Fra Angelico
by Diane Cole Ahl
from Phaidon Press Inc.
Fra Angelico (Fra Giovanni di Fiesole, c. 1390/95 - 1455) was the most celebrated religious painter of the early Italian Renaissance. This new monograph surveys Fra Angelico's entire career, from his little-known beginning as a lay painter through his work at San Marco in Florence after taking holy orders as a Dominican, and finally to his prestigious commissions at the Vatican and Orvieto Cathedral. The book includes reproductions of all of Fra Angelico's greatest works, including altarpieces, frescoes, and ceilings. It explores how Fra Angelico's religious devotion informed his work, contributing to its intensity and originality.
Fra Angelico (Metropolitan Museum of Art Series)
by Laurence B. Kanter
from Metropolitan Museum of Art
This beautiful book, published in conjunction with the first major exhibition of Fra Angelico’s work since the cinquecentenary exhibition of 1955 in Florence, will feature more than seventy paintings, drawings, and manuscript illuminations covering all periods of the artist’s career, from round 1410 to 1455. Also included will be fifty selected works by his assistants and closest followers.
Fra Angelico (“the angelic friar”; ca. 1390/95–1455) was one of Renaissance Florence’s leading painters. In addition to his celebrated altarpieces and frescos in Florence, Fiesole, Cortona, Perugia, and Rome, Fra Angelico also completed many masterpieces on a small scale. His predella panels, the small narrative scenes included beneath large altarpieces, are among the most innovative creations in fifteenthcentury Florence, while his images of the Virgin and Child still retain the inspirational immediacy and presence that first secured the artist’s reputation as the premier painter of his age.
Research undertaken in the last fifty years now allows scholars to reconstruct a more historically reliable biography of Fra Angelico that goes beyond the legends and traditions to establish his position not only as one of the greatest masters of the fifteenth century, but also as one of the most intellectually accomplished painters who ever lived.
The Rosary with Fra Angelico and Giotto
by Domenico Marcucci
from St Pauls Publishing
Fra Angelico: Colour Library
by Christopher Lloyd
from Phaidon Press
Knights of Art, Stories of the Italian Painters
by Amy Steedman
GIOTTO, . . . BORN 1276, DIED 1337
FRA ANGELICO, . . '' 1387, '' 1466
MASACCIO, . . . '' 1401, '' 1428
FRA FILIPPO LIPPI,. . '' 1412, '' 1469
SANDRO BOTTICELLI,. . '' 1446, '' 1610
DOMENICO GHIRLANDAIO, '' 1449, '' 1494
FILIPPINO LIP . . '' 1467, '' 1604
PIETRO PERUGINO, . '' 1446, '' 1624
LEONARDO DA VINCI,. . '' 1462, '' 1619
RAPHAEL, . . . '' 1483, '' 1620
MICHELANGELO, . . '' 1476, '' 1664
ANDREA DEL SARTO, . '' 1487, '' 1631
GIOVANNI BELLINI, . '' 1426, '' 1616
VITTORE CARPACCIO,. . '' 1470? '' 1619
GIORGIONE, . . '' 1477? '' 1610
TITIAN, . . . '' 1477, '' 1676
TINTORETTO, . . '' 1662, '' 1637
PAUL VERONESE, . . '' 1628, '' 1688
Fra Angelico (Temporis Collection) (Temporis Collection)
by Stephan Beissel; Parkstone Press
from Parkstone Press
The painter Fra Angelico was among the first to use the techniques of perspective proposed by Leon Battista Alberti. His depiction of movement, as well as his use of colour and facial expressions to highlight grace and emotion, place him among the major painters of the early Renaissance. Through a series of magnificent illustrations, combined with artistic and biographical analysis, Stephan Beissel unravels the talent of this unique artist, who alone knew how to paint the Christian soul, and whom André Malraux considered to be the painter who marked the severance between the sacred art of the Middle Ages and the new art born with the Renaissance.
Fra Angelico: San Marco, Audio Guide to San Marco in Florence and Its Remarkable Fresco Cycle (Jane's Smart Art Guides)
from Context Audio Guides
The magnificent frescoes in chapels and town halls across Italy are among the greatest achievements of Renaissance art. Commissioned by either private patrons or by the Church, the great artists of the day produced images of matchless beauty. The work of Fra Angelico at the Dominican convent of San Marco in Florence is a brilliant reflection of the remarkable artistry of the time
Jane's Smart Art(tm) Fra Angelico at San Marco audio guide is an adaptation of a now out-of-print book written by William Hood, the renowned Fra Angelico scholar. One in the series The Great Fresco Cycles of the Renaissance, Professor Hood's book treated the Fra Angelico frescoes of San Marco in the context of their religious, artistic, and historical significance.
The Jane's Smart Art Guide(tm) to the Fra Angelico frescoes at San Marco tells of the central role that the artist-friar's work played in the daily lives of his fellow Observant Dominicans. Between 1440 to 1452 Fra Angelico and his faithful assistants graced the walls of the convent with more than 50 elegant frescoes that still today, well more than 500 years later, convey the profound piety and humility that characterized members of the Observant Dominican order.
With Jane guiding you through this quiet, cloistered setting -- appreciating it step-by-step in the framework of its history - you will come away with a deep and lasting appreciation of the essence of this remarkable place.
Understand the influence of Observant Dominican principles on the choice of subject matter and the placement of the images;
Hear how the images conveyed the ancient ideas and traditions of the Dominican order and the meaning of life at San Marco;
Learn about the architecture of the convent, the life of Fra Angelico, and the political climate of the day; and Appreciate Fra Angelico's piety and technical virtuosity as you listen to the commentary on each fresco.
The Gospels In Art: The Life Of Christ By Great Painters From Fra Angelico To Holman Hunt (Art & Life Library)
by Leonce Benedite
from Kessinger Publishing, LLC
Other Text Authors Include Henry Van Dyke, R. F. Horton And The Bishop Of Derry And Raphoe.
Fra Angelico: Dissemblance and Figuration
by Georges Didi-Huberman
from University Of Chicago Press
A Florentine painter who took Dominican vows, Fra Angelico (1400-1455) approached his work as a largely theological project. For him, the problems of representing the unrepresentable, of portraying the divine and the spiritual, mitigated the more secular breakthroughs in imitative technique. Didi-Huberman explores Fra Angelico's solutions to these problems—his use of color to signal approaching visibility, of marble to recall Christ's tomb, of paint drippings to simulate (or stimulate) holy anointing. He shows how the painter employed emptiness, visual transformation, and displacement to give form to the mystery of faith.
In the work of Fra Angelico, an alternate strain of Renaissance painting emerges to challenge rather than reinforce verisimilitude. Didi-Huberman traces this disruptive impulse through theological writings and iconographic evidence and identifies a widespread tradition in Renaissance art that ranges from Giotto's break with Byzantine image-making well into the sixteenth century. He reveals how the techniques that served this ultimately religious impulse may have anticipated the more abstract characteristics of modern art, such as color fields, paint spatterings, and the absence of color.
Victims and Villains in Vasari's Lives (Bettie Allison Rand Lectures in Art History)
by Andrew T. Ladis
from The University of North Carolina Press
Giorgio Vasari's The Lives of the Artists (1550, 1568) has been a key subject of study for students of the Italian Renaissance over the hundreds of years since its publication. It has maintained a powerful grip on the historical imagination and continues to influence the way scholars treat the Renaissance, its artists, and the entire intellectual enterprise of Western art. Focusing on Vasari's literary and narrative achievements, Andrew Ladis turns to Vasari's villains, rather than his heroes, to demonstrate the biographer's foremost interest in glorifying Michelangelo.
Approaching Lives on Vasari's terms--as the grand story of the rebirth and triumph of art in Italy--Ladis argues that Vasari was not a mere compiler of facts, but a shrewd, self-confident author aware of the power of metaphor. With a literary reading of the text, Ladis analyzes Vasari's motives and methods as an attempt to portray the great Michelangelo as a Christlike exemplum of ultimate light and goodness. Through biographic details both real and invented, Vasari presents all other artists as various players with varying degrees of heroic and villainous value. Antiheroic characters such as Buffalmacco, Lippi, and Castagno, Ladis argues, serve to accentuate the contrasting greatness of Michelangelo.
