Medal The Pérugin Pietro Di Cristoforo Vannucci " Upgrade the Keys Of St Pierre

Description: 266-shot+68CBronze medal, France, from the workshops of the Paris Mint.Conical edge, beautiful old patina.Struck in 1970.Engraver : R Pepin.Dimension : 73 mm .Weight : 167 g.Metal : bronze.Mark on the edge : cornucopia + bronze + 1970.Fast and careful shipping.The support is not for sale.The stand is not for sale. Pietro di Cristoforo Vannucci, known as Perugino (il Perugino), born around 1448 in Città della Pieve, near Perugia in the Papal States and died in 1523 in Fontignano (frazione of Perugia)1, is an Italian painter of the Renaissance belonging to the Umbrian school, who is one of Raphael's masters. He mainly painted religious paintings, multiplying elegant Madonnas and melancholic angels. Born between 1445 and 1450 in the small town of Città della Pieve in Umbria, not far from Perugia, he was the son of Cristoforo Vannucci who was, contrary to what Vasari wrote, one of the richest notables in the city. His father apprenticed him to a modestly renowned painter who introduced him to the techniques of fresco and drawing2.Perugino trained by studying the works of Piero della Francesca and Verrocchio, of whom he was probably a student in Florence at the end of the 1460s and the beginning of the 1470s3, in the company of Leonardo da Vinci4. There he discovered the Flemish style of landscape and naturalist portraiture5. In 1472, he left his apprentice status and received his first orders from the nuns of the San Martino convent, the Camaldolese for whom he created a Saint Jerome. He worked mainly in Umbria, Florence and Rome, but also in Lucca, Bologna, Venice, Cremona, Ferrara and Milan.Among his early works we can distinguish Scenes from the Life of Saint Bernard (1473), The Adoration of the Magi (1476) and various Virgins scattered in numerous museums in Europe which have long been attributed to Verrocchio. In all these works a mixture of the influences of his two masters emerges. A Portrait of a Young Man dated 1475 was until 2004 attributed to Francesco Botticini.He worked in Rome from 1478. Between 1480 and 1482, he contributed to the frescoes of the Sistine Chapel with other great masters of the time. Perugino painted three scenes there, two of which were in collaboration with Pinturicchio (the Baptism of Christ and Moses traveling to Egypt). Gradually freeing himself from the example of Piero della Francesca, he favors clarity, balance and classicism of forms in his compositions.In the works of Perugino, as in those of Pinturicchio, or of the young Raphael who would have been his student, the landscape is not considered as a simple decorative element in the background of the painting. A dialogue must be established between the landscape and the figures in the foreground, aiming to place them in a vast space, according to harmonious relationships. This interpretation has the effect of allowing the painter to find in his painting a perfect balance between the evocation of reality and mental construction.In 1485, Pietro Vanucci was named honorary citizen of Perugia, which earned him his nickname “Perugino”.When his reputation is established, his activity becomes overwhelming. He opened two workshops – one in Perugia, the other in Florence – to cope with the numerous orders entrusted to him. At this time his work reached its greatest maturity, with large compositions integrated into vast open spaces. His productions multiply, but sometimes lose quality when he no longer has the time to partially ensure their production. He remains, despite everything, the best painter in Italy of his time as noted by Agostino Chigi in 1500: "Perugino [...] è il meglio mastro d'Italia".The Marriage of the Virgin, between 1500 and 1504. Caen Museum of Fine Arts.Between 1494 and 1495 he created a Pietà and the fresco of the Crucifixion in the church of Santa Maria Maddalena dei Pazzi.Between the end of 1495 and 1496, on order from the decemvirs of Perugia, he created an altarpiece for the chapel of the Palazzo pubblico (currently separated, one part being kept in Perugia, the other in the Vatican), representing the Virgin with the Virgin on her knees on her knees. Child Jesus, surrounded by Saint Lawrence, Saint Ludovic of Toulouse, then Saint Herculan and Saint Constant, protectors of the city.From 1496 to 1499, he created, on commission from the Benedictine monks, a polyptych for the high altar of the church of Saint-Pierre in Perugia which was dismantled at the end of the 16th century during the renovation of the church. The central panel represented the Ascension with the twelve Apostles, the Virgin and angels; above, God in majesty. On the predella were: the Adoration of the Magi, the Baptism of Christ, the Resurrection and two panels showing the protective Saints of Perugia. Finally, at the bottom of the columns, on either side of the Ascension, six panels represent Benedictine Saints.Between 1500 and 1504 he produced the Marriage of the Virgin and the Resurrection. It was from these years that his friendship with the young painter Raphaël dates, who came to him to train in pictorial technique.In 1502, Perugino received a commission for an altarpiece for the chapter of the Augustinians of Perugia, but the completion was delayed until 1512 and the work was to remain unfinished at the time. Saint Bernardine curing an epileptic, 1473, 76 × 56.7 cm Apparition of the Virgin to Saint Bernard, 1488-14898 Madonna of the Brotherhood of Consolation (ca. 1496-1498), oil on wood, 104 × 146 cm Madonna della Cucina (ca. 1515) San Giovanni Battista tra i santi Francesco, Gerolamo, Sebastiano e Antonio di Padova (ca. 1500-1510) Penitent Saint Jerome (after 1512, oil on canvas, 107 × 130 cm Adoration of the pastor (ca. 1502) Pala opistografa di Monteripido (ca. 1502-1504), oil on wood:recto, Crucifixion, 240 × 180 cm, verso, Coronation of the Virgin, 240 × 180 cm Altarpiece of Saint Augustine (ca. 1512)9 Baptism of Christ, 261 × 146 cm5 Archangel Gabriel, oil on wood, Round 102 cm. The other fragments are scattered between Toulouse, the Louvre, Alabama, Lyon and Grenoble Cimasa della pala dei Decemviri (1495-1496 approx.) Pala Tezi (ca. 1496-98) Gonfalone della Giustizia (1496)at the Collegio del Cambio, 1497, frescoes: Self-portrait (ca. 1500), 40 × 30.5 cm, detail of a pilaster10 Allegorical cycle from the Sala delle Udienze: Courage and Temperance with six ancient heroes5RomeHanding over of the keys to Saint Peter (1481). Fresco, 335 × 550 cm, Sistine Chapel, Rome.Pinacoteca of the Vatican Museums: Virgin and Child and Saint Lawrence, Ludovico de Toulouse, Herculanus and Constant (known as the “Decemviri Altarpiece”), (1495-1496), oily tempera painting on wood, 193 × 165 cmSistine Chapel: Moses' Journey to Egypt Handing over the keys to Saint Peter Baptism of Christ11Florence12 The Pietà (1495), oil on wood, 214 × 195 cm, Palatine Gallery, Pitti Palace. It originally decorated the second altar of the church of Santa Clara. The fresco triptych of the Crucifixion (1496) in the former convent near the church of Santa Maria Maddalena dei Pazzi The Cenacolo di Fuligno fresco from the refectory of the former Sant'Onofrio convent in Florence (c. 1495) Saint Catherine of Alexandria, 78.5 × 71.4 cm, Moretti Gallery. It was part of an altarpiece made up of seven panels, which for a long time remained the largest altarpiece ever painted, intended for the Basilica of the Santissima Annunziata in Florence13. Vallombrosa altarpiece placed on the altar of Vallombrosa Abbey on July 8, 150012. Main panel, oil on wood, 415 × 246 cm, Galeria dell'Academia. The four saints who appear there at the foot of the Virgin (Jean Gualbert, Bernardo degli Uberti, Benedict and Michael) are linked to the history of the Vallombosian order.At the Uffizi Museum Predella of the Assumption altarpiece in the Galeria dell'Academia: Portrait of Don Biagio Milanesi, 28.5 × 26.5 cm Portrait of the Vallombrosian Baldassare, 26 × 27 cm The Virgin and Child with Saint John the Baptist and Saint Sebastian, 1493, oil on wood, 178 × 164 cm. altarpiece designed for the chapel that the Venetian Cornelia di Giovanni Martini had built in 1488 at the Convent of San Domenico (Fiesole). Portrait of Francesco delle Opere, 1494, oil on wood, 47 × 41 cm Pietà, oil on wood, 168 × 176 cm, executed for one of the altars in the church of the Jesuit brothers (San Giusto alle Mura). Its counterpart was Christ in the Garden of Olives, also in the Offices. Mary Magdalene, last years of the 15th century, oil on wood, 47 × 34 cm Portrait of a young boy, 1495, oil on wood, 37 × 26 cm The Crucifixion, Church of Santa Maria Maddalena dei Pazzi, Florence (1496). Mary Magdalene and Mary (detail of the Pietà of the Pitti Palace, Florence), 1495.Naples Altarpiece of the Assumption of the Virgin, third chapel (that of the Seripandi14, originally the altarpiece, commissioned by Oliviero Carafa, was in the choir of the cathedral) of the Cathedral of Our Lady of the Assumption of Naples - and his school (Giovanni Battista Caporali?)15.Other Italian citiesFano (Marche) Church of Santa Maria Nuova: The Annunciation, 1497, 25 × 30 cm5Montefalco (Umbria) Frescoes of the aedicula of the Saint-François churchPanicale, Church of Saint Sebastian The Martyrdom of Saint Sebastian, before 1500, fresco, 469 × 471 cm5In FranceThe Fight between Love and Chastity (c. 1503-1505)Perugino trained by studying the works of Piero della Francesca and Verrocchio, of whom he was probably a student in Florence at the end of the 1460s and the beginning of the 1470s3, in the company of Leonardo da Vinci4. There he discovered the Flemish style of landscape and naturalist portraiture5. In 1472, he left his apprentice status and received his first orders from the nuns of the San Martino convent, the Camaldolese for whom he created a Saint Jerome. He worked mainly in Umbria, Florence and Rome, but also in Lucca, Bologna, Venice, Cremona, Ferrara and Milan. From 1496 to 1499, he created, on commission from the Benedictine monks, a polyptych for the high altar of the church of Saint-Pierre in Perugia which was dismantled at the end of the 16th century during the renovation of the

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End Time: 2025-01-03T08:13:06.000Z

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