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their heavy burdens with grace. In the first decade of the 14th century, he advanced his style by lightening the weight of his figures and using more subtle and less dramatic line weight to give a more elegant and delicate persona to his figures. These new elements were heavily influenced by, and seen as parallel to,
340:
in the church of S. Donnino at
Villamagna in 1394–1395 (his first known artistic commitment), to his large polyptych in the Serristori house in Florence (shown to the right) his stylistic elements noticeably shifted. Mariotto had originally preferred to arrange bold, powerful figures, who move
250:
in 1408. Many extant documents show that he was a popular and much sought after painter in both public and private affairs in
Florence. Mariotto is thought to have been principally responsible for the artwork in the cathedral, although most of these paintings have since been tarnished. Mariotto was
316:
As
Mariotto's career progressed, his paintings became more and more repetitive, showing a personal trademark of distinguishable traits. Although his works were often considered to have been slightly above artisan quality, his success in his time period has baffled later critics. His production
255:
in
Florence, commissioned by the Board of Works. He began working on this piece in 1397 and was compensated with 15 florins in partial payment for the creation of the panel for the "opera" of
465:
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in 1381 as a stonecutter. With the lack of personal information on
Mariotto, there is essentially no information on Mariotto's direct family, or if he had one at all.
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517:
924:
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313:. The last known commission given to Mariotto was a painting for the altar of the Captains of the Company of Sta. Oratory, on 2 March 1415/16.
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around 1402–4. Mariotto's uncle, Jacopo di Cione, acted as a guarantor on behalf of
Mariotto for the cathedral workshop on 2 May 1398.
305:, Florence. This gave him access to the manuscript workshop that would later influence his style; examples of this include two fragments of
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introduced to
Florence new Gothic techniques such as oblique perspective, nervous tension of the figures and deserted, rocky landscapes.
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to be placed in their residence. At this stage of his career, he was also commissioned to create illuminated manuscripts for
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Mariotto was a member of the
Physicians and Apothecaries Guild sometime between 1386 and 1408, and was also a member of the
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725:
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Through
Mariotto's flourishing years, stylistic change is noticed in his works. From his early works, such as the large
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35:
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A relatively large number of securely attributed works by
Mariotto survive. These include an altarpiece of the
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Mariotto was commissioned to create frescos for two of the most important Catholic churches in Florence: the
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868:"Arcita und Palemone erblicken Emilia (Szenen aus der Teseida des Giovanni Boccaccio) | Staatsgalerie"
247:
792:
Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and Near Florence, 1300 to 1450
42:
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438:
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Madonna and Christ Child with Angels and Saints Mary Magdalene, Francis, Dorothy, and Anthony Abbot
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for the altar of the new chapel of the Virgin Mary. He also painted an altar piece for the
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an avid altarpiece painter, and in 1398 he painted an altarpiece for the chapel of the
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Mariotto's style belongs to the Florentine Gothic and shows the influence of
732:, Volume 70. Rome: Istituto della Enciclopedia Italiana. Accessed July 2014.
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297:(around 1400). Mariotto also executed frescoes for the officials of the
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Arcita und Palemone erblicken Emilia (Szenen aus der Teseida des
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Altarpiece for Cappella Serristori in Chiesa di San Francesco in
884:
Mariotto di Nardo in the archive of the Fondazione Federico Zeri
391:(Florence, Accad.) from the convent of S Gaggio, Florence; the
192:
Mariotto flourished from 1394 to 1424. He was the grandson of
18:
367:
for the church of S Donnino at Villamagna, Bagno a Ripoli (
466:
Treasure Museum of the Basilica of Saint Francis in Assisi
383:(1398; Fiesole, Fontelucente Church); a polyptych of the
476:
Virgin with Child, Four Saints and Three Angel Musicians
45:. Please help to ensure that disputed statements are
856:. Assisi: Casa Editrice Francescana. pp. 26–29.
486:
Saint John the Baptist and Saint John the Evangelist
224:Gerini. his later style was influenced slightly by
133:
125:
110:
81:
899:Mariotto di Nardo on encyclopedie.bseditions.fr
399:(Impruneta, S Maria); and an altarpiece of the
280:Virgin and Child with Saint Michael and Francis
8:
894:Mariotto di Nardo on sito Artcyclopedia.com
705:in Florence and various private collections.
395:(Florence, Certosa del Galluzzo, Pin.); the
689:, a series of small panels, in museums in
89:
78:
65:Learn how and when to remove this message
41:Relevant discussion may be found on the
889:Mariotto di Nardo on Web Gallery of Art
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241:Madonna tra i santi michele e francesco
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458:Madonna with Child and Two Benefactors
423:Triptych (1394–1395) in the church of
401:Virgin and Child Enthroned with Saints
180:, and was also active as a manuscript
403:for S Leolino at Panzano in Chianti (
7:
854:La Collezione Federico Mason Perkins
764:. Oxford: Oxford University Press.
730:Dizionario Biografico degli Italiani
590:Scenes from the Life of Jesus Christ
387:and a predella with scenes from the
826:. Oxford: Oxford University Press.
577:Saint Bartholemew and Saint Anthony
504:Saint Francis Receives the Stigmata
196:and the son of, and apprentice to,
14:
453:Virgin in Glory with the Apostles
495:Saint Lawrence and Saint Stephen
23:
794:. London: Secker and Warburg,
528:National Museum of Western Art
1:
925:15th-century Italian painters
920:14th-century Italian painters
581:Minneapolis Institute of Arts
309:(Cambridge, Fitzwilliam) and
416:Frescoes in the pharmacy of
385:Virgin and Child with Saints
365:Virgin and Child with Saints
194:Andrea di Cione di Arcangelo
524:The Legend of Saint Stephen
164:of Florence, the church of
956:
816:Cione: (4) Jacopo di Cione
790:Richard Fremantle (1975).
726:Mariotto di Nardo di Cione
518:Museo dell'Opera del Duomo
508:Metropolitan Museum of Art
146:Mariotto di Nardo di Cione
83:Mariotto di Nardo di Cione
703:Fondazione Roberto Longhi
88:
839:Andrea De Marchi (1998)
571:Birmingham Museum of Art
393:Coronation of the Virgin
373:Assumption of the Virgin
303:Santa Maria degli Angeli
160:style. He worked at the
852:Zeri, Federico (1988).
828:(subscription required)
766:(subscription required)
643:, ca. 1385, now in the
558:Staatsgalerie Stuttgart
266:In 1400 he worked with
930:Painters from Florence
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381:St John the Evangelist
360:
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243:
200:. Nardo had worked in
940:Quattrocento painters
935:Italian male painters
724:Sonia Chiodo (2014).
629:
573:, Birmingham, Alabama
514:Doctors of the Church
371:); a triptych of the
356:
328:
248:Company of Saint Luke
239:
129:between 1424 and 1427
439:Fondazione Cariprato
358:Dottore della chiesa
330:Polittico Serristori
291:Santa Maria Maggiore
166:Santa Maria Maggiore
34:factual accuracy is
841:Gentile da Fabriano
752:Cecilia Frosinini.
569:(1394–1424),
462:Ascension of Christ
444:Il Giardino d'Amore
418:Santa Maria Novella
152:. 1388–1424) was a
814:Gert Kreytenberg.
635:
552:Giovanni Boccaccio
389:Life of the Virgin
361:
334:
321:Stylistic elements
261:Florence Cathedral
253:Madonna della Neve
244:
172:. He created both
100:Czartoryski Museum
824:Oxford Art Online
762:Oxford Art Online
754:Mariotto di Nardo
311:St Mary Magdalene
222:Niccolo di Pietro
158:Florentine Gothic
143:
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96:Christ in Majesty
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820:Grove Art Online
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758:Grove Art Online
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545:Saint Petersburg
437:, collection of
435:Figline Valdarno
268:Lorenzo Ghiberti
218:Spinello Aretino
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47:reliably sourced
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645:Vatican Museums
601:Noli me tangere
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178:panel paintings
156:painter in the
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32:This article's
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257:Saint Reparata
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448:Liechtenstein
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411:List of works
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188:Personal life
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613:Risurrezione
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556:(ca. 1430),
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537:Annunciation
536:
523:
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499:Getty Museum
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490:Getty Museum
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299:Orsanmichele
295:Orsanmichele
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284:Civic Museum
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215:
204:in 1380 and
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170:Orsanmichele
149:
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76:
61:
52:
33:
915:1424 deaths
901:(in French)
687:The Passion
677:Ultima cena
671:Deposizione
585:Minneapolis
472:collection)
460:(1404) and
425:San Donnino
420:in Florence
307:St Lawrence
182:illuminator
134:Nationality
114:before 1365
98:(c. 1395),
909:Categories
710:References
633:, ca. 1385
607:Ascensione
520:, Florence
510:, New York
429:Villamagna
282:is in the
212:Influences
168:, and the
154:Florentine
138:Florentine
695:Princeton
562:Stuttgart
541:Hermitage
481:Pentecost
446:, now in
377:St Jerome
338:polyptych
43:talk page
650:NativitĂ
641:NativitĂ
631:NativitĂ
579:(1408),
526:(1408),
516:(1404),
497:(1408),
488:(1408),
293:and the
276:triptych
206:Volterra
174:frescoes
118:Florence
36:disputed
405:in situ
397:Trinity
369:in situ
286:there.
278:of the
120:, Italy
798:
701:; the
691:Nantes
332:, 1424
274:. His
272:Pesaro
232:Career
104:KrakĂłw
660:PietĂ
532:Tokyo
375:with
202:Siena
162:Duomo
796:ISBN
697:and
379:and
220:and
176:and
126:Died
111:Born
427:at
407:).
270:in
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737:^
717:^
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
