|Nicknames:||"Fra Angelico", "Beatus Ioannes Faesulanus - cognomento Angelicus", "Blessed Giovanni of Fiesole nicknamed Angelico"|
|Birthplace:||Vicchio, Tuscany, Italy|
|Death:||Died in Rome, Lazio, Italy|
|Occupation:||Italian painter of the early Renaissance best known for works in sculpture and metalworking.|
|Managed by:||Yigal Burstein / יגאל בורשטיין|
About Guido di Pietro, Fra Angelico
Fra Angelico (c. 1395 – February 18, 1455), born Guido di Pietro, was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having "a rare and perfect talent". He was known to his contemporaries as Fra Giovanni da Fiesole (Brother John from Fiesole) and by Vasari as Fra Giovanni Angelico (Brother Giovanni the Angelic One).
Fra Angelico is known in Italy as il Beato Angelico, the term "Il Beato" ("Blessed One") being already in use during his lifetime or shortly thereafter, in reference to his skills in painting religious subjects. In 1982 Pope John Paul II conferred beatification, in recognition of the holiness of his life, thereby making this title official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from other Fra Giovannis. He is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—"Blessed Giovanni of Fiesole, nicknamed Angelico".
Early life, 1395–1436
Fra Angelico was born Guido di Pietro at Rupecanina, in the Tuscan area of Mugello, near Fiesole towards the end of the 14th century and died in Rome in 1455. Nothing is known of his parents. He was baptized Guido or Guidolino. The earliest recorded document concerning Fra Angelico dates from October 17, 1417 when he joined a religious confraternity at the Carmine Church, still under the name of Guido di Pietro. This record also reveals that he was already a painter, a fact that is subsequently confirmed by two records of payment to Guido di Pietro in January and February 1418 for work done in the church of Santo Stefano del Ponte. The first record of Angelico as a friar dates from 1423, when he is first referred to as Fra Giovanni, following the custom of those entering a religious order of taking a new name. He was a member of the Dominican community at Fiesole. Fra, an abbreviation of frate (from the Latin frater), is a conventional title for a friar or brother.
Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican. His illumination tutor is unknown. San Marco in Florence holds several manuscripts that are thought to be entirely or partly by his hand. The painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, which very soon became famous. According to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Carthusian Monastery of Florence; none such exist there now.
From 1408 to 1418 Fra Angelico was at the Dominican friary of Cortona where he painted frescoes, now destroyed, in the Dominican Church and may have been assistant to or follower of Gherardo Starnina. Between 1418 and 1436 he was at the convent of Fiesole where he also executed a number of frescoes for the church, and the Altarpiece, deteriorated but restored. A predella of the Altarpiece remains intact in the National Gallery, London which is a superb example of Fra Angelico's ability. It shows Christ in Glory, surrounded by more than 250 figures, including beatified Dominicans. The Maestà (Madonna enthroned) with Saints Cosmas and Damian, Saint Mark and Saint John, Saint Lawrence and three Dominicans, Saint Dominic, Saint Thomas Aquinas and Saint Peter Martyr; San Marco, Florence
San Marco, Florence, 1436–1445
In 1436 Fra Angelico was one of a number of the friars from Fiesole who moved to the newly-built Friary of San Marco in Florence. This was an important move which put him in the centre of artistic activity of the region and brought about the patronage of one of the wealthiest and most powerful members of the city's Signoria, Cosimo de' Medici, who had a large cell (later occupied by Savonarola) reserved for himself at the friary in order that he might retreat from the world. It was, according to Vasari, at Cosimo's urging that Fra Angelico set about the task of decorating the monastery, including the magnificent Chapter House fresco, the often-reproduced Annunciation at the top of the stairs to the cells, the Maesta with Saints and the many smaller devotional frescoes depicting aspects of the Life of Christ that adorn the walls of each cell.
In 1439 he completed one of his most famous works, the Altarpiece for St. Marco's, Florence. The result was unusual for its times. Images of the enthroned Madonna and Child surrounded by saints were common, but they usually depicted a setting that was clearly heavenlike, in which saints and angels hovered about as divine presences rather than people. But in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael.
The Vatican, 1445–1455
The Crucified Christ
In 1445 Pope Eugenius IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peter's, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered by Pope Nicholas V the Archbishopric of Florence, and that he refused it, recommending another friar for the position. While the story seems possible and even likely, if Vasari's date is correct, then the pope must have been Eugenius and not Nicholas. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, executing works for the Cathedral. Among his other pupils were Zanobi Strozzi.
From 1447 to 1449 he was back at the Vatican, designing the frescoes for the Niccoline Chapel for Nicholas V. The scenes from the lives of the two martyred deacons of the Early Christian Church, St. Stephen and St. Lawrence may have been executed wholly or in part by assistants. The small chapel, with its brightly frescoed walls and gold leaf decorations gives the impression of a jewel box. From 1449 until 1452, Fra Angelico was back at his old convent of Fiesole, where he was the Prior.
Death and beatification
In 1455 Fra Angelico died while staying at a Dominican Convent in Rome, perhaps in order to work on Pope Nicholas' Chapel. He was buried in the church of Santa Maria sopra Minerva. Pope John Paul II beatified Fra Angelico on October 3, 1982 and in 1984 declared him patron of Catholic artists.
Fra Angelico was working at a time when the style of painting was in a state of change. This process of change had begun a hundred years previous with the works of Giotto and several of his contemporaries, notably Giusto de' Menabuoi, both of whom had created their major works in Padua, although Giotto was trained in Florence by the great Gothic artist, Cimabue, and painted a fresco cycle of St Francis in the Bardi Chapel in Santa Croce. Giotto had many enthusiastic followers, who imitated his style in fresco, some of them, notably the Lorenzetti, achieving great success.
The works of Fra Angelico reveal elements that are both conservatively Gothic and progressively Renaissance. In the altarpiece of the Coronation of the Virgin, painted for the Florentine church of Santa Maria Novella, are all the elements that a very expensive altarpiece of the 14th century was expected to provide - a precisely tooled gold background, lots of azure, lots of vermilion and an obvious display of arsenic green. The Transfiguration shows the directness, simplicity and restrained palette typical of these frescoes. Located in a monk's cell at the Convent San' Marco, its apparent purpose is to encourage private devotion.
The series of frescoes that Fra Angelico painted for the Dominican friars at San’ Marcos realise the advancements made by Masaccio and carry them further. Away from the constraints of wealthy clients and the limitations of panel painting, Fra Angelico was able to express his deep reverence for his God and his knowledge and love of humanity. The meditational frescoes in the cells of the convent have a quieting quality about them. They are humble works in simple colours. There is more mauvish-pink than there is red while the brilliant and expensive blue is almost totally lacking. In its place is dull green and the black and white of Dominican robes. There is nothing lavish, nothing to distract from the spiritual experiences of the humble people who are depicted within the frescoes. Each one has the effect of bringing an incident of the life of Christ into the presence of the viewer. They are like windows into a parallel world. These frescoes remain a powerful witness to the piety of the man who created them. Fra Angelico demonstrated an understanding of linear perspective particularly in his Annunciation paintings set inside the sort of arcades that Michelozzo and Brunelleschi created at San’ Marco's and the square in front of it.
Lives of the Saints
When Fra Angelico and his assistants went to the Vatican to decorate the chapel of Pope Nicholas, then the artist was again confronted with the need to please the very wealthiest of clients. In consequence, walking into the small chapel is like stepping into a jewel box. The walls are decked with the brilliance of colour and gold that one sees in the most lavish creations of the Gothic painter Simone Martini at the Lower Church of St Francis of Assisi, a hundred years earlier. Yet Fra Angelico has succeeded in creating designs which continue to reveal his own preoccupation with humanity, with humility and with piety. The figures, in their lavish gilded robes, have the sweetness and gentleness for which his works are famous.
- Virgin and Child between Saints Peter, Thomas Aquinas, Dominic and Peter Martyr (1424) - Church of San Domenico, Fiesole
- Annunciation (c. 1430) - Diocesan Museum, Cortona
- Deposition of Christ, said by Vasari to have been "painted by a saint or an angel". Now in the National Museum of San Marco, Florence.
- Coronation of the Virgin (c. 1432), Uffizi, Florence
- Coronation of the Virgin (c. 1434-1435), Louvre, Paris
- The Day of Judgement, upper panel of an altarpiece. San Marco, Florence.
- The Transfiguration shows the directness, simplicity and restrained palette typical of these frescoes. Located in a monk's cell at the St Mark's Convent.
- One of several versions of The Annunciation is located in St Mark's Convent.
- Altarpiece for chancel - Virgin with Saints Cosmas and Damian, attended by Saints Dominic, Peter, Francis, Mark, John Evangelist and Stephen. Cosmas and Damian were patrons of the Medici; the altarpiece was commissioned in 1438 by Cosimo de' Medici. It was removed and disassembled during the renovation of the convent church in the seventeenth century. Two of the nine predella panels remain at the convent; seven are in Washington, Munich, Dublin and Paris. Unexpectedly, in 2006 the last two missing panels, Dominican saints from the side panels, turned up in the estate of a modest collector in Oxfordshire, who had bought them in California in the 1960s.
- San Marco Altarpiece
- The Annunciation; at the top of the Dormitory stairs. This is probably the most reproduced of all Fra Angelico's paintings.
In The Annunciation, the interior reproduces that of the cell in which it is located.
Each cell is decorated with a fresco which matches in size and shape the single round-headed window beside it. The frescoes are apparently for contemplative purpose. They are have a pale, serene, unearthly beauty. Many of Fra Angelico's finest and most reproduced works are among them. There are, particularly in the inner row of cells, some of less inspiring quality and of more repetitive subject, perhaps completed by assistants. Many pictures include Dominican saints as witnesses, allowing the friar using the cell to place himself in the scene.
The Chapel of Pope Nicholas V, at the Palazzi Pontifici, Vatican City, was probably painted with much assistance from Benozzo Gozzoli and Gentile da Fabriano. The entire surface of wall and ceiling is sumptuously painted. There is much gold leaf for borders and decoration, and a great use of brilliant blue made from lapis lazuli.
- The life of St Lawrence “Saint Lawrence receives the treasures of the Church”, a fresco (paint on wet plaster), c.1447.