The Ideal CityFra Carnevaleca. 1480-1485

Fra Carnevale, pseudonimo di Bartolomeo di Giovanni Corradini (Urbino, 1420/1425 circa – Urbino, 1484), è stato un pittore e religioso italiano.

Fra Carnevale, The Presentation of the Virgin, Museum of Fine Arts, Boston

| The Metropolitan Museum of Art |
This essay, written by Keith Christiansen, was derived from the exhibition catalogue From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master (The Metropolitan Museum of Art, New York, 2005).

| National Gallery of Art, Washington, DC

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Farquhar, Maria (1855). Ralph Nicholson Wornum. ed. . Woodfall & Kinder, Angel Court, Skinner Street, London; Digitized by Googlebooks from Oxford University copy on Jun 27, 2006. p. 28.

, attributed to Fra Carnevale, between ca. 1480 and ca. 1484

Fra Carnevale, Presentazione della Vergine al Tempio, Museum of Fine Arts, Boston Fra Carnevale's name occurs in a sixteenth-century list of engineers who had been employed on the Ducal Palace, along with Luciano Laurana and Francesco di Giorgio, and it has been forcefully argued that prior to 1468 and the appointment of Laurana as chief architect, the Dominican painter had a hand in the planning of the Sala della Jole [see Refs. Strauss 1979, pp. 136–41; and Borsi 1997, pp. 60–62). That he did architectural designs has received confirmation from a document of 1455 in which he is mentioned as the author of designs for capitals for the cathedral of Urbino. The ex-Barberini paintings only make sense if we think of them as addressed not only to the confraternity members but to Federico and Ottaviano.

‘Ideal’ cityscape by Fra Carnevale

Exciting in its detectivesque scholarship, From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master rediscovers a long neglected artist. Mentioned by Vasari, Giovanni di Bartolomeo Corradini was born in Urbino where he would later return. Moving to Florence in his twenties, Corradini joined the workshop of Filippo Lippi. The Brera-Metropolitan venture investigates early Renaissance rules of apprenticeship, workshop practices, and patronage. It reaffirms the status of Medicean Florence as a visual arts metropolis. Interestingly, it makes the viewer aware of linguistic diffusion and geographic adaptation. The catalogue, however, does not clearly address the interaction of the artists represented and the Guild of St. Luke (Compagnia di San Luca o dei pittori). It does not study in depth the artistic dialogue between painters and Florentine architects.

“Birth of the Virgin” by Fra Carnevale, 1467