DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61542#0175
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ALESSO BALDOVINETTI
1427-1499
Domenico Veneziano’s most illustrious scholar
was the great Umbrian artist Piero dei Franceschi,
who, both in his types and landscapes, shows close
affinity to his master. But he also numbered among
his followers the Florentine Alesso Baldovinetti, who,
as the teacher of Ghirlandajo, of the Pollaiuoli brothers
and Andrea Verrocchio, exerted considerable influence
on the next generation of artists, and occupies an im-
portant place in art history. Alessio was born on the
14th of October 1427, and early gave up his father’s
trade to study painting in the shop of Domenico
Veneziano. In 1448, he matriculated in the Painters’
Guild, and about the same time was employed to
paint three panels in the presses for the altar-plate
of the Medici Chapel in the Annunzi?" a, which Fra
Angelico had left unfinished when he went to Rome.
These little subjects, representing the Baptism, Trans-
figuration and Marriage in Cana, are marked by the
same refined naturalism that we find in Domenico
Veneziano’s works, and show the same technical
methods and careful accurate observation.
A curious book of Ricordi, which has been preserved
in the Archives of S. Maria Nuova, gives an account
137 E 2
ALESSO BALDOVINETTI
1427-1499
Domenico Veneziano’s most illustrious scholar
was the great Umbrian artist Piero dei Franceschi,
who, both in his types and landscapes, shows close
affinity to his master. But he also numbered among
his followers the Florentine Alesso Baldovinetti, who,
as the teacher of Ghirlandajo, of the Pollaiuoli brothers
and Andrea Verrocchio, exerted considerable influence
on the next generation of artists, and occupies an im-
portant place in art history. Alessio was born on the
14th of October 1427, and early gave up his father’s
trade to study painting in the shop of Domenico
Veneziano. In 1448, he matriculated in the Painters’
Guild, and about the same time was employed to
paint three panels in the presses for the altar-plate
of the Medici Chapel in the Annunzi?" a, which Fra
Angelico had left unfinished when he went to Rome.
These little subjects, representing the Baptism, Trans-
figuration and Marriage in Cana, are marked by the
same refined naturalism that we find in Domenico
Veneziano’s works, and show the same technical
methods and careful accurate observation.
A curious book of Ricordi, which has been preserved
in the Archives of S. Maria Nuova, gives an account
137 E 2