#sinopia

[sinopias-closet]

mmm here have a fairly-old piece where i couldn't manage to draw flipping hands

[sinopia-raspberries-blog]

hi wHERE HAS THIS SONG BEEN ALL MY LIFE

WHY AM I CRYING

[italianartsociety]

By Anne Leader and Amy Fredrickson 

Florentine painter Andrea di Bartolo di Simone, known as Andrea del Castagno, died suddenly 19 August 1457. Recognized as one of the most influential mid-century Florentine Renaissance artists, Castagno is appreciated for his naturalism and command of the human figure.

In Lives, Vasari provides some insight into his enigmatic beginnings. Vasari estimated that Andrea was born around 1390; however, recently, scholars believe a date around 1419 is plausible. Andrea was born near Florence, in Mugello, now called Castagno d’Andrea.  According to Vasari, Andrea, a farmer’s son, was discovered drawing animals on slabs of stone while working as a shepherd — a favorite classical trope used frequently by the author, as in the life of Giotto (d. 1337), when an artist’s education remained obscure. 

Andrea worked frequently in fresco for ecclesiastical, civic, and private patrons as seen in his Last Supper of 1447 for the Benedictine convent of Sant’Apollonia, his series of famous men and women painted in the villa of Filippo Carducci around the same time, his Trinity Appearing to Sts. Jerome, Paula, and Eustochium for the Corboli Chapel in S. Annunziata made after 1453, or his faux tomb monument to Niccolò da Tolentino on the wall of the Florentine Duomo from 1455-6. Though Andrea was highly influential and sought-after in his lifetime, by Vasari’s day he was seen as rather rough and crude in comparison to his contemporary, Domenico Veneziano. Vasari claimed that Andrea murdered Domenico out of envy, but documents prove that Andrea predeceased him by four years.

Scholars considered Andrea as one of the most influential fifteenth-century artists.  He developed a painterly style which provided a realistic, three-dimensional interpretation of the human body, a method he executed through careful contouring and modeling. He is credited with furthering the concept of Florentine disegno.  He is the first artist whose workshop documents show a departure from the sinopia method of applying drawings to the wall and then covering them in plaster. Some of Andrea’s figures show punch marks along the forms, which proves that Andrea used cartoons; the outlines were then transferred to the plaster and dusted to enhance the lines and visibility. The cartoon method yielded more accurate workshop productions, and future painters employed this method for its efficiency.

The disegno effect is visible in Andrea’s frescos in the Duomo, Sant'Apollonia, and Santissima Annunziata in Florence. He was a member of the Arte dei Medici e Special, and his capabilities influenced the subsequent painters such as Andrea del Verrocchio and Andrea Mantegna.  In Lives, Vasari was impressed by Andrea’s mastery of disegno; however, he critically stated that his choice of colors were not harmonious.  Vasari reinforced a tale that Andrea killed contemporary painter Domenico Veneziano (1410-1461). The artists painted frescos for Sant'Egidio in Florence between 1439-1445.

During the nineteenth-century, Italian scholar Gaetano Milanesi (1813-1895) disproved this theory when archival documents surfaced proving that Domenico outlived Andrea by four years. These accusations tarnished Andrea’s reputation, and resulted in negative interpretations of his work. It was not until the twentieth-century that Andrea’s status improved when scholars valued and appreciated his paintings for the naturalistic effect and mastery of disegno.

References  Hellmut Wohl. “Castagno, Andrea del.” Grove Art Online. Oxford Art Online. Oxford University Press, accessed 16 August, 2017. 

Smith, Marilyn. "Castagno, Andrea del." The Oxford Companion to Western Art. Oxford Art Online. Oxford University Press, accessed August 16, 2017,

Spencer, John R., Andrea del Castagno and his patrons. (Durham: Duke University Press, 1991).

Further Reading: Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art, (Washington, D.C., 2003). 

Fortuna, Alberto, Andrea del Castagno (Florence, 1957).

Horster, Maria, Andrea del Castagno ( Oxford, 1980).

Monument to Niccolò da Tolentino, 1456, fresco, Duomo, Florence

St Julian and the Redeemer, c. 1453, fresco, Santissima Annunziata, Florence

The Holy Trinity, St Jerome and Two Saints, c. 1453, fresco, Santissima Annunziata, Florence

Crucifixion, c. 1455, fresco, Sant'Apollonia, Florence

Crucifixion (detail), c. 1455, fresco, Sant'Apollonia, Florence

Portrait of a Gentleman, 1450-57, tempera on panel, National Gallery of Art, Washington D.C.

David with the Head of Goliath, c. 1450-1455, tempera on leather on wood, National Gallery of Art, Washington D.C.

[frescoschool]

St Herman of Alaska & St Peter Aleut #sinopia. #projectmexicofresco #frescoworkshop #frescopainting #frescoschool #frescotechnique #fresco #buonfresco #byzantine #byzantinefresco #byzantineicon https://FrescoSchool.net

[psyche-official]

color of the day #57

color: sinopia

word: elucidate (v.) to make clear or easy to understand

rating: 6/10 cool color but i’m not the biggest fan of orange

@evyyy77

[dustedmagazine]

Alessandra Novaga & Kid Millions — Sinopia (Long Song)

Photo of Novaga by Juho Liukkonen/Photo of Kid Millions by Lisa Corson

A cross-continental collaboration from Italian experimental guitarist Alessandro Novaga and drummer Kid Millions explores the far reaches of noise and sound and rhythm in visceral onslaughts and lyrical intervals of respite. The title, Sinopia, refers to the art that surrounds Novaga in her home city of Milan. It’s a technical name for the rough sketch that was applied to church walls as a preparation for fresco painting. How that applies to this music, however, is unclear. The tracks don’t seem like sketches; in fact, they’re more like action painting with wild slashes of guitar sound and bristling textures of percussion.

All six pieces are titled Sinopia, the tracks numbered to differentiate them. “Sinopia 1” puts Colpitts explosive drumming in the foreground. He ranges violently all over the kit, on snares, cymbals and toms, as a vibrating wall of feedback takes shape behind him. “#2” gives Novaga’s guitar a longer leash. She plays it like a banshee, sawing, moaning, squalling, groaning, while Colpitts picks out a skeletal, untethered beat.

The revelation, though, comes in the long, relatively tranquil “#4” where notes are allowed to linger and decay, floating over a shifting, not-quite-quiet background like bell tolls drifting out over water. The guitar sounds only a little like a guitar. It’s abstracted into pure wavering tone. And the percussion, likewise, is nothing like what you’d expect from the Man Forever/Oneida slugger. It’s full of ringing tonal bells and flickering clicks and clonks, widely spaced, so that a meditative silence stretches out between them. Indeed, there are hints of Asian temple music in this slow-evolving, space-filled piece. Guitar strings, tightly clamped, make quick flurries of terse sound that is as percussive as the drums.

Novaga and Kid Millions made Sinopia remotely, with the guitarist laying down her bits in Milan and the drummer answering from his home recording set-up in Queens. It’s a conversation, but an atemporal one, with the questions widely separated from their response in time and space and meaning. And yet you can hear two brave, unconventional artists challenging each other, contradicting each other, finding areas of common inquiry, in pieces that are aggressive and serene, knottily intellectual and visceral all at once.

Jennifer Kelly

[sinopias-closet]

hHhh more art ig

yeahh this took a while but im quite proud. except that one of the hands is wrong im sobbing ;_;

[sinopias-closet]

have some art trades ig

designs belong to the rightful owners, please do not steal them, thank you :)