Girolamo di Giovanni da Camerino , Polittico di Monte san Martino manortiz
Girolamo di Giovanni da Camerino (active 1449-1473))
Biography
Italian painter. His first known painting is a fresco, dated 1449, of the Virgin and Child with Sts Anthony of Padua and Anthony Abbot (Camerino, Pinacoteca e Museo Civici). The influence of Piero della Francesca, who was active in Urbino during the late 1440s, is evident in the fresco's dramatic play of light and the geometric simplicity of its figures. On 21 November 1450 Girolamo entered the painters' guild in Padua. His hand was identified by Longhi in the frescoes of St Christopher and the King (destroyed in 1944) in the Ovetari Chapel in the Eremitani, Padua. His arrival in the city just after the death of Giovanni d'Alemagna and the withdrawal of Antonio Vivarini from the contract to decorate the chapel suggests that Girolamo went to Padua in order to apply for the new commission.
As a pupil of Giovanni Boccati, Girolamo di Giovanni was an important representative of the art of the Marches in the Quattrocento.
Polittico di Girolamo di Giovanni a Monte san Martino
Il polittico, proveniente anch’esso dalla chiesa di Santa Maria del Pozzo è datato 1473 ed è firmato Girolamo di GiovanniGirolamo di Giovanni, Polittico, Monte San Martino alla base del trono su cui è assisa la Vergine con Bambino ritto sulle sue ginocchia. Alle loro spalle un coro angelico intona un canto. Nell’ordine principale affiancano Maria le figure di S. Tommaso Apostolo e di S. Cipriano. L’uno mostra nella mano sinistra un libro e nella mano destra la cintola mariana segno di fedeltà; l’altro, identificato dalla iscrizione apposta alla tavola, è raffigurato in abiti vescovili nell’atto di indire la benedizione.
La tavola centrale è decorata con archetti pensili e dentelli ed è sormontata da due tondi che racchiudono l’angelo annunciante e l’Annunciata. Nella cimasa trilobata ritroviamo la Crocifissione con la Vergine e S. Giovanni dolenti mentre ai lati chiudono S. Michele Arcangelo e S. Martino. Nelle cuspidi che sovrastano queste ultime due tavole sono visibili S. Pietro a sinistra e S. Paolo a destra.
La cornice, priva dei peducci di raccordo con gli archi polibati e dei due pilastrini laterali, è attribuita da Crocetti al maestro Stefano da Montelparo. Questi è lo stesso intagliatore a cui si fa riferimento per la tavoletta con la Crocifissione eseguita sempre da Girolamo di Giovanni per la chiesa di S. Agostino a Monte San Martino, oggi conservata presso la Galleria Nazionale di Urbino, nonché per il polittico custodito in questa medesima chiesa e assegnato ai fratelli Crivelli.
Girolamo di Giovanni, Polittico, Monte San MartinoIl dipinto, caratterizzato da una maggiore asprezza nella fisionomia dei volti e da panneggi artificiosi, si inserisce a pieno titolo nella tarda attività di Girolamo di Giovanni, assegnandogli il merito di essere un buon divulgatore degli stilemi specifici della scuola camerte che trova in Giovanni Boccati e Giovanni Angelo d’Antonio gli esponenti più famosi.
Titian | Wikipedia audio article
This is an audio version of the Wikipedia Article:
Titian
00:01:32 1 Biography
00:01:41 1.1 Early years
00:06:48 1.2 Growth
00:10:27 1.3 Maturity
00:17:19 1.4 Final years
00:22:04 1.5 Death
00:22:59 2 Printmaking
00:23:45 3 Painting materials
00:24:13 4 Family and workshop
00:27:42 5 Present day
00:28:49 6 Gallery
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- Socrates
SUMMARY
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Tiziano Vecelli or Tiziano Vecellio (pronounced [titˈtsjaːno veˈtʃɛlljo]; c. 1488/1490 – 27 August 1576), known in English as Titian , was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, then in the Republic of Venice). During his lifetime he was often called da Cadore, taken from the place of his birth.
Recognized by his contemporaries as The Sun Amidst Small Stars (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western art.His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting.
During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone were without precedent in the history of Western painting.