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Vitale da Bologna
Vitale d Aimo de Cavalli [originally]
Vidolino delle Madonne
Vitale delle Madonne
(c.1309 -1360)
оЕПЕИРХ Б юПР-ЦЮКЕПЕЧ Vitale da Bologna
Biography
(b. before 1309; d. between 1359 and 1361). Italian painter.
The earliest documentary references to Vitale concern S Francesco, Bologna,
where he was paid for decorating a chapel in 1330 and where he witnessed deeds
in 1334. He was probably born before 1309, since he would have been at least 25
to act as a witness. The earliest works attributed to him are the frescoes of
standing saints and Abraham and the Blessed Souls (Bologna, S Martino), which
show a strong Riminese influence in the cool, wine-red and olive tones and lean,
high-cheeked faces. Vitale's work continued to reflect Riminese iconography and
features, particularly the vivid characterizations associated with Pietro da
Rimini, but his style became less dependent upon these sources. He was paid for
paintings in a chapel and the guests' refectory of S Francesco in 1340. The Last
Supper from the refectory (detached; Bologna, Pin. N.) retains the cool pinks
and rows of standing saints of the S Martino frescoes, but the modelling of the
figures is richer and more expressive. The long table and symmetrical
architecture are inspired by Giotto's frescoes in the Bardi Chapel, Santa Croce,
Florence, and the radical transformation in Vitale's style, which set him apart
from his Bolognese contemporaries, was partly due to Giotto's influence. Above
all, however, his style was influenced by the Master of the Triumph of Death at
Pisa. The lively gestures, the loose modelling and lime-green and vermilion
palette of Bolognese illuminators, particularly the Illustratore, also began to
influence Vitale. Bolognese illumination provided a repertory of genre
observation that undoubtedly affected his wide range of iconographic innovations.
These varied influences can be seen in the uneven but lively quality of the
Crucifixion (c. 1335-40; Philadelphia, PA, Mus. A.). Vitale's work is also often
compared to that of Sienese painters. There is no substantial evidence of direct
influence but his use of dramatic facial types reminiscent of Pietro Lorenzetti
and a decorative richness akin to Simone Martini's painting suggest that he knew
their work. |
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