User:Alicemarson/sandbox

Ideas:

I have chosen to research and revise painter Bartolomeo Caporali's section for the remainder of the semester. His current page is bare, having only three subsections (lead paragraph, works and references). I plan to fill out his career/works section, adding a gallery of images, a section on his personal/early life, as well as a section on mentorship/training.

Bibliography:

P. Scarpellini. "Caporali." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2017. <http://www.oxfordartonline.com/subscriber/article/grove/art/T013848pg1>.

"CAPORALI, Bartolomeo." Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2017. <http://www.oxfordartonline.com/subscriber/article/benezit/B00031706>.

P. Scarpellini. "Fiorenzo di Lorenzo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2017. <http://www.oxfordartonline.com/subscriber/article/grove/art/T028376>. (possible mentor to Fiorenzo)

P. Scarpellini. "Caporali." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2017. <http://www.oxfordartonline.com/subscriber/article/grove/art/T013848pg2>. (Bartolomeo's son was also a painter and trained by him)

P. Scarpellini. "Perugia." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 21 Feb. 2017. <http://www.oxfordartonline.com/subscriber/article/grove/art/T066627>. "In the late 15th century an important local school of painting developed in Perugia, its principal exponents including BENEDETTO BONFIGLI, Bartolomeo Caporali , FIORENZO DI LORENZO, BERNARDINO PINTURICCHIO and PERUGINO. Many works by Perugino survive in Perugia, the most important being the fresco decoration (1496–1500) in the Sala dell’Udienza of the Collegio del Cambio, where he produced one of the most extensive iconographic displays of the Renaissance period."

WOOD, JERYLDENE M. The Early Paintings Of Perugino (italy), University of Virginia, Ann Arbor, 1985. ProQuest Dissertations & Theses Global, http://proxy.lib.duke.edu/login?url=http://search.proquest.com/docview/303414655?accountid=10598.

"Bonfigli and Caporali were not affected by Signorelli's Vagnucci Altarpiece of 1484, which was in the Duomo, but the generation of Pinturicchio and Giannicola di Paolo, and later Raphael, looked to Signorelli's pala for inspiration. The painting is examined in Kury, 261-93, 340-43, and in P. Scarpellini, 23, 24, 120, 121. Domenico Veneziano's lost frescoes for the Baglioni in the 1430s did not replace the paintings of Fra Angelico and Gozzoli as models (for the lost paintings, see H. Wohl, Domenico Veneziano (New York, 1980), 14-18). Although Bonfigli also knew the work of Filippo Lippi, as reflected in his frescoes in the Palazzo dei Priori of the 1460s, he showed no knowledge of Piero della Francesca's altarpiece for the nuns Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 77 of S. Antonio. However, because Piero's painting was for a cloistered order, his lack of influence on Perugian artists is not s urpri sing."

Bartolomeo Caporali
	[by] Stanley Lothrop.
	Series	American academy in Rome. Memoirs ; v. 1
	Author:	Lothrop, Stanley Belden, 1881-
	Format:	Serial
	Published:	New York : [s.n.], 1918.

^ Text I am waiting to receive from Duke libraries. (PDF!!!! ...JSTOR)

• ****Fliegel, Stephen N, Dilys Blum, Bartolomeo Caporali, and Giacomo Caporali. The Caporali Missal: A Masterpiece of Renaissance Illumination. Cleveland, Ohio: Cleveland Museum of Art, 2013. Print. (cannot order to Duke for some reason...)
• G. Sarti (Firm) (2000). Primitifs et maniéristes italiens (1370-1570) = Early and mannerist paintings in Italy (1370-1570) (0-9532638-2-7, 978-0-9532638-2-0). Paris: G. Sarti. (waiting)
• Marle, Raimond . The Development of the Italian Schools of Painting. New York: Hacker Art Books, 1970. Print. (Caporali's school source, also waiting)

Bury, Michael. “Bartolomeo Caporali: A New Document and Its Implications.” The Burlington Magazine, vol. 132, no. 1048, 1990, pp. 469–475., www.jstor.org/stable/884276.

Lead draft:

Bartolomeo (di Segnolo) Caporali (b Perugia, c. 1420; d Perugia, c. 1505) was a Italian painter and miniturist in Perugia, Umbria during the early Renaissance period. Caporali came from a family of artists, including his brother Giapeco Caporali and son Giovanni Battista Caporali. His style was influenced by Verrocchio and then evolved as younger Umbrian artists came into the scene, such as Fiorenzo di Lorenzo, Perugino and Pinturicchio. Although primarily a painter, he is also known for executing restoration work, gilding, armorials, banners and celebratory decorations, which explains the decorative aspect of certain of his work. His most famous works include Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago and the triptych Virgin and Child Enthroned with Two Angels, a Sylvestrine Monk and a Lay Brother.

DRAFT (2):

Introduction

Bartolomeo (di Segnolo) Caporali (b Perugia, c. 1420; d Perugia, c. 1503 - 1505) was an Italian painter and miniturist in Perugia, Umbria during the early Renaissance period. His style was influenced by Verrocchio and then evolved as younger Umbrian artists came into the scene, such as Fiorenzo di Lorenzo, Perugino and Pinturicchio. Although primarily a painter, he is also known for executing restoration work, gilding, armorials, banners and celebratory decorations, which explains the decorative aspect of certain of his work. His most famous works include Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago, The Virgin and Child Between Two Praying Angels, and a Sylvestrine Monk and a Lay Brother.

Personal Life

Caporali was born in the town of Perugia, Italy in 1420. He was from a family of artists, including his brother, Giapeco Caporali, and son, Giovanni Battista Caporali. His father was a highly trained soldier and fully armored cavalryman as a “man-at-arms”. Caporali married Brigida di Giovanni Cartolari before 1480 and together they had seven children: three daughters, Candida, Lucrezia, and Laura and four sons, Giovanni, who was also a painter, Ser Camillo, Giampaolo, and Eusebio. According to housing records, he lived in a house in the vicinity of San Martino in Perugia in 1456.

In addition to being an artist, Caporali was also a highly esteemed citizen of Perugia. He was prior of his town, camerlingo to the Company of Illuminators (EMP), was elected captain of the people and held leadership positions in the Umbria Painters Guild multiple times throughout his career (EMP & something earlier). His opinion was highly valued in the art community, as he was frequently called upon to estimate the value of other artists’ works (Marle).

His death occurred between 1503 and October 8^th, 1505, since a document of that date describes his son, a canon of San Lorenzo, as Ser Camillus quondam Bartholomei Caporalis, or “of the late Bartolomeo Caporali”. The last found document that mentions Caporali alive dates from 1503 (EMP).

Training and Early Works

Little is known about Caporali’s training, however there are two schools of thought. The first, and more popular theory, is that he studied under Benozzo Gozzoli, whose influences are seen in many of Caporali’s earlier works (EMP, 82). However, according to official records, Gozzoli didn’t travel to Umbria until Caporali was about 30 years old. The second theory claims Caporali to be the student of Giovanni Boccati, however there is the same chronological issue, as Boccati didn’t live in Perugia until 1445. Therefore, it is not known who introduced Caporali to the art of painting (Merle). However, most art historians attribute the majority of Carporali’s training to Gozzoli.

 The earliest documentary record of Bartolomeo Caporali is his matriculation in the Guild of Painters at Perugia in the year 1442. Additionally, in the late 15th century, an important local school of painting developed in Perugia, its principal exponents including Benedetto Bonfigli, Bartolomeo Caporali , Fiorenzo di Lorenzo, Bernadro Pinturicchio and later Perugino. Although he collaborated with all of these artists, Caporali worked particularly closely with Bonfigli during the beginning of their careers. In fact, modern art historians debate over the ownership of certain early works of both artists’.

The first record of his work occurs in 1454 when he paints a Maesta and a Pieta for the Palazzo dei Priori in the Udienza dei Calzolari.

In fact, his Virgin and Child with six angels appears to be the first picture painted in oils in this town, and honor which until then had been bestowed by Vasari to Perugino.

Notable Works:

When trying to define the artistic personality of Caporali there are few enlightening documents, and the limited existing works are in poor condition. Although Caporali was a provincial artist whose influence counted for little in the general development of painting outside his native city, many of his works have been wrongly attributed to Fiorenzo di Lorenzo and other Umbrian artists. However one attribute known about Carporali’s work is his acute attention to detail. Additionally, his work is known for gentle facial expressions of his subjects and the peculiar transparency of their facial color. Strong hints of gold in the flesh, large infantile eyes with hard blackish line under the upper lids, overlong fingers, and sensitive mouths using long parallel brushstrokes are all details that define his work.

·       Served as master to Lattazino, who is mentioned as an assistant in a number of documents.   

·       Big works:

·       Virgin, Child and Angels (1477-1479), National Gallery of Umbria, Perugia

·       Saints Nicholas, Lawrence, Peter the Martyr and Anthony of Padua, Hermitage Museum, Saint Petersburg

·       Saint Francis of Assissi, Herculan, Luke and James the Greater, Hermitage Museum, Saint Petersburg

·       Virgin and Child with Angels (1459), Uffizi Gallery, Florence.

·       Annunciation, a triptych by Bonfigli (1467-1468), San Domenico (St. Dominic) Church, Perugia.

·       Pietà (1486), cathédrale de Pérouse.

·       Virbin and Saints (1487), Santa Maria Maddalena church, Castiglione del Lago.

Draft (3)

Introduction

Bartolomeo (di Segnolo) Caporali (b Perugia, c. 1420; d Perugia, c. 1503 - 1505) was an Italian painter and miniturist in Perugia, Umbria during the early Renaissance period. His style was influenced by Verrocchio and then evolved as younger Umbrian artists came into the scene, such as Fiorenzo di Lorenzo, Perugino and Pinturicchio. Although primarily a painter, he is also known for executing restoration work, gilding, armorials, banners and celebratory decorations, which explains the decorative aspect of certain of his work. His most famous works include Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago, The Virgin and Child Between Two Praying Angels, and a Sylvestrine Monk and a Lay Brother.

Personal Life

Caporali was born in the town of Perugia, Italy in 1420. He was from a family of artists, including his brother, Giapeco Caporali, and son, Giovanni Battista Caporali. His father was a highly trained soldier and fully armored cavalryman as a “man-at-arms”. Caporali married Brigida di Giovanni Cartolari before 1480 and together they had seven children: three daughters, Candida, Lucrezia, and Laura and four sons, Giovanni, who was also a painter, Ser Camillo, Giampaolo, and Eusebio. According to housing records, he lived in a house in the vicinity of San Martino in Perugia in 1456.

In addition to being an artist, Caporali was also highly involved in the politics of Perugia. He was prior of his town, camerlingo to the Company of Illuminators (EMP), was elected captain of the people and held leadership positions in the Umbria Painters Guild multiple times throughout his career (EMP & something earlier). His opinion was highly valued in the art community, as he was frequently called upon to estimate the value of other artists’ works (Marle).

His death occurred between 1503 and October 8^th, 1505, since a document of that date describes his son, a canon of San Lorenzo, as Ser Camillus quondam Bartholomei Caporalis, or “of the late Bartolomeo Caporali”. The last found document that mentions Caporali alive dates from 1503 (EMP).

Style

Caporali’s artistic style is best described as a chameleon; he was masterful at absorbing the new techniques, skills and fashions from his contemporaries. Although Caporali’s work was best known within Perugia, he constantly collaborated with provincial Renaissance painters in order to learn, network and develop his style.

One attribute known about Carporali’s work is his acute attention to detail. Additionally, his work is known for gentle facial expressions of his subjects and the peculiar transparency of their facial color. Strong hints of gold in the flesh, large infantile eyes with hard blackish line under the upper lids, overlong fingers, and sensitive mouths using long parallel brushstrokes are all details that define his work.

Training and Early Works

Little is known about Caporali’s training, however there are two men that undoubtedly influenced his artistic career. Many art historians claim that he studied under Benozzo Gozzoli, whose influences are seen in many of Caporali’s earlier works (EMP, 82). However, according to official records, Gozzoli didn’t travel to Umbria until Caporali was about 30 years old. Others claim Caporali to be the student of Giovanni Boccati, however there is the same chronological issue, as Boccati didn’t live in Perugia until 1445. Therefore, it is not known who first introduced Caporali or his brother to the art of painting (Merle). However, most art historians attribute the majority of Caporali’s training to Gozzoli.

 The earliest documentary record of Bartolomeo Caporali is his matriculation in the Guild of Painters at Perugia in the year 1442. Additionally, in the late 15th century, an important local school of painting developed in Perugia, its principal exponents including Benedetto Bonfigli, Bartolomeo Caporali , Fiorenzo di Lorenzo, Bernadro Pinturicchio and later the great Perugino. Although he collaborated with all of these artists, Caporali worked particularly closely with Bonfigli during the beginning of their careers. In fact, modern art historians have trouble discerning between their early works due to their strong resemblances in technique, most likely because they were educated under like influences, if not the same master (Lothrop).                                         

Following their father’s death in 1452, Bartolomeo and his brother renounced their inheritance and moved to Porta Eburnea. It is here that the first record of Bartolomeo’s work appears in 1454 when he paints a Maesta and a Pieta for the Palazzo dei Priori in the Udienza dei Calzolari. This commission resulted in his attaining the status of an independent and highly regarded master (Caporali Missal). From this point forward Bartolomeo received many commissions and expanded his network by collaborating on projects with celebrated artists such as Giapeco, Boccati and Bonfigli. His willingness to collaborate as well as master new techniques and skills in order to reach broader markets speaks to his talent as a networker and businessman. However, most works of this early period in his career are not documented, and it is difficult to pinpoint with whom he collaborated with on the work that can be identified as his.

Notable Works:

By the second half of the 1460’s, Bartolomeo seemed to have solidified his place as a master in Italy. This is due to the increased documentation and preservation of his works from this period in both Perugia and Rome. While continuing to make the municipality of Perugia and the abbey of San Pietro painted and gilded objects for steady income, it is during this time that Bartolomeo worked on his more famous commissions.

One such work is the Assumption of the Virgin in the Monastery of Santa Giuliana, Perugia. Completed in 1469, it is a monumental fresco with a light-toned composition distinguished with rich, elegant formal fabrics on the angels and Virgin. It was very successful due to its “refined compositional archaisms in harmony with the older decorations of [the abbey] (40)”, and represents Caporali’s ability to incorporate new techniques and styles successfully within older spaces.

SOMETHING IN BETWEEN HERE TO FILL IN GAP. MOST FAMOUS ONES.

In fact, his Virgin and Child with six angels appears to be the first picture painted in oils in this town, and honor which until then had been bestowed by Vasari to Perugino.

         His Adoration of the Shepherds (1477-79) represents his ability to exhibit learned skills from mentors and experiment in new mediums. The use of oil paint allowed him to pay greater attention to details through the use of new calligraphic tools, a skill he picked up from Bernardino Pintoricchio, who spent time in Bartolomeo’s workshop a few years earlier (missal). Around this same time, Bartolomeo’s brother, Giacomo, died in 1478. Subsequently, he was appointed to complete Giacomo’s term of office as treasurer of the Guild of Miniaturists. During his time in this position, he painted a miniature representing the Annunciation in the choral books of the Monastery of San Pietro at Perugi (? Other book?).

In the 1480’s, Bartolomeo shifted towards the “gentle style” developed by Perugino on the walls of the Sistine Chapel and brought it to Perugia. One work that exemplifies this is his Madonna of the Windowsill, completed in 1484 and commissioned by the Alessandri family and Perugian jurists. His assistant at the time was Lattazino di Giovanni, who is thought to have worked alongside him during this period.  

List of Major Works

·       Maesta and a Pieta, Palazzo dei Priori in the Udienza dei Calzolari

·       Assumption of the Virgin, 1469

·       Virgin, Child and Angels (1477-1479), National Gallery of Umbria, Perugia

·       Virgin and Child with six angels

·       Crucifix (1460-1470), San Michele Arcangelo

·       Saints Nicholas, Lawrence, Peter the Martyr and Anthony of Padua, Hermitage Museum, Saint Petersburg

·       Saint Francis of Assissi, Herculan, Luke and James the Greater, Hermitage Museum, Saint Petersburg

·       Virgin and Child with Angels (1459), Uffizi Gallery, Florence.

·       The Angel of the Annunciation and The Virgin Annunciate (1460-1470), Galleria Nazionale dell’Umbria, Perugia

·       Adoration of the Shepherds (1477-79)

·       Gonfalon with the Madonna of Mercy and Saints (1482), Museo di San Francesco, Montone

·       Pietà (1486), cathédrale de Pérouse.

·       Madonna and Saints (1487) for the church of Santa Maria Maddalena at Castiglione del Lago

·      The Virgin and Child Between Two Praying Angels,

·       Sylvestrine Monk and a Lay Brother.