Фра Анджелико (ангельский брат) (Фра Джованни да Фьезоле, прозван Беато Анджелико) (~1400 - 1455), художник
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Fra Angelico (Fra Giovanni da Fiesole, called Fra Beato Angelico), a patron of artists.
His real name was Guido, or Guidolino, di Pietro.
Fra Angelico was an Italian painter of the early Renaissance who combined the life of a devout friar with that of an accomplished painter. He was called Angelico (Italian for “angelic”) and Beato (Italian for “blessed”) because the paintings he did were of calm, religious subjects and because of his extraordinary personal piety.
В ~1420 принял обет послушания в доминиканском ордене.
He entered a Dominican convent in Fiesole in 1418 and about 1425 became a friar using the name Giovanni da Fiesole.
He apparently began his career as an illuminator of missals and other religious books, he began to paint altarpieces and other panels.
In 1436 the Dominicans of Fiesole moved to the convent of San Marco in Florence, which had recently been rebuilt by Michelozzo.
Fra Angelico is best known for his paintings in the monastery of San Marco in Florence.
In 1445 Angelico was summoned to Rome by Pope Eugenius IV to paint frescoes for the now destroyed chapel of the Sacrament in the Vatican.
В 1446...47 Анджелико оставался в Риме (в летние месяцы он работал также в соборе в Орвьето).
At Rome, besides his great paintings in the chapels of the Vatican, he executed some beautiful miniatures for choral books.
Eugenius IV asked him to go to Orvieto to work in the chapel of the Madonna di San Brizio in the cathedral.
В 1450 Фра Анджелико возвратился во Флоренцию и стал настоятелем монастыря Сан Доменико во Фьезоле.
From 1449 to 1452 Angelico was prior of his convent in Fiesole.
Типично римский характер имеет киворий над алтарём, перед которым опустился на колени Стефан, а также базилика с колоннами, служащая фоном сцены.
Склонённая фигура ап. Петра и стоящий на коленях в профиль святой образуют передний план; за ними, в пространстве между ступенями алтаря и колоннами нефа базилики - шесть апостолов, чьи фигуры размещены по горизонтали с той же определенностью, что святые в иконостасе Анналена {2607}.