Search results for ""Author Laura Angelucci""

In 1922, Léon Bonnat bequeathed to the Louvre a wonderful album of almost forty drawings by one of the most famous painters of the Florentine Renaissance: Baccio della Porta, known as Fra Bartolommeo (1469-1517). The collection traces the career of the artist, who trained in Florence around 1485 with Cosimo Rosselli, but above all in the shadow of the most brilliant workshop of the period, that of Andrea del Verrocchio. Sensitive to the prodigious innovations coming out of this extraordinary environment, which had produced such geniuses as Botticelli, Ghirlandaio and Leonardo da Vinci in the previous decade, Baccio, as he was then known, studied above all with Lorenzo di Credi, to whom Verrocchio had entrusted the running of the workshop when he left Florence for Venice. Baccio also closely followed all the great Florentine painters of the last decade of the fifteenth century, in particular the works of foreigners who had been in Florence for several years, especially Pietro Perugin

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The identical reproduction of the Meuricoffre album, acquired by the Louvre in 2018, is a good opportunity to leaf through one of the only two portrait books attributed to the French painter Antoine-Jean Gros (1771-1835). It is a testimony to Gros' activity as a portrait painter during his stay in Italy (1793-1800) and illustrates the privileged relationship that the painter had in Genoa with the family of the Franco-Swiss banker Jean-Georges Meuricoffre. The beautiful gallery of portraits, drawn in the intimacy of this family, restores the physiognomies of representatives of Franco-Swiss high society who were in contact with the Meuricoffre family at the time and, through them, with Gros. The study that accompanies the publication of the notebook reveals the hitherto unknown identity of these characters. A material description of the album, an essential scientific support for its understanding, completes the subject. Text in French.

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