Virgin Adoring The Child Art Print Poster by Fra Filippo Lippi

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Price: $122.99    

Product Feature

• Title: Virgin Adoring The Child
• Artist: Fra Filippo Lippi
• Size: 28 x 31.5 inches
• High quality giclee print on matt cotton archival paper. Made with UV protected inks.

Product Description

Showcase your space with Postercartel's wide selection of high quality giclee art prints. This UV resistant print is available on the material of your choice. Select from semi-gloss photo paper, matt cotton archival paper, or stretched and mounted artist's canvas (ready to hang). Your artwork is shipped in a heavy duty container to ensure the safe delivery of your purchase. With so many great images, Postercartel makes it easy to add zest to your living space, office, or room of your choice.

Virgin Adoring The Child Art Print Poster by Fra Filippo Lippi Review

"Madonna in the Forest" is the kind of painting that one cannot take out of her mind after seeing it live. It lives happily in the Italian paintings wing of Berlin Gemaldegalerie, in one of the quiet rooms filled with masterpieces of seemingly equal value, in a peaceful neighborhood with Florentine and Venetian artists, not far from Giotto and very close to Masaccio - the artists who strongly influenced Fra Filippo Lippi. Nearby there are Piero della Francesca, Andrea Mantegna, Carlo Crivelli, Antonio del Pollaiolo, Andrea del Castagno - Italian contemporaries of Fra Filippo. Those German and Flemish artists who passed on Filippo Lippi their meticulous jewelry-like technique of painting flowers, precious stones, soft hair, feather-weight veils, cracked or richly decorated walls, clear vases on the floor and overall obsession with detail, specifically its extremely careful depiction, are also nearby in their own part of the Temple of Art - Jan van Eyck and Roger van der Weyden, whose works young Filippo must have seen when traveling to Padua. Their precise pictorial Flemish counterpoint could have a secret sacred conversation with the Florentine Fra Filippo since they all are so close together there.

"Madonna in the Forest" was made in 1460 for the magical Capella di Medici in Palazzo Medici-Riccardi already decorated by splendid frescoes by Benozzo Gozzoli the same year. While Gozzoli's style is overwhelmingly gothic, Fra Filippo is already quite far away into post-Masaccio Renaissance maniera - the figures of the boy John the Baptist, Madonna and the baby are so realistic and full of life and energy; they do not impress as static as they appear on Gozzoli's frescoes for all their sumptuous beauty. Yet the link with the past is not broken yet - the composition is somewhat archaic. While Filippo Lippi moved art forward, the decisive dive into the Dolce Stil Nuovo of High Renaissance will be made by future artists, who would completely embrace Masaccio's revolution. However, in the Dantean sense of the Dolce Stil Novo which meant "idealized view of love and womanhood in a way that is sincere, delicate, and musical" this picture fits so perfectly! And it fits just as perfectly in the Capella di Medici; although the picture that is in the Chapel today is a copy that was made in 1494; while the original is in Berlin - maybe this is why the picture there seems to possess supernatural powers!

Indeed Berlin Gemaldegalerie has an incomparable collection overall, including van Eyck and especially Roger van der Weyden pictures; each one of those most certainly caused many dissertations to be written over the cause of six centuries of their existence. Yet it is this Filippo Lippi's picture "Madonna in the Forest" that stuns in its own way - already so Italian, so devoted to the most sublime yet realistically depicted beauty that only Florentine artists started to do.

It is Filippo Lippi who invented this face that has become an image of unsurpassed female beauty which we admire till today. Of course, van Eyck and van der Weyden have created beautiful images of women, too, but it is Filippo Lippi who truly breathed exquisite gentleness into his Madonnas. They are always full of light and joy, basking in gleeful light, and they invariably radiate the spirit of love, hope and happiness. So what made Filippo so unique in worshiping a woman and enabled him to express her beauty better than any other artist? I think it is his own personal passionate devotion to the fair sex, and his biography is just as exciting and ripe with amazing turns as his paintings are.

Filippo was born in a poor family in Florence, he lost his parents early and when he was eight years old, his aunt turn him to Carmelite monks care. There he grew up and became a painter, however he never acquiesced with being a monk, and finally, when he was fifty years old, he fell in love passionately with a young nun, Lucrezia Buti. Together they fled from her monastery; the scandal was grandiose and only with Filippo's perennial sponsor and patron Cosimo di Medici he was saved - on Cosimo personal petition to the Pope Fra Filippo was allowed to relinquish his vows and marry Lucrezia.

It must be that passionate love for that type of beauty that Lucrezia possessed which enlivened the pictures of Filippo above all other artists; his obsessional devotion to it - we see the same face on all his pictures; before he met Lucrezia, he depicted it, and after, he drew the beauty from her face. The effect is such that it caused passion for her in many men who saw her! One admirer wrote ecstatically about his the feelings - Gabriele D'Annunzio was awe-struck with Filippo Lippi imagery when he was a student Boarding School Cicognini in Prato from 1874 to 1881. The fresco of Salome made him want to be her second lover ("secondo amante di Lucrezia Buti") and write the following lines, in his typical highly sublime and passionate style:

""Chi [...] sei tu Lucrezia Buti? Sei tu quella che danza, simile ad un fior voluttuoso fatto di pieghe in vece di petali, ora chiuso ora socchiuso ora dischiuso? O sei quella che seduta alla mensa fa il gesto pacato e spietato verso la testa mozza, o sei quella dalla chioma a grappoli [...] non una sei ma tre per mio amore, Lucrezia Buti".

Later in his life D'Annunzio lived on Via delle Quattro Fontane, near Palazzo Barberini which houses two more Filippo Lippi's pictures; he was fascinated with him encore and with other wonders in the Pinacoteka; and the famous fence of the Palazzo under the snow is immortalized in his novel "Il piacere" The Child of Pleasure.

Filippo Lippi, like D'Annunzio, could not tie himself up to an orderly family life, however - perhaps he loved women too much! As D'Annunzio, he had many passions after his marriage to the beautiful Lucrezia; certainly he was not a Salvador Dali, either, and perhaps Don Filippo needed to feed on bellezze diverse, contadine, principesse, mille tre to stay inspired. Yet together with Lucrezia he had two children, one of whom, Filippino, has become an artist on his own accord, becoming a pupil of Sandro di Mariniano, who in turn was his father's student.

Sandro di Mariano (Botticelli) was a pupil of Fra Filippo. Looking at "Madonna in the Forest" one recognizes instantly a close resemblance in style to Sandro, a better-known artist in our days. Sandro di Mariano, the name that Marcel Proust insisted to use for Botticelli, since he thought that the latter nickname is too vulgar for such a genius. What is it in these artists, Filippo Lippi and Sandro, that strikes some with the most severe case of Stendhal Syndrome?

While Sandro's Madonnas might be equally beautiful, they often suffer from inner pain and anguish, and it is hard not to feel sorrowful when in their splendid but sad company. Perhaps of that excruciating embittered beauty one daughter of Jethro on the wall of Sistine Chapel (which is almost universally known only for frescoes of Michelangelo) so deeply impressed Marcel Proust that his Swann falls in love with Odette, who resembles that divine face immortalized by Sandro. The symbolism may be that the love for such an anguished beauty can bring only torture; but how eternally feminine Sandro's females are!

Indeed who could fall in love with any of Michelangelo's women? It takes a different inclination to be inspired for creating unbelievably beautiful female images that struck Proust and D'Annunzio; although one would argue that Proust should have been rather inspired by Ignudi that guard the same foremost chapel on its ceiling. It also gives food for thought - since Proust admired D'Annunzio, could he re-use the idea, but of course, with a variation on the theme - if an older writer chose a certain master, the younger chooses the pupil of the master! Very witty and sounds like a perfect head game that writers play with themselves.

It is also not far from another decadent Huysmans, who loved Botticelli as well, although was not squeamish about Gustave Moreau as well. The aesthetics of des Esseintes are very close to those of Proust, which is not a surprise, knowing their amoroso preferences, akin to Michelangelo, who also admired women when they are part of the frescoes only, residing there harmlessly as celestial bodies devoid of flesh and blood.

What a voyage from Firenze to Berlin through Paris and Rome! But after knowing all this, would it be surprising to see why D'Annunzio loved Fra Filippo's art, in other words, could we conclude that he saw something special specifically in Filippo Lippi pictures that resonated in his own highly adventurous and amoroso spirit? They definitely shared the same passions in life!

Thus the mystery of Filippo is in his disegno on the ideal female beauty; it is so purely Italian; his maniera is semi-Italian, borrowing strongly from Masaccio; and his colorito could take a fair share from the Flemish tradition. Such an amazing artist he is, evolving constantly throughout his career, and this painting truly gathers in itself the best Fra Filippo Lippi could do - magnificent Florentine Masaccian design coupled with exquisite Flemish van Eyckian, van der Weydian technique, which gave birth to his own Venus of this Madonna, which perhaps reincarnated into Botticelli's Venus - perhaps one of the most beloved pictures of today, owing much to the ideal and invention of Don Filippo Lippi.

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