Fra Filippo Lippi - The Barbadori Altarpiece

I love the early renaissance which doesn’t get as much fanfare as its most celebrated superstars.

And among those are Filippo Lippi. He had a pretty scandalous life (as you’ll see below).

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The Barbadori Altarpiece by Filippo Lippi

Incredible altarpiece at the Louvre.

The Mother Mary (about to sit down?) with Christ at her side on their heavenly throne with ecclesiastical worthies.

Filippo Lippi channels Brunelleschi’s architectural style, complete with round arches and grey stone (pietra serena) which the latter was so fond off.

Dimensions and lines on the floor give us a sense of perspective.

Fra Filippo Lippi - The Annunciation & Seven Saints

When I came across the Carmelite priest Filippo Lippi at the NG, I was amazed by his masterpieces.

I think he might be my favourite of the early renaissance👌. 

It is a true stylistic jump from his predecessors and so v. beautiful to look at.

According to Vasari, he was a pupil of Masaccio. He forms the bridge between Masaccio and Botticelli.

As with the Renaissance in general, his art was informed with the aesthetics of the classical world & a renewed humanism. 

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The Seven Saints (1450-3)

In the centre, John the Baptist  ... he sits between Cosmas and Damian, the physician saints and patrons of the Medici family (Medici means “doctors”).

On the far left, sits St. Francis. His stigmata subtly indicated in gold. Next to him, St Lawrence with the grill on which he was martyred. 

On the far right, St. Peter Martyr with a hatchet (with which he was bludgeoned to death), and “Anthony the Great” with his hermit’s staff.

Such an engaging humanist face - chubby, frizzy curled hair, slight beard and compel eyes.

 

Beautiful mastery of perspective, and Lippi’s angled sedentary position of St. John’s feet is skillful;

also lovely details, incl. robes folds and internal colouring and the castle in the background behind trees.

 

Beautiful long flowing hair, what a hat (!), and St. Francis stigmata as “fizzing” with electricity. 

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The Annunciation (1450-3)

Wow.  

I really love this. Da Vinci’s version of the “Annunciation” has similar a perspective and landscape. This was commissioned by the powerful Medici family.

In this egg tempera, the Angel Gabriel announces the future birth of Christ.

Both heads bowed — for the presence of God (through his dove). There is a lot being communicated in this painting.

The walled garden alludes to mother Mary’s virginity.

 

Such outstanding and intricate detail against vibrant colours.

The Angel’s hair’s delineation is just so life-like and sumptuous (compared to earlier gothic traditions).

The radiant & vibrant patterns of the peacock feathers as wings complements the halo’s coruscation.

Peacock feather pattern! What a majestic bird.

Beautiful garden-like foliage and grass, exquisite plinth. No detail is too much.

And such carefully drawn drapery which folds so effortlessly on the grass.

The hand of God (which can be seen at the top) sends the dove (symbol of the Holy Spirit). 

Mary is reading the Holy Book, head lowered, exquisite drapery around her head and neck. 

And the dove is in a shimmering hagiographic spiral flying towards her. Presumably her womb?