1000 Drawings of Genius. Victoria Charles
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Italian, The Vision of St. Jerome, 1447. Sinopia. Santissima Annunziata, Florence. Early Renaissance.
47. Follower of Rogier van der Weyden (c. 1399–1464), Flemish, Louis, Duke of Savoy, c. 1460–1470. Silverpoint on paper, 20.4 × 12.8 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance.
48. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Study for a Chalice, c. 1450–1470. Pen and brown ink, 24 × 9 cm. Galleria degli Uffizi, Florence. Early Renaissance.
49. Rogier van der Weyden, c. 1399–1464, Flemish, Head of the Virgin, date unknown. Silverpoint on white prepared paper, 12.9 × 11.1 cm. Musée du Louvre, Paris. Northern Renaissance.
ROGIER VAN DER WEYDEN
(Tournai, c. 1399 – Brussels, 1464)
He lived in Brussels, where he was the city’s official painter (from 1436), but his influence was felt throughout Europe. One sponsor was Philip the Good, an avid collector. Van der Weyden is the only Fleming who truly carried on van Eyck’s great conception of art. He added to it a pathos of which there is no other example in his country except, though with less power and nobility, that of Hugo van der Goes towards the end of the century. He had a considerable influence on the art of Flanders and Germany. Hans Memling was his most renowned pupil. Van der Weyden was the last inheritor of the Giottesque tradition and the last of the painters whose work is thoroughly religious.
50. School of Fra Angelico (c. 1395–1455), Italian, Christ among the Doctors, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
51. School of Fra Angelico (c. 1395–1455), Italian, Christ Washing the Feet of the Apostles, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.8 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
52. School of Fra Angelico (c. 1395–1455), Italian, The Last Supper, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.7 × 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
53. School of Fra Angelico (c. 1395–1455), Italian, Christ in the Garden of Gethsemane, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.5 × 6 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
54. School of Fra Angelico (c. 1395–1455), Italian, The Capture of Christ, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 7.6 × 5.9 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
55. School of Fra Angelico (c. 1395–1455), Italian, Pilate Washing His Hands, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.
56. School of Fra Angelico (c. 1395–1455), Italian, The Crucifixion, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6.3 cm. Fogg Museum, Harvard Art Museums, Cambridge (Massachusetts). Early Renaissance.
57. School of Fra Angelico (c. 1395–1455), Italian, The Lamentation, c. 1450. Brush and brown ink, white gouache, orange wash, incised, on pink-purple prepared parchment, 8 × 6.3 cm. Museum Boijmans Van Beuningen, Rotterdam. Early Renaissance.
58. Filippo Lippi, 1406–1469, Italian, Seated Monk, c. 1450–1460. Metalpoint, watercolour and white lead on blue paper, 29.6 × 19.6 cm. Galleria degli Uffizi, Florence. Early Renaissance.
FILIPPO LIPPI
(Florence, 1406 – Spoleto, 1469)
A Carmelite monk, he lived in a monastery in Florence at the same time as Masolino and Masaccio were painting frescos in Florence. He was ordained a priest in Padua in 1434.
His works show the aesthetic interest of his time through sophisticated drawing and his ability to obtain transparent effects on opaque colours. After his death, his workshop members completed his unfinished frescos. Botticelli was one of his students, as was his son Filippino Lippi. The works of the two former Fra Lippi students link the Early and High Renaissance periods. Works include major fresco cycles for Santa Maria Novella in Florence and for Santa Maria sopra Minerva in Rome.
59. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Four Sitting Figures, date unknown. Pen, brown watercolour and white lead on blue paper, 25.8 × 23.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.
60. Filippo Lippi, 1406–1469, Italian, Preparatory study for The Virgin and Child with Two Angels, c. 1465. Metalpoint, brown watercolour and white lead, 33 × 26 cm. Galleria degli Uffizi, Florence. Early Renaissance.
61. Filippo Lippi, 1406–1469, Italian, Head of a Woman, c. 1452. Silverpoint, pen, heightening with white lead and touches of red pencil, 30.5 × 20.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.
62. Cosmè Tura, c. 1433–1495, Italian, Allegorical Female Figure, 1460–1465. Brush, grey and black ink, white highlights on blue-grey paper, 24.4 × 13.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.
63. Jean Fouquet, c. 1425–1478, French, Portrait of an Ecclesiastic, c. 1461. Metalpoint, black chalk on white prepared paper, 19.8 × 13.5 cm. The Metropolitan Museum of Art, New York. Early Renaissance.
JEAN FOUQUET
(Tours, c. 1425–1478)
A painter and illuminator, Jean Fouquet is regarded as the most important French painter of the 15th century. Little is known about his life but it is quite sure that he executed, in Italy, the portrait of Pope Eugenius IV. Upon his return to France, he introduced Italian Renaissance elements into French painting. He was the court painter to Louis XI. Whether he worked on miniatures rendering the finest detail, or on a larger scale in panel paintings, Fouquet’s art had the same monumental character. His figures are modelled in broad planes defined by lines of magnificent purity.
64. Andrea Mantegna, 1430/1431-1506, Italian, St James Being Led to the Execution, 1453–1457. Pen and black chalk on paper, 15.5 × 23.4 cm. British Museum, London. Early Renaissance.
65. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Angel, c. 1470. Pen and white lead on stained paper, 24 × 26.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.
66. Ercole de’ Roberti, c. 1450–1496, Italian,