- Hardcover: 308 pages
- Publisher: Yale University Press; illustrated edition edition (20 Oct 1999)
- Language English
- ISBN-10: 0300081049
- ISBN-13: 978-0300081046
- Product Dimensions: 29.9 x 25.7 x 2.7 cm
- Amazon Bestsellers Rank: 1,115,368 in Books (See Top 100 in Books)
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Product Description
Widely admired for his paintings of exquisitely beautiful Madonnas, Florentine Renaissance friar-artist Fra Filippo Lippi (c. 1406-69) gained renown also for his love affair with the nun Lucrezia, who bore their son, Filippino Lippi, later a well-known painter himself. In this beautiful and compelling book, Megan Holmes shines new light on Lippi's life and career, from the first paintings he created while a friar in Santa Maria del Carmine to the later works he painted when living outside the monastery for the Medici family, their supporters, and other patrons. Focusing on the fascinating conjunction of Lippi's work as a painter and his experiences as a Carmelite friar, Holmes transforms our understanding of Filippo Lippi and of the way art was produced and viewed in fifteenth-century Florence.
Unlike most monastic artists, Fra Filippo learned to paint only after joining a religious order. In the first section of the book, the author considers how the doctrines, rules, rituals, and practices of the Carmelites shaped Lippi's art and manner of envisioning sacred subjects. In the second section, Holmes discusses Lippi's life and painting after he left the monastery, demonstrating how his mature work broke new ground but continued to draw upon Carmelite influences. The final section of the book looks closely at three altarpieces Fra Filippo painted for monastic institutions and sets them in a broader social and religious context.
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3 reviews
27 of 28 people found the following review helpful
The Definitive Lippi Study
3 Dec 1999
Format:Hardcover
Holmes' book looks like a sumptuous coffee table art book and is a splendid example of a well produced one. The contents, in addition to the excellent illustrations, add up to an exhaustive and definitive study of Lippi's life and work by setting him firmly in the detailed religious and social context of his time and place. All of the artistic influences on his life are thoroughly catalogued. The significance of Florence's Santa Maria del Carmine is well documented, since it was the site of Lippi'a artistic training as well as his religious formation, and the lasting Carmelite infuences on Lippi's great works are described in great detail. Many historical misconceptions are corrected: Lippi was no orphan; he apparantly never severed completely his membership in the Carmelite Order. There is so much detail in this marvelous book, I wanted more informatoin about what happened to Lucrezia Buti and her son and daughter. They look out at the viewer from more than one of Lippi's masterpieces, as does he. This wonderful study connects us to their rich and complex lives, and the artistic treasures produced.
11 of 14 people found the following review helpful
Fra Lippo Lippi
12 Mar 2002
Format:Hardcover
A brillant effort: beautiful reproductions with informative, well written, and sensative text. It is the best book on Fra Lippi I have seen. I wish however that the number of full page reproductions had been at least tripled and the text abridged. I was frustrated by page after page of postcard size reproductions surrounded by text. I purchase art books for the pictures not the words.
12 of 28 people found the following review helpful
Mistakes
31 July 2000
Format:Hardcover
Giovanni di Francesco de CREVELLERIA was an architect of the Seventeenth Century. He erected Galileo's tomb in Santa Croce.
Lippi's assistant was not this Crevelleria but Giovanni di Francesco da ROVEZZANO ( J. Ruda) [1439 -1459]. A predella hangs in the Louvre, beside Lippi's Madonna . Da Rovezzano's masterpiece can be admired in the Casa Buonarroti, Firenze.
The Carmelite Saints in the cathedral of Santo Stefano, in Prato, were painted by Fra Diamante, not by Lippi (see Mannini: The Restoration of Lippi's Nativita, 1998).
Like Vasari, Milanesi's editions have been accepted as the norm for several decades (Vasari's for several centuries).
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