#lorenzomonaco

[aic-armor]

Processional Cross with Saint Mary Magdalene and a Blessed Hermit, Lorenzo Monaco, 1392, Art Institute of Chicago: Arms, Armor, Medieval, and Renaissance

Representative of the early work of Lorenzo Monaco, a Camaldolese monk and leading Florentine painter of the end of the fourteenth century and the beginning of the fifteenth century, the delicate colors and simplified forms of this Crucifixion are exceptionally well preserved. The medallion above the crucified Christ contains an image of Christ in Glory, holding a palm in each hand to symbolize his victory over death. Below, the crowned figure of King David holds an inscribed scroll. More often in Crucifixion scenes of this period, a pelican appears at the top of the cross and the skull of Adam lies at the foot. A penitential theme is suggested by the figures kneeling under the Cross: on the right is a haloed Magdalen in a red robe; on the left, a man with the incised rays of a beatus, or blessed one, emanating from his head wears the torn brown cloak of a hermit. He was probably meant to represent a specific hermit within the Camaldolese order. The panel has a hole drilled at the base, allowing it to be mounted on a pole and used as a processional cross, likely in the monastic Camaldolese community of Santa Maria degli Angeli, where Lorenzo lived and worked. Mr. and Mrs. Martin A. Ryerson Collection Size: Panel (Including Frame): 57.3 × 28 cm (22 1/2 × 11 1/16 in.); Painted Surface: 51 × 23.3 cm (20 1/8 × 9 3/16 in.); Widest Point at Center: 13.2 cm (5 3/16 in.) Medium: Tempera on panel

https://www.artic.edu/artworks/16231/

[met-european-paintings]

Noah, Lorenzo Monaco, ca. 1408–10, European Paintings

Gwynne Andrews Fund, and Gift of Paul Peralta Ramos, by exchange, 1965 Size: Overall 25 7/8 x 17 3/8 in. (65.7 x 44.1 cm); painted surface 22 7/8 x 17 in. (58.1 x 43.2 cm) Medium: Tempera on wood, gold ground

https://www.metmuseum.org/art/collection/search/436914

[rijksmuseum-art]

Saint Jerome in his Study by Lorenzo Monaco, 1419, Museum of the Netherlands

Saint Jerome, who translated the Bible into Latin in the 4th century, is considered the most learned of the four Church Fathers. Lorenzo Monaco depicted him in the corner of his study, accompanied by the lion that befriended him after he removed a thorn from its paw. This panel was the right wing of a small diptych.

[the-met-art]

The Crucified Christ between the Virgin and Saint John the Evangelist by Lorenzo Monaco, Robert Lehman Collection

Medium: Tempera on wood, gold ground

Robert Lehman Collection, 1975 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/459008

[met-drawings-prints]

Decorated Initial with Scene of Christ Entering the Temple. by Lorenzo Monaco via Drawings and Prints

Medium: Pen and pale grayish brown ink, brush and pale grayish brown wash (figural scene), pen and pale brown ink, over construction in leadpoint, ruling and compass work (ornamental parts), ruled lines in red ink, notes and words in pen and dark brown ink (music

Purchase, Lila Acheson Wallace Gift, 1999 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/338272

[aic-armor]

Processional Cross with Saint Mary Magdalene and a Blessed Hermit, Lorenzo Monaco, 1392, Art Institute of Chicago: Arms, Armor, Medieval, and Renaissance

Representative of the early work of Lorenzo Monaco, a Camaldolese monk and leading Florentine painter of the end of the fourteenth century and the beginning of the fifteenth century, the delicate colors and simplified forms of this Crucifixion are exceptionally well preserved. The medallion above the crucified Christ contains an image of Christ in Glory, holding a palm in each hand to symbolize his victory over death. Below, the crowned figure of King David holds an inscribed scroll. More often in Crucifixion scenes of this period, a pelican appears at the top of the cross and the skull of Adam lies at the foot. A penitential theme is suggested by the figures kneeling under the Cross: on the right is a haloed Magdalen in a red robe; on the left, a man with the incised rays of a beatus, or blessed one, emanating from his head wears the torn brown cloak of a hermit. He was probably meant to represent a specific hermit within the Camaldolese order. The panel has a hole drilled at the base, allowing it to be mounted on a pole and used as a processional cross, likely in the monastic Camaldolese community of Santa Maria degli Angeli, where Lorenzo lived and worked. Mr. and Mrs. Martin A. Ryerson Collection Size: Panel (Including Frame): 57.3 × 28 cm (22 1/2 × 11 1/16 in.); Painted Surface: 51 × 23.3 cm (20 1/8 × 9 3/16 in.); Widest Point at Center: 13.2 cm (5 3/16 in.) Medium: Tempera on panel

https://www.artic.edu/artworks/16231/

[aic-armor]

Processional Cross with Saint Mary Magdalene and a Blessed Hermit, Lorenzo Monaco, 1392, Art Institute of Chicago: Arms, Armor, Medieval, and Renaissance

Representative of the early work of Lorenzo Monaco, a Camaldolese monk and leading Florentine painter of the end of the fourteenth century and the beginning of the fifteenth century, the delicate colors and simplified forms of this Crucifixion are exceptionally well preserved. The medallion above the crucified Christ contains an image of Christ in Glory, holding a palm in each hand to symbolize his victory over death. Below, the crowned figure of King David holds an inscribed scroll. More often in Crucifixion scenes of this period, a pelican appears at the top of the cross and the skull of Adam lies at the foot. A penitential theme is suggested by the figures kneeling under the Cross: on the right is a haloed Magdalen in a red robe; on the left, a man with the incised rays of a beatus, or blessed one, emanating from his head wears the torn brown cloak of a hermit. He was probably meant to represent a specific hermit within the Camaldolese order. The panel has a hole drilled at the base, allowing it to be mounted on a pole and used as a processional cross, likely in the monastic Camaldolese community of Santa Maria degli Angeli, where Lorenzo lived and worked. Mr. and Mrs. Martin A. Ryerson Collection Size: Panel (Including Frame): 57.3 × 28 cm (22 1/2 × 11 1/16 in.); Painted Surface: 51 × 23.3 cm (20 1/8 × 9 3/16 in.); Widest Point at Center: 13.2 cm (5 3/16 in.) Medium: Tempera on panel

https://www.artic.edu/artworks/16231/

[aic-armor]

Processional Cross with Saint Mary Magdalene and a Blessed Hermit, Lorenzo Monaco, 1392, Art Institute of Chicago: Arms, Armor, Medieval, and Renaissance

Representative of the early work of Lorenzo Monaco, a Camaldolese monk and leading Florentine painter of the end of the fourteenth century and the beginning of the fifteenth century, the delicate colors and simplified forms of this Crucifixion are exceptionally well preserved. The medallion above the crucified Christ contains an image of Christ in Glory, holding a palm in each hand to symbolize his victory over death. Below, the crowned figure of King David holds an inscribed scroll. More often in Crucifixion scenes of this period, a pelican appears at the top of the cross and the skull of Adam lies at the foot. A penitential theme is suggested by the figures kneeling under the Cross: on the right is a haloed Magdalen in a red robe; on the left, a man with the incised rays of a beatus, or blessed one, emanating from his head wears the torn brown cloak of a hermit. He was probably meant to represent a specific hermit within the Camaldolese order. The panel has a hole drilled at the base, allowing it to be mounted on a pole and used as a processional cross, likely in the monastic Camaldolese community of Santa Maria degli Angeli, where Lorenzo lived and worked. Mr. and Mrs. Martin A. Ryerson Collection Size: Panel (Including Frame): 57.3 × 28 cm (22 1/2 × 11 1/16 in.); Painted Surface: 51 × 23.3 cm (20 1/8 × 9 3/16 in.); Widest Point at Center: 13.2 cm (5 3/16 in.) Medium: Tempera on panel

https://www.artic.edu/artworks/16231/