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599:, adoring the infant Christ, who is held by two angels. The model for the Virgin is Lucrezia. A sometime lecturer at the gallery, the art historian Rocky Ruggiero identifies the painting as "one of the most beautiful paintings of the Italian Renaissance" and asserts that arguably, Lippi "is the first Italian painter with a true sensibility for feminine beauty".
573:, his son, as well as the scene showing the ceremonial mourning over Stephen's corpse. This latter is believed to contain a portrait of the painter, but there are various opinions as to which is the exact figure. The figure of the dancing Salome in the scene of the Feast of Herod is believed to be a portrait of Lucrezia. On the end wall of the choir are Saint
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had to imprison him in order to compel him to work, and even then the painter escaped by a rope made of his sheets. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery. His life included many similar tales of lawsuits, complaints, broken
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efforts by the nuns to reclaim her. This relationship resulted in their son
Filippino Lippi in 1457, who became a famous painter following his father, as well as a daughter, Alessandra, in 1465. Lucrezia is thought to be the model for many of Filippo Lippi's paintings of the Madonna, as well as for
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of the Order and the daughter of the
Florentines Caterina Ciacchi and Francesco Buti. Lippi asked that she might be permitted to sit for the figure of the Madonna (or perhaps Saint Margaret). Lippi engaged in sexual relations with her and abducted her to his own house. She remained there despite
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Lippi died in
Spoleto, on or about 8 October 1469. The mode of his death is a matter of dispute. It has been said that the pope granted Lippi a dispensation to marry Lucrezia, but before the permission arrived Lippi had been poisoned by indignant relatives of Lucrezia or, in another version, by
584:. His principal altarpiece in this city is a Nativity in the refectory of San Domenico: the Christ child on the ground adored by the Virgin and Joseph, between Saints George and Dominic, in a rocky landscape, with the shepherds playing and six angels in the sky. A
422:. The painting shows the Virgin being crowned among angels and saints, including many Bernardine monks. One of these, placed to the right, is a half-length figure originally thought to be a self-portrait of Lippi, pointed out by the inscription
629:. The frescoes show the Annunciation, the Funeral of the Virgin, the Adoration of the Christ Child, and the Coronation of the Virgin. A group of bystanders depicted at the funeral includes a self-portrait of Lippi and his helpers,
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In 1432, Filippo Lippi quit the monastery, although he was not released from his vows. In a letter dated 1439 he describes himself as the poorest friar of
Florence, charged with the maintenance of six marriageable nieces.
471:(near Florence) in June 1456 to paint frescoes in the choir of the cathedral. In 1458, while engaged in this work, he set about creating a painting for the monastery chapel of Santa Margherita in that city, where he met
316:(Galleria Nazionale, Rome) shows the influence of Masaccio. Vasari writes of Lippi: "Instead of studying, he spent all his time scrawling pictures on his own books and those of others." Due to Lippi's interest, the
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in 1406 to
Tommaso, a butcher, and his wife. He was orphaned when he was two years old and sent to live with his aunt, Mona Lapaccia. Because she was too poor to rear him, she placed him in the neighboring
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on the two main facing walls, are considered Fra
Filippo's most important and monumental works, particularly the figure of Salome dancing, which has clear affinities with later works by
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upon an angel's scroll. Later, it was believed instead to be a portrait of the benefactor who commissioned the painting. The painting was celebrated in
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513:, from which institutions he occasionally made considerable profits. Despite these profits, Lippi struggled to escape poverty throughout his life.
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541:. This series, which is not wholly equal to the one at Prato, was completed after Lippi's death by assistants under his fellow Carmelite,
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and kept as a slave. Reportedly, his skill in portrait-sketching helped to eventually release him. Louis Gillet, writing for the
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Devotional image of the
Madonna and Child before a golden curtain, the Workshop of Filippo Lippi (c. 1446–1447),
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With Lippi's return to
Florence in 1432, his paintings had become popular, warranting the support of the
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convent when he was eight years old. There, he started his education. In 1420, he was admitted to the
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of the Order of the
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and Saint
Alberto, while the vault has monumental representations of the four evangelists.
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This article is about the Italian painter. For the Norwegian new wave band, see
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1416:. Vol. 16 (11th ed.). Cambridge University Press. pp. 741–742.
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1322:, Making Art and History Come Alive, rockyruggiero.com, accessed 10 June 2023
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Filippo Lippi died in 1469 while working on the frescoes of scenes from the
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were among his most distinguished pupils who participated in his workshop.
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in approximately 1425 and remained in residence at the priory until 1432.
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1183:. Vol. 9. New York: Robert Appleton Company, 1910. Retrieved 4 April 2015
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Oil on panel, 155 × 144 cm, Galleria Nazionale d'Arte Antica, Rome
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relatives of someone who had replaced her in the painter's affections.
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1523:, London: T. C. & E. C. Jack; New York: Frederick A. Stokes, 1911.
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This article incorporates text from a publication now in the
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Tempera on panel, 268 × 165 cm, Museo dell'Opera del Duomo,
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also in the Uffizi is ascribed to Lippi, but that is disputed.
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at work in the Carmine church. Lippi's early work, notably the
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in the Order the following year, at the age of sixteen. He was
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Tempera on panel, 68 × 151.5 cm, National Gallery, London
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617:(c. 1469), fresco, semidome of the apse of Spoleto Cathedral
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In the Uffizi is a fine painting of the Virgin, also called
302:, the first art historian of the Renaissance, writes in his
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Tempera on panel, 175 × 183 cm, San Lorenzo, Florence
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credited to Fra Angelico and Filippo Lippi (c. 1440–1460)
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master of a painting workshop, who taught many painters.
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in the construction. In the semidome of the apse is the
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that Lippi was inspired to become a painter by watching
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decided to give him the opportunity to learn painting.
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Follower of Fra Filippo Lippi and Francesco Pesellino
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Tempera on panel, 196 × 196 cm, Uffizi, Florence
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Stories of Saint Stephen and Saint John the Baptist
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Stories of Saint Stephen and Saint John the Baptist
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stories of Saint Stephen and Saint John the Baptist
249:were among his most distinguished pupils. His son,
1319:Madonna and Child with Two Angels, Fra Lippo Lippi
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1920:15th-century people from the Republic of Florence
1197:"Fra Filippo Lippi", The National Gallery, London
580:For Germiniano Inghirami of Prato he painted the
369:According to Vasari, Lippi then went on to visit
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1535:Fra Filippo Lippi at the National Gallery of Art
1119:with scenes of life of Saint Anne (1452), detail
49:; the person is properly referred to by the
1826:Triptych of the Madonna of Humility with Saints
1430:Kleiner, Fred S.; Mamiya, Christian J. (2005).
982:Triptych of the Madonna of Humility with Saints
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1429:
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907:Panel, 187 × 120 cm, Civic Museum, Prato
412:In 1441, Lippi painted the altarpiece of the
1060:Portrait of a Woman with a Man at a Casement
791:Wood, 203 × 185.3 cm, Alte Pinakothek,
1905:15th-century Italian Roman Catholic priests
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88:Self-portrait of Fra' Filippo Lippi (1452)
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16:Italian Renaissance painter (c. 1406–1469)
735:The Annunciation with two Kneeling Donors
530:. His son, Filippino, served as workshop
1626:Madonna and Child with Angels and Saints
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1618:Penitent Saint Jerome with a Young Monk
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1296:. England: Penguin Books. p. 311.
1211:"Filippo Lippi", Virtual Uffizi Gallery
717:Penitent Saint Jerome with a Young Monk
645:Francesco di Pesello (called Pesellino)
516:The close of Lippi's life was spent at
247:Francesco di Pesello (called Pesellino)
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1451:The History of Italian Renaissance Art
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838:Tempera on panel, 68 × 151.5 cm,
1650:Annunciation with Two Kneeling Donors
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972:(between circa 1446 and circa 1447),
805:Tempera on panel, 172 × 251 cm,
773:Tempera on panel, 200 × 287 cm,
467:Fra Filippo is recorded as living in
457:Madonna with the Child and Two Angels
45:is an indicator of birthplace, not a
1528:Italian Paintings: Florentine School
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947:Tempera on panel, 115 × 71 cm,
686:Tempera on panel, 86 × 107 cm,
668:Tempera on panel, 151 × 66 cm,
23:. For the Robert Browning poem, see
722:Tempera on panel, 54 × 37 cm,
539:, with angels, sibyls, and prophets
13:
1810:Madonna of Palazzo Medici-Riccardi
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1083:Madonna of Palazzo Medici-Riccardi
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14:
1941:
1569:
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823:Oil on panel, 117 × 173 cm,
654:
221:– 8 October 1469), also known as
1466:Fra Filippo Lippi: Life and Work
1423:The Lives of the Painters Vol. 1
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1179:Gillet, Louis. "Filippo Lippi".
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670:Galleria Nazionale d'Arte Antica
484:in one of his monumental works.
441:to the nuns at the Monastery of
1425:. New York: Norton and Company.
1354:
1294:Robert Browning: Selected Poems
354:(1440–1445), tempera on panel,
1310:
1285:
1215:
604:Virgin and Child with an Angel
1:
1925:15th-century Italian painters
1802:Adoration of the Christ Child
1786:Adoration of the Christ Child
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861:Panel, diameter 135 cm,
699:Madonna and Child with Saints
557:The frescoes in the choir of
437:In 1452, Lippi was appointed
392:family, who commissioned the
215:
101:
1915:Burials at Spoleto Cathedral
1870:Italian Renaissance painters
1453:. London: Thames and Hudson.
256:
7:
1594:Enthroned Madonna and Child
1434:. Thomson & Wadsworth.
893:Fresco cycle, Cathedral of
771:Sant'Ambrogio (1441–1447) –
662:Enthroned Madonna and Child
625:(1467–1469) in the apse of
377:, where he was captured by
227:Italian Renaissance painter
182:Madonna and Child Enthroned
39:Renaissance Florentine name
10:
1946:
1267:. Penguin Books. pp.
1064:Metropolitan Museum of Art
988:
929:Panel, 127 × 116 cm,
704:Panel, 208 × 244 cm,
487:In 1457, he was appointed
233:(fifteenth century) and a
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29:
18:
1836:
1577:
1511:75 works by Filippo Lippi
1468:. London: Phaidon Press.
1449:Hartt, Frederick (1980).
1396:Rossetti, William Michael
1292:Browning, Robert (2004).
1181:The Catholic Encyclopedia
475:, a beautiful boarder or
459:(1465), tempera on wood,
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1797:(Florence; c. 1450–1465)
1666:Coronation of the Virgin
1589:(Florence; c. 1430–1435)
1364:. The Walters Art Museum
1044:Coronation of the Virgin
840:National Gallery, London
768:Coronation of the Virgin
615:Coronation of the Virgin
552:
537:Coronation of the Virgin
415:Coronation of the Virgin
30:Not to be confused with
1770:Funeral of Saint Jerome
1509:www.FraFilippoLippi.org
1413:Encyclopædia Britannica
1259:Greene, Robert (2000).
1007:National Gallery of Art
949:Palazzo Medici-Riccardi
924:Adoration in the Forest
918:Panel, Uffizi, Florence
874:Funeral of Saint Jerome
825:Galleria Doria Pamphilj
586:Vision of Saint Bernard
409:promises, and scandal.
356:National Gallery of Art
340:Adoration in the Forest
284:Santa Maria del Carmine
1875:Painters from Florence
1737:(London; c. 1449–1459)
1677:(Munich; c. 1443–1450)
1464:Ruda, Jeffrey (1993).
1227:The Walters Art Museum
664:(Madonna of Tarquinia)
618:
613:Detail of the Spoleto
582:Death of Saint Bernard
559:the cathedral of Prato
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344:
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25:Fra Lippo Lippi (poem)
21:Fra Lippo Lippi (band)
1895:Italian male painters
1880:Quattrocento painters
1849:Filippino Lippi (son)
1805:(Prato; c. 1455–1466)
1758:Adoration of the Magi
1729:(Parma; c. 1450–1455)
1702:Alessandri Altarpiece
1694:Michael the Archangel
1642:Marsuppini Coronation
1634:Martelli Annunciation
1486:Proud, Linda (2012).
1023:Adoration of the Magi
800:Marsuppini Coronation
746:Martelli Annunciation
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496:Rettore commendatario
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443:Santa Maria Maddalena
383:Catholic Encyclopedia
350:
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170:innovative naturalism
1761:(c. 1440–1460; with
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1658:Novitiate Altarpiece
1602:Barbadori Altarpiece
1488:A Gift for the Magus
1432:Art Through the Ages
1263:The 48 Laws of Power
757:Novitiate Altarpiece
635:Pier Matteo d'Amelia
602:The painting of the
305:Lives of the Artists
286:in Florence, taking
114:Republic of Florence
1930:15th-century slaves
1690:Saint Anthony Abbot
1362:"Madonna and Child"
1223:"Madonna and Child"
1099:Portrait of a Woman
807:Pinacoteca Vaticana
688:Museo Poldi Pezzoli
561:, which depict the
1818:Life of the Virgin
1613:(Milan; 1437–1439)
1515:Paul George Konody
1117:Madonna with Child
975:Walters Art Museum
957:Life of the Virgin
639:Lorenzo de' Medici
623:Life of the Virgin
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523:Life of the Virgin
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329:Walters Art Museum
261:Lippi was born in
237:priest. He was an
1910:Catholic painters
1857:
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1794:Madonna and Child
1750:Mystical Nativity
1726:Madonna and Child
1718:Madonna del Ceppo
1490:. Godstow Press.
1481:Historical novels
1404:Fra Filippo Lippi
1341:Oxford Art Online
1335:Rowlands, Eliot.
1316:Ruggiero, Rocky,
1303:978-0-140-43726-3
1132:Madonna and Child
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567:Sandro Botticelli
406:Cosimo de' Medici
352:Madonna and Child
314:Tarquinia Madonna
243:Sandro Botticelli
239:early Renaissance
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199:Early Renaissance
128:(aged 62–63)
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300:Giorgio Vasari
288:religious vows
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1734:Annunciation
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1682:Annunciation
1680:
1674:Annunciation
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1368:26 September
1366:. Retrieved
1356:
1344:. Retrieved
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833:Annunciation
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818:Annunciation
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395:Annunciation
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188:Annunciation
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176:Notable work
136:Papal States
126:(1469-10-08)
59:
54:
42:
1890:1469 deaths
1885:1406 births
1821:(1466–1469)
1781:(1452–1465)
1773:(1452–1460)
1713:(1452–1453)
1669:(1441–1447)
1653:(1440–1445)
1346:14 February
1062:(c. 1440),
1047:(1441–1447)
1005:(c. 1445),
951:, Florence
916:(c. 1455) –
859:(c. 1452) –
821:(1445–50) –
749:(c. 1440) –
738:(c. 1440) –
720:(c. 1439) –
503: [
500:San Quirico
223:Lippo Lippi
219: 1406
154:Lippo Lippi
143:Nationality
105: 1406
47:family name
41:, the name
1900:Carmelites
1864:Categories
1474:0714838896
1441:0534167055
1140:References
592:, London.
434:" (1855).
276:Carmelites
51:given name
1829:(c. 1470)
1789:(c. 1463)
1753:(c. 1459)
1637:(c. 1440)
1629:(c. 1440)
1621:(c. 1439)
1597:(c. 1437)
1578:Paintings
1398:(1911). "
728:Altenburg
597:"Lippina"
430:'s poem "
278:, at the
272:novitiate
268:Carmelite
257:Biography
235:Carmelite
225:, was an
1101:(1445),
867:Florence
779:Florence
702:(1438) –
666:(1437) –
532:adjuvant
447:Florence
439:chaplain
398:and the
310:Masaccio
292:ordained
263:Florence
195:Movement
163:Painting
110:Florence
37:In this
1837:Related
1410:(ed.).
1393::
1337:"Lippi"
989:Gallery
518:Spoleto
511:Legnaia
229:of the
211:O.Carm.
146:Italian
132:Spoleto
75:O.Carm.
55:Filippo
1605:(1438)
1494:
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1400:Lippi
1387:
1300:
1275:
1086:(1466)
935:Berlin
827:, Rome
793:Munich
775:Uffizi
706:Louvre
492:Rector
482:Salome
477:novice
461:Uffizi
390:Medici
375:Naples
371:Ancona
343:(1459)
296:priest
280:priory
167:fresco
1610:Pietà
1586:Pietà
1028:tondo
895:Prato
710:Paris
692:Milan
681:Pietà
553:Works
507:]
498:) of
469:Prato
318:prior
294:as a
43:Lippi
1692:and
1492:ISBN
1470:ISBN
1436:ISBN
1402:s.v.
1370:2021
1348:2017
1298:ISBN
1273:ISBN
1020:The
811:Rome
674:Rome
647:and
633:and
373:and
245:and
121:Died
94:Born
67:Fra'
1269:187
509:in
445:in
282:of
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
