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A masterwork by Filippo Lippi has returned to the Tuscan capital: the Pala del Noviziato altarpiece, masterwork of the Florentine painter, which was created for the Noviziato Chapel in the Santa Croce Basilica. Created on commission by Cosimo de’ Medici in 1445, the artwork was restored and is now back in the Uffizi. Also back on display is the Pala di Annalena altarpiece and two other panels by the same painter: the "Madonna Annunciata a Sant’Antonio abate" and "L’angelo dell’Annunciazione con San Giovanni Battista". The restorative effort has brought back the same great, bright colours of the original, as well as the beauty and architectural rigour of the composition.
The Pala del Noviziato Altarpiece - Originally accompanied by an altar step painted by the young Francesco di Stefano, known as Il Pesellino (Florence, 1422 ca. – 1457 ca.) , under the guidance of Filippo Lippi. The altar step is composed of five compartments depicting San Francesco receiving his stigmata; the miracle of Saints Cosma and Damiano; the Nativity and Martyrdom of Saints Cosma and Damiano; and the Miracle of Sant’Antonio. The three original compartments that were already present in the Uffizi were restored, allowing experts to further showcase the figurative language and styles of the 1400s in Florence, form Masaccio to Veneziano until Paolo Uccello.
The Pala di Annalena Altarpiece - It was painted by Fra’ Filippo Lippi in circa 1450 for the Florentine convent of San Vincenzo Ferrer. the main iconography is that of the Nativity with San Giuseppe, baby Jesus and the Virgin Mary, visible in the foreground. In perspective, natural elements are mixed with the architectural elements of the stable, distancing the other figures in the composition: the ox and the donkey at the centre; Mary Maddalena on the right; San Girolamo in the classical iconography who praying on hi knees on the left; and in the background a severe landscape. Under him is the figure of a monk: he is Sant'Ilarione of Gaza, traditionally remembered as an abbot, a performer of miracles and a founder of monasteries in Palestine.
The restorative effort was completed with two artworks by Filippo Lippi, made in circa 1455-60. There are two paintings that represent the Annunciation and two saints, Sant’Antonio Abate and San Giovanni Battista.
The Pala del Noviziato Altarpiece - Originally accompanied by an altar step painted by the young Francesco di Stefano, known as Il Pesellino (Florence, 1422 ca. – 1457 ca.) , under the guidance of Filippo Lippi. The altar step is composed of five compartments depicting San Francesco receiving his stigmata; the miracle of Saints Cosma and Damiano; the Nativity and Martyrdom of Saints Cosma and Damiano; and the Miracle of Sant’Antonio. The three original compartments that were already present in the Uffizi were restored, allowing experts to further showcase the figurative language and styles of the 1400s in Florence, form Masaccio to Veneziano until Paolo Uccello.
The Pala di Annalena Altarpiece - It was painted by Fra’ Filippo Lippi in circa 1450 for the Florentine convent of San Vincenzo Ferrer. the main iconography is that of the Nativity with San Giuseppe, baby Jesus and the Virgin Mary, visible in the foreground. In perspective, natural elements are mixed with the architectural elements of the stable, distancing the other figures in the composition: the ox and the donkey at the centre; Mary Maddalena on the right; San Girolamo in the classical iconography who praying on hi knees on the left; and in the background a severe landscape. Under him is the figure of a monk: he is Sant'Ilarione of Gaza, traditionally remembered as an abbot, a performer of miracles and a founder of monasteries in Palestine.
The restorative effort was completed with two artworks by Filippo Lippi, made in circa 1455-60. There are two paintings that represent the Annunciation and two saints, Sant’Antonio Abate and San Giovanni Battista.
MADONNA, THE CHILD AND TWO ANGELS
One of his most famous works is housed at the Uffizi Museum in Florence. He initially adhered to the novelties introduced by Masaccio (the construction of the technique of prospective and the use of full-sized figures), and over the years, this became a renewed gothic influence, mixed with the style of Beato Angelico and the Flemish style. His curved and wavy lines, characteristic of the Florentine school, construct the overall image.
In his later works, Lippi accentuates the chromatic effect by compactly painting the colors, enlarging and refining the figures. Botticelli then takes these factors and builds on them in later years.
