Vasaris and Brownings Florentine Painters Fra Lippo Lippi

Vasari’s and Browning’s Florentine Painters “Fra Lippo Lippi” and “Andrea del Sarto”

Vasari’s Filippo Lippi • Giorgio Vasari (1511 -74) • Lives of the Painters (1550) – Dedicated to Cosimo de’ Medici – 200 biographies

Vasari’s Lippi • Carmelite Order (1154 by St. Berthold) – Poverty, abstinence, solitude – Contemplation, missionary work, theology – St. John of the Cross

Vasari’s Lippi • Chapel of the Carmine – Masaccio (1401 -28) – Brancacci Chapel, S. Maria del Carmine

Vasari’s Lippi “The chapel of the Carmine had then been newly painted by Masaccio, and this being exceedingly beautiful, pleased Fra Filippo greatly, wherefore he frequented it daily for his recreation, and, continually practicing there…he surpassed all the others by very much in dexterity and knowledge; insomuch that he was considered certain to accomplish some marvelous thing in the course of time” (Lives of the Most Eminent Painters, Sculptors and Architects, 2: 63).

Vasari’s “Filippo Lippi” • c. 1406 -69 born to butcher, raised till 8 by aunt • Son: Filippino Lippi (1457 -1504) with Lucrezia di Francesco Buti, studied under Botticelli

Vasari’s Lippi “It is said that Fra Filippo was much addicted to the pleasures of sense, insomuch that he would give all he possessed to secure the gratification of whatever inclination might at the moment be predominant; but if he could by no means accomplish his wishes, he would then depict the object which had attracted his attention, in his paintings, and endeavor by discoursing and reasoning with himself to diminish the violence of his inclination” (2: 66).

Vasari’s Lippi “…having endured this confinement for two days, he then made ropes with the sheets of his bed, which he cut to pieces for that purpose, and so having let himself down from a window, escaped, and for several days gave himself up to his amusements. When Cosimo found that the painter had disappeared, he caused him to be sought, and Fra Filippo at last returned to his work, but from that time forward Cosimo gave him liberty to go in and out at his pleasure” (2: 66).

Vasari’s Lippi “Fra Filippo, having given a glance at Lucrezia…so persuaded the nuns, that he prevailed on them to permit him to make a likeness of her, for the figure of the Virgin in the work he was executing for them. The result of this was, that the painter fell violently in love with Lucrezia, and at length found means to influence her in such a manner, that he led her away from the nuns…” (2: 69).

Browning’s “Fra Lippo Lippi” • Robert Browning (1812 -89) – 1846 m. Elizabeth Barrett – 1847 Casa Guidi, Florence – Men and Women (1855)

“Fra Lippo Lippi” • Dramatic Monologue – Speaker – Audience – Revelation of character – Interplay between speaker and auditor – Specific occasion – Dramatic action – Action in present

Browning’s “Fra Lippo Lippi” • Dramatic Monologue – Tension between sympathy and judgment – Dramatic monologue vs. Soliloquy – Lyric vs. dramatic moments

Browning’s “Fra Lippo Lippi” • “Why, one, sir, who is lodging with a friend Three streets off— he’s a certain…how d’ye call? Master—a…Cosimo of the Medici, I’ the house that caps the corner” (ll. 1518)

Browning’s “Fra Lippo Lippi” • “Your business is not to catch me with show, • With homage to the perishable clay, • But lift them over it, ignore it all, • Make them forget there’s such a thing as flesh. ” (ll. 17982)

Browning’s “Fra Lippo Lippi” • “Give us no more of body than shows soul! Here’s Giotto, with his Saint a-praising God, That sets us praising, --why not stop with him? ” (ll. 188 -90)

Fra Lippo Lippi • …Herodias, I would say, - • Who went and danced and got men’s heads cut off! (ll. 196 -8)

Browning’s “Fra Lippo Lippi” • “If you get simple beauty and nought else, You get about the best thing God invents: That’s somewhat: and you’ll find the soul you have missed, Within yourself, when you return him thanks. ” (ll. 217 -20)

Browning’s “Fra Lippo Lippi” • “The heads shake still—`It’s art’s decline, my son! You’re not of the true painters, great and old; Brother Angelico’s the man, you’ll find…. (ll. 233 -36)

Browning’s “Fra Lippo Lippi” • “…We’ve a youngster here Comes to our convent, studies what I do, Slouches and stares and lets no atom drop: His name is Guidi…. ” (ll. 273 -76) [Masaccio]

Browning’s “Fra Lippo Lippi” • “…This world’s no blot for us, Nor blank; it means intensely, and means good: To find its meaning is my meat and drink. ” (ll. 313 -15)

Browning’s “Fra Lippo Lippi” • “…I shall paint God in the midst, Madonna and her babe, Ringed by a bowery flowery angel-brood, Lilies and vestments and white faces, sweet As puff on puff of grated orris-root When ladies crowd to Church at midsummer. ” (ll. 344 -52)

Browning’s “Fra Lippo Lippi” • “And then i’ the front, of course a saint or two— Saint John, because he saves the Florentines, Saint Ambrose, who puts down in black and white The convent’s friends and gives them a long day…. ” (ll. 353 -56)

Browning’s “Fra Lippo Lippi”

Vasari’s “Andrea del Sarto” • Andrea del Sarto 1486 -1531 – Pupil of Piero di Cosimo (1462 -1521) – Barefooted Brothers – Order of Servites— Catholic mendicants devoted to Virgin Mary

Vasari’s “Andrea del Sarto” “…Andrea del Sarto, in whom art and nature combined to show all that may be done in painting, when design, coloring, and invention unite in one and the same person. Had this master possessed a somewhat bolder and more elevated mind, had he been as much distinguished for higher qualifications as he was for genius and depth of judgment in the art he practiced, he would beyond all doubt, have been without an equal” (2: 234).

Vasari’s “Andrea del Sarto” “But there was a certain timidity of mind, a sort of diffidence and want of force in his nature, which rendered it impossible that those evidences of ardor and animation, which are proper to the more exalted character, should ever appear in him; nor did he at any time display one particle of that elevation which, could it but have been added to the advantages wherewith he was endowed, would have rendered him a truly divine painter…” (2: 235).

Vasari’s “Andrea del Sarto” • Andrea’s Commission at SS Annunziata: Frescoes 1509 -10

Vasari’s “Andrea del Sarto” • Santa Annunziata frescos • Andrea buried in Annunziata

Vasari’s “Andrea del Sarto” • Lucrezia di Baccio del Fede: “But having fallen in love with a young woman whom on her becoming a widow he took for his wife, he found that he had enough to do for the remainder of his days…” (2: 251).

Vasari’s “Andrea del Sarto” Madonna of the Harpies (1517) “Our Lady is holding the Divine Child, with one arm; and the Infant, in a most exquisite attitude, has his arms round her neck, about which he is twining them most tenderly; with the other hand the Madonna holds a

Vasari’s “Andrea del Sarto” “a closed book, she is looking down on two nude figures of children, and these, while they support her in her position, serve at the same time as an ornament to the picture. On the right of the Virgin is San Francesco, extremely well painted, the countenance betokening all that simplicity and excellence by which that holy man is known to have been distinguished” (2: 253).

Vasari’s “Andrea del Sarto” “…it was one of Andrea’s excellencies that their flow was ever rich and ample, while he contrived by a certain graceful and flexible turn of the forms to cause the outlines of the nude figure to be discernable through or beneath them”(2: 253).

Vasari’s “Andrea del Sarto” • Head of Christ: “…and this is so beautiful, that for my part I do not know whether the human imagination could possibly conceive any more admirable representation of the head of the Redeemer” (2: 261).

Vasari’s “Andrea del Sarto” • St. Sebastian

Vasari’s “Andrea del Sarto” • Pietà: “…the Dead Christ mourned over by Our Lady…all figures so full of life that they appear indeed to be endowed with soul and spirit” (2: 276).

Vasari’s “Andrea del Sarto” • Copying Raphael: Pope Leo X (Lorenzo de’ Medici’s son)

Vasari’s “Andrea del Sarto”

Vasari’s “Andrea del Sarto” “Our Lady is seated with the divine Child in her arms, and there is also a St. Joseph, who is leaning on a sack, and has his eyes fixed on an open book. This work is executed in such a manner, the drawing, the grace of the figures, the beauty of coloring, the life-like animation, and the force of the relief, are of such perfection, that the picture proves Andrea to have far excelled and surpassed all the painters who had labored up to that time…” (2: 284).

Vasari’s “Andrea del Sarto” • The Last Supper

Vasari’s “Andrea del Sarto” “This work is indeed, as it is held to be, among the most animated, whether as regards design or color, ever executed by the hand of our artist, nay, rather that could be effected by any hand; it gives proof of admirable facility, and the master has imparted grandeur, majesty, and grace, to all the figures, insomuch that I know not what to say of this Supper that would not be too little. . . all who behold it are struck with astonishment” (2: 286).

Vasari’s “Andrea del Sarto” Siege of Florence (1529): “…but when the officer by whom they were led saw this work [Last Supper], having probably heard people speak of it, he would not permit so wonderful a painting to be destroyed, and, abandoning the place, determined that it should be injured no further, unless it should be found that nothing short of its total destruction would suffice” (2: 287).

Vasari’s “Andrea del Sarto” • Assumption (152931) “…indeed he rarely painted the countenance of a woman in any place that he did not avail himself of the features of his wife…” (2: 262).

Vasari’s “Andrea del Sarto” “We conclude, then, with the opinion, that if Andrea displayed no great elevation of mind in the actions of his life, and contented himself with little, yet, it is not to be denied, that he manifested considerable elevation of genius in his art, or that he gave proof of infinite promptitude and ability in every kind of labor connected therewith…” (2: 301 -2).

Browning’s “Andrea del Sarto” “But do not let us quarrel any more, No, my Lucrezia; bear with me for once: Sit down and all shall happen as you wish. You turn your face, but does it bring your heart? I’ll work then for your friend’s friend, never fear, Treat his own subject after his own way,

Browning’s “Andrea del Sarto” Fix his own time, accept too his own price, And shut the money into this small hand When next it takes mine. Will it? Tenderly? Oh, I’ll content him, --but tomorrow, Love! I often am much wearier than you think, This evening more than usual, and it seems As if—forgive now—should you let me sit Here by the window with your hand in mine And look a half-hour forth on Fiesole,

Browning’s “Andrea del Sarto” Both of one mind, as married people use, Quietly, quietly the evening through, I might get up to-morrow to my work Cheerful and fresh as ever. Let us try. Tomorrow, how you shall be glad for this! Your soft hand is a woman of itself, And mine the man’s bared breast she curls inside” (1 -23).

Browning’s “Andrea del Sarto” • “…So! Keep looking so— My serpentining beauty, rounds on rounds!” (ll. 26 -27)

Browning’s “Andrea del Sarto” • “As if I saw alike my work and self And all that I was born to be and do, A twilight-piece. Love, we are in God’s hand. ” (ll. 4850)

Browning’s “Andrea del Sarto” • “Behold Madonna!— I am bold to say. • I can do with my pencil what I know, • What I see, what at bottom of my heart • I wish for, if I ever wish so deep— ”(ll. 60 -63)

Browning’s “Andrea del Sarto” • “Well, I can fancy how he did it all, Pouring his soul, with kings and popes to see, Reaching, that heaven might so replenish him, Above and through his art…. ” (ll. 10811)

Browning’s “Andrea del Sarto” • “Had you, with these the same, but brought a mind! Some women do so. Had the mouth there urged `God and the glory! Never care for gain. ’” (ll. 127 -29)

Browning’s “Andrea del Sarto” • “…That Francis, that first time, And that long festal year at Fontainebleau!” (ll. 150 -51)

Browning’s “Andrea del Sarto” • “`Friend, there’s a certain sorry little scrub Goes up and down our Florence, none cares how, Who, were he set to plan and execute As you are, pricked on by yur popes and kings, Would bring the sweat into that brow of yours!’” (ll. 190 -94)

Browning’s “Andrea del Sarto” • “…Must you go? That Cousin here again? He waits outside? Must see you—you, and not with me? ” (ll. 220 -222)

Browning’s “Andrea del Sarto” • “How I could paint, were I but back in France, One picture, just one more—the Virgin’s face, Not yours this time!” (ll. 230 -32)

Browning’s “Andrea del Sarto” • “…Some good son Paint my two hundred pictures—let him try! No doubt, there’s something strikes a balance. ” (ll. 25658)

Andrea del Sarto

Del Sarto’s Last Supper