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Six Angels

6 parts 1 The artwork2 In context3 About this artwork4 Artist and museum5 Look closely6 Art quiz

Vardas ir pavardė Klasė Data
Jacopo di Cione, Six Angels (1365), Metropolitano muziejus. Viešasis domenas

Pagrindinė informacija

Autorius
Jacopo di Cione originaluniqueart.com/lt/artists/jacopo-di-cione/
Autoriaus datys
1325 – 1399
Spalvotas
1365
Mediumas
Acrylic On Canvas
Originalus dydis
25 x 10 cm
Judėjimas
Florentine Gothic
Viešintas
Metropolitano muziejus originaluniqueart.com/lt/museums/metropolitano-muziejus-new-york_lt/

In context

Six Angels — Jacopo di Cione

How big is it?

The original measures 25 × 10 cm (height × width), drawn here beside an adult of average height.

Kada tai buvo nupiesta?

  1. 1320
  2. 1330
  3. 1340
  4. 1350
  5. 1360
  6. 1370
  7. 1380
  8. 1390

Šviesoplėvis: Jacopo di Cione gyvenimas (1325–1399) ▲ šis kūrinys, 1365

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Daugiau šiam kūriniui priderančių darbų: originaluniqueart.com/lt/art/similar/jacopo-di-cione-six-angels-D2VLX3-en/

Spalvų paletė

Matuota iš vaizdo

    Pagrindinė spalva

    Putty #dfcca3

    Išsaugota paletė

    • #DFCCA3
    • #C69D5E
    • #694D34
    • #A5693D
    Paletė
    Dark Dominiruojanti spalvų grupė paveikslėlyje.
    Pagrindinė spalva
    Putty
    Intensyvumas
    Vivid Kiek spalvų yra prisigamintų ir kokios jos yra ryškios – nuo vienos nuolydžios spalvos iki daugybės ryškių tonų.
    Kontrastas
    Gentle Kiek spalvų skiriasi šviesos ir ryškumo dėkingai per visą paveikslą.
    Harmonija
    Strong Color Unity Kaip spalvos dera tarpusavyje – nuo kontrastuojančių iki visiškai suvienytų.
    Ryškumas
    Bright Bendras vaizdo šviesumas ar tamsumas, nuo gilių šešėlių iki ryškių šviesos dėliojų.
    Sodrumas
    Clear Color Presence Spalvų gryrumas ir intensyvumas svyruoja nuo beveik pilkšų iki visiškai ryškių.

    Apie šį kūrinį

    Six Angels — Jacopo di Cione

    Notes on this work

    Written for this guide from published sources. The catalogue record itself is on the first part of this guide.

    Artistic style
    Florentine Gothic
    Influences
    Orcagna, Nardo di Cione
    Notable elements
    Pilasters, Crucifixion frame
    Subject or theme
    Religious figures

    A Fragment of Paradise: Unveiling Jacopo di Cione’s Six Angels

    The series of six angels, a captivating ensemble from the Florentine master Jacopo di Cione (c. 1325 – c. 1399), offers a glimpse into the vibrant artistic landscape of late medieval Italy. More than mere decorative elements, these figures—mounted within the frame of a panel depicting the Crucifixion—represent a poignant intersection of religious devotion and architectural ambition. Originally conceived as pilasters adorning an altarpiece for Santa Maria degli Angeli in Florence, their current arrangement, a carefully considered reconfiguration by a 19th-century collector, speaks to the enduring power of artistic adaptation and the layered history embedded within each brushstroke.

    Dating back to approximately 1365, the painting’s genesis lies within the ambitious project of transforming the chapel dedicated to Ognissanti. This chapel, funded by Ser Francesco di Ser Berto degli Albizzi, was intended as a testament to piety and artistic patronage—a space designed to inspire awe and reverence. The altarpiece itself, a complex composition featuring the Crucifixion at its heart, served as the focal point of this endeavor. The angels, initially conceived as integral components of the altarpiece’s structure, were thus inextricably linked to the narrative of sacrifice and redemption.

    A Symphony of Tempera on Wood

    Jacopo di Cione's masterful technique is immediately apparent in the delicate execution of these angelic figures. Painted in tempera on wood, a medium favored for its luminosity and ability to achieve rich, vibrant colors, the angels possess an ethereal quality. The use of gold leaf—evident in the panel’s frame—further enhances this sense of otherworldly beauty, elevating the scene beyond the earthly realm. The artist's meticulous attention to detail is particularly striking in the rendering of their drapery, which flows with a graceful fluidity, suggesting both movement and serenity.

    Notably, the composition draws upon the stylistic conventions of Florentine Gothic art, characterized by its elegance, naturalism, and expressive emotionality. Jacopo’s work reflects the influence of his family—Andrea di Cione (Orcagna), Nardo, and Matteo di Cione—all renowned for their collaborative efforts and shared aesthetic sensibilities. The brothers' legacy is evident in the harmonious balance between form and content, a hallmark of Florentine Gothic art.

    Symbolism and Spiritual Resonance

    Each angel within the series embodies specific attributes associated with divine messengers. Their gestures—clasped hands, uplifted arms—evoke a sense of prayerful devotion and communication with the heavens. The crowns adorning their heads signify their elevated status as celestial beings, while their serene expressions convey an aura of peace and wisdom. The grouping itself suggests a chorus of angels attending to the suffering Christ, offering solace and support in his earthly ordeal.

    Furthermore, the placement of the angels within the frame of the Crucifixion panel underscores the central theme of redemption. They serve as witnesses to the sacrifice of Christ, reminding viewers of the promise of salvation offered through faith. The entire composition becomes a meditation on themes of grace, mercy, and divine love—a powerful testament to the enduring power of religious art.

    A Legacy in Reproduction

    Today, these Six Angels exist not only as original works of art but also as meticulously crafted reproductions, offering an accessible pathway to experience Jacopo di Cione’s genius. WahooArt.com proudly presents high-quality hand-painted reproductions that faithfully capture the essence and beauty of this remarkable series. Whether adorning a private residence or gracing a public space, these reproductions serve as a timeless reminder of the enduring legacy of Florentine Gothic art—a celebration of faith, artistry, and the profound mysteries of the human spirit.

    Virus ir muziejus

    Six Angels — Jacopo di Cione

    Autorius

    Jacopo di Cione

    Born in Florence, Italy

    Jacopo di Cione: A Florentine Gothic Pioneer

    Jacopo di Cione (c. 1325 – c. 1399) stands as a cornerstone of Florentine Gothic art, embodying the spirit of innovation and collaboration that characterized the burgeoning Renaissance era. Born in Florence sometime between 1320 and 1330, he emerged from a family deeply rooted in artistic tradition—his three elder brothers, Andrea di Cione (Orcagna), Nardo di Cione, and Matteo di Cione—were themselves accomplished painters, establishing a lineage of creative excellence. This familial connection profoundly shaped Jacopo’s artistic trajectory, fostering an environment where experimentation and collaborative endeavors thrived.

    Early Life & Family Legacy: The Di Cione brothers were renowned for their meticulous craftsmanship and stylistic unity, reflecting the prevailing aesthetic sensibilities of their time. Their father, Giovanni di Cione, was a sculptor who instilled in his sons a passion for artistic pursuits, ensuring that Florentine art would continue to flourish through generations.

    Guild Membership & Artistic Development: Jacopo’s involvement with the Arte dei Medici e Speziali in 1369 marked a pivotal moment in his career, solidifying his position within Florence's artistic community and providing access to influential patrons.

    Muziejus

    Metropolitano muziejus

    On show in New York, United States of America

    Metropolitano meno muziejus: Akmenį ir šviesą įamžinusios palikties tyrinėjimas

    Metropolitano meno muziejus – tai ne tik nuostabių daiktų saugykla, bet ir žmogaus kūrybiškumo plėtojimo istorija, amžių nubrauktas liudijimas apie mūsų nesiliaujamą norą forminti, interpretuoti ir išreikšti pasaulį aplink mus. 1870 metais jį įkūrė vizionieriški Niujorkiečiai, kurie tikėjo, kad menas turėtų būti prieinamas visiems – tuo metu tai buvo revoliucinis sumanymas. Dabar Metropolitano muziejus yra vienas iš didžiausių ir visapusiškiausių muziejų pasaulyje. Jo Penktosios aveniu fasadas kviečia lankytojus į erdvę, kuri apima penkis tūkstantmečius ir begalę kultūrų, siūlantis neprilygiamą kelionę per laiką, kur senovės civilizacijų atgarsiai skamba šalia modernių meistrų drąsių naujovių.

    Monumentali architektūra ir atmosfera

    Norint tikrai įvertinti Metropolitano muziejų, reikia suprasti jo fizinę buvimo būdą kaip neatskirtamą dalį identiteto. Pagrindinis pastatas – puikiios Beaux-Arts stiliaus pavyzdys, baigtas tarp 1902 ir 1914 metų – iškvepia klasikinio didingumo aurą. Kolosalūs paminklai rėmia įėjimą, kviešdami lankytojus į erdves, kupinus natūralios šviesos; tai puiki scena meistrų kūriniams. Ši monumentali struktūra, specialiai sukurta kaip atgarsis Europos rūmų, atspindi jos architektų ambicijas ir viziją – sukuriant erdvę, kuri jaučiasi tiek įtakingai, tiek kviebiančiai.

    Kur skaityti daugiau

    Raskite internete

    QR kodas, vedantis į Six Angels atsisiuntimo puslapį

    originaluniqueart.com/lt/art/download/jacopo-di-cione-six-angels-D2VLX3-en/

    Citavimo šio kūrinio duomenys

    MLA
    Cione, Jacopo di. Six Angels. 1365, Metropolitano muziejus. https://originaluniqueart.com/lt/art/jacopo-di-cione-six-angels-D2VLX3-en/
    APA
    Cione, Jacopo di (1365). Six Angels [Painting]. Metropolitano muziejus. https://originaluniqueart.com/lt/art/jacopo-di-cione-six-angels-D2VLX3-en/
    Chicago
    Jacopo di Cione. Six Angels. 1365. Metropolitano muziejus. https://originaluniqueart.com/lt/art/jacopo-di-cione-six-angels-D2VLX3-en/
    Harvard
    Cione, Jacopo di (1365) Six Angels. Metropolitano muziejus. Available at: https://originaluniqueart.com/lt/art/jacopo-di-cione-six-angels-D2VLX3-en/

    Look closely

    Six Angels — Jacopo di Cione

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: angels, crucifixion, altarpiece. Do you agree? What would you add, or take away?
    4. Look back at The crucifixion, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Jacopo di Cione was about 40 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Karo testas

    Six Angels — Jacopo di Cione

    Kiek gerai pažįstate šį kūrinį?

    Pasirinkite po vieną atsakymą į kiekvieną iš 5 žemiau pateiktų klausimų. Kiekvienas turi tik vieną teisingą atsakymą.

    1. 1. What is the primary subject depicted in ‘Six Angels’?

      • A A depiction of the Crucifixion
      • B Fragments of an altarpiece featuring six angels
      • C A portrait of a wealthy Florentine family
    2. 2. According to the description, how was the original arrangement of the altarpiece altered?

      • A It remained unchanged since its initial creation.
      • B It was reconfigured by a 19th-century collector.
      • C It was destroyed during a war.
    3. 3. Which of the following best describes the historical context of ‘Six Angels’?

      • A A late Renaissance depiction of biblical scenes.
      • B An early example of Gothic art from Florence in the 14th century.
      • C A modern installation piece exploring themes of faith and loss.
    4. 4. What is the approximate date of creation for ‘Six Angels’?

      • A 15th Century
      • B 1365
      • C 1975
    5. 5. The image description highlights a specific visual element. What is this element?

      • A A detailed depiction of the Crucifixion.
      • B The use of gold leaf in the painting's background.
      • C The prominent figure of a woman wearing a crown.

    Mano rezultatas: ____ iš 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B · 5C