By F. W. Kent
In the prior part century students have downplayed the importance of Lorenzo de' Medici (1449–1492), known as "the Magnificent," as a purchaser of the humanities. much less prosperous than his grandfather Cosimo, the argument is going, Lorenzo used to be way more drawn to amassing historic items of paintings than in commissioning modern artwork or structure. His prior attractiveness as a consumer used to be acknowledged to be mostly a build of humanist exaggeration and partisan deference.
Although a few fresh stories have taken factor with this view, no synthesis of Lorenzo as artwork purchaser and artwork lover has but emerged. In Lorenzo de' Medici and the paintings of Magnificence historian F. W. Kent deals a brand new examine Lorenzo's courting to the humanities, aesthetics, accumulating, and building―especially within the context of his position because the political boss ( maestro della bottega) of republican Florence and a number one participant in Renaissance Italian international relations. because of this strategy, which can pay cautious cognizance to the occasions of his brief yet dramatic existence, a considerably new chronology of Lorenzo's actions as an artwork buyer emerges, revealing them to were extra vast and artistic than formerly notion. Kent's Lorenzo was once widely attracted to the humanities and supported efforts to decorate Florence and the various Medici lands and palaces. His services used to be good seemed by means of guildsmen and artists, who frequently became to him for suggestion in addition to for patronage. Lorenzo himself was once expert within the arts through such males, and Kent explores his aesthetic schooling and flavor, making an allowance for what's identified of Lorenzo's patronage of track and manuscripts, and of his personal inventive paintings as a tremendous Quattrocento poet.
Richly illustrated with photos of Medici landmarks by way of Ralph Lieberman, Lorenzo de' Medici and the artwork of Magnificence deals a masterful portrait of Lorenzo as a guy whose achievements may need rivaled his grandfather's had he no longer died so young.
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Extra resources for Lorenzo de' Medici and the Art of Magnificence (The Johns Hopkins Symposia in Comparative History)
Caglioti’s awesome reconstruction of this occasion and its context in Donatello e i Medici: Storia del “David” e della “Giuditta,” 2 vols. (Florence, 2000), 1:266–69. Cf. the dialogue in Kent, Cosimo de’ Medici, 264–68. 161. L. Pagliai, “Da un libro del monastero di S. Benedetto,” Rivista d’Arte three (1905): 153. The monastic author pronounced that on sixteen. v. 1491 Don Guido, previous of the Angeli (and the Medici confessor), borrowed tabernacles “di mano di Cimabue maestro fu di Giotto,” returning them a few 3 years later (L. Pagliai, “Da un libro del monastero di S. Benedetto,” ibid. 6 : 244). 162. This painter used to be Lippo di Benivieni, energetic 1300–1325, in accordance with the work’s caption. The portray is illustrated in E. Peters Bowron, eu work sooner than 1900 within the Fogg paintings Museum (Cambridge, Mass. , 1990), 283. See esp. L. Bellosi, “Un Cimabue in step with Piero de’ Medici e il ‘Maestro della Pietà di Pistoia,’” Prospettiva sixty seven (1992): 49–52; and idem, Cimabue, trans. A. Bonfante-Warren, F. Dabell, and J. Hyams (New York, 1998), 12–13, 285. 163. Dante, l. a. divina commedia, ed. N. Sapegno, vol. 2, Purgatorio (Florence, 1984), canto xi, traces 94–96. 164. Bellosi, Cimabue, 12; Rubin, Giorgio Vasari, 289–90. Caglioti, Donatello e i Medici, 1:281, notes that Landino’s compliment of Paolo Uccello coincided with Lorenzo’s seizing of the Bartolini Uccello. a hundred sixty five. Spallanzani and Gaeta Bertelà, Libro d’inventario, 6, eighty (Masaccio), eighty, ninety four (Botticelli), 79–80 (Desiderio). See additionally M. G. Ciardi Dupré dal Poggetto, “I dipinti di Palazzo Medici nell’inventario di Simone di Stagio delle Pozze: Problemi di committenza e di arredo,” in Fubini, los angeles Toscana al pace di Lorenzo il Magniﬁco, 1:131–61. 166. For one such turning element towards the top of the ﬁfteenth century see the Notes to Pages 38–40 < 173 > persuasive argument of J. Burke, altering buyers: Social identification and the visible Arts in Renaissance Florence (University Park, Pa. , 2004). i'm such a lot thankful to Jill Burke for sharing her unpublished learn with me. See additionally Syson and Thornton, items of advantage, esp. chap. 6. Rucellai’s celebrated checklist, a lot commented upon within the literature, seems to be in Rucellai, Giovanni Rucellai, 1:23–24. relating Castagno, see J. R. Spencer, Andrea del Castagno and His buyers (Durham, N. C. , 1991), 128–29. 167. D. Carl, “Il ritratto commemorativo di Giotto di Benedetto da Maiano nel Duomo di Firenze,” in Santa Maria del Fiore: \e Cathedral and Its Sculpture, ed. M. Haines (Fiesole, 2001), 129–47 (133). See additionally M. Collareta, “Le ‘Luci della ﬁorentina gloria,’” Artista: Critica dell’Arte in Toscana three (1991): 136–43. 168. Poliziano, Prose volgari inedite, 156–59. 169. Parenti, Storia ﬁorentina, 259; F. D’Accone, “Antonio Squarcialupi alla luce di documenti inediti,” Chigiana, 3d ser. , 23 (1966): 3–20. one hundred seventy. See Nelson and Zambrano, Filippino Lippi. 171. I. del Lungo, “Un documento Dantesco dell’Archivio Mediceo,” ASI, 3d ser. , 19 (1874): 4–8; P. O. Kristeller, experiences in Renaissance \ought and Letters (Rome, 1969), 329. Landino is quoted in A.