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#Lorenzo Lippi
mineirando · 1 month
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"Allegory of Simulation" (1650), by Lorenzo Lippi (1606-1665).
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sculppp · 6 months
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Lorenzo Lippi ( 1606 – 1665)
The Triumph of David.
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artschoolglasses · 9 months
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Saint Agatha, Lorenzo Lippi, 1638
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Lorenzo Lippi (Italian, 1606-1665) L'allégorie de la Simulation. c.1650 Musée des beaux-arts d'Angers
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twirld · 2 years
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Saint Agatha (detail, 1638-1644) Lorenzo Lippi
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portraituresque · 2 years
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Lorenzo Lippi (Italian, 1606-1665) - self portrait
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mazeofthemartyr · 1 year
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Lorenzo Lippi (1606-1665)
The Allegory of Simulation, circa 1650
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palettesdump · 3 months
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Art project
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roehenstart · 6 months
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Archduke Ferdinand Karl (1628-1662), son of Archduke Leopold V, Prince of Tyrol. By Lorenzo Lippi.
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mayhemchicken-artblog · 4 months
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you believe me like a god // i'll betray you like a man
credits:
Song lyrics taken from I'm Your Man by Mitski
Artworks referenced:
The Annunciation - Workshop of Fra Filippo Lippi
Last Judgment in an Initial C - Lorenzo Monaco (Piero di Giovanni)
Boy with a Greyhound - Paolo Veronese (Paolo Caliari)
Venus and Adonis - Peter Paul Rubens
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rikastrology · 10 months
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nakshatras as art: krittika
1. "Jeanne D' Arc" Albert Lynch
2. "10 of Swords" David Palumbo
3. "Judith With The Head Of Holofernes" Lorenzo Lippi
4. "Joan of Arc" Jules Bastien-Lepage
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homomenhommes · 27 days
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Lorenzo Lippi ( 1606 – 1665) The Triumph of David.
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dosangeles · 4 months
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jason grace in art
flugstudie papier (2017), thomas hildenbrand; pietà (1498-99), michelangelo; the fall of icarus (2020), carol eckert; self portrait (1955), vivian maier; plaques series, jenny holzer; alighiero e boetti (1982), alighiero e boetti; suprematist elements: squares (1923), kazimir malevich; allegory of simulation (ca. 1640), lorenzo lippi
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Lorenzo Lippi (Italian, 1606-1665) L'allégorie de la Simulation. c.1650 Musée des beaux-arts d'Angers
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therepublicofletters · 4 months
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hii this is silly but i thought i'd ask it to you since giuliano is your boy. mine's sandro botticelli and giuliano is said to be in a few of his paintings, but to my knowledge the only confirmed confirmed ones are the death portrait ones. do you think it's him in the adoration of the magi with the sword and poliziano leaning on his shoulders, in venus&mars, madonna and child with six saints, and primavera (tho that's also rumoured to be lorenzo di pierfrancesco so idk...)? i mean you'd think they'd all look like the portraits if it was him since sandro kinda had same-face syndrome and lorenzo does look like everyone else depicts him, but then again this is the man who self-proclaimed himself blond while filippino lippi painted him a brunette lmao
Hello!! You know, a colleague of mine recently wrote a dissertation on this exact issue. I personally am very conflicted about which figure he is in the Adoration of the Magi and I really want him to be the one with the sword, but I need to sit down and think about it more because the symbolism is very funky. Also, don't forget that the Adoration of the Magi wasn't a Medici commission, so even if the figures are Medici-esque, it's not like they were being painted for them.
I think it absolutely is him (or an idea of him) in Mars and Venus, and I suspect that the figure in Primavera and Mars are Venus are directly related, even if it's not a "portrait" of Giuliano per se. Once he died, especially, it gets so fuzzy between the "real" and the "ideal".
Sorry this isn't a clearer-cut answer, but I think I need to think about it more myself!!
I leave you with baby Giuliano from Benozzo Gozzoli's Procession of the Magi.
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themuseumwithoutwalls · 5 months
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MWW Artwork of the Day (12/18/23) Fra Filippo Lippi (Florentine, c. 1406-1469) The Martelli Annunciation (c. 1450) Tempera on wood Chiesa di San Lorenzo, Florence
Filippo Lippi's pictures show the naïveté of a strong, rich nature, redundant in lively and somewhat whimsical observation. He approaches religious art from its human side, and is not pietistic though true to a phase of Catholic devotion. He was perhaps the greatest colorist and technical adept of his time, with good draftsmanship. As a naturalist, he had less vulgar realism than some of his contemporaries, and with much genuine episodic animation, including semi-humorous incidents and low characters. He made little effort after perspective and none for foreshortenings, and was fond of ornamenting pilasters and other architectural features.
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