Luca Signorelli, Madonna and Child with John the Baptist, Onofrio Lorenzo, Saint Herculanus and a Musical Angel (Sant'Onofrio Altarpiece), 1483-84, oil on panel, 226 x 193 cm (Perugia, Museo Capitolare della Cattedrale di San Lorenzo)
Beckers notes that the show allows for a comparison between Piero della Francesca and Signorelli. She writes: "The influence Piero della Francesca had on the young Signorelli is unmistakable in [the Madonna and Child]. The soft tones of the background in which the narrative is set, the pale fleshy tone of the Madonna, her downcast eyes and thin lips that hide a hint of emotion are similar in both works. The rich garments in which both virgins are covered, especially the detail on the tightening of the sleeves, make a comparison worthwhile. In some areas such as the delicately painted veil on the Virgins head, Signorelli seems to overtake della Francesca, whereas the latter excels in his depiction of Flemish inspired interior elements such as the door behind the angel who meets the spectators gaze or the randomly placed wooden box on the shelves behind the angel dressed in pink."
Daniel B. Gallagher reviews a fascinating exhibition, Il primato dei Toscani nelle ‘Vite’ del Vasari at the Basilica inferiore di San Francesco, Arezzo, on view through January 9, 2012.
Gallagher writes: "This exhibition in the lower Basilica of San Francesco in Arezzo includes sixty-five works by fifty-two of the greatest Tuscan painters and sculptors appearing in Vasari’s Lives. It retraces the evolution of art from Cimabue to Michelangelo as seen through the eyes of Vasari by employing the criteria he used to divide art history into different periods... This exhibition reminds us that Vasari, though he may have embellished his tale with invented detail, did not invent the history of art. It was there to be discovered.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.