Fra Filippo di Tommaso Lippi; 1406 – 1469 — an Italian painter of the early Renaissance, Botticelli's teacher and a real ladies' man and rogue, whose biography is quite worthy of being the subject of an adventure novel.
The Death of the Virgin
Lippi came from the poorest area of Florence, a real slum, where the only landmark was the monastery of Carmelite monks. He never remembered his parents: his mother died in childbirth, and his father, who worked as a butcher, died when little Lippi was only two years old. The little one was raised by his widowed aunt. But she did not have any extra money, but she had three children of her own. Therefore, when Lippi turned 8, he was sent to that very monastery of Carmelite monks in the hope that at least with God's help it would be possible to direct the energy of the already very naughty boy in the right direction. But it was all in vain: Filippo was not interested in the humanities at all, and his only passion was drawing, and he very willingly "stained other people's books with all sorts of freaks."
Visions of Saint Augustine
However, the monks realized that if they could raise an artist within their walls, they could load him with appropriate orders for painting churches and monasteries and would not have to pay anyone from outside.
And Lippi, instead of boring lessons, spent all his time in the Brancacci Chapel. It was painted by Masaccio himself, Lippi had a wonderful example to follow, if you are going to learn, then learn from the best. These frescoes became revolutionary, they marked the transition to the new art of the Early Renaissance, and Lippi's talent and perseverance were enough to reproduce all the best developments of Masaccio in his paintings and frescoes.
Coronation of the Virgin (1441–1447)
By 1430 Lippi was being talked about as a famous artist. He was distinguished by an innate sense of line and perspective, since Lippi did not want to study geometry for a long time and carefully, like other medieval artists, and at the same time he was an excellent draftsman. His frescoes moved away from schematicism, they were so lifelike and realistic that admiring contemporaries said: "the spirit of Masaccio has entered Lippi."
Madonna and Child
Madonna with the Child and Two Angels (1465)
Madonna and Child. 1466
Believing in his own exceptionalism, Lippi left the monastery and went out on his own.
However, not to say that all his wanderings were successful. Once he sailed on a ship that was captured by pirates. Lippi was sold into slavery, and for a year and a half he worked on a plantation in North Africa. But one day he painted a portrait of his master in charcoal on the wall of his house. The master liked the portrait very much and was so impressed that he allowed Lippi to go wherever he wanted, as such a talent should not be lost in slavery.
Holy Conversation. Madonna Enthroned with Saints
Lippi himself and his biographers may have embellished some things - at that time people fantasized just as much as they do now, even though there are no suitable examples on television and the internet - but there is no doubt that Lippi was characterized by a tendency to adventurism.
Annunciation. 1450. Alte Pinakothek, Munich
Madonna and Child with Saints, Angels and a Donor. 1437
Returning to Florence, Lippi donned his monastic habit again and returned to his beloved painting. He painted the church of San Ambrogio very successfully, which allowed him to attract the attention of the all-powerful Cosimo Medici, a very rich and influential man.
Worship in the forest.
With such patrons, Lippi went on a wild goose chase. He had previously, not unlike other monks, was a great hunter of wine and women. And fell in love with a fierce Italian passion, forget about everything except the object of his passion, including work. He was even called “monk-sweetener,” and frankly mocked him. But from his Lippi could not go away already. Once Cosimo Medici, forcing Lippi to fulfill an urgent order, ordered to lock him in a room, so that nothing to distract the artist. Unable to find a place for himself, Lippi made a rope out of sheets and climbed down it into the courtyard, and then went to his next lover.
Portrait of a Woman (1445)
Portrait of a Woman with a Man at a Casement (c. 1440)
However, Medici treated the artist with understanding, and believed that if a man carries a spark of “divine gift”, he is allowed more than others.
On his 50th birthday, fate has made Lippi a special gift: he was appointed chaplain to the convent of Santa Margarita. Of course, Lippi fell in love with a pretty 20-year-old novice Lucrezia Buti, who posed for his paintings. He kidnapped her from the convent, Lucrezia herself was very much not against it and in due time they have a bastard son Filippino. However, Lucrezia's parents found out about everything, the girl was returned to the convent, and Lippi attracted the attention of the Pope. But thanks to the intercession of the Medici for him, everything turned out all right. The Pope said that “in the world Lippi will be closer to God, and the cassock constrains his work” and the monk-artist left his post.
The Adoration of the Magi, tondo credited to Fra Angelico and Filippo Lippi (c. 1440–1460)
Madonna and Child with Scenes from the Life of Saint Anne. 1452.
He truly loved Lucrezia and married her in 1461. They had a second son, Alessandro, this time in a legal marriage, and the artist's last years were spent as they should be: in a quiet family environment and in interesting creative work. His life clearly demonstrated that with due talent, love for women and wine is not an obstacle to creativity and career, since there are many diligent mediocrities, but Lippi was only one.
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