise had a house of his own in Pisa, and houses and land in Florence.[5]

Trivia[edit]

Major work[edit]

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St. Ursula, "National Gallery of Art, 1455–1460
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Saints with Kneeling Donors, "Metropolitan Museum of Art, 1481

Notes[edit]

  1. ^ Ailsa Turner. "Gozzoli, Benozzo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 7 June 2016
  2. ^ The nickname "Gozzoli" does not appear in any documents; "Giorgio Vasari recorded it in his second edition of the "Vite (1568).
  3. ^ "Benozzo Gozzoli Biography". Olga's Gallery. Retrieved November 9, 2017. 
  4. ^ History of the chapel of the Choir of San Francesco, and its frescoes with depictions and descriptions of all the scenes.
  5. ^ a b "" One or more of the preceding sentences incorporates text from a publication now in the "public domainChisholm, Hugh, ed. (1911). "Gozzoli, Benozzo". "Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. pp. 305–306.  This has additional references:
    • Vasari, "Crowe and "Cavalcaselle, and the other ordinary authorities, can be consulted as to the career of Gozzoli.
    • A separate Life of him, by H. Stokes, was published in 1903 in Newne’s Art library.
  6. ^ "Apsidal Chapel of Sant'Agostino in San Gimignano, Italy". Olga's Gallery. Retrieved November 9, 2017. 
  7. ^ The Samuel H. Kress Study Collection at the University of Missouri, by Norman E. Land, page 29-33.

References[edit]

External links[edit]

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