Filippo Lippi O.Carm. (c. 1406 – 8 October 1469), also known as Lippo Lippi, was an Italian Renaissance painter of the Quattrocento (fifteenth century) and a Carmelite priest. He was an early Renaissance master of a painting workshop, who taught many painters. Sandro Botticelli and Francesco di Pesello (called Pesellino) were among his most distinguished pupils. His son, Filippino Lippi, also studied under him and assisted in some late works.
A tondo (pl.: tondi or tondos) is a Renaissance term for a circular work of art, either a painting or a sculpture. The word derives from the Italian rotondo, "round". The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower.
A circular or oval relief sculpture is also called a roundel. The infrequently-encountered synonym rondo usually refers to the musical form.
In Christian art, a Madonna (Italian: [maˈdɔnna]) is a religious depiction of the Blessed Virgin Mary in a singular form or sometimes accompanied by the Child Jesus. These images are central icons for both the Roman Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, where she is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery that have a narrative context, depicting scenes from the Life of the Virgin, e.g. the Annunciation to Mary, are not typically called "Madonna".
In Christian worship, Marian litany is a form of prayer to Mary, mother of Jesus used in church services and processions, and consisting of a number of petitions.
In the Eastern Church litanies are always a part of the official liturgy, and they have at least three different forms: Synaptae (Collect), Ektenie ("intense" prayer of intercession and pardon based in part on Psalm 50) and Aitaesis (intercessory prayer for peace, pardon and protection). Marian litanies are numerous in the Eastern church and may cover a multitude of themes, some dogmatic, others of moral and patriotic character.
The Adoration of the Magi is a tondo, or circular painting, of the Adoration of the Magi assumed to be that recorded in 1492 in the Palazzo Medici Riccardi in Florence as by Fra Angelico. It dates from the mid-15th century and is now in the National Gallery of Art in Washington D.C. Most art historians think that Filippo Lippi painted more of the original work, and that it was added to some years after by other artists, as well as including work by assistants in the workshops of both the original masters. It has been known as the Washington Tondo and Cook Tondo after Herbert Cook, and this latter name in particular continues to be used over 50 years after the painting left the Cook collection.
The tondo is painted in tempera on a wood panel, and the painted surface has a diameter of 137.3 cm (54 1/16 in.). The National Gallery of Art dates it to "c. 1440/1460".
The Madonna of Palazzo Medici-Riccardi is a painting by the Italian Renaissance artist Filippo Lippi. It is housed in the Palazzo Medici-Riccardi of Florence, central Italy.
Francesco Pesellino (probably 1422 – July 29, 1457), also known as Francesco di Stefano, was an Italian Renaissance painter active in Florence. His father was the painter Stefano di Francesco (died 1427), and his maternal grandfather was the painter Giuliano Pesello (1367–1446), from whose name the diminutive nickname "Pesellino" arose. After the death of his father in 1427, the young Pesellino went to live with his grandfather whose pupil he became. Pesellino remained in his grandfather's studio until the latter's death, when he began to form working partnerships with other artists, such as Zanobi Strozzi and Fra Filippo Lippi. He married in 1442, and probably joined the Florentine painters' guild in 1447. In the following years he made for reputation with small, highly-finished works for domestic interiors, including religious panels for private devotional use and secular subjects for pieces of furniture (i.e. wedding chests and wainscoting).
Pesellino died of plague in Florence in 1457 at the age of 35. According to many art historians, his style "anticipated the developments of later Florentine painters such as Andrea del Verrocchio and the Pollaiuoli [brothers Antonio and Piero]".