Lorenzo de' Medici and the Art of Magnificence (The Johns Hopkins Symposia in Comparative History)

By F. W. Kent

In the previous part century students have downplayed the importance of Lorenzo de' Medici (1449–1492), known as "the Magnificent," as a consumer of the humanities. much less prosperous than his grandfather Cosimo, the argument is going, Lorenzo used to be way more drawn to accumulating old gadgets of artwork than in commissioning modern paintings or structure. His previous popularity as a shopper used to be acknowledged to be mostly a build of humanist exaggeration and partisan deference.

Although a few contemporary stories have taken factor with this view, no synthesis of Lorenzo as artwork client and artwork lover has but emerged. In Lorenzo de' Medici and the artwork of Magnificence historian F. W. Kent deals a brand new examine Lorenzo's dating to the humanities, aesthetics, gathering, and building―especially within the context of his position because the political boss ( maestro della bottega) of republican Florence and a number one participant in Renaissance Italian international relations. due to this process, which can pay cautious awareness to the occasions of his brief yet dramatic existence, a greatly new chronology of Lorenzo's actions as an artwork buyer emerges, revealing them to were extra huge and artistic than formerly idea. Kent's Lorenzo was once generally attracted to the humanities and supported efforts to decorate Florence and the various Medici lands and palaces. His services used to be good seemed through guildsmen and artists, who usually became to him for recommendation in addition to for patronage. Lorenzo himself used to be expert within the arts by way of such males, and Kent explores his aesthetic schooling and style, taking into consideration what's identified of Lorenzo's patronage of tune and manuscripts, and of his personal artistic paintings as a big Quattrocento poet.

Richly illustrated with images of Medici landmarks through Ralph Lieberman, Lorenzo de' Medici and the artwork of Magnificence deals a masterful portrait of Lorenzo as a guy whose achievements may have rivaled his grandfather's had he no longer died so young.

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Sixty six. 133. Luigi Lotti to Niccolò Michelozzi, 2. ii. 1487, released in de Marinis and Perosa, Nuovi documenti, 60. For this gem of Phaethon, see Fusco and Corti, Lorenzo de’ Medici, Collector, chaps. three, i, four, xi, 6, iii. 134. The first citation is from Nofri Tornabuoni to Lorenzo, four. vi. 1491, quoted in Bullard, Lorenzo il Magnifico, 128. For Lorenzo’s letter of 17. x. 1489 to Niccolò Franco, see ASF, MaP, XXXXIII, seventy five: “ho ricevuto el cammeo de me già tanto desiderato, el quale in step with essere in gram perfectione me è suto molto charo; according to essere venuto in pace che non lo aspectavo, molto più charo; in keeping with essere venuto in keeping with opera et diligentia della Signoria Vostra, charissimo. ” See additionally Fusco and Corti, Lorenzo de’ Medici, Collector, doctors. 124, 151. a hundred thirty five. ASF, MaP, XXX, 139, Antonio Ivani to Lorenzo, 14. iii. 1474: “Delatae sunt plures, verum ita corrose ut neque litterae neque vix imagines cernerentur. ” See additionally Fusco and Corti, Lorenzo de’ Medici, Collector, document. 14. 136. Pandolfo Collenuccio to Lorenzo, 22. vi. 1491, in Pandolfo Collenuccio, Operette morali, poesie latine e volgari, ed. A. Saviotti (Bari, 1929), 299–300. consequently Poliziano’s remark to Lorenzo of 20. vi. 1491 on a stunning historical vase that “credo non ne habbiate uno sì bello in eo genere” (Angelo Poliziano, Prose volgari inedite e poesie latine e greche edite e inedite, ed. I. del Lungo [Florence, 1867], 81). See additionally Fusco and Corti, Lorenzo de’ Medici, Collector, document. 154. 137. Fusco and Corti, Lorenzo de’ Medici, Collector, chaps. four, ix, five, i, 6, ii; J. Nelson and Notes to Pages 32–34 < a hundred and seventy > P. Zambrano, Filippino Lippi: Catalogo completo, 2 vols. (Milan, forthcoming). My due to Jonathon Nelson for permitting me to determine in typescript the suitable portion of his, the second one, quantity: Filippino Lippi e i contesti della pittura a Firenze e Roma (1488–1504). For the “Botticelli,” see C. Dempsey, \e Portrayal of affection (Princeton, 1992), 132. See additionally R. Rubinstein, “Lorenzo de’ Medici’s sculpture of Apollo and Marsyas: Bacchic Imagery and the Triumph of Bacchus and Ariadne,” in With and with no the Medici: stories in Tuscan artwork and Patronage, 1434–1530, ed. E. Marchand and A. Wright (Aldershot, 1998), 79–105, esp. 83–85. Rubin and Wright suggest a potential Medicean citation in a drawing by means of Botticelli in Renaissance Florence, 87, 334–35. 138. Draper, Bertoldo di Giovanni, 220–53. 139. Francesco Gonzaga’s description of five. ii. 1526 to Federico II Gonzaga, quoted in C. M. Brown, “Isabella d’Este e il mondo greco-romano,” in Isabella d’Este: l. a. primadonna del Rinascimento, ed. D. Bini (Mantua, 2001), 109–27 (124). See additionally idem, “I vasi di pietra dura dei Medici e Ludovico Gonzaga vescovo eletto di Mantova (1501– 1502),” Civiltà Mantovana, n. s. , 1 (1983): 63–68. Artists who have been all for Lorenzo’s amassing of antiquities have been the metalworker Michelangelo da Viviano (see Lorenzo de’ Medici, Protocolli, 195, 418), the gemcutter Giovanni delle Corniuole, and the hardstone cutter Pier Maria Serbaldi (see Fusco and Corti, Lorenzo de’ Medici, Collector, chap.

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