Fiorenzo di Lorenzo in the context of "Predella"

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⭐ Core Definition: Fiorenzo di Lorenzo

Fiorenzo di Lorenzo (c. 1440 – 1522) was an Italian painter, of the Umbrian school. He lived and worked at Perugia, where most of his authentic works are still preserved in the Galleria Nazionale dell'Umbria.

Fiorenzo is known from a few signed works, including the Madonna of the Recommended (1476) and a niche with lunette, two wings and predella (1487), as well as from the documentary evidence that he was decemvir of that city in 1472, in which year he entered into a contract to paint an altarpiece for the church of Santa Maria Nuova, the pentatych of the Madonna and Saints.

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Fiorenzo di Lorenzo 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.

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Fiorenzo di Lorenzo in the context of Marriage of the Virgin (Perugino)

The Marriage of the Virgin is a painting by the Italian Renaissance master Perugino, although it is now sometimes attributed to his pupil Lo Spagna. It depicts the marriage between Joseph and Mary, and is now in the Musée des Beaux-Arts of Caen, France. Initially commissioned to Pinturicchio for the recently completed cathedral of Perugia, Perugino took over the commission and finished the work around 1500–1504, probably after several periods of stasis.

A very similar composition was painted by unknown artists (sometimes attributed to Fiorenzo di Lorenzo, probable teacher of Perugino or Rocco Zoppo, assistant of Perugino) for the church of San Girolamo in Spello in 1492. Which (if present scholarship is correct) is about ten years earlier than Perugino's and Raphael's treatments of the same subject. The composition of the earlier work does not utilize the elegant central perspective appearing in Perugino's and Raphael's more famous works. However, the figures in the foreground are very similar to both later paintings, including the unmistakable young man breaking the rod.

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