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Piero della Francesca, St. Jerome and a Donor, (1451) - Panel, 40 x 42 cm, Gallerie dell'Accademia, Venice
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Piero della Francesca | St. Jerome and a Donor, Venice
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St. Jerome and a Donor, is signed with an inscription on the tree trunk serving as the base for the crucifix: PETRI DE BURGO SANCTI SEPULCRI OPUS. It is not, however, dated. A variety of dates have been suggested, varying from 1440 to 1450. The diagonal position of the Cross is noticeable. The reason for this seems, however, to have less to do with the perspectival structure of the painting than with the desire to highlight the relationship of the Cross to St. Jerome.
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Piero della Francesca, St. Jerome and a Donor, detail, (1451) - Panel, 40 x 42 cm, Gallerie dell'Accademia, Venice
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it is signed with an inscription on the tree trunk serving as the base for the crucifix: PETRI DE BURGO SANCTI SEPULCRI OPUS. It is not, however, dated. A variety of dates have been suggested, varying from 1440 to 1450. The diagonal position of the Cross is noticeable. The reason for this seems, however, to have less to do with the perspectival structure of the painting than with the desire to highlight the relationship of the Cross to St. Jerome.
Piero della Francescacreated a further depiction of St. Jerome in the painting of St. Jerome and a Donor, a work which is generally given an earlier date. As with the painting just described, it is signed with an inscription on the tree trunk serving as the base for the crucifix: PETRI DE BURGO SANCTI SEPULCRI OPUS. It is not, however, dated. A variety of dates have been suggested, varying from 1440 to 1450. The diagonal position of the Cross is noticeable. The reason for this seems, however, to have less to do with the perspectival structure of the painting than with the desire to highlight the relationship of the Cross to St. Jerome. The believer, depicted in a red garment and identified by an inscription as Girolamo Amadi, has visited St. Jerome in his hermitage. He is clearly disturbing him at his studies: the saint is in the process of turning over a page in his book. The expression on his face reveals that he is unwilling to be interrupted at his reading. Piero uses contrasts to separate the two figures and their "worlds" from each other. Above the believer, who is wearing a red garment, arches the dense, green crown of a tree, while the saint himself appears in his penitential robe beneath the open, bright blue of the sky.
Piero was able to study the clever spatial shaping achieved by placing color contrasts into the depths of the picture in the frescoes in the Brancacci Chapel in Florence, created in 1425 by Masaccio; here, Masaccio created a masterly example of the concept of advancing and retreating colors, where colors gradually lighten the further away they are, which was perfected during the course of the Quattrocento. In his early work, which includes the Brancacci frescoes, he still preferred the interplay of light and shadow to depict space and positioned contrasts evenly right into the background of the picture.
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 The donor Girolamo Amadi |
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Piero della Francesca, St. Jerome and a Donor, detail, (1451) - Panel, 40 x 42 cm, Gallerie dell'Accademia, Venice
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Tuscany is one of the most popular tourist destinations in the world. Known for its enchanting landscapes, its fantastic and genuine food and beautiful towns as Florence, Pisa, Lucca and Siena.
Podere Santa Pia is situated in a distinctive location where green wooded hillsides give way to entirely different surroundings known as the Maremma. The countryside is both lunar and sublime. The hillsides are decorated with sunflowers, wheat fields and fragrant pastures as well as numerous impressive vineyards. This privileged location offers a spectacular vista over the charming medieval town of Cinigiano and the entire Ombrone Valley. It is the perfect place for your relaxing holiday with your friends and family. The property consists of 4 large bedrooms furnished in a classic Tuscan style and 2 bathroom with shower, a big full-equipment kitchen with a fireplace and a big living room and dining room. With its original kitchen and the wood burning pizza oven, Podere Santa Pia offers an upbeat atmosphere. The farmhouse has been renovated and provided with all modern comforts (satellite TV, Wi-Fi Internet access, washing machine, dishwasher, and so on), with an eye to preserve the typical and charming elements of these rural lodgings. There you have, then, cosy and warm rooms with traditional terracotta-tiled floors, stone walls and wood-beamed ceilings. And the kitchen, furnished for pleasant meals with traditional Tuscan dishes (bread soup or "ribollita", tomato soup, "fettunta", Florentine-style steak, stewed wild boar, cinta senese cured meat, and other Tuscan specialities).
The impressive garden (9000 square mt.) allows you to enjoy a relaxing holiday and is perfect for taking time out and lounging about while sipping on a glass of local wines, Montecucco DOC and Brunello DOC.
Sitting in the garden, one can enjoy our dawns and dusks, with their jubilee of colours ranging from dark yellow to pink, orange and red. In this scenario, it is often possible to observe the flight of pheasants, falcons and buzzards, great tits, chaffinches and sparrows.
This is an enchanting place far from noise, ideal to regenerate body and mind, where one has the opportunity enjoy pleasant walks or rides on mountain bike. The summer breeze that caresses Podere Santa Pia guarantees "cool" holidays even in the hottest weather.
Tuscan farmhouses | Podere Santa Pia
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Caldana |
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Sovicille, Pieve di San Giovanni Battistaa Ponte allo Spino
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Lago dell'Accesa |
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Cantina Petra by Mario Botta in Suvereto |
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San Gimignano,
view from Rocca di Montestaffoli
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Colle di Val d'Elsa Gavorrano |
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Gallerie dell'Accademia, Venezia | Accademia Galleries, Campo della Carità, Dorsoduro n. 1050 - Venice
The monumental estate of the Accademia Galleries is located in the prestigious centre of the Scuola Grande of Santa Maria della Carità, one of the most ancient lay fraternal orders of the city. The homonymous church of Santa Maria and the monastery of the Canonici Lateranensi, built by Andrea Palladio, are integral parts of the Accademia.
A very rich collection of Venetian paintings from Veneto as well, from the Bizantine and Gothic fourteenth century to the artists of the Renaissance, Bellini, Carpaccio, Giorgione, Veronese, Tintoretto and Tiziano until Gianbattista Tiepolo and the Vedutisti of the eighteenth century, Canaletto, Guardi, Bellotto, Longhi. These artists will influence the whole history of European painting.
Accademia Galleries, Campo della Carità, Dorsoduro n. 1050 - Venice
www.gallerieaccademia.org |
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The donor Girolamo Amadi
