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Updated: May 8, 2025
This takes us back to Venice, and accounts for the Paduan influence traceable in the works of the Bellini family and their pupils. JACOPO BELLINI, whose considerable talents have been somewhat obscured by the fame of his two sons, Gentile and Giovanni, was originally a pupil of Gentile da Fabriano, after whom he named his eldest son.
Therefore I will say that, already at the end of the fourteenth century, though Castagno and Masolino and Gentile da Fabriano and Fra Angelico were alive, and Masaccio and Piero and Bellini had yet to be born, it looked as if the road that started from Constantinople in the sixth century were about to end in a glissade.
For a half-hour we rode at a more gentle pace. That was about the time they took to come up with us, still a league or so from Fabriano. We heard their cantering hoofs crushing the snow, and then a loud imperious voice shouting to us a command to stay. Instantly we brought up in unconcerned obedience, and they thundered alongside with cries of triumph at having run their prey to earth.
From Fabriano, at our feet, was spread to the east, the broad plain that lies twixt the Esino and the Masone, as far as Mount Comero, which, in the distance, lifted its round shoulder from the haze of sea.
The Renaissance passed it by as in a dream, and although in the work of Perugino you find a wonderful and original painter, a painter of landscape too, it is rather in the earlier men, Ottaviano Nelli, whose beautiful work at Gubbio is like a sunshine on the wall of S. Maria Nuova; Gentile da Fabriano, whose Adoration of the Magi is one of the treasures of the Accademia delle Belle Arti; of Niccolò da Foligno, and of Bonfigli whose flower-like pictures are for the most part in the Pinacoteca at Perugia, than in Perugino, or Pinturicchio, or Raphael, that you come upon the most characteristic work of the school.
There is what seems to me a better picture than either of these has produced, by Bonamico Buffalmacco, an artist of about their date or not long after. The first real picture in the series is the "Adoration of the Magi," by Gentile da Fabriano, a really splendid work in all senses, with noble and beautiful figures in it, and a crowd of personages, managed with great skill.
"Even so," he adds, "must they be in heaven and I never gaze on this picture without discovering fresh beauties, nor withdraw my eyes from it, satisfied with seeing." The scenes in the predella are from the life of St. Dominic and form an interesting parallel with those of the Giotto. R. of 1383 is 1278 by Gentile da Fabriano: The Presentation, a portion of a predella.
Of Gentile da Fabriano, a very rare master, there hangs an Adoration of the Magi, marked May, 1423. One always feels grateful to such of the Quattrocentisti as enlarged the sphere of artistic action, by going out of the conventional circle of holy families, nativities, and entombments. There is a dash about Gentile, a fresh, cavalier-like gentility, quite surprising, and altogether his own.
Michelangelo The David The tomb of Julius A contrast Fra Angelico The beatific painter Cimabue and Giotto Masaccio Gentile da Fabriano Domenico Ghirlandaio Fra Angelico again Fra Bartolommeo Perugino Botticelli The "Primavera" Leonardo da Vinci and Verrocchio Botticelli's sacred pictures Botticini Tapestries of Eden.
And now for the three screens, notable among the screens of the galleries of Europe as holding three of the happiest pictures ever painted. The first is the Adoration of the Magi, by Gentile da Fabriano, an artist of whom one sees too little. His full name was Gentile di Niccolò di Giovanni Massi, and he was born at Fabriano between 1360 and 1370, some twenty years before Fra Angelico.
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