Sunday, January 3, 2016


Room II - Colors and Gold of the Fourteenth Century

In the vault there used to be the now lost “Parnassus” by Andrea Camassei
“Stories of Christ” about 1305 by Giovanni da Rimini (active 1292/1309)
“The work had formerly been assigned to Giotto himself, then to one of his followers in Rimini, who Roberto Longhi (1935) first identified with Giovanni da Rimini, one of the most significant painters of the Giotto followers in Rimini (...). Giotto had left in Rimini his stylistic imprint with his activities in the Malatesta temple in the years 1300/1303” (Lorenza Mochi Onori)
“Madonna with Child” about 1335 by the Master of Palazzo Venezia
Room III - Virtues of Ornament and Perspective. Between Late-Gothic and Early Renaissance
Vault: “Bellerophon kills the chimera” by Giuseppe Passeri (1654/1714)
“Annunciation and two devotees” about 1435 and Madonna and Child known as “Our Lady of Tarquinia” 1437 by Filippo Lippi (about 1406/69)
“The light that breaks through the opened windows, reveals the plastic form, affects the complex drapery that covers the legs of the Virgin, illuminates the surface of the mottled marble throne, whose platform seems out of context. The Flemish influence is very strong, not only because of the windows that connect the interior with the exterior, but also in how symbolic elements like the book or the thalamus of the Virgin are depicted, as they weather a domestic reality of everyday life. Allegory therefore is not evident, but, as in Flemish art, it is concealed by a seemingly casual presentation. Masterly is also the control of the composition in terms of architectural space” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“As if the point of view was too close, the figures are not included in the perspective depth of the room, but widen and flatten, forming a large screen in front of the space of the background. They take light from the outside, such as forms emerging from Della Robbia's reliefs” (Giulio Carlo Argan)
“Madonna with Child” Michele Giambono (1420/62)
“With great decorative skill, he represent space with the mantle of Mary resting on the stone edge” (Official website of the Barberini Gallery -
“Coronation of the Virgin Mary” Niccolò di Pietro (active 1394/1430)

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