fbpx
Wikipedia

Antonello da Messina

October 15, 2023

"Antonello" redirects here. For other uses, see Antonello (name).

Antonello da Messina (Italian pronunciation: [antoˈnɛllo da (m)mesˈsiːna]; c. 1425–1430 – February 1479), properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni[1] and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Italian Early Renaissance.

Antonello da Messina
Portrait of Man, possibly a self-portrait
Born
Antonello di Giovanni di Antonio

c. 1425–1430
Messina, Kingdom of Sicily
DiedFebruary 1479 (aged 48–49)
Messina, Kingdom of Sicily
NationalityItalian
Known forPainting
MovementItalian Renaissance

His work shows strong influences from Early Netherlandish painting, although there is no documentary evidence that he ever travelled beyond Italy.[2] Giorgio Vasari credited him with the introduction of oil painting into Italy,[3] although this is now regarded as wrong.[4] Unusually for a southern Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

Biography Edit

Early life and training Edit

 
Antonello's St Jerome in His Study, c. 1475

Antonello was born at Messina around 1429–1431, to Garita (Margherita) and Giovanni de Antonio Mazonus, a sculptor who trained him early on. He and his family resided in the Sicofanti district of the city.[5]

Antonello is thought to have apprenticed in Rome before going to Naples,[5] where Netherlandish painting was then fashionable. According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte, in about 1450 Antonello was a pupil of the painter Niccolò Colantonio in Naples.[6] This account of his training is accepted by most art historians.[7]

Early career Edit

Antonello returned to Messina from Naples during the 1450s.[2] In around 1455, he painted the so-called Sibiu Crucifixion, inspired by Flemish treatments of the subject, which is now in the Muzeul de Artǎ in Bucharest. A Crucifixion in the Royal Museum of Antwerp dates from the same period. These early works shows a marked Flemish influence, which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon.[citation needed]

 
Antonello's Salting Madonna

In his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Van Eyck (the Lomellini Tryptych) belonging to King Alfonso V of Aragon at Naples and consequently introduced oil painting to Italy.[3] Recent evidence indicates that an "Antonello di Sicilia" (di Sicilia meaning 'from Sicily') was in contact with Van Eyck's most accomplished follower, Petrus Christus, in Milan in early 1456.[8] It appears likely that this was in fact Antonello da Messina as this would explain why he was one of the first Italians to master Eyckian oil painting, and why Christus was the first Netherlandish painter to learn Italian linear perspective.[9] Antonello's paintings after that date show an observation of almost microscopic detail and of minute gradations of light on reflecting or light absorbent objects that is very close to the style of the Netherlandish masters, suggesting that Antonello was personally instructed by Christus.[10] Also, the calmer expressions on human faces and calmness in the overall composition of Antonello's works appear to be owing to a Netherlandish influence.[11][full citation needed] He is believed to have shared Van Eyck's techniques with Gentile and Giovanni Bellini.[5]

Between the years of 1456 and 1457, Antonello proved himself to be a master painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria.[12] The artist's earliest documented commission, in 1457, was for a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria, where he set up a workshop for the production of such banners and devotional images.[2] At this date, he was already married, and his son Jacobello had been born.

In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures, probably indicating a knowledge of works by Piero della Francesca. Also from around 1460 are two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonello's younger brother Giordano entered his workshop, signing a three-year contract. In that year Antonello painted a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost.

Historians believe that Antonello painted his first portraits in the late 1460s. They follow a Netherlandish model, the subject being shown bust-length, against a dark background, full face or in three-quarter view,[13] while most previous Italian painters had adopted the medal-style profile pose for individual portraits.[14] John Pope-Hennessy described him as "the first Italian painter for whom the individual portrait was an art form in its own right".[15]

 
The Virgin Annunciate in the Palazzo Abatellis in Palermo

Although Antonello is mentioned in many documents between 1460 and 1465, establishing his presence in Messina in those years, a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland.[14] In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study also dates from around this time.[16]

Venice Edit

Antonello went to Venice in 1475 and remained there until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, indicating the influence of Piero della Francesca and Giovanni Bellini. His most famous pictures from this period include the Condottiero (Louvre), the San Cassiano Altarpiece and the St. Sebastian. The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of a much larger original). It is also likely that Antonello passed on both the techniques of using oil paints[17] and the principles of calmness on subjects' faces and in the composition of paintings to Giovanni Bellini and other Venetian painters during that visit.[18] While in Venice he was offered, but did not accept, the opportunity to become the court portrait painter to the Duke of Milan.[19]

Return to Messina and death Edit

Antonello had returned to Sicily by September 1476.[13] Works from near the end of his life include the famous Virgin Annunciate, now in the Palazzo Abatellis in Palermo, and the San Gregorio Polyptych.

He died at Messina in 1479. His testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.

 
Crucifixion, Antwerp, detail

Style and legacy Edit

Antonello's style is remarkable for its union of Italian simplicity with Flemish concern for detail. He exercised an enormous influence on Italian painting, not only by the introduction of the Flemish invention, but also by the transmission of Flemish tendencies.[20] However, no school of painting formed after his death, with the exception of the Sicilian Marco Costanzo.

Selected works Edit

References Edit

  1. ^ Memorie istorico-critiche di Antonello degli Antonj pittore Messinese by Tommaso Puccini, Florence 1809.
  2. ^ a b c Barbera 2005, p. 13.
  3. ^ a b Barbera 2005, p. 14.
  4. ^ Campbell, Caroline. "Saint Jerome in his Study' in 10 minutes". YouTube. National Gallery. Retrieved 24 April 2022.
  5. ^ a b c Lesberg, Sandy, ed. (1974) [1966]. "Glossary of Gothic Art". Gothic Art. New York: Peebles Press International. ISBN 0-85690-033-8. OCLC 2163980.
  6. ^ The letter to the Venetian Marcantonio Michiel, of 20 March 1524, reporting on the state of art in Naples, and works there by Netherlandish painters, dwells upon Colantonio and his Netherlandish technique, which one sees assimilated in the art of Antonello; it was published by Fausto Niccolini, L'arte napoletana del Rinascimento (Naples) 1925:161-63. It is translated in Carol M. Richardson, Kim Woods, and Michael W. Franklin, Renaissance Art Reconsidered: An Anthology of Primary Sources (2007:193-96).
  7. ^ Barbera 2005, p. 15.
  8. ^ Raunch pg. 361
  9. ^ Raunch pg. 361
  10. ^ Hartt pg. 562
  11. ^ Raunch pg. 361
  12. ^ "Antonello da Messina". Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press. Retrieved 13 February 2017.
  13. ^ a b Barbera 2005, p. 23.
  14. ^ a b Barbera 2005, p. 51.
  15. ^ Pope-Hennessy 1966, p. 60.
  16. ^ Barbera 2005, p. 22.
  17. ^ Hartt pg. 563
  18. ^ Hartt pg. 563; Raunch pg. 361
  19. ^ Barbera 2005, p. 29.
  20. ^ Chisholm 1911.

Sources Edit

  • Barbera, Giocchino (2005). Antonello da Messina, Sicily's Renaissance Master (exhibition catalogue). New York: Metropolitan Museum of Art Yale University Press. ISBN 0-300-11648-9 (online).
  • Christiansen, Keith. “Antonello da Messina (ca. 1430–1479).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (March 2010)
  • Pope-Hennessy, John (1966). The Portrait in the Renaissance. London: Phaidon.
  •   This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Antonello da Messina". Encyclopædia Britannica. Vol. 2 (11th ed.). Cambridge University Press. p. 148.

External links Edit

 
Wikimedia Commons has media related to Antonello da Messina.
  • Antonello da Messina in the "History of Art" 13 October 2013 at the Wayback Machine
  • Antonello da Messina – Biography and Works
  • Best of Sicily Magazine article on Antonello da Messina and the technique of egg tempera / oil media
  • "Antonello da Messina" . Catholic Encyclopedia. 1913.
  • Web Gallery of Art
  • Guardian article on Portrait of a Man
  • Petrus Christus: Renaissance master of Bruges, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Antonello da Messina (see index)

October 15, 2023
antonello, messina, antonello, redirects, here, other, uses, antonello, name, italian, pronunciation, antoˈnɛllo, mesˈsiːna, 1425, 1430, february, 1479, properly, antonello, giovanni, antonio, also, called, antonello, degli, antoni, anglicized, anthony, messin. Antonello redirects here For other uses see Antonello name Antonello da Messina Italian pronunciation antoˈnɛllo da m mesˈsiːna c 1425 1430 February 1479 properly Antonello di Giovanni di Antonio but also called Antonello degli Antoni 1 and Anglicized as Anthony of Messina was an Italian painter from Messina active during the Italian Early Renaissance Antonello da MessinaPortrait of Man possibly a self portraitBornAntonello di Giovanni di Antonioc 1425 1430Messina Kingdom of SicilyDiedFebruary 1479 aged 48 49 Messina Kingdom of SicilyNationalityItalianKnown forPaintingMovementItalian RenaissanceHis work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy 2 Giorgio Vasari credited him with the introduction of oil painting into Italy 3 although this is now regarded as wrong 4 Unusually for a southern Italian artist of the Renaissance his work proved influential on painters in northern Italy especially in Venice Contents 1 Biography 1 1 Early life and training 1 2 Early career 1 3 Venice 1 4 Return to Messina and death 2 Style and legacy 3 Selected works 4 References 4 1 Sources 5 External linksBiography EditEarly life and training Edit nbsp Antonello s St Jerome in His Study c 1475Antonello was born at Messina around 1429 1431 to Garita Margherita and Giovanni de Antonio Mazonus a sculptor who trained him early on He and his family resided in the Sicofanti district of the city 5 Antonello is thought to have apprenticed in Rome before going to Naples 5 where Netherlandish painting was then fashionable According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte in about 1450 Antonello was a pupil of the painter Niccolo Colantonio in Naples 6 This account of his training is accepted by most art historians 7 Early career Edit Antonello returned to Messina from Naples during the 1450s 2 In around 1455 he painted the so called Sibiu Crucifixion inspired by Flemish treatments of the subject which is now in the Muzeul de Artǎ in Bucharest A Crucifixion in the Royal Museum of Antwerp dates from the same period These early works shows a marked Flemish influence which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio s patron Alfonso V of Aragon citation needed nbsp Antonello s Salting MadonnaIn his biography of the artist Giorgio Vasari remarked that Antonello saw an oil painting by Van Eyck the Lomellini Tryptych belonging to King Alfonso V of Aragon at Naples and consequently introduced oil painting to Italy 3 Recent evidence indicates that an Antonello di Sicilia di Sicilia meaning from Sicily was in contact with Van Eyck s most accomplished follower Petrus Christus in Milan in early 1456 8 It appears likely that this was in fact Antonello da Messina as this would explain why he was one of the first Italians to master Eyckian oil painting and why Christus was the first Netherlandish painter to learn Italian linear perspective 9 Antonello s paintings after that date show an observation of almost microscopic detail and of minute gradations of light on reflecting or light absorbent objects that is very close to the style of the Netherlandish masters suggesting that Antonello was personally instructed by Christus 10 Also the calmer expressions on human faces and calmness in the overall composition of Antonello s works appear to be owing to a Netherlandish influence 11 full citation needed He is believed to have shared Van Eyck s techniques with Gentile and Giovanni Bellini 5 Between the years of 1456 and 1457 Antonello proved himself to be a master painter in Messina He also shared his home with Paolo di Ciacio a student from Calabria 12 The artist s earliest documented commission in 1457 was for a banner for the Confraternita di San Michele dei Gerbini in Reggio Calabria where he set up a workshop for the production of such banners and devotional images 2 At this date he was already married and his son Jacobello had been born In 1460 his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria In that year Antonello painted the so called Salting Madonna in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures probably indicating a knowledge of works by Piero della Francesca Also from around 1460 are two small panels depicting Abraham Served by the Angels and St Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria In 1461 Antonello s younger brother Giordano entered his workshop signing a three year contract In that year Antonello painted a Madonna with Child for the Messinese nobleman Giovanni Mirulla now lost Historians believe that Antonello painted his first portraits in the late 1460s They follow a Netherlandish model the subject being shown bust length against a dark background full face or in three quarter view 13 while most previous Italian painters had adopted the medal style profile pose for individual portraits 14 John Pope Hennessy described him as the first Italian painter for whom the individual portrait was an art form in its own right 15 nbsp The Virgin Annunciate in the Palazzo Abatellis in PalermoAlthough Antonello is mentioned in many documents between 1460 and 1465 establishing his presence in Messina in those years a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland 14 In 1474 he painted the Annunciation now in Syracuse and the St Jerome in His Study also dates from around this time 16 Venice Edit Antonello went to Venice in 1475 and remained there until the fall of 1476 His works of this period begin to show a greater attention to the human figure regarding both anatomy and expressivity indicating the influence of Piero della Francesca and Giovanni Bellini His most famous pictures from this period include the Condottiero Louvre the San Cassiano Altarpiece and the St Sebastian The San Cassiano Altarpiece was especially influential on Venetian painters as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini Antonello s surviving work in Vienna is only a fragment of a much larger original It is also likely that Antonello passed on both the techniques of using oil paints 17 and the principles of calmness on subjects faces and in the composition of paintings to Giovanni Bellini and other Venetian painters during that visit 18 While in Venice he was offered but did not accept the opportunity to become the court portrait painter to the Duke of Milan 19 Return to Messina and death Edit Antonello had returned to Sicily by September 1476 13 Works from near the end of his life include the famous Virgin Annunciate now in the Palazzo Abatellis in Palermo and the San Gregorio Polyptych He died at Messina in 1479 His testament dates from February of that year and he is documented as no longer alive two months later Some of his last works remained unfinished but were completed by his son Jacobello nbsp Crucifixion Antwerp detailStyle and legacy EditAntonello s style is remarkable for its union of Italian simplicity with Flemish concern for detail He exercised an enormous influence on Italian painting not only by the introduction of the Flemish invention but also by the transmission of Flemish tendencies 20 However no school of painting formed after his death with the exception of the Sicilian Marco Costanzo Selected works EditSibiu Crucifixion 1455 Brukenthal National Museum Sibiu Abraham Served by the Angels Museo della Magna Grecia Reggio Calabria Portrait of a Man 1460s Oil on wood Civic Museums Pavia Ecce Homo c 1470 Tempera and oil on panel 42 5 x 30 5 cm Metropolitan Museum of Art New York City Ecce Homo 1470 Tempera and oil on panel 40 x 33 cm Galleria Nazionale di Palazzo Spinola Genoa St Jerome Penitent Various techniques on wood 40 2 x 30 2 cm Museo della Magna Grecia Reggio Calabria San Gregorio Polyptych 1473 Tempera on panel 194 x 202 cm Regional Museum Messina Ecce Homo c 1473 Tempera on panel 19 5 x 14 3 cm Private collection New York City Portrait of a Man 1474 Oil on wood Staatliche Museen Berlin Madonna with Child Salting Madonna Oil on wood 43 2 x 34 3 cm National Gallery London Portrait of a Man 1474 Oil on wood 32 x 26 cm Staatliche Museen Berlin Annunciation 1474 Oil on panel 180 x 180 cm Bellomo Palace Regional Gallery Syracuse St Jerome in His Study c 1474 Oil on wood 46 x 36 5 cm National Gallery London Ecce Homo 1475 Oil on panel 48 5 x 38 cm Collegio Alberoni Piacenza Portrait of a Man Il Condottiere 1475 Oil on wood 35 x 38 cm Musee du Louvre Paris Crucifixion 1455 Oil on panel 52 5 x 42 5 cm Koninklijk Museum voor Schone Kunsten Antwerp Crucifixion 1475 Wood 42 x 25 5 cm National Gallery London Portrait of a Man c 1475 Oil on wood Galleria Borghese Rome Portrait of a Man c 1475 Oil on panel 36 x 25 cm National Gallery London Portrait of a Man 1475 1476 Oil on panel 28 x 21 cm Museo Thyssen Bornemisza Madrid San Cassiano Altarpiece 1475 76 Oil on panel Kunsthistorisches Museum Vienna The Dead Christ Supported by an Angel 1475 78 Panel 74 x 51 cm Museo del Prado Madrid Christ at the Column c 1475 1479 Oil on wood 25 8 x 21 cm Musee du Louvre Paris Virgin of the Annunciation Oil on panel Alte Pinakothek Munich Portrait of a Man 1476 Oil on panel Museo Civico d Arte Antica Turin Virgin of the Annunciation c 1476 Oil on wood 45 x 34 5 cm Museo Nazionale Palermo St Sebastian 1477 1479 Oil on canvas transferred from panel 171 85 cm Gemaldegalerie Alte Meister Dresden Portrait of a Young Man c 1478 Panel 20 4 x 14 5 cm Staatliche Museen Berlin Portrait of an unknown man Oil on panel Museo Mandralisca Cefalu Madonna and Child Oil and tempera on panel transferred from panel National Gallery of Art Washington D C References Edit Memorie istorico critiche di Antonello degli Antonj pittore Messinese by Tommaso Puccini Florence 1809 a b c Barbera 2005 p 13 a b Barbera 2005 p 14 Campbell Caroline Saint Jerome in his Study in 10 minutes YouTube National Gallery Retrieved 24 April 2022 a b c Lesberg Sandy ed 1974 1966 Glossary of Gothic Art Gothic Art New York Peebles Press International ISBN 0 85690 033 8 OCLC 2163980 The letter to the Venetian Marcantonio Michiel of 20 March 1524 reporting on the state of art in Naples and works there by Netherlandish painters dwells upon Colantonio and his Netherlandish technique which one sees assimilated in the art of Antonello it was published by Fausto Niccolini L arte napoletana del Rinascimento Naples 1925 161 63 It is translated in Carol M Richardson Kim Woods and Michael W Franklin Renaissance Art Reconsidered An Anthology of Primary Sources 2007 193 96 Barbera 2005 p 15 Raunch pg 361 Raunch pg 361 Hartt pg 562 Raunch pg 361 Antonello da Messina Benezit Dictionary of Artists Oxford Art Online Oxford University Press Retrieved 13 February 2017 a b Barbera 2005 p 23 a b Barbera 2005 p 51 Pope Hennessy 1966 p 60 Barbera 2005 p 22 Hartt pg 563 Hartt pg 563 Raunch pg 361 Barbera 2005 p 29 Chisholm 1911 Sources Edit Barbera Giocchino 2005 Antonello da Messina Sicily s Renaissance Master exhibition catalogue New York Metropolitan Museum of Art Yale University Press ISBN 0 300 11648 9 online Christiansen Keith Antonello da Messina ca 1430 1479 In Heilbrunn Timeline of Art History New York The Metropolitan Museum of Art 2000 March 2010 Pope Hennessy John 1966 The Portrait in the Renaissance London Phaidon nbsp This article incorporates text from a publication now in the public domain Chisholm Hugh ed 1911 Antonello da Messina Encyclopaedia Britannica Vol 2 11th ed Cambridge University Press p 148 External links Edit nbsp Wikimedia Commons has media related to Antonello da Messina Antonello da Messina in the History of Art Archived 13 October 2013 at the Wayback Machine Antonello da Messina Biography and Works Best of Sicily Magazine article on Antonello da Messina and the technique of egg tempera oil media Antonello da Messina Catholic Encyclopedia 1913 Web Gallery of Art Guardian article on Portrait of a Man Petrus Christus Renaissance master of Bruges a full text exhibition catalog from The Metropolitan Museum of Art which contains material on Antonello da Messina see index Retrieved from https en wikipedia org w index php title Antonello da Messina amp oldid 1173571427, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.