The Art of Francis
Masterpiece of italian art and asian land from the XIII to XV century
03/31/2015 - 10/11/2015 Organized by the Accademia Gallery, in collaboration with the Order of Friars Minor, and scientifically designed with the Commissio Sinica (School of Medieval and Franciscan Studies, Pontifical University Antonianum of Rome), the exhibition aims to document at the highest quality levels the artistic production of direct matrix Franciscan (painting, sculpture, sumptuary arts) from the thirteenth to the fifteenth century and, at the same time, to highlight the extraordinary work of evangelization of the Franciscans in Asia, from the Holy Land to China, remembering even with objects of exceptional importance historical and incomparable charm. Among them, the horn traditionally believed that donated to the Saint by the Sultan of Egypt, Malik-al-Kamil in 1219-20 on the occasion of their meeting in Assisi and stored in the Chapel of the relics of the Basilica of San Francesco. It should be emphasized that the works of art are presented in the exhibition not only from the point of view of their Franciscan iconography, but primarily to the fact that the result of the commission of the Franciscan Friars, through their most prestigious ecclesiastical foundations and convent, as well as for the work of private citizens especially devotees of the Seraphic and his closest followers, for example, St. Clare, St. Bonaventure, St. Anthony of Padua, St. Bernardino. For painting is of fundamental importance to the work of Giunta di Capitino, the first official painter of the Franciscan Order, whose influence extended into the first half of the thirteenth century in vast areas of central and up in Emilia. The great artist, the first 'national' painter in the history of Italian art, he held the role of interpreter of Franciscan spirituality which then will be absolved by two other towering personalities, Cimabue and Giotto. Of particular interest is the section reveals that houses some of the most ancient devotional images of the saint of Assisi, who handed down the most famous episodes of his hagiography. In addition to the famous cuspidate panels of Pisa (National Museum of San Matteo) - Today reported by most to Giunta - and Florence (on the altar of the Bardi Chapel in Santa Croce), attributed to Coppo di Marcovaldo, will attend the exhibition of the similar Museo Civico di Pistoia and San Francisco with two stories of his life and two miracles attributed to post-mortem Gilio Peter (Orte, Diocesan Museum). Among the artists featured in the show are also the Master of St. Francis and the Franciscan Master of Crosses, two prominent leaders of panel painting and fresco during the thirteenth century. The huge audience in the Florentine Gallery will enjoy a wide sampling of different artistic techniques and morphological types: the small plates for private devotion to dossals for the altars of the largest churches of the Order; the magnificent complex altar. A large fresco from the church of San Francesco in Udine of late Gothic culture will introduce the visitor to the extraordinary human story of Blessed Odorico da Pordenone (1286-1331), who undertook an incredible journey around 1314, supported by the missionary fervor that will take him first in Asia Minor, then to meet the Mongols of the Yuan dynasty (1279-1368) in the years 1323-28, and in India. Returning home after a trip daring Odorico Pope told the status of the missions in the East in a detailed Relatio. The story of Odorico da Pordenone was only one of the last epic Franciscan in East Asia, generated by the pulse itself the action of Francis and began in 1245 with John of Plano Carpini, culminating with John of Montecorvino, consecrated in 1313 first bishop of Khanbaliq (Beijing). Epistolae et Relationes, mainly coming from the Vatican Library and displayed in the exhibition, will reveal the visible signs of those missions led by the Franciscans of high rank, in large numbers papal legates to Tartaros to overcome the separation of the Eastern Churches, to offer "to the king and the Tatar people "the spiritual benefits of Christian doctrine, to curb further aggression against the Mongol Christianity and groped to contain an alliance with the impetuosity Muslim Holy Land. Equally significant is the core and essential claims (archival documents and archaeological finds), from the Museum of the Custody of the Holy Land (Jerusalem) and the Museum of the Basilica of the Annunciation in Nazareth. And the richness and variety of religious traditions of Asia over the Holy Land, and as far as China - among all Christian communities Syro-Eastern or Nestorian and Buddhism - will stand in the exhibition thanks to a group of lithic and various other artefacts, from some prestigious museums of the Republic of China, almost all of the thirteenth and fourteenth centuries, and thus directly or indirectly related to the contemporary Franciscan presence in China. Returning to the masterpieces of art inspired by the impulse of Francesco especially in Italy, during the first half of the fourteenth century the activity occurs in one of the greatest painters of the time, the Master of Figline, who was almost certainly a member Franciscan Order, one of the followers highest and original culture of Giotto, largely active not only on the table and in fresco, but also in the decoration of stained glasses. Even in full Renaissance period the commission of the Franciscan produce effects of extraordinary importance, making use of the greatest artists of the time, such as Carlo Crivelli, Antoniazzo Romano and Bartolomeo della Gatta. No less important and rich in masterpieces of sculpture shows the slope of Franciscan origins, which includes the likes of Nicola Pisano, Domenico di Niccolò of the Choirs, Tullio Lombardo and Andrea Della Robbia. Summits absolute preciousness are achieved then in the field of so-called minor arts, with some exceptional glass paintings and graffiti, and a selection of illuminated manuscripts of exceptional importance.