Fra filehippo lippi biography of albert einstein
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However, it has also been recognized that his art was not diminished but rather enriched and rendered more balanced by what he took from these two artists. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery. In allusion to the future birth of the Virgin is the Meeting of Joachim and Anne (her mother and father) at the Golden Gate on the right above the small figures that stand out in the luminous geometry of the walls, windows, and staircase.
Amorous Affair and Flight from Prato
Lippi’s amorous adventures continued throughout this time and finally culminated in 1456 in his romantic flight from Prato—where he was painting in the convent of the nuns of Santa Margherita— with a young nun of the convent, Lucrezia Buti.
It is the doubling of this "path" - the lines stretching downward and the sideways obscuring of them - that simultaneously makes the biblical story comprehensible to the believer and makes it mysterious, a matter of faith. To relate the story visually, Lippi has conflated different episodes in this single fresco. There he started his education at the age of 8.
Vasari was moved enough, in fact, to cite Lippi as the precursor to Michelangelo.
Following his rise to fame, Mariani describes how Lippi became "dominated by love affairs and impatient of methodical or tranquil conduct". The mode of his death is unknown and has been a matter of dispute for centuries. The shape of the tondo (round) panel, which was a favorite in the 15th Century for religious compositions, is used by Lippi with perfect skill.
His life included many similar tales of lawsuits, complaints, broken promises and scandal.
In 1441 Lippi painted an altarpiece for the nuns of S. Ambrogio which is now a prominent attraction in the Academy of Florence, and was celebrated in Browning's well-known poem Fra Lippo Lippi. This could be an invitation to us to pay attention to this scene of sanctity or, perhaps, it could relate to his own waywardness as he had left the Carmelite order without being released from his vows.
Louvre Museum, Paris
1441-5
Annunciation with Two Kneeling Donors
The Virgin Mary has been interrupted in her prayers and has risen to receive the visitation of the Archangel Gabriel who offers her a sheaf of lilies.
The picture itself seems to be an allegory on the joylessness and futility of terrestrial power and the ultimate accountability of tyranny and evil. Lippi's early work, notably the Tarquinia Madonna (Galleria Nazionale, Rome) shows that influence from Masaccio. In the central arch, Mary stands above all other figures, as if about to give her blessing to the kneeling saints.
Also, his works have been criticized from time to time for their borrowings from other painters, especially Masaccio and Fra Angelico. At the left – she receives the head of John the Baptist. She is shown at this moment to accept the lilies from Gabriel which implies that the latter has already delivered the news that she will bear the son of God.
The lily in Christian theology symbolised (among other things) Easter and therefore Lippi here is conflating the birth and death of Jesus, as well as the resurrection after his crucifixion. Perhaps the most solemn scene of the frescoes of the life and death of St. Stephen is The Funeral of St. Stephen (1460); at the sides of the funeral bed of the saint stand a crowd of prelates and illustrious persons in mourning, among them Cardinal Carlo de’ Medici, Fra Diamante, and Lippi himself.
Lippi painted astonishing portrait likenesses and combined figures and space with an animated surface rhythm, the best example of which can be seen in the Feast of Herod, one of the last scenes in the Prato Cathedral cycle.
He was an artist of tremendous skill and dexterity who manged to strike a fine balance between the traditions of devotional art and current humanist influences. Among the saints, St. Ambrose can be identified as the bishop standing on the left, the titular saint of the church for which the work was intended, to whom John the Baptist, the patron saint of Florence, corresponds symmetrically on the right.