Stories of Jesus - Right Side
1) “Baptism of
Jesus and in the background, Sermons of John the Baptist and Jesus”
by Pietro Perugino and maybe Pinturicchio
“Perugino avoided violent scenes, because he certainly did
not feel prepared to treat them: in fact, he handles movement so poorly that
his figures that would have to walk seems to dance on tiptoe, and don't seem to
keep upright. Always wary, he refrains from expressing emotions that do not
suit him. (...) The air is still and silent, people has stopped sobbing; a
barely imperceptible sigh, a look of resignation. These paintings, how
consoling they must have appeared to be after all the turmoil, riots and
massacres of Perugia, the most bloody of the Italian cities. Is it any wonder
that men, women, boys, ran to admire them? But not even now when life is still
not free from sordid cares and unnecessary conflicts, one can reject the balm
of Perugino's art” (Bernard Berenson)
2) “Sacrifices
of purification of a healed leper, on the left Revelation to angels of the
future incarnation of the Son of God and, at the top Three temptations of
Christ” by Sandro Botticelli
maybe with Filippino Lippi (about 1457/1504)
3) “The
Calling of the Apostles Peter and Andrew (foreground and left) And John and
James (behind on the right)” by Domenico
Ghirlandaio, who also painted the Ascension on the entrance wall
destroyed, for a structural collapse in 1522
“The figure of the artist and his part in Florentine art of
the second half of the fifteenth century were discussed and reviewed especially
by Sabatini and Marchini, who have rightly revalued certain important aspects,
against the too negative assessment given by Berenson (1961). As Sabatini
already remarked, Vasari's judgment still seems the most impartial and
balanced: while not denying in his art a certain indulgent superficiality,
Vasari considers Ghirlandaio 'one of the main and best masters of his age': it
is clear that he considers him the last representative of the glorious
tradition of Tuscan mural painting” (Marco Chiarini - Dizionario Biografico
degli Italiani Treccani)
4) “Sermon on
the Mount, Healing the leper, and behind, Election of the Twelve Apostles”
by Cosimo Rosselli with Piero
di Cosimo (1462/1521)
5) “Delivery
of the keys with, behind, the Tribute of money and the Attempted stoning of
Jesus in the Temple of Jerusalem” by Pietro
Perugino and Luca Signorelli
“He aligns the main figures in the foreground, alternating
solids and voids so that the scene won't be so crowded: the historical fact
that in this case is also a dogmatic statement, must be clear, and not told but
shown. Perugino manages to match theoretical and empirical space, mental and
visual image. Between opposites he doesn't paint a synthesis, but an average.
Thus art is not only dogmatic revelation, but demonstration and dissemination
of the truth of faith: to contemplation corresponds practice, also in the
practical life of men. His art is pragmatic, instrumental, easy” (Giulio Carlo
Argan)
6) “Last
Supper with three boxes on the wall: Prayer in Gethsemane, Arrest of Jesus with
cutting of Malchus' ear and Crucifixion” Cosimo Rosselli and Biagio D'Antonio
Tucci
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