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Madonna and Child is a c.1435 fresco fragment by the Italian Renaissance master Fra Angelico in the sacra conversazione style. It was originally painted in the dormitory of the Convent of San Domenico, Fiesole.
The work was painted for a side altar in the Convent of San Domenico, Fiesole, where Fra Angelico was a friar. For the same church he also contributed the main altarpiece, showing the Virgin and Child Enthroned with Dominican saints (c. 1425) and the Coronation of the Virgin, now in the Louvre (c. 1424–1435) .
The Annunciation (c. 1440–1445) [1] is an Early Renaissance fresco by Fra Angelico in the Convent of San Marco in Florence, Italy. When Cosimo de' Medici rebuilt the convent, he commissioned Fra Angelico to decorate the walls with intricate frescos.
Fra Angelico, O.P. (/ f r ɑː æ n ˈ dʒ ɛ l ɪ k oʊ /; [1] Italian: [fra anˈdʒɛliko]; born Guido di Pietro; c. 1395 [2] – 18 February 1455) was a Dominican friar and Italian Renaissance painter of the Early Renaissance, described by Giorgio Vasari in his Lives of the Artists as having "a rare and perfect talent". [3]
The Annunciation of Cortona was painted by Fra Angelico in 1433–1434, in tempera on panel, 175 cm x 180 cm. [1]. This is one of three Annunciations by Fra Angelico on panel (the other two are in the Prado Museum, and the Museo della Basilica di Santa Maria delle Grazie, in San Giovanni Valdarno.
Another work attributed to Signorelli, or his workshop, is the 1519–1520 Assumption of the Virgin from the Cathedral of Cortona. [2] Other major art in the museum include: The Cortona Triptych by Fra Angelico; Madonna and Child by Niccolò di Segna (c. 1336) A large cross painted by Pietro Lorenzetti (1315–1320, from the church of San Marco)
Cortona Triptych by Fra Angelico. The Cortona Triptych is a Catholic Church depiction of the Madonna and Child with saints, painted by Fra Angelico. It is now kept at the Diocesan Museum in Cortona, Italy. The painting dates from 1436–1437. [1]
The work was a large one, comparable only to Cimabue's Santa Trinita Maestà or Duccio di Buoninsegna's Rucellai Madonna. It has been speculated that the marble frame was sized according to a pre-existing painting, which was later replaced by Fra Angelico's, or that the size was inspired by that of the statues in Orsanmichele niches.