Federico da Montefeltro, also known as Federico III da Montefeltro KG (7 June 1422 – 10 September 1482), was one of the most successful mercenary captains (condottieri) of the Italian Renaissance. He became the lord of Urbino in 1444, and ruled the city as its duke from 1474 until his death. In addition to his considerable reputation for martial skill and honour, he was a renowned intellectual humanist and civic leader. Montefeltro commissioned the construction of a great library, perhaps the largest of Italy after the Vatican's, complete with a team of scribes in its scriptorium. He also assembled a large humanistic court in his Ducal Palace, designed by Luciano Laurana and Francesco di Giorgio Martini.
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👉 Federico da Montefeltro in the context of Inlay
Inlay covers a range of techniques in sculpture and the decorative arts for inserting pieces of contrasting, often colored materials into depressions in a base object to form ornament or pictures that normally are flush with the matrix. A great range of materials have been used both for the base or matrix and for the inlays inserted into it. Inlay is commonly used in the production of decorative furniture, where pieces of colored wood, precious metals or even diamonds are inserted into the surface of the carcass using various matrices including clear coats and varnishes. Lutherie inlays are frequently used as decoration and marking on musical instruments, particularly the smaller strings.
Perhaps the most famous example of furniture inlay is that of André-Charles Boulle (1642–1732) which is known as Boulle work and evolved in part from inlay produced in Italy during the late 15th century at the studiolo for Federico da Montefeltro in his Ducal Palace at Urbino, in which trompe-l'œil shelving seems to carry books, papers, curios and mathematical instruments, in eye-deceiving perspective. The similar private study made for him at Gubbio is now in the Metropolitan Museum of Art.
In this Dossier
- ⭐ Core Definition: Federico da Montefeltro
- 👉 Federico da Montefeltro in the context of Inlay
- Federico da Montefeltro in the context of Giovanni Santi
- Federico da Montefeltro in the context of Urbino
- Federico da Montefeltro in the context of Renaissance in Urbino
- Federico da Montefeltro in the context of Francesco di Giorgio Martini
- Federico da Montefeltro in the context of Cristoforo Landino
- Federico da Montefeltro in the context of Justus van Gent
Federico da Montefeltro in the context of Giovanni Santi
Giovanni Santi (c. 1435 – 1 August 1494) was an Italian painter and poet, father of Raphael Sanzio. He was born in 1435 at Colbordolo in the Duchy of Urbino. He studied under Piero della Francesca and was influenced by Fiorenzo di Lorenzo. He was court painter to the Duke of Urbino and painted several altarpieces among other things. He died in Urbino.
Federico da Montefeltro in the context of Urbino
Urbino (UK: /ɜːrˈbiːnoʊ/ ur-BEE-noh, Italian: [urˈbiːno] ; Romagnol: Urbìn) is a comune (municipality) in the Italian region of Marche, southwest of Pesaro, a World Heritage Site notable for a remarkable historical legacy of independent Renaissance culture, especially under the patronage of Federico da Montefeltro, duke of Urbino from 1444 to 1482.
The town, nestled on a high sloping hillside, retains much of its picturesque medieval aspect. It hosts the University of Urbino, founded in 1506, and is the seat of the Archbishop of Urbino. Its best-known architectural piece is the Palazzo Ducale, rebuilt by Luciano Laurana.
Federico da Montefeltro in the context of Renaissance in Urbino
The Renaissance in Urbino was one of the most fundamental manifestations of the early Italian Renaissance.
During the lordship of Federico da Montefeltro, from 1444 to 1482, a fertile and vital artistic climate developed at the court, due to cultural exchanges with numerous centers on the peninsula and also abroad, especially the Flemish one. The cultural movement in Urbino was restricted within the court, around its highly refined prince, and although it elaborated highly advanced and avant-garde solutions, it did not generate a real local school, also due to the recourse mainly to foreign artists. Nevertheless, the Urbino style, by virtue of the very circulation of artists, experienced a wide diffusion, which made it one of the key variations of the Italian Renaissance. Among the basic characteristics of its humanistic culture were the unmistakable tone made of measure and rigor, which had protagonists such as Piero della Francesca, Luciano Laurana, Justus van Gent, Pedro Berruguete, Francesco di Giorgio Martini, and Fra Diamante.
Federico da Montefeltro in the context of Francesco di Giorgio Martini
Francesco di Giorgio Martini (1439–1501) was an Italian architect, engineer, painter, sculptor, and writer. As a painter, he belonged to the Sienese School. He was considered a visionary architectural theorist—in Nikolaus Pevsner's terms: "one of the most interesting later Quattrocento architects". As a military engineer, he executed architectural designs and sculptural projects and built almost seventy fortifications for the Federico da Montefeltro, Count (later Duke) of Urbino, building city walls and early examples of star-shaped fortifications.
Born in Siena, he apprenticed as a painter with Vecchietta. In panels painted for cassoni he departed from the traditional representations of joyful wedding processions in frieze-like formulas to express visions of ideal, symmetrical, vast and all but empty urban spaces rendered in perspective.
Federico da Montefeltro in the context of Cristoforo Landino
Cristoforo Landino (Latin: Christophorus Landinus; 1424 in Florence, Florence – 24 September 1498 in Borgo alla Collina, Casentino) was an Italian humanist and an important figure of the Florentine Renaissance.
Federico da Montefeltro in the context of Justus van Gent
Justus van Gent or Joos van Wassenhove (c. 1410 – c. 1480) was an Early Netherlandish painter, perhaps from Ghent, who after training and working in Flanders later moved to Italy where he worked for Federico da Montefeltro, duke of Urbino, and was known as Giusto da Guanto, or in modern Italian Giusto di Gand etc. The artist is known for his religious compositions executed in the early Netherlandish idiom and a series of portraits of famous men, which show the influence of early Italian Renaissance painting.