A contemporary of Leonardo and Michelangelo, Raphael's teacher, a great master of the Umbrian style of painting, an exquisite classic of high revival, all this is Pietro Perugino. He was born in Italy, near Perugia, at the age of 22 he entered the training of the artist Verrocchio. Perugino was one of the most famous and most popular masters of his time. His mastery had a huge impact on the development of the Italian style of painting, and especially on his follower - Raphael. Today, paintings by Perugino are appreciated by all lovers of world art.
The most famous murals and paintings of Perugino:
1
Adoration of the Magi (1476)
The canvas “Adoration of the Magi” was written during the artist’s creative take-off. It depicts a plot from the New Testament, when three sages (kings) came to bow to the newborn Jesus and give him precious gifts: myrrh, gold and frankincense. This event is considered among Christians around the world as the Feast of Epiphany. Jesus was born in a stable. The most central point of the canvas are the heads of animals - cows and donkeys, which compositionally divide the picture into two equal parts. They emphasize the birthplace of Jesus. On the right side, on the threshold of a modest house with wooden props, the Virgin Mary sits with the baby Jesus in her arms. Behind them is an old man with a staff - this is Joseph, Mary’s husband.
Close to the center, in the foreground in front of Jesus, arms crossed on his chest, the oldest of the sages is kneeling. Two sorcerers, young and middle-aged, stand on the left side and hold baby Jesus with precious vessels with peace and incense. Their poses are graceful, laid-back and noble. Behind the Magi there is a crowd of witnesses of what is happening. The background is an exquisite evening landscape. The picture is crowned with a golden star, which announced the birth of the Savior. The whole picture is saturated with warm and hot shades of red and ocher. Only the dark blue veil of the Virgin Mary looks spectacular cold spot against a warm ocher shades.
2
Presentation of the keys to the Apostle Peter (1480–1482)
One of the surviving frescoes of the Sistine Chapel, made by Perugino, is dedicated to the biblical story of the transfer of keys from Paradise St. Peter. In Catholicism, this topic was given great importance, as the Catholic Church traces its history from the moment the keys were handed over to the Apostle Peter, who is also considered the first pope of Rome. Such a scene could be entrusted only to the best of the best artists. At that time, Perugino was considered just such a master.
The composition of the mural is symmetrical. Its center is emphasized by a huge basilica, against which the central figures of Christ and the kneeling apostle Peter are surrounded symmetrically on both sides by groups of witnesses. Among them are the apostles and contemporaries of the artist. The apostles are closer to Christ and Peter. They are written in bright, catchy colors. The figures of contemporaries are more muffled, everyday, among them the artist depicted himself (the second figure on the left). The symmetry of the composition is emphasized by two triumphal arches.
3
Baptism of Christ (mural) (1481–1482)
Inviting artists to paint the Sistine Chapel, Pope Sixtus VI clearly did not fail, inviting Pietro Perugino as a leading artist. He was very impressed with his grandiose work. A huge fresco of 3.4 × 5.4 meters is located on the northern wall of the chapel. A student of Penturicchio helped the artist in her work. He painted a landscape and several side figures.
Using his signature Umbrian style, Perugino portrayed all the characters very gracefully, in laid-back poses. The central place of the fresco is reserved for Jesus Christ and John the Baptist.
The beautiful landscape makes the mural unique and picturesque. The deep and bright colors of the fresco: yellow, red, olive, blue are represented in many shades and create a solemn, festive mood.
4
Saint Sebastian (1494)
This picture, like other works of Perugino, is recognized as a world masterpiece. Her composition is very unusual for its time. In this Perugino became an innovator. Using the architecture of the arch, he achieved an unusual visual effect that gives the canonical figure of St. Sebastian impressive dimensions.
The saint's face does not express pain or despair. Saint Sebastian calmly, reverently, gives his body and soul to the Lord. Sticking arrows no longer cause him suffering. He is on the verge of Paradise. Amazing aerial landscape emphasizes the solemnity of the event. A clear blue sky without a single cloud, the transparency of the air - everything speaks of the holiness of the martyr, who, as a Roman warrior, was shot for allegiance to Christ.
5
Portrait of Francesco delle Opera (1494)
Several portraits of the brush of Perugino are known, one of which is the “Portrait of Francesco delle Opera”. Who this man is is unknown. Most likely, this is a rich citizen who ordered his portrait from the artist.
Here, the master showed all his skill and talent not only of the artist, but also of the psychologist. Perugino created a very strong and expressive image of a person with a difficult character. A thin, tightly compressed and slightly curved mouth, shifted eyebrows, a thin nose, a stiff fold on the bridge of the nose - all this speaks of the authoritativeness and stiffness of the character's character. The officiality of the portrait is slightly softened by a romantic, refined landscape.
6
Pieta (1494–1495)
The solemnity and beauty of this painting still delights the parishioners of the Palazzo Pitti. The picture is dominated by bright and pure colors - red, blue, green. The painting depicts six figures: the central place is given to the main characters - the Virgin and Christ, on the right the apostle Peter and Mary Magdalene are sad and calm. Left - John the Evangelist, kneeling, supports the head of Christ. Behind him, the saint clasps his hands in prayer. The body of Christ, stretched out on the lap of the Mother of God, is written very realistically. All characters are symmetrically inscribed in a set of arches, which mean heaven and not the in vain of Christ's sacrifice.
In the background, tiny figures are visible leaving the scene of the Crucifixion at Calvary. This is a scene of great piety, designed to cause a deep reflection in the minds of a religious audience. Between the arches of the three-tiered loggia there are traces from the hands of Charles Guffier, the leading courtier Francois I and the first known owner of the painting. During the period of iconoclasm, a cruel attack was made on the head of the Virgin. Restoration work in 2014-2015 returned the colors and the definition of features that were hidden during subsequent repainting.
Perugino painted two versions of this picture, probably in a short period of time. The panel in Ufisi, in which there is no Tuscan landscape filled with the sun, is considered an earlier work. The artist studied in Perugia, and in 1481, along with other important Florentine artists, he was invited to the Vatican to decorate the walls of the Sistine Chapel. After that, he mainly worked in Florence and Perugia, creating his own world of holy figures with gentle, sincere emotions.
7
Crucifixion (1495–1496)
As a mature and accomplished artist, Perugino set about painting the church of Santa Maria Maddalena dei Pazzi in Florence. The huge fresco "Crucifixion" is divided into three equal parts (triptych). The crucifix itself is depicted in the central part, at the foot of which Mary Magdalene knelt. On the right side are the Apostle John and St. Benedict, on the left - the Mother of God and St. Bernard. Each part of the triptych is framed by an arch. The background of the fresco is a beautiful, skillfully painted landscape that combines all parts of the triptych.
By the way, on our site most-beauty.ru you can find out about the most beautiful landscapes in the world.
8
Self-portrait (1497-1500)
The portrait depicts a slightly plump serious man with pursed lips. Black camisole with a white collar and a red cap, under which locks of brown hair are knocked out, create the image of a strict and ascetic person. The brown eye is filled with wisdom and tranquility. Perugino appears before the viewer as a real earthly man, with his characteristic traits of character - calmness and nobility.
9
Portrait of a Young Man (1480)
One of the best portraits painted by Perugino is a portrait of a young man. The style by which the face of a beautiful young man is written has softness, sophistication and smoothness of lines. A beautiful, dreamy face looks calmly and somewhat sadly from the portrait. Huge lively brown eyes attract the viewer's eye, and the impression of silent communication with the character is created. Calm brown tones emphasize the softness of the shape of the face and the tenderness of youthful cheeks.
10
Madonna and Child (1500)
Perugino, like other Italian artists, very often turned to the image of the Virgin Mary (Madonna). The painting "Madonna and Child" depicts a classic plot - the image of a young mother and her son Jesus. The divinity of the images is confirmed by the golden shining halo above their heads. Maria's red dress stands out clearly against the backdrop of an exquisite blue cloak, which the master decorated with a delicate and graceful gold pattern. There are several similar images. The baby’s pose is classic for that time - he sits on his knee near his mother, his head turned to the side. The images are distinguished by extraordinary grace and beauty. Facial expression is dreamy and calm.
11
The Betrothal of Mary (1500–1504)
An interesting story of this picture and its double from Raphael. Perugino wrote The Betrothal in his traditional painting style. This painting inspired Raphael, and in 1504 he created The Betrothal of Mary in almost the same manner and using the same composition. For a layman to visually distinguish between authorship, these two works are very difficult.
Perugino used the same landscape and the same composition in his painting as in his fresco in the Sistine Chapel, “Handing the Keys by Christ to the Apostle Peter”. A crowd of people gathered in the square in front of the basilica, in the center of which the betrothal of the Virgin Mary and Joseph takes place. Perugino slightly cut the dome of the basilica from above, and Raphael portrayed it as a whole. At Perugino, the cathedral is close to the crowd, as if hanging over it. Raphael enlarged the space and made the landscape more airy. But the general composition, the style of depicting people, the softness of the oval faces, the elegance of poses Rafael almost exactly repeated, like Perugino. Rafael greatly appreciated his teacher and for a very long time kept his magical style in his works. The editors of most-beauty.ru asks you to write which of the paintings do you like more? Painting by Raphael or Perugino?
12
Vision of St. Bernard (1494)
Perugino depicts a vision of the Blessed Virgin Mary to the Rev. Bernard of Clairvaux (1090–1153), the founder of the Cistercian order.
The work was commissioned for the Nasi family chapel in the then Cistercian church of Santa Maria Maddalena di Sestello in Florence. It was one of the most important altars in the church. Then the church was known as Santa Maria Maddalena delle Convertit. After the canonization of Maria Maddalena de Pazzi in 1669, she was dedicated to the Florentine Carmelite saint, whose order had taken control of the complex by that time.
Maria appears in ordinary clothes. In addition to St. Bernard and the Virgin, other figures represent angels and saints. Everything except ghosting seems ordinary people. Behind Mary are two angels. One of the angels looks at the viewer, a classic example of how the viewer is interested in the image. Behind Saint Bernard are Saints Bartholomew and Philip. Furnishings: a monastery, supposedly Cistercian. Landscape of Umbria, the birthplace of Perugino. The monastery is framed by Gothic arches and columns. Everything is in classical harmony.
Despite the monumentality of the work, the image is not static. Mary moves forward. She points to Saint Bernard. And he is clearly amazed at what he saw.
Colors are vibrant and vibrant, but quiet.
13
Mourning of Christ (1495)
According to Wikipedia, this is one of the most recognizable and popular paintings of Perugino. The body of Christ, taken from the cross, lies over a white veil, supported by Nicodemus on the left and Joseph of Arimatheaus, who wears an unusual fabric hat decorated with flowers. Virgin Mary, putting on a veil over her head and a cross, covering her neck in the style of a monastic dress, looks at her dead son with Mary Magdalene, who is behind them. The identity of the other characters is not precisely defined, although the young apostle with the red cloak on the right can be identified as John the Theologian. Despite the fact that they are represented in different ways, each figure is a participant in a sad event, including a worshiper, who stops to pray. The melancholy of the composition is emphasized by the evening light and the emotional landscape of the rolling hills.
Coming from the church of the monastery of St. Chiara in Florence, Perugino created a work in Florence at the peak of his career. The eternal beauty of the figures and the perfection that comes from his work brought him the epithet "Divine Artist", the name that he was given by Giovanni Santi, the father of his student Rafael.
Afterword
A magnificent portrait painter, master of large multi-figure compositions, Perugino was famous far beyond Italy. Many Italian artists studied in his workshop. His work influenced the formation of the great Raphael. Having lived a long fruitful life, Perugino left a huge legacy that even today delights our contemporaries.
A few more works by Pietro Perugino:
Portrait of Lorenzo di Credi (1488)
Dead Christ with Joseph of Arimathea and Nicodemus (1498)
Madonna in Glory with the Baby and the Saints (1500)
The struggle of love and chastity (1503–1505)
Archangel Raphael and Tobiah (1505)
Polyptych of the Annunziate (1507)
Transfiguration (1517)
With this, our short list of beautiful and popular works by Pietro Perugino came to an end. The editors of most-beauty are waiting for your comments. What murals or paintings of Perugino do you like most?