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405:, Ghiberti employed lambrequin arches to frame the central subject. Gentile's altarpiece includes three of these lambrequin arches atop the painting. These arches on the frame of the painting, like the ones in the Calamala niche, are both surrounded with decorative ornamentation. Other elements of the frame's design relate to the Calamala niche including spiral columns that add beauty to the piers on the inner sides of the frame. An architectural detail of the frame that differs from the Calamala niche but relates to the main entrance portals of the Orsanmichele, is the inclusion of a
153:, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece or about six times the annual salary of a skilled labourer. According to Baldwin, both Palla Strozzi and his father, Onofrio, appear in the painting − Palla as the man in the red hat in the forefront of the painting, and Onofrio as the falcon trainer situated behind the youngest king. According to other opinions, the falcon trainer depicts the commissioner Palla Strozzi with his eldest son Lorenzo to his right. Finished in 1423, the painting was placed in the new chapel of the church of
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figures bring the artwork to life and help to define space. Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists. The altarpiece was bejeweled in order to emphasize the patron's wealth. Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time. The use of pastiglia created a separation between the thin metals that were added into the altarpiece and the paint in order to add a sense of three-dimensionality.
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476:. The inclusion of a falcon was very intentional and significant because it has been linked to Persian and Arabian tradition and culture. Falcons were also used for hunting sport and was seen as a sign of nobility, since kings used falcons as the choice of bird for hunting. Palla Strozzi, the patron, is also painted in the image holding a falcon, and the purpose of this was to not only signify his status but also serves as a visual pun, since the term "falconer" translates to Strozzieri in the
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137:. Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting. Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism. The clothing worn by the three magi display influences from Orient's luxury textiles with elements such as gold and floral designs that distinguish the
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596:. These sumptuous style of dress draws upon the luxury textiles purchased and spread through the international luxury trade network. The textiles worn by the magi signify the Orient origins of not only the magi, but of the overall biblical scene to evoke the holy land. Islamic textiles also signify status and rank since this kind of clothing was in high demand and expensive. The magi
564:. Moreover, the pseudo-Arabic inscriptions also created a sense of sacredness and linked viewers to the concept and image of the Holy land of Jerusalem. As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.
370:). As the first altarpiece made with panel and frame in two separate pieces, it the first independent frame as we know it today. Gentile's incorporation of this completely self-supporting frame intended to protect the painting instead of being inseparable from the painting helped lead to this modern idea of a frame.
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sold at
Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions. The artist also incorporated pseudo-Arabic inscriptions into the work in an effort to act in accordance with what other Italian artists were doing
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The artist utilized artistic techniques throughout the painting, some of which are particularly notable in the predella. Naturalistic lighting in both the foreground and the background of the painting creates a sense of visual continuity within the painting. Depth and depiction of three-dimensional
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and incorporates many notable elements. The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect. Techniques such as lighting, depth, and three-dimensionality are prevalent in the work and were novel for the time. The
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that has been placed beneath each arch, and is therefore seen three times at the top of each lambrequin arch in
Gentile's frame. Elements that stand out in the frame's columns is not only the ornamentation and geometric patterns, but also the delicacy and richness. There is even a rare feature of
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Furthermore, the magi and their followers are wearing extravagant robes that are covered with patterns and designs. By contrast, Mary is depicted wearing a deep blue robe that covers the other parts of her wardrobe. Around her head she wears an intricately detailed black and white shawl with
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helped to spread the influence of Arabic inscriptions, leading to an admiration by the
Europeans. The use of pseudo-Arabic inscriptions became widespread in Florence influencing Gentile's artwork since his pre-Florentine paintings do not include pseudo-Arabic. Wealthy families such as the
584:, especially the three magi, is incredibly decorative comprising rich patterns with elements of gold and floral designs. Italian textiles during the Renaissance as shown in the altarpiece display a new taste for floral designs, and contain Oriental patterns and elements including
275:, as well as the magnificent horses and a hound. Gentile created a three-dimensional space where animals protrude in front of one another. Higher up in the background of the painting, human figures are clustered together and not given the same perspective as the animals.
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dialect. Another falcon in the painting is situated just below in the middle of arch and is shown flying and spreading its wings. The falcon likely symbolizes chivalry, and within religious works such as this, can even evoke the Holy Spirit.
534:. The details of gold and pseudo-Arabic inscriptions create a sense of holiness, as well as a clear reference to the Orient. Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as
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Exotic animals are included in the altarpiece because they were a sign of wealth and connection, and also spurred the curiosity of
Europeans. Additionally, they hold greater purpose to help the imagery depict an aura of the
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that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle
Eastern setting. The types of dress are used to distinguish between the magi and the holy family.
259:, they are shown taking off their extravagant crowns to pay respect to the newborn Jesus when they meet him. Gentile's typical attention for detail is also evident in the exotic animals, such as a
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as well as gold leaf. The pastiglia technique transforms parts like the crowns, textiles, and spurs into three-dimensional objects due to the gold pieces added as relief in parts of the art work.
282:, while other blue portions of the painting used an other, less expensive blue pigment. The use of ultramarine shows the importance of Mary and its use emphasizes the brilliance of her robe.
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on the right). The three main arches of the frame help to clearly separate these narratives from the three main scenes below that depict the journey of the Magi. The
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were trained for purposes such as hunting. All of these non-European animals can be found in the painting. Other animals that are included in the artwork are:
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435:(1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.
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The choice of materials emphasized the importance of certain aspects of the painting. Mary's blue robe was painted using the extremely expensive color
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since it was popular and attractive. Many of
Gentile da Fabriano's other works include pseudo-Arabic inscriptions, such as in the halo of Mary in the
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family were able to obtain these foreign goods that then allowed them to include these objects with qualities of the Orient in works like the
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architectural designs incorporated into it. Other elements of the altarpiece draw upon
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is linked to the design of the frame due to his use of similar architectural motifs and designs in his sculptures created for the
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painted flowers on some of the piers further emphasizing
Gentile's detailed craftsmanship. The frame is also characterized with
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richly decorated with real gold and precious stones inserted in the panel. Above in the background, the magi are shown entering
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that symbolize rebirth in a
Christian context and were associated with the Orient. The outfits of the other magi including
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Mary
Hollingsworth; "Patronage in Renaissance Italy: From 1400 to the Early Sixteenth Century", p. 41, John Murray, 1994
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and fluctuating stem patterns. The clothing worn included expensive and highly desired materials such as silks, velvet,
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was also an additional material used to add dimension to the artwork as it was raised off the surface of the painting.
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1459:"Gentile da Fabriano's Adoration of the Magi: Iconographic Influences of Decorative Arts from the Islamic World"
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551:. This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a
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Arabic writing was admired for its luxuriousness and exotic qualities. Gentile's altarpiece includes
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Niccolo Capponi; "An Unlikely Prince: The Life and Times of Machiavelli", p. 9, Da Capo Press, 2010
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which occupies the lowest part of the picture. All the figures wear splendid Renaissance costumes,
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frame, along with the painting, is a work of art in itself, specifically because of the intricate,
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Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles
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inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four
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Ingeborg Walter, Die Strozzi: Eine Familie im Florenz der Renaissance, Beck Munic 2011, p. 27
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in order to establish a Middle Eastern setting for the work. Foreign, exotic animals such as
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of Florence with its thin, spiral columns and a composition made up of three main geometric,
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Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420
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1310:"Discovering the great masters: the art lover's guide to understanding symbols in paintings"
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in several scenes which start from the upper left corner (the voyage and the entrance into
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Discovering the great masters: the art lover's guide to understanding symbols in paintings
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362:(the latter is a copy, since the original was removed from the altarpiece and is in the
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geometric patterns. Jesus is shown clothed in a white tunic that is detailed with gold.
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834:"Lorenzo Ghiberti and the Frame of Gentile da Fabriano's "Adoration of the Magi""
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The painting was commissioned by the Florentine literate and patron of the arts
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The frame is also a work of art in itself, characterized by three cusps with
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1133:"Adoration of the magi by Gentile da Fabriano | Artworks | Uffizi Galleries"
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971:"GENTILE DA FABRIANO (c. 1390–1427): International Style and Court Culture"
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300 cm × 282 cm (120 in × 111 in)
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is shown dressed in a dark tunic contrasted against the a pattern of gold
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also has three rectangular paintings with scenes of Jesus' childhood: the
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http://www.slideshare.net/valdesjm/u4-romanesque-2893691?next_slideshow=2
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The style of dress and fabrics that clothe the individual figures in the
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743:"Gentile da Fabriano, Adoration of the Magi (reframed) – Smarthistory"
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in Florence. For example, in the Calamala niche for the sculpture of
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Bazaar to piazza : Islamic trade and Italian art, 1300–1600
508:(1423) by Gentile da Fabriano; the script is further divided by
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design structure with impressive craftsmanship. It reflects the
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since dogs were commonly depicted in Greco-Roman arts such as
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1045:"Gentile da Fabriano, Adoration of the Magi – Smarthistory"
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Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600
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arches described as "mixtilineal" (but better known as a
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was another valuable material used, in the technique of
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schools' influences on Gentile's art, combined with the
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Laetitiana Educational Video explaining the painting:
468:. Dogs depicted in the painting can be connected to
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1158:"Gentile da Fabriano – Adoration of the Magi, 1423"
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1403:"Twenty-five notes on pseudoscript in Italian art"
120:The artwork was commissioned by the famous banker
1696:Madonna and Child with Saints Julian and Lawrence
1235:Boehm, Barbara Drake; Holcomb, Melanie (2001).
318:Orsanmichele Church entrance portal, 1410–1420
1571:Madonna and Child with Two Saints and a Donor
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1264:"Gentile da Fabriano and Classical Antiquity"
8:
1484:. Berkeley: University of California Press.
1366:Christian, Kathleen R.; Clark, Leah (2017).
776:"Gentile (di Niccolò di Massio) da Fabriano"
640:Sienese Painting: The Art of a City-Republic
334:portraying Christ Blessing (center) and the
1613:Madonna and Child Enthroned with Two Angels
1512:https://www.youtube.com/watch?v=HccA2Hobzvk
1369:European Art and the Wider World, 1350–1550
219:The works shows both the international and
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1243:. New York: The Metropolitan Museum of Art
1213:. New York: The Metropolitan Museum of Art
326:Orsanmichele Church in Florence, 1410–1420
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788:10.1093/gao/9781884446054.article.T031359
978:Social History of Art, by Robert Baldwin
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1629:Saint Francis Receiving the Stigmata
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1320:(11): 47–6052-47-6052. 1 July 2010.
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838:Source: Notes in the History of Art
1796:Paintings of the Flight into Egypt
1463:Bard Undergraduate Senior Projects
906:. University of California Press.
418:Influences and signs of the Orient
14:
1563:Madonna and Child with Two Saints
1465:– via Bard Digital Commons.
1241:Heilbrunn Timeline of Art History
1211:Heilbrunn Timeline of Art History
1776:Paintings by Gentile da Fabriano
1407:RES: Anthropology and Aesthetics
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1372:. Manchester University Press.
1160:. 13 March 2018. Archived from
16:Painting by Gentile da Fabriano
431:Monkeys depicted in detail of
161:was executing in these years.
145:Artist, patron, and provenance
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1791:Paintings of the Annunciation
1637:Adoration of the Christ Child
1457:Brooke, Ruby (Spring 2018).
1207:"Italian Renaissance Frames"
672:. Cornell University Press.
668:Christiansen, Keith (1982).
1262:Panczenko, Russell (1980).
1185:"Recent History of Framing"
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1480:Mack, Rosamond E. (2001).
1409:. 59–60 (59/60): 228–248.
900:Mack, Rosamond E. (2002).
832:Tresidder, Warren (1995).
485:Pseudo-Arabic inscriptions
383:International Gothic style
360:Presentation at the Temple
227:novelties that he knew in
141:and their oriental roots.
101:. The work, housed in the
1401:Nagel, Alexander (2011).
1237:"Animals in Medieval Art"
1090:10.1086/sou.24.1.23207890
850:10.1086/sou.14.4.23205607
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1621:Coronation of the Virgin
1415:10.1086/RESvn1ms23647792
969:Baldwin, Robert (2007).
558:Coronation of the Virgin
1766:Paintings in the Uffizi
1645:Intercession Altarpiece
1072:Barolsky, Paul (2004).
996:3 November 2012 at the
638:Hyman, Timothy (2003).
1605:Valle Romita Polyptych
1326:10.5860/choice.47-6052
774:Wohl, Hellmut (2003).
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1314:Choice Reviews Online
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1730:International Gothic
1268:Artibus et Historiae
1164:on 27 September 2020
1074:"A Gentile Paradise"
516:dishes, executed in
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115:International Gothic
1704:Quaratesi Polyptych
1662:Madonna of Humility
1548:Gentile da Fabriano
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470:classical antiquity
302:Architectural frame
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1379:978-1-5261-2290-2
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913:978-0-520-22131-4
797:978-1-884446-05-4
780:Oxford Art Online
562:Madonna and Child
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