Podcasts about luca signorelli

Send us a textThe Court of Lorenzo de' Medici Part 3: Large-Scale Mythological Painting The 1480's in Florence was an age of relative prosperity under Lorenzo the Magnificent. During this period, the visual arts began to take a new shape. Influenced by both classical and contemporary literature and poetry, Lorenzo's court saw the introduction to large-scale mythological painting, ushered in by the famed Sandro Botticelli. This episode looks closely at the formation of Botticelli's Birth of Venus, as well as the subsequent Court of Pan by Luca Signorelli in 1490. We discuss the cultural and political circumstances around the development of this new genre of painting, as well as a host of patrons, including the Vespucci family and Lorenzo il Popolano de' Medici. A close look at these works alongside scholarly research reveals a tension between representation and actual cultural attitudes, especially around differentiating between philosophical representation and lived, sensual realities. Works Discussed: Sandro Botticelli, The Birth of Venus, ca. 1485 https://www.uffizi.it/en/artworks/birth-of-venusSandro Botticelli, Venus and Mars, ca. 1485 https://www.nationalgallery.org.uk/paintings/sandro-botticelli-venus-and-marsLuca Signorelli, The Court of Pan, ca. 1490 https://en.wikipedia.org/wiki/The_Education_of_PanFollow: https://linktr.ee/italian_renaissance_podcastYoutube Videos mentioned for extra information: Piero di Cosimo: https://www.youtube.com/watch?v=R99_lpzeLzQ&list=PLUejELZ-zvuCN0XSgU-4JoV4ezeU6MBLb&index=4Luca Signorelli: https://www.youtube.com/watch?v=hE3MC80SvHU&list=PLUejELZ-zvuCN0XSgU-4JoV4ezeU6MBLbGet additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

Want to reach out to us? Want to leave a comment or review? Want to give us a suggestion or berate Anthony? Send us a text by clicking this link!As Anthony embarked on his pilgrimage to Italy, what began as a spiritual quest quickly became a mosaic of laughter, friendship, and awe-inspiring discoveries. From the breathtaking art of Luca Signorelli to the unexpected juxtaposition of tradition and modernity in Italian culture, his travels were filled with moments that challenged and inspired him in equal measure.Imagine standing amid the grandeur of Rome or exploring the sacred sites of Assisi and Orvieto, where each turn reveals a masterpiece of devotion and history. Our journey was enriched by memorable encounters, like a surprise papal sighting and the emotional visit to Blessed Carlo Acutis' resting place.The episode also touches on broader themes, such as the dynamics of U.S. foreign policy and reflections on the power of art and tradition. By exploring the intersections of faith, art, and personal growth, we hope to offer our listeners a tapestry of insights and stories that will linger long after the episode ends.Support the show********************************************************https://www.avoidingbabylon.comMerchandise: https://shop.avoidingbabylon.comLocals Community: https://avoidingbabylon.locals.comRSS Feed for Podcast Apps: https://feeds.buzzsprout.com/1987412.rssSpiritusTV: https://spiritustv.com/@avoidingbabylonOdysee: https://odysee.com/@AvoidingBabylon

Air Date - 05 December 2024While lecturing in Orvieto, Italy, earlier this year, Matthew Fox encountered the powerful fresco of the Antichrist painted in the Cathedral at the outset of the 16th century by Luca Signorelli. He portrays the Antichrist in the context of his day and culture. This archetype reminds us of the dark side of humanity and politics. Fox's creative and critical eye turned it into a searing device for examining the deep stakes in the 2024 election. In this episode, Matthew Fox joins Sandie to discuss his book in light of the results of the election and what he feels this means for the future of America and humanity at large.MATTHEW FOX is an internationally acclaimed spiritual theologian, Episcopal priest, and activist. He holds a doctorate, summa cum laude, in the History and Theology of Spirituality from the Institut Catholique de Paris and has devoted 45 years to developing and teaching the tradition of Creation Spirituality, which is rooted in ancient Judeo-Christian teaching, inclusive of today's science and world spiritual traditions; welcoming of the arts and artists; wisdom centered, prophetic, and committed to eco-justice, social justice, and gender justice  https://www.matthewfox.org#MatthewFox #AntiChrist #SandieSedgbeer #WhatIsGoingOM #InterviewsVisit the What Is Going OM show page https://omtimes.com/iom/shows/what-is-going-omConnect with Sandie Sedgbeer at https://www.sedgbeer.comSubscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/Youtube: https://www.youtube.com/c/OMTimesTVLinkedin: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

At first glance, an impressive fresco in San Brizio's Chapel in the Orvieto Cathedral appears to show Christ addressing a crowd – but after closer inspection, one realizes that the main figure is, in fact, the Antichrist, with a demon speaking into his left ear. Luca Signorelli's painting, The Preaching and Punishment of the Antichrist, inspired artist Michelangelo and psychoanalyst Sigmund Freud to produce some of their greatest works. It also inspired American theologian and priest Matthew Fox to write his new book Trump & The MAGA Movement as Anti-Christ: A Handbook for the 2024 Election. In part 1, Fox argues that the archetype applies to the darker sides of MAGA and its Christian-nationalist backers.  

"So this is it. I am thirty nine years old. I am sitting at a table in a medieval piazza with a black moleskine journal. I am sipping a glass of Chianti Classico. I stare at the menu with none other than Luca Signorelli on the cover. I like the words Gran Caffe Signorelli. Luca Signorelli was born in Cortona in 1441. He is still revered. Signorelli's art is in many of the museums and churches in Cortona and well, all around the world. I salute the artist, and the joy of making it this far, on this grand tour of mine. Alone and happy with a pen and journal, to just muse, people watch and write notes" - Michelle Johnston, In the Shadow of a CypressWelcome to Episode #97:After a small pause, I return to share Book release dates, an extract of my audio-book in the making and some exciting news.  I couldn't help but share the journey so far and what has been happening and what's to come next!!'In the Shadow of a Cypress: An Italian Adventure' is due out on the 13th September, 2024 - Stay Tuned for more soon!Find all Shownotes at  michellejohnston.life© 2024  A Writer In Italy - travel, books, art and lifeMusic Composed by Richard Johnston © 2024Support the Show.

In questo episodio di “Allora... Muovi!” introduciamo la tematica delle attività motorie più praticate nell'infanzia sia in Italia che nel mondo facendo riferimento ad alcune dimensioni importanti nello sport riguardo i vari rapporti esistenti.Inoltre, affrontiamo alcuni effetti che la pandemia ha avuto sui più piccoli nella pratica sportiva, grazie anche all'intervento di Luca Signorelli, istruttore di pallanuoto.Voci di Laura Taglietti, Giada Biava e Silvia PiazziniTesti di Beatrice Chiodini, Christian Tognoli, Giada Biava, Laura Taglietti, Lucrezia Belotti, Michela Volpi, Roberto Benedetti e Silvia PiazziniMontaggio di Alex Cattaneo e Stefano ZindatoSupervisione di Roberto Lo MonacoMusica di BABOTA (Stefano Scarpellini, Gabriele Rafanelli, Alex Rivellini, Giusy Longa)Grafiche di Andrea Finazzi

Liam Neeson or Leslie Nielsen? You decide.Things to know about Cortona:Ancient city - Etruscans - walls go back to 5th c. BCRomansAlso long history as a tourist destination, even before Under the Tuscan SunWhat to see in CortonaCathedral of Santa Maria Assunta, built in 1456MAEC - Museo dell'Accademia Etrusca e della Città di CortonaDiocesan Museum — The Annunciation by Beato Angelico (From 1408 to 1418, Fra Angelico was at the Dominican friary of Cortona, where he painted frescoes, now mostly destroyed, in the Dominican Church and may have been assistant to Gherardo Starnina or a follower of his) and The Deposition by Luca Signorelli (c. 1441/1445 – 16 October 1523)Archeological area - Etruscan tombs in Sodo and Camucia dating to 6th c BCE, uncovered in 20th c.Girifalco castle —Medici fortress, 1556 - today hosts exhibitions and occasionally concertsVia Romea Germanica passes through CortonaEremo Le Celle — first hermitage to be founded by San Francesco- 4 km from Cortona. The Monastery is perched on Monte Sant'Egidio and in the gorge dividing the two buildings runs a mountain stream - ‘Celle', which does not refer to the little buildings friars used to live in, but rather to some constructions built from the rock by shepherds and peasants. San Francesco arrived in Cortona around the year 1211 and met Guido Vagnotelli, a young man from a good-to-do  family who often welcomed Francesco in his home to pray. Guido decided to follow a religious vocation and offered the land where the Hermit would have been built laterBasilica of Santa Margherita in Cortona-14th-century church adorned in Baroque style - Margaret of Cortona (1247 – 22 February 1297) was an Italian penitent of the Third Order of Saint Francis. She was born in Laviano, near Perugia, and died in Cortona. She was canonized in 1728. Patron saint of the falsely accused, hoboes, homeless, insane, orphaned, mentally ill, midwives, penitents, single mothers, reformed prostitutes, stepchildren, and tramps. At the age of 17 she met a young (noble)man, and ran away with him, lived in the castle as his mistress, near Montepulciano and bore him a son. When her lover failed to return home from a journey/hunt one day, Margaret became concerned. The unaccompanied return of his favorite hound alarmed Margaret, and the hound led her into the forest to his murdered body. Returned all the gifts he had given her to his family and left. Her family refused her so she went to the Franciscan friars at Cortona, where her son eventually became a friar. She fbecame a penitent known for extreme fasting, joined the Third Order of Saint Francis and chose to live in poverty. Established a hospital in Cortona for the sick, homeless and impoverished. To secure nurses for the hospital, she instituted a congregation of Tertiary Sisters, known as "le poverelle" (Italian for "the little poor ones”). She also established an order devoted to Our Lady of Mercy and the members bound themselves to support the hospital and to help the needy. On several occasions, Margaret participated in public affairs. Twice, claiming divine command, she challenged the Bishop of Arezzo, Guglielmo Ubertini Pazzi, in whose diocese Cortona lay, because he lived and warred like a prince. She moved to the ruined church of Basil of Caesarea, now Santa Margherita, and spent her remaining years there; she died on 22 February 1297. Frequently depicted as a “new” Magdalene.

In this conversation with journalist Luca Signorelli, we dissect the role of the artist, genius vs. mental distortion, the human need to be seen, and the perils of social media before the creation of social media. De Maria's cult-classic "20 Days of Turin" was written shortly after the student uprisings of 1968, when The University of Turin was a hotbed of dissent and rebellion, and the city of Turin itself was under siege. At the time of this book's writing, De Maria would have been living through one of his country's biggest revolutions and deadliest years - the Years of Lead (Anni di piombo). WILD WONDER BOOKCLUB Wild Wonder Bookclub launched this month. Focusing on translated novels and books by authors from marginalized communities, we'll take a look away from the dominant narrative, uplift differing voices, and take a deep look at our own psychologies and how we connect to each other - all through our private Discord chat! Gain instant access by supporting our work on Patreon at patreon.com/wildwonder. WILD WONDER PODCAST The Wild Wonder Podcast is not possible without your generous support. Support the Wild Wonder Podcast on Patreon at patreon.com/wildwonder. Short on funds? Share the podcast with friends in a text, email, or on social media. The Wild Wonder Podcast is available on YouTube, Spotify, Apple Podcasts, and SoundCloud. Be sure to “follow” to receive notifications when episodes are made available. For everything else, visit us at wearewildwonder.com.

Decades before Michelangelo climbed up on the nearly 70 feet of scaffolding to adorn the ceiling of the Sistine Chapel, a veritable “All-Star Team” of late-15th- century artists had already decorated its walls. Artists such as Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, and Luca Signorelli were sent to Rome by Lorenzo “il Magnifico” de’ Medici to pay homage to the original patron and namesake of the chapel – Pope Sixtus IV. This episode will examine the pre-history of the Sistine Chapel and the early Renaissance frescoes that had already transformed the chapel into an extraordinary decorative complex.

Niente più cani robot per NYPD. Erdogan e la censura dei social. Macron vuole pescare a strascico le URL dei Francesi. Algoritmi sotto esame al Senato USA. La fine di Calibri. Apple AirTags prime impressioni. Queste e molte altre le notizie commentate nella puntata di questa settimana. Dallo studio distribuito di digitalia: Franco Solerio, Massimo De Santo, Francesco Facconi Produttori esecutivi: Alessandro Quarta, Luca Polignano, Marco Pasqualotto, Nicola Bisceglie, Matteo Rosina, Riccardo Peruzzini, Enrico Bertoli, Danny Manzini, Mattia Lanzoni, Paolo Boschetti, Roberto Esposito, Andrea Gelmini, Diego Venturin, Michele, Michele Olivieri, Antonio Turdo (Thingyy), Mario Cervai, Christian Fabiani, Alex Ordiner, Davide Fogliarini, Luca Signorelli, Adriano Guarino, Ivan Vannicelli, Mauro Schiavon, Mirto Tondini, Zambianchi Marco Francesco Mauro, Roberto Tarzia, Stefano Augusto Innocenti, Matteo Molinari, Simone Zannoni, Christian A Marca, Michele Coiro, Michele Cosentino, Emanuel Angaroni, Andrea Giovacchini, Maurizio Galluzzo, ---, David Di Tivoli, Manuel Zavatta, Davide Tinti, Gabriele S., Riccardo A., Angelo M., Alberto F. Sponsor: Squarespace.com - utilizzate il codice coupon "DIGITALIA" per avere il 10% di sconto sul costo dell'abbonamento. Links: Papyrus - SNL Review: using Apple's AirTag for tracking checked luggage Apple Podcasts: why it doesn't see your new episode instantly Festival del Podcasting 2021 France's Macron Eyes Artificial Intelligence to Monitor Terrorism Real-life 'Disaster Girl' turns her meme into a $500,000 NFT UE: Apple viola i principi di concorrenza con l'App Store Turkey's social media law: A cautionary tale L'Unione Europea mette ufficialmente nel mirino l'App Store Apple's App Store Draws E.U. Antitrust Charge An Interview With Linus Torvalds: Linux and Git NYPD stops using Boston Dynamics' robodog following backlash Beyond Calibri: Finding Microsoft's next default font Chinese Smart TV-Maker Accused of Spying on Owners' Other Devices FB allows to target children interested in smoking, alcohol and weight loss Gingilli del giorno: Overviewer 1Password for Journalism I Mitchell contro le Macchine Supporta Digitalia, diventa produttore esecutivo.

We can learn through different mediums. Herein we examine two preeminent paintings from history: Luca Signorelli's "Anti-Christ" and Andrei Rublev's "Trinity." What insights do these two geniuses show us about human nature, about reality, about our mysterious God? Furthermore, what do these two painters, each of whom lived over 500 years ago, tell us about our current national crisis? 

Originally recorded in August, 2007, featuring:Sarah Cahill, piano - May 5, 2006 1. Piccolo studio da concerto per pianoforte by Ada Gentile 2. Studio I by Andrea Morricone 3. Lo studiolo di Luca Signorelli by Sylvano Bussotti 4. Melody of China - May 25, 2007World Premiere of Passacaglia by Albert ChangHong Wang, huqin (strings); Wanpeng Guo, sheng (mouth organ); Xian Lu, dizi (bamboo flutes); Shenshen Zhang, pipa (Chinese lute); Gangqin Zhao, zheng (table harp); Yangqin Zhao, yangqin (hammer dulcimer) 5. Sarah Cahill, piano - May 5, 2006 Hurucane by Fabrizio de Rossi Re

What does resurrection have to do with marriage? In today’s Gospel from St. Luke, Jesus answers the quandary of the Sadducees. What else might be different if marriage isn’t part of the resurrection? Listen now to find out more.Image: Resurrection of the Flesh, Luca Signorelli. Public Domain. Image location: https://commons.wikimedia.org/wiki/File:Signorelli_Resurrection.jpg

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Lingua originale (Arabo) | La narrazione è di Magdy Hassan e Eliana Caputo | Le voci sono di Magdy Hassan e Zeinab Kabil Leggi la scheda completa dell'opera su uffizi.it Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based on love. She is not afraid of what’s to come... She is living in the moment. Jesus has just turned around; he is surrounded by the tenderness and teachings of Mary, the adoration and protection of Joseph. With his hand, he stops his mother's reading, his gaze moves beyond the figure of his father. Joseph’s face is hollowed and grey. The contrast between his dull complexion and the brightly colored scarf seems to reveal an inner state. It is as if he were bowing before the force of the divine plan. He has great difficulty in accepting not so much the mystery of a child that is not his, as the consequences of this mystery. He silently promises Mary and Jesus that he will do all he can to protect them. Here we are: me, you and our son, Riccardo. We three inside a circle that is like a protective boundary, enclosing our ability to find strength together, to manage our pain. When he was born, a happy event abruptly turned into a tragedy. We were not aware of how painful the consequences of that trauma caused by just a few seconds without oxygen would be… Here he is, our son, at the heart of the turmoil that upturned our lives. It wasn’t easy to accept the damage done to Riccardo. The circle of pain closed itself around our lives: every time we tried to get out, even in happy moments such as the birth of two more children, we had to go back inside again. Our pain is powerful, though, it is our strength. It is the same strength that has enabled Riccardo to achieve the unthinkable. He feels pain but, unlike us, he can see beyond the circle, almost stubbornly. I want my child not to depend on me. We have created a space for him, a social life. It's our life that is closed. When we get home, it’s as though nothing else exists. Our flat is small, movement is limited. I don’t think it is a coincidence that this Holy Family made me stop and think. It was painted at the end of the 15th century by Luca Signorelli, the artist described by various art historians as the forerunner of Michelangelo. The figures have an almost sculpted quality, and the space around them is so claustrophobic that Mary and Joseph seem almost projected outside the surface of the painting. The idea of a circle that closes and isolates strikes a deep chord in me, as does St. Joseph’s attitude: attentive and protective, but apart. Yet, with his entrance, Joseph gives balance to the composition, a kind of completion to the family.

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Versione integrale | La narrazione è di Magdy Hassan e Eliana Caputo, la voce di Marco Martinelli, Ermanna Montanari, Giacomo Armaroli | Leggi la scheda completa dell'opera su uffizi.it Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based on love. She is not afraid of what’s to come... She is living in the moment. Jesus has just turned around; he is surrounded by the tenderness and teachings of Mary, the adoration and protection of Joseph. With his hand, he stops his mother's reading, his gaze moves beyond the figure of his father. Joseph’s face is hollowed and grey. The contrast between his dull complexion and the brightly colored scarf seems to reveal an inner state. It is as if he were bowing before the force of the divine plan. He has great difficulty in accepting not so much the mystery of a child that is not his, as the consequences of this mystery. He silently promises Mary and Jesus that he will do all he can to protect them. Here we are: me, you and our son, Riccardo. We three inside a circle that is like a protective boundary, enclosing our ability to find strength together, to manage our pain. When he was born, a happy event abruptly turned into a tragedy. We were not aware of how painful the consequences of that trauma caused by just a few seconds without oxygen would be… Here he is, our son, at the heart of the turmoil that upturned our lives. It wasn’t easy to accept the damage done to Riccardo. The circle of pain closed itself around our lives: every time we tried to get out, even in happy moments such as the birth of two more children, we had to go back inside again. Our pain is powerful, though, it is our strength. It is the same strength that has enabled Riccardo to achieve the unthinkable. He feels pain but, unlike us, he can see beyond the circle, almost stubbornly. I want my child not to depend on me. We have created a space for him, a social life. It's our life that is closed. When we get home, it’s as though nothing else exists. Our flat is small, movement is limited. I don’t think it is a coincidence that this Holy Family made me stop and think. It was painted at the end of the 15th century by Luca Signorelli, the artist described by various art historians as the forerunner of Michelangelo. The figures have an almost sculpted quality, and the space around them is so claustrophobic that Mary and Joseph seem almost projected outside the surface of the painting. The idea of a circle that closes and isolates strikes a deep chord in me, as does St. Joseph’s attitude: attentive and protective, but apart. Yet, with his entrance, Joseph gives balance to the composition, a kind of completion to the family.

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Versione breve | La narrazione è di Magdy Hassan e Eliana Caputo, la voce di Marco Martinelli, Ermanna Montanari, Giacomo Armaroli | Leggi la scheda completa dell'opera su uffizi.it Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based on love. She is not afraid of what’s to come... She is living in the moment. Jesus has just turned around; he is surrounded by the tenderness and teachings of Mary, the adoration and protection of Joseph. With his hand, he stops his mother's reading, his gaze moves beyond the figure of his father. Joseph’s face is hollowed and grey. The contrast between his dull complexion and the brightly colored scarf seems to reveal an inner state. It is as if he were bowing before the force of the divine plan. He has great difficulty in accepting not so much the mystery of a child that is not his, as the consequences of this mystery. He silently promises Mary and Jesus that he will do all he can to protect them. Here we are: me, you and our son, Riccardo. We three inside a circle that is like a protective boundary, enclosing our ability to find strength together, to manage our pain. When he was born, a happy event abruptly turned into a tragedy. We were not aware of how painful the consequences of that trauma caused by just a few seconds without oxygen would be… Here he is, our son, at the heart of the turmoil that upturned our lives. It wasn’t easy to accept the damage done to Riccardo. The circle of pain closed itself around our lives: every time we tried to get out, even in happy moments such as the birth of two more children, we had to go back inside again. Our pain is powerful, though, it is our strength. It is the same strength that has enabled Riccardo to achieve the unthinkable. He feels pain but, unlike us, he can see beyond the circle, almost stubbornly. I want my child not to depend on me. We have created a space for him, a social life. It's our life that is closed. When we get home, it’s as though nothing else exists. Our flat is small, movement is limited. I don’t think it is a coincidence that this Holy Family made me stop and think. It was painted at the end of the 15th century by Luca Signorelli, the artist described by various art historians as the forerunner of Michelangelo. The figures have an almost sculpted quality, and the space around them is so claustrophobic that Mary and Joseph seem almost projected outside the surface of the painting. The idea of a circle that closes and isolates strikes a deep chord in me, as does St. Joseph’s attitude: attentive and protective, but apart. Yet, with his entrance, Joseph gives balance to the composition, a kind of completion to the family.

Vissuto ai tempi di Lorenzo il Magnifico, Lorenzo di Credi si formò assieme a Leonardo da Vinci alla bottega del Verrocchio, dove transitarono in quegli stessi anni anche altri grandi artisti, come Sandro Botticelli e Luca Signorelli. Verrocchio volle come suo erede proprio di Credi, apprezzato per i suoi soggetti devozionali. L’opera in esame ne è uno splendido esempio…

L'opera di Luca Signorelli raccontata da Tom Henry

Giovanni Antonio Bazzi, detto il Sodoma, è stato uno dei pittori più originali del Cinquecento: nacque a Vercelli, dove frequentò la bottega del pittore Giovanni Martino Spanzotti, poi in giovane età si trasferì a Milano dove conobbe i Leonardeschi e infine, intorno al 1501, arrivò a Siena che diventerà la sua città d'adozione. Qui, al confine tra Toscana e Umbria, conoscerà la pittura di Luca Signorelli, del Perugino e del Pinturicchio, e tutte queste suggestioni, unite alle sue reminescenze lombarde e piemontesi e a una riflessione su Leonardo da Vinci, contribuiranno a formare il suo stile molto particolare e sorprendente. Non sappiamo da dove gli derivi il soprannome: secondo Vasari, dalla sua omosessualità dichiarata ed esibita, secondo lo storico dell'arte Enzo Carli da una storpiatura di un suo intercalare piemontese, ma sono molte le ipotesi. Certo è che il Sodoma fu un pittore di carattere eccentrico, bizzarro e stravagante: parleremo anche di questo nella puntata!

Giovanni Antonio Bazzi, detto il Sodoma, è stato uno dei pittori più originali del Cinquecento: nacque a Vercelli, dove frequentò la bottega del pittore Giovanni Martino Spanzotti, poi in giovane età si trasferì a Milano dove conobbe i Leonardeschi e infine, intorno al 1501, arrivò a Siena che diventerà la sua città d'adozione. Qui, al confine tra Toscana e Umbria, conoscerà la pittura di Luca Signorelli, del Perugino e del Pinturicchio, e tutte queste suggestioni, unite alle sue reminescenze lombarde e piemontesi e a una riflessione su Leonardo da Vinci, contribuiranno a formare il suo stile molto particolare e sorprendente. Non sappiamo da dove gli derivi il soprannome: secondo Vasari, dalla sua omosessualità dichiarata ed esibita, secondo lo storico dell'arte Enzo Carli da una storpiatura di un suo intercalare piemontese, ma sono molte le ipotesi. Certo è che il Sodoma fu un pittore di carattere eccentrico, bizzarro e stravagante: parleremo anche di questo nella puntata!

Ilaria e Federico dedicano all'arte di Luca Signorelli l'undicesima puntata di Finestre sull'Arte: tra le personalità di spicco del Rinascimento, Luca Signorelli nacque a Cortona e propose ai suoi contemporanei una pittura forte, dinamica, vigorosa, a tratti anche cruda. Visse in un periodo dominato dall'incertezza e dall'inquietudine, e fu uno degli artisti che diedero il via alla crisi del primo Rinascimento, ponendo le basi per quello che sarebbe stato poi il Rinascimento maturo: infatti, secondo molti storici dell'arte, il suo stile energico influenzò anche Michelangelo. Una puntata davvero interessante su uno dei pittori più geniali della storia dell'arte.

Ilaria e Federico dedicano all'arte di Luca Signorelli l'undicesima puntata di Finestre sull'Arte: tra le personalità di spicco del Rinascimento, Luca Signorelli nacque a Cortona e propose ai suoi contemporanei una pittura forte, dinamica, vigorosa, a tratti anche cruda. Visse in un periodo dominato dall'incertezza e dall'inquietudine, e fu uno degli artisti che diedero il via alla crisi del primo Rinascimento, ponendo le basi per quello che sarebbe stato poi il Rinascimento maturo: infatti, secondo molti storici dell'arte, il suo stile energico influenzò anche Michelangelo. Una puntata davvero interessante su uno dei pittori più geniali della storia dell'arte.

Famous for its colorful ceramics and gleaming cathedral, Orvieto, Umbria's grand hill town, sits majestically high above the valley floor on a big chunk of volcanic stone. The cathedral's lively façade and mass of mosaics houses the Chapel of St. Brizio — Orvieto's must-see artistic site. Inside the chapel, Luca Signorelli's frescoes of the apocalypse depict events at the end of the world and reflect the turbulent atmosphere of Italy in the late 1400s. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

Famous for its colorful ceramics and gleaming cathedral, Orvieto, Umbria's grand hill town, sits majestically high above the valley floor on a big chunk of volcanic stone. The cathedral's lively façade and mass of mosaics houses the Chapel of St. Brizio — Orvieto's must-see artistic site. Inside the chapel, Luca Signorelli's frescoes of the apocalypse depict events at the end of the world and reflect the turbulent atmosphere of Italy in the late 1400s. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.