École florentine; Dohme, 2i.; Lübke, Gesch. d. ital. Mal., i. 358.
An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/110}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |  |
LIPPI, Fra FILIPPO, born in Florence
about 1406,
died at Spoleto,
Oct. 9, 1469.
Florentine
school; son of
a butcher,Tommaso
Lippi,
whose death in
1414 left him
an orphan.
When eight
years old he was received into the Community
of the Carmine, Florence, where Masaccio
afterwards painted (1423-28) frescos in
the Brancacci Chapel; and he either had
lessons from that master or studied his
style. Filippo left the convent in 1432,
and led for a time, it is said, a wandering
life. Vasari represents him as a man of
loose habits, and accuses him of the seduction
of Lucretia Buti, a novice in the convent
of S. Margherita, Prato, who became
the mother of Filippino Lippi; but late researches
seem to cast some doubt upon this
story. It is certain that he bore the title of
Frate until his death, that he was poor,
with six nieces dependent upon him, and
that he was chaplain to the nuns of S. Giovannino,
Florence, in 1452, and rector of
S. Quirico, Legnaia, in 1457. Fra Filippo
was the greatest colourist and the most complete
master of the technical difficulties in
art of his time. Though inferior in composition
to Masaccio, his arrangement of figures
is always graceful; and none before
him expressed attitude and motion of living
figures under draperies as he did. He was
among the first to introduce the element
of sensuous beauty into sacred pictures, by
taking the prettiest faces around him as
models for his madonnas. His sacred subjects,
too, are often treated in a realistic style
that detracts from their dignity, saints and
even angels being painted in the Florentine
costume of the time, and low, vulgar types
selected for the representation of holy personages.
His best frescos are the Histories
of John the Baptist and of St. Stephen in
the choir of the Cathedral at Prato. Those
in the apse of the Cathedral of Spoleto were
not finished at the time of his death. Fra
Diamante was his assistant in these works.
Among the best of his many easel pictures
are: Coronation of the Virgin, Nativity,
Florence Academy; Madonna, Palazzo Pitti;
Madonna with Angels, St. Augustine, Uffizi;
Nativity, S. Domenico, Prato; Annunciation,
Palazzo Doria, Rome; Annunciation,
Naples Museum; Madonna in Adoration,
Madonna della Misericordia, Berlin Museum;
Crucifixion, Städel Gallery, Frankfort;
Madonna, Annunciation (2), Old Pinakothek,
Munich; Madonna, Königsberg Museum;
Nativity, Madonna with Saints,
Louvre; Annunciation, John Baptist with
Saints, Madonna Enthroned, Madonna and
Angel, Vision of St. Bernard, National Gallery,
London.—C. & C., Italy, ii. 319; Ch.
Blanc, École florentine; Dohme, 2i.; Vasari,
ed. Le Mon., iv. 114; Seguier, 84;
Burckhardt (Clough), 60; Baldinucci, i.
507; Lübke, Gesch. d. ital. Mal., i. 301.
LIPPINCOTT, WILLIAM H., born in
Philadelphia, Pa.; contemporary. Portrait
and genre painter, pupil of Léon Bonnat
in Paris. Exhibits in Salon and National
Academy. Studio in New York, where he
is professor in National Academy schools.
Elected A.N.A. in 1885. Works: Duck's
Breakfast (1876); Lolotte, Portrait of Miss
Ethel, Little Prince (1878); Corner of a
Farmyard—France (1880); Pont Aven—Bretagne,
Light of the Harem (1881); Loan
Collection, Two Good Friends, T. B. Clarke,
New York; At the Gate—Waiting (1882);
Renée, Helena (1883); Happy Hours (1884).
LIPPO DALMASIO (di Dalmasio di Jacopo
Scannabecchi), born about 1376, died
about 1410. Bolognese school; pupil probably
of Vitale de Bologna. Painted figures
of a broad instead of slender form, with
marked and deep outline and sharp colour,
and a tendency to profusion in ornament.
