弗拉·安杰利科是意大利佛罗伦萨画派画家。生于佛罗伦萨附近的维基奥，1455年2月18日卒于罗马。原名圭多·迪彼得罗（Guido di Pietro），约1420年左右进入修道院，取名菲耶索基的乔瓦尼（Giovanni da Fiesole），安杰利科（意为天使）是后人给他的美称。
福拉。安吉利柯di Pietro圭多在出生Rupecanina[7]在斯卡纳面积Mugello附近菲索尔对14世纪的结束。没有什么是他的父母。他受洗圭多或Guidolino。最早的记录文档关于福拉。安吉利柯日期从10月17日,1417年,他加入了一个宗教团体胭脂教堂,仍在di Pietro圭多的名字。这个记录也显示,他已经是一个画家,一个事实是随后证实了两个记录付款di Pietro圭多在1418年1月和2月的工作在黛儿•庞特教会圣斯特凡诺。[8]第一个Angelico作为一个修士的记录可以追溯到1423年,当他第一次被称为联邦铁路局乔凡尼,定制后进入宗教秩序取一个新名字。[9]他是一个成员多米尼加菲索尔社区。联邦铁路局会友的收缩(拉丁),传统的标题是一个修士。
根据瓦萨里,福拉。安吉利柯最初作为一个接受过训练照明器,可能和他的哥哥一起工作Benedetto他也是一个多米尼加和照明器。圣马可在佛罗伦萨举行一些手稿被认为是完全或部分由他的手。[3]画家洛伦佐摩纳哥可能是导致他的艺术培训,和的影响锡耶纳的学校是明显的在他的作品中。他有几个重要的指控修道院他住在,但是这并没有限制他的艺术,它很快出名。根据瓦萨里,第一个绘画的艺术家是一个祭坛的装饰品和的画屏生产修道院的弗洛伦斯现在没有这样的存在。[3]
从1408年到1418年福拉。安吉利柯在多米尼加寺院Cortona他画壁画,现在毁灭,在多米尼加的教堂和可能是助理或追随者Gherardo Starnina.[10]1418年至1436年间,他在菲索尔的修道院,他还执行一些教堂的壁画,祭坛的装饰品,但恢复恶化。装饰画的祭坛的台仍然完好无损伦敦国家美术馆这是一个极好的例子,福拉。安吉利柯的能力。它显示了基督在荣耀,被超过250年的数据,包括多米尼加人受宣福礼。
1436年福拉。安吉利柯一菲索尔的修道士搬到新建寺院的圣马可在佛罗伦。这是一个重要的举措,这让他的艺术活动的中心地区带来的赞助最富有和最强大的成员之一,这个城市的治理权威,或“Signoria”(即关于柯西莫•德•美第奇),大细胞留给自己的寺院,以便他可能退出这个世界。,根据瓦萨里,在柯西莫的敦促,福拉。安吉利柯着手布置修道院,包括华丽的壁画,章的复制报喜楼梯的顶部的细胞,与圣徒Maesta和许多较小的虔诚的基督的生活,装饰壁画描绘方面的每一个细胞的城墙。[3]
1439年,他完成了他最著名的作品之一圣马可祭坛的装饰品在佛罗伦萨。结果是不寻常的。的图像为麦当娜和孩子包围圣人很常见,但他们通常描述设置,显然heavenlike,圣徒和天使一样徘徊神圣的存在,而不是人。但在这个实例中,圣人站直接在空间内,分组在一个自然的方式他们能够交谈的共同经验见证荣耀的处女。这样的作品,被称为神圣的对话成为主要的佣金乔凡尼贝里尼,佩鲁基诺和拉斐尔.[11]
1445年教皇地球四世召唤他到罗马油漆的礼拜堂的壁画神圣圣礼在圣彼得,后来被教皇保罗三世。瓦萨里声称,这个时候福拉。安吉利柯是提供的教皇尼古拉斯五世的佛罗伦萨大主教之职,他拒绝了,推荐另一个修士的地位。虽然这个故事似乎可能甚至可能,如果瓦萨里的日期是正确的,那么教皇一定是地球而不是尼古拉斯。1447年福拉。安吉利柯奥维多与他的学生,高宙、执行的工作大教堂。在他的其他学生Zanobi诗.[12]
从1447年到1449年他在梵蒂冈,设计的壁画Niccoline教堂尼古拉斯诉幕后的两位烈士的生命执事早期的基督教教堂,圣斯蒂芬和圣劳伦斯河可能是全部或部分执行助理。明亮的小教堂,壁画墙和金箔装饰给人的印象一个珠宝盒。从1449年到1452年,福拉。安吉利柯回到他的老菲索尔的修道院,之前他的地方。[3][13]
1455年福拉。安吉利柯去世而住在多米尼加修道院在罗马,也许为了在教皇尼古拉斯教堂工作。他葬在教堂圣玛丽亚sopra密涅瓦.[3][13][14]
英国作家和评论家威廉·迈克尔·罗塞蒂修士的写道:
Fra Angelico was born Guido di Pietro at Rupecanina[7] in the Tuscan area ofMugello near Fiesole towards the end of the 14th century. Nothing is known of his parents. He was baptized Guido or Guidolino. The earliest recorded document concerning Fra Angelico dates from October 17, 1417 when he joined a religious confraternity at the Carmine Church, still under the name of Guido di Pietro. This record also reveals that he was already a painter, a fact that is subsequently confirmed by two records of payment to Guido di Pietro in January and February 1418 for work done in the church of Santo Stefano del Ponte.[8] The first record of Angelico as a friar dates from 1423, when he is first referred to as Fra Giovanni, following the custom of those entering a religious order of taking a new name.[9] He was a member of the Dominican community at Fiesole.Fra, a contraction of frater (from the Latin), is a conventional title for a friar.
According to Vasari, Fra Angelico initially received training as an illuminator, possibly working with his older brotherBenedetto who was also a Dominican and an illuminator. San Marco in Florence holds several manuscripts that are thought to be entirely or partly by his hand.[3] The painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, which very soon became famous. According to Vasari, the first paintings of this artist were an altarpieceand a painted screen for the Carthusian Monastery of Florence; none such exist there now.[3]
From 1408 to 1418 Fra Angelico was at the Dominican friary of Cortona where he painted frescoes, now destroyed, in the Dominican Church and may have been assistant to or follower of Gherardo Starnina.[10] Between 1418 and 1436 he was at the convent of Fiesole where he also executed a number of frescoes for the church, and the Altarpiece, deteriorated but restored. A predella of the Altarpiece remains intact in the National Gallery, London which is a superb example of Fra Angelico's ability. It shows Christ in Glory, surrounded by more than 250 figures, including beatified Dominicans.
In 1436 Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built Friary of San Marco in Florence. This was an important move which put him in the centre of artistic activity of the region and brought about the patronage of one of the wealthiest and most powerful members of the city's governing authority, or "Signoria" (namely Cosimo de' Medici), who had a large cell reserved for himself at the friary in order that he might retreat from the world. It was, according to Vasari, at Cosimo's urging that Fra Angelico set about the task of decorating the monastery, including the magnificent Chapter House fresco, the often-reproduced Annunciation at the top of the stairs to the cells, the Maesta with Saints and the many smaller devotional frescoes depicting aspects of the Life of Christ that adorn the walls of each cell.[3]
In 1439 he completed one of his most famous works, the San Marco Altarpiece at Florence. The result was unusual for its time. Images of the enthroned Madonna and Child surrounded by saints were common, but they usually depicted a setting that was clearly heavenlike, in which saints and angels hovered about as divine presences rather than people. But in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael.[11]
In 1445 Pope Eugenius IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peter's, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered by Pope Nicholas V the Archbishopric of Florence, and that he refused it, recommending another friar for the position. While the story seems possible and even likely, if Vasari's date is correct, then the pope must have been Eugenius and not Nicholas. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, executing works for theCathedral. Among his other pupils were Zanobi Strozzi.[12]
From 1447 to 1449 he was back at the Vatican, designing the frescoes for the Niccoline Chapelfor Nicholas V. The scenes from the lives of the two martyred deacons of the Early Christian Church, St. Stephen and St. Lawrence may have been executed wholly or in part by assistants. The small chapel, with its brightly frescoed walls and gold leaf decorations gives the impression of a jewel box. From 1449 until 1452, Fra Angelico was back at his old convent of Fiesole, where he was the Prior.[3][13]
In 1455 Fra Angelico died while staying at a Dominican convent in Rome, perhaps in order to work on Pope Nicholas' chapel. He was buried in the church of Santa Maria sopra Minerva.[3][13][14]
The English writer and critic William Michael Rossetti wrote of the friar:
Pope John Paul II beatified Fra Angelico on October 3, 1982, and in 1984 declared him patron of Catholic artists.[5]
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