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他生于Benozzo di冒犯村里的桑特'Ilario1 Colombano1421摆布 。他和他的家人,包括画家弗朗西斯科,Gerolamo,Alesso di Benozzo,弗洛伦斯在1427年。根据16世纪意大利的传记作家Giorgio Vasari高宙在他职业生涯的初期 的先生 和助手福拉。安吉利柯。的1 些作品的修道院圣马可佛罗伦萨被处决后Gozzoli福拉。安吉利柯的设计。
两头 的国王,麦琪教堂的宫殿Medici-Riccardi,弗洛伦斯,1459 - 1461。
在1444 - 1447年他一同 合作吉贝尔蒂所雕刻和他的车间的天堂的大门Battistero di San Giovanni。1447年5月23日,Gozzoli与福拉。安吉利柯在罗马在那里,他们被教皇尤金四世开展壁画装潢 的教堂梵蒂冈宫。后来两人不断 工作到1448年6月清唱Niccolina为尼古拉斯5 世。从1449年日期麦当娜和孩子在教堂的旗帜圣玛丽亚sopra密涅瓦,或许 由Angelico设计。他也履行 ,在罗马圣玛丽亚在Aracoeli,1 个壁画圣安东尼和两个天使。与Angelico Benozzo最初 的合作的金库大教堂di奥维多在翁布里亚.
1449年,他离开Angelico,搬到翁布里亚。从1450年是1 个报喜Narni签署了含油率[S]这[我]德弗洛伦特·[IA]。修道院的圣Fortunato近了并已,他画了1 个麦当娜和孩子与圣徒和天使,和三个其他作品。其中之1 ,代表圣托马斯接收的祭坛的装潢 品腰带的处女,如今 拉特兰宫博物馆并显示的亲和力Benozzo Angelico的初期 的风格。
三位智者,麦琪教堂的宫殿Medici-Riccardi,弗洛伦斯,1459 - 1461。
他1 个画美国弗朗西斯科的修道院,并填充三个寄存器的教堂唱诗班的生活阿西西的圣方济各种配件,包括肖像的首脑但丁,彼特拉克和乔托。这项工作是在1452年完成,仍被Angelico的风格,交叉着更明显Giottesque的影响力。[3]在相反 的教堂,教堂的圣杰罗姆,是1 个幅Gozzoli圣母和圣徒,受难和其他科目。
他仍然在绘制并(在1 个区间Viterbo)可能直到1456年,使用码头安东尼奥Mezzastris作为助理。那里他去佩鲁贾,画在1 个教堂的圣母和圣徒如今 在当地的学院
不久以后 他回到他的家乡城市佛罗伦萨,十5 世纪艺术活动的中心。在1459年至1461年之间,Gozzoli画可能被认为是他最重要的工作:东方三博士的壁画麦琪教堂的宫殿Medici-Riccardi麦琪的旅程到伯利恒,在论坛,1 篇作文的天使在天堂。Gozzoli合并的肖像美第奇家人到他的壁画《三圣贤之旅》。队伍Gozzoli还包括他的自画像,他的名字写在他的帽子的边缘。他1461年圣母子与圣徒伦敦国家美术馆,也属于这个时期留在佛罗伦萨。
1464年Gozzoli离开佛罗伦萨圣Gimignano,履行 1 些广泛的作品;在桑特达的教堂,圣塞巴斯蒂安的组合保护城市的瘟疫,1464;在全部 教会的唱诗班,三重的场景从圣奥古斯汀的传说,从他进入学校的时候Tegaste葬礼,十七岁首席学科和1 些配件;在片迪圣吉米亚诺塞巴斯蒂安的殉难,和其他科目,进1 步在城市及其附近工作。他的风格结合的东西菲利普·里皮与本来 的元素,和他合作了精确 地d 'Andrea.
从圣弗朗西斯的生活场景,Complesso museale迪圣弗朗西斯科并已,1452年
他住在这个城市,直到1467年,并于1469年开始了巨大的壁画系列画作的坟地比萨他的名字是专门确认。有24个主题的基督教的《旧约全书》诺亚,从酒的发明的访问的示巴女王来所罗门。他简约画三个科目每年大约10金币。不过看起来,本合同并不严厉 遵照 ,对绘画的实际利率是在两年内只要 三个图片。或许 大大量的数据和配件被接受作为1 个断开的速度较慢,生产。
1470年1月,他履行 的壁画诺亚和他的家人,其次是火腿、诅咒建筑的巴别塔(其中包含的画像关于柯西莫•德•美第奇,年轻的洛伦佐,安吉洛Poliziano和其他人)的破坏所多玛亚伯拉罕的胜利,丽贝卡的婚姻和瑞秋,摩西的生命等等。在清唱Ammannati,面对大门的坟地,他还画1 个来拜》,似乎本身 的1 幅画像。
所有这些巨大的质量工作,Benozzo可能是协助下Zanobi马基雅弗利履行 ,除了其他几个在Pisa期间(包括照片的荣耀圣托马斯阿奎那,如今 在卢浮宫),在十六年,持续到1485年。这是最新的日期可以确定从他的手被分配到任何工作。Gozzoli死于皮斯托亚1497年,或许 瘟疫。
1478年急当局给了他,作为1 个令牌的方面,公墓的墓穴。他同样1 个本身 的房子在比萨,佛罗伦萨和房屋和土地。
He was born Benozzo di Lese in the village of Sant'Ilario a Colombano around 1421. He moved with his family, including the painters Francesco, Gerolamo, andAlesso di Benozzo, to Florence in 1427. According to the 16th century Italian biographer Giorgio Vasari, Benozzo Gozzoli was in the early part of his career a pupil and assistant of Fra Angelico. Some of the works in the convent of San Marcoof Florence were executed by Gozzoli after Fra Angelico's designs.
In 1444-1447 he collaborated with Lorenzo Ghiberti and his workshop on the Paradise Doors of the Battistero di San Giovanni. On May 23, 1447 Gozzoli was with Fra Angelicoin Rome, to where they were called by Pope Eugene IV to carry out the fresco decoration of a chapel in the Vatican Palace. Later the pair worked until June 1448 in theCappella Niccolina for Nicholas V. From 1449 dates a banner with Madonna and Child in the church of Santa Maria sopra Minerva, perhaps designed by Angelico. In Rome he executed also, in Santa Maria in Aracoeli, a fresco of St Anthony and Two Angels. Benozzo's last collaboration with Angelico is the vault of the Duomo di Orvieto inUmbria.
In 1449 he left Angelico, and moved to Umbria. From 1450 is an Annunciation in Narni, signed OPU[S] BENOT[I] DE FLORENT[IA]. In the monastery of San Fortunato, nearMontefalco, he painted a Madonna and Child with Saints and Angels, and three other works. One of these, the altarpiece representing St Thomas receiving the Girdle of the Virgin, is now in the Lateran Museum and shows the affinity of Benozzo's early style to Angelico's.
He next painted in the monastery of S. Francesco, Montefalco, filling the choir chapel with three registers of episodes from the life of the St Francis of Assisi, with various accessories, including portrait heads of Dante,Petrarch and Giotto. This work was completed in 1452, and is still marked by the style of Angelico, crossed here and there with a more distinctly Giottesque influence.[3] In the same church, in the chapel of Saint Jerome, is a fresco by Gozzoli of the Virgin and Saints, the Crucifixion and other subjects.
He remained at Montefalco (with an interval at Viterbo) probably till 1456, employing Pier Antonio Mezzastris as assistant. Thence he went to Perugia, and painted in a church a Virgin and Saints that is now in the local academy.
Soon afterwards he returned to his native city Florence, the epicenter of Quattrocento art. Between 1459 and 1461, Gozzoli painted what may be considered his most important work: his frescoes of the Magi in the Magi Chapel of the Palazzo Medici-Riccardi, the Journey of the Magi to Bethlehem, and in the tribune, a composition of Angels in Paradise. Gozzoli incorporated portraits of the Medici family into his fresco The Journey of the Magi. Gozzoli also included his self-portrait in the procession, with his name written around the rim of his cap. HisVirgin and Child with Saints of 1461, in the National Gallery, London, belongs also to the period of this stay in Florence.[4][5]
In 1464 Gozzoli left Florence for San Gimignano, where he executed some extensive works; in the church of Sant'Agostino, a composition of St. Sebastian protecting the City from the Plague of this same year, 1464; over the entire choir of the church, a triple course of scenes from the legends of St Augustine, from the time of his entering the school of Tegaste on to his burial, seventeen chief subjects, with some accessories; in the Pieve di San Gimignano, the Martyrdom of Sebastian, and other subjects, and some further works in the city and its vicinity. Here his style combined something of Filippo Lippi with its original elements, and he received co-operation from Giusto d'Andrea.
He stayed in this city till 1467, and in 1469 began the vast series of mural paintings in the Campo Santo of Pisa with which his name is specially identified. There are twenty-four subjects from the Old Testament, from theInvention of Wine by Noah to the Visit of the Queen of Sheba to Solomon. He contracted to paint three subjects per year for about ten ducats each. It appears, however, that this contract was not strictly adhered to, for the actual rate of painting was only three pictures in two years. Perhaps the great multitude of figures and accessories was accepted as a set-off against the slower rate of production.
By January 1470 he had executed the fresco of Noah and his Family, followed by the Curse of Ham, the Building of the Tower of Babel (which contains portraits of Cosimo de' Medici, the young Lorenzo, Angelo Poliziano and others), the Destruction of Sodom, the Victory of Abraham, the Marriages of Rebecca and of Rachel, the Life of Moses, etc. In the Cappella Ammannati, facing a gate of the Campo Santo, he painted also an Adoration of the Magi, wherein appears a portrait of himself.
All this enormous mass of work, in which Benozzo was probably assisted byZanobi Macchiavelli, was performed, in addition to several other pictures during his stay in Pisa (including the Glory ofSt. Thomas Aquinas, now in the Louvre), in sixteen years, lasting up to 1485. This is the latest date which can with certainty be assigned to any work from his hand. Gozzoli died in Pistoia in 1497, perhaps of a pestilence.
In 1478 the Pisan authorities had given him, as a token of their regard, a tomb in the Campo Santo. He had likewise a house of his own in Pisa, and houses and land in Florence
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