FRA FILIPPO LIPPI, born in Florence about 1406, and
dying there in 1469, was the exact antithesis of Fra Angelico, both in his
private life and in the method of his painting. He was just as earthly in both
respects as Fra Angelico was heavenly. As a child he was put with the
Carmelites, and as he showed an inclination for drawing rather than for study,
he was allowed every facility for studying the newly painted chapel of the
Branacci,
decorative painting, and followed the manner of Masaccio so closely that it was said that
the spirit of that master had entered into his body. It is only fair to Masaccio
to add that this means his artistic spirit, for Filippo's moral character was by
no means exemplary. The story of one of his best-known works,
The
Nativity, which is now in the Louvre (No. 1343), is thus related by
Vasari:—"Having received a commission from the nuns of Santa Margherita,
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paint a picture for the high altar of their church, he chanced one day to see
the daughter of Francesco Buti, a citizen of Florence, who had been sent to the
convent as a novice. Filippo, after a glance at Lucrezia—for that was her
name—was so taken with her beauty that he prevailed upon the nuns to allow him
to paint her as the Virgin. This resulted in his falling so violently in love
with her that he induced her to run away with him. Resisting every effort of her
father and of the nuns to make her leave Filippo, she remained with him, and
bore him a son who lived to be almost as famous a painter as his father. He was
called Filippino Lippi."
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The picture of S. John and six saints in the National Gallery (No. 677) also
recalls the story of his wildness, inasmuch as it came from the Palazzo Medici,
where Filippo worked for the great Cosimo di Medici. It was well known that
Filippo paid no attention to his work when he was engaged in the pursuit of his
pleasures, and so Cosimo shut him up in the palace so that he might not waste
his time in running about while working for him. But Filippo after a couple of
days' confinement made a rope out of his bed clothes,
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the window, and for several days gave himself up to his own amusements. When
Cosimo found that he had disappeared, he had search made for him, and at last
Filippo returned; after which Cosimo was afraid to shut him up again in view of
the risk he had run in descending from the window.
Vasari considers that Filippo excelled in his smaller pictures—"In these he
surpassed himself, imparting to them a grace and beauty than which nothing finer
could be imagined. Examples of this may be seen in the predellas of all the
works painted by him. He was indeed an
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PLATE I.—FILIPPO LIPPI
THE ANNUNCIATION
National Gallery,
London
artist of such power that in his own time he was surpassed by
none; therefore it is that he has not only been always praised by Michelangelo,
but in many particulars has been imitated by him." original oil paintings wholesale
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