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Press Release

From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master

Image for From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master
Publication

From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master

In 1934 the Italian government lifted restrictions governing the gabled Barberini Collection in Rome, making it possible for two intriguing fifteenth-century paintings to be put on the international art market. Within just two years both had been sold—one to The Metropolitan Museum of Art and the other to the Museum of Fine Arts in Boston. Neither their authorship nor their subjects were certain, but their ambitious depiction of architecture no less than their discursive, anecdotal approach to narration made them unique among Early Renaissance paintings. Who was their author? What was their function? How to explain their mastery of perspective and their sophisticated architectural settings? Building on over a century of scholarship as well as completely new archival information, this catalogue proposes answers to all three questions. In doing so, it examines the art of Florence in the 1440s and the work of, among others, Fra Filippo Lippi, Domenico Veneziano, Luca della Robbia, and Michelozzo. It then turns to the introduction of Renaissance style north of the Appenines, in the region of the Marches, and to the culture of the court at Urbino in the third quarter of the fifteenth century, dominated by its ruler, Federico da Montefeltro, the humanist-architect Leon Battista Alberti, and the sublime painter Piero della Francesca.
Image for Filippino Lippi (ca. 1457–1504)
Essay

Filippino Lippi (ca. 1457–1504)

October 1, 2004

By George R. Goldner

Filippino’s style as a painter and draftsman was marked by animated form and line, as well as a rather warm colorism.
Image for Filippino Lippi's Madonna and Child
editorial

Filippino Lippi's Madonna and Child

January 18, 2011

By Keith Christiansen

In 1949 the Metropolitan Museum was bequeathed a masterpiece of Italian Renaissance painting. Painted around 1485 by the Florentine master Filippino Lippi, it shows the Madonna and Child seated in a domestic interior, with a view through a window onto a landscape with a river.
Image for The Drawings of Filippino Lippi and His Circle
Publication

The Drawings of Filippino Lippi and His Circle

Energetic, incisive, spontaneous, and expressive, the drawings of Filippino Lippi (1457/58–1504) are among the most original and creative of the Italian Renaissance. Produced in the artistic and humanist circles of late fifteenth-century Florence and Rome for such illustrious patrons as Lorenzo de' Medici, il Magnifico, Filippino's drawings were subsequently cherished by many esteemed collectors, including Giorgio Vasari, Pierre-Jean Mariette, and Sir Thomas Lawrence. The exceptionally large numbers of Filippino's drawings that survive trace the progress of his career, from his training with his father, Fra Filippo Lippi, and Sandro Botticelli to his untimely death at the age of forty-six. Filippino's drawings display a rare freedom of handling, a taste for abstraction and mannerism, and a precocious concern with movement and expression. They share with his paintings a predilection for elaborate costumes, fanciful hairstyles, ornate settings, and the spirited reinvention of antique designs. And they were a source of inspiration for other artists, among them Raffaellino del Garbo, Tommaso, Piero di Cosimo, and even Raphael. This book accompanies a major exhibition at The Metropolitan Museum of Art, the first important show devoted to the drawings of Filippino Lippi. Essays by experts in the field explore Filippino's development as a draftsman, his techniques, his designs for the decorative arts, his drawings after the antique, and his work as a painter; entries on the individual drawings consider issues of authenticity, dating, and relationship to paintings, as well as the contributions of his circle. A documented chronology of the artist's life is offered as well. Written for both a scholarly and general audience, the volume is lavishly supported with color reproductions of all the works included in the exhibition, which are shown to scale when possible, numerous comparative illustrations, and over forty color-plates reproducing Filippino's most important paintings. Provenances, complete references, an extensive bibliography, and an index are provided.
Image for The Middle East Photograph Preservation Initiative (MEPPI)
Essay

The Middle East Photograph Preservation Initiative (MEPPI)

August 26, 2022
MEPPI was a broad initiative to promote the preservation of photograph collections in North Africa, the Arabian Peninsula through the Eastern Mediterranean.
Image for Considering Horace Pippin
editorial

Considering Horace Pippin

July 26, 2023

By Bryan Martin

How has art history overlooked the crucial role disability played in Pippin's painting?
Image for Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries
Publication

Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries

The second quarter of the sixteenth century witnessed the emergence of a new fashion of armor design based on the forms and ornament found in classical art. Embossed in high relief, richly gilt, and damascened in gold and silver, these lavish parade armors all'antica were worn by Renaissance kings and captains who wished to project an aura of power and virtue by arraying themselves like the heroes of ancient Roman history and mythology. The re-creation of classically inspired armor is invariably associated with Filippo Negroli, the most innovative and celebrated of the renowned armorers of Milan. Within the Negroli family of armorers, Filippo was the best known of his extremely successful generation, which included his brother Francesco, a skilled damascener in the service of Emperor Charles V, and his cousin Giovan Paolo, a talented master who provided armor to the French court. From large numbers of recently uncovered documents in the state, civic, and ecclesiastical archives of Milan, details have been gleaned of Negroli family members, their workshops and employees, marriages and deaths, property and testamentary arrangements, and business dealings with clients and fellow armorers. A digest of the documents is included, and a brief, cogent discussion of the manufacture and commerce of arms in sixteenth-century Milan provides a context for the work of these talented artists. The core of the book is a thorough reexamination of all the armors signed by Filippo Negroli. Additional works are attributed to him, and lost works are identified. The authors confirm the attribution of two magnificently damascened armors to Francesco Negroli, and they present Giovan Paolo Negroli's single signed work along with pieces they consider to be his. Each armor is described, illustrated, and placed in the context of the maker's oeuvre; its history of ownership is discussed; and its treatment in the critical literature is assessed. Around these superlative examples of Renaissance armor all'antica are grouped works that demonstrate the strong influence of the Negroli on contemporary Italian armorers as well as the variety and originality of armor design during the years 1535–55. The authors also touch on the sources of Renaissance armor through Greek and Roman prototypes, fourteenth- and fifteenth-century versions of classical-style armor, and sixteenth-century albums of designs. In the hands of a master like Filippo Negroli, whose virtuoso skill at modeling in high relief is unrivaled in the history of metalworking, traditional military costume was transformed into sculpture in steel. The extraordinary technical abilities of the Milanese armorers, combined with their imaginative adaptation of decorative motifs from the antique, such as lion and Medusa heads, fantastic creatures, and abundant foliate ornament, gave rise to an original art form that evokes the pomp and pageantry of the Renaissance courts. These treasured objects, many of which are still part of the royal collections they have been in since the sixteenth century, are generously illustrated in this book, which serves as the catalogue of an exhibition at The Metropolitan Museum of Art.
Image for A #MetKids Question for William the Hippo
editorial

A #MetKids Question for William the Hippo

September 24, 2015

By Aliza Sena

Aliza Sena, associate coordinator for Digital Learning, asks Associate Curator Isabel Stünkel and Conservator Ann Heywood to answer a letter addressed to William the Hippo.
Image for How William the Hippo Got His Name
editorial

How William the Hippo Got His Name

September 22, 2017

By Isabel Stünkel and Kei Yamamoto

Curator Isabel Stünkel and Research Associate Kei Yamamoto tell the story of how The Met's beloved unofficial mascot, William the Hippo, got his name.
Image for Madonna and Child Enthroned with Two Angels
Art

Madonna and Child Enthroned with Two Angels

Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Date: ca. 1440
Accession Number: 49.7.9

Image for Portrait of a Woman with a Man at a Casement
Art

Portrait of a Woman with a Man at a Casement

Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Date: ca. 1440
Accession Number: 89.15.19

Image for Male Saint
Art

Male Saint

Workshop of Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Date: ca. 1447–1469
Accession Number: 1975.1.70A

Image for Saint Bernard of Clairvaux
Art

Saint Bernard of Clairvaux

Workshop of Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Date: ca. 1447–1469
Accession Number: 1975.1.70B

Image for Saint Lawrence Enthroned with Saints and Donors
Art

Saint Lawrence Enthroned with Saints and Donors

Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Date: 1440s
Accession Number: 35.31.1a–c

Image for Madonna and Child
Art

Madonna and Child

Filippino Lippi (Italian, Prato ca. 1457–1504 Florence)

Date: ca. 1483–84
Accession Number: 49.7.10

Press

From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master

"What's in a name? That which we call a rose by any other word would smell as sweet."
                                --William Shakespeare<br>
        <I>Romeo and Juliet</I>
Image for From Filippo Lippi to Piero della Francesca
Exhibitions

From Filippo Lippi to Piero della Francesca

Image for Saints Augustine and Francis, a Bishop Saint, and Saint Benedict
Art

Saints Augustine and Francis, a Bishop Saint, and Saint Benedict

Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)

Accession Number: 17.89

Press

SCHEDULE OF EXHIBITIONS SEPTEMBER–DECEMBER 2004