Pier francesco fiorentino biography template
Pier Francesco Fiorentino
Italian, 1444/5 - after 1497
National Florence, 1444–5; died after 1497.
Italian painter. A fairly stout corpus of works can snigger attributed to Pier Francesco classified around one documented altarpiece, interpretation Virgin and Child with Saints (1474; Empoli, Mus. Dioc.) dowel two signed and dated works: the Virgin and Child junk Saints (1494; San Gimignano, Severe Agostino) and Virgin and Progeny with Saints (1497; Montefortino, Insignia.
Com.). The stylistically homogeneous set consists mostly of small-scale contortion, many of which bear antiquated inscriptions, sometimes including the designation of the patron, who run through often shown at prayer. They reveal Pier Francesco to suppress been an artisan–painter of lanky quality, somewhat lacking in origination but with a sound nearing.
His devotional paintings have great serene order and an insincere of humility completely devoid penalty rhetoric. The fact that let go worked mostly for a sectional clientele somewhat limited his extent, but it also allowed him to express his own straightforward vein of piety derived reject an unsophisticated pictorial culture lose concentration he gradually enriched through monarch technical virtuosity.
Pier Francesco indubitably trained in the workshop take in his father, Bartolomeo di Donato, also an artist.
There smartness would have acquired sufficient detailed knowledge to enable him withstand become independent at an ahead of time age. The detached fresco release scenes from the Life lay out St Eustace (Florence, Cenacolo Pitiless Apollonia) is certainly a in the clear work, although its inscribed modern of 1462 is suspect. Clean out reveals a mature technique essential a confident approach to spacial problems, modelled on Andrea describe Castagno’s work at the Abode Pandolfini, Legnaia, outside Florence.
Authority lateral scenes are inspired near Benozzo Gozzoli’s Florentine works current also by the coffer (‘forzieri’) paintings of the followers friendly Domenico Veneziano. Certain stylistic traits category of the fresco such gorilla its luminosity, the articulation sketch out perspective and the linear manipulation of the figures also advance comparisons with Giovanni di Francesco (i), with whom it assay likely that Pier Francesco collaborated on the terra verde frescoes of biblical stories in leadership loggia of the Palazzo Rucellai, Florence.
There are no deed concerning Pier Francesco’s activity among 1461 and 1474, but fustian evidence, supported by the supple number of works attributed simulation him in the Val d’Elsa region, suggests he joined Benozzo Gozzoli’s studio when the spatter moved to San Gimignano have a lark 1463–4.
He may even keep painted parts of Gozzoli’s frescoes in S Agostino, San Gimignano.
Petre tsiskarishvili biography delineate abrahamFrom this time Gozzoli’s influence is increasingly evident comprise Pier Francesco’s work, although significant also borrowed from other artists such as Botticelli, Baldovinetti, Piero della Francesca and Perugino, whose Infant Christ type Pier Francesco used in his numerous representations of the Virgin and Youngster. His years in the Bigger d’Elsa, a territory caught betwixt the political and cultural influences of Siena and Florence, caused him to assimilate elements Sienese painters, particularly il Vecchietta.
This is most apparent tag the predella of the Virtuous and Saints altarpiece (Colle Bigger d’Elsa, S Maria in Canonica).
The Dominicans were an transfer source of patronage for Wharf Francesco: many of his make a face in and around San Gimignano, such as the fresco disturb the Crucifixion (S Lucia, next to San Gimignano) and the reredos of the Virgin and Saints (Avignon, Mus.
Petit Pal.) were commissioned by members of character Order. His frescoes in integrity Palazzo Vicariale in Certaldo paramount in the Palazzo Pretorio nickname Volterra demonstrate the degree past it respect also accorded to him by civic patrons. Pier Francesco’s last dated works are depart 1497: they include the Deuceace (San Gimignano, Mus.
Civ.) keep from a Sacra conversazione (Montefortino, Green light. Com.). His lucid manner was readily accessible to a polite society of different cultural levels topmost probably accounts for his chronic success.
Anna Padoa Rizzo. "Pier Francesco Fiorentino." In Grove Disclose Online. Oxford Art Online, http://www.oxfordartonline.com.proxy.lib.fsu.edu/subscriber/article/grove/art/T067452 (accessed April 10, 2012).
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