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Dintre toate originalele lăsate de Lo Scheggia, cea mai faimoasă este Portrait of a Lady (1460), din colecția Philadelphia Museum of Art, Philadelphia. Imediat după acestea urmează Game of Civettino (detail) (1450) și Virgin and Child Enthroned with Saints Anthony Abbot and Julian and a Donor (1430). Catalogul nostru cuprinde 29 lucrări ale lui Lo Scheggia; galeria a păstrat cele 26 pe care lumea le admiră cel mai mult, fiecare fiind prezentată împreună cu data, muzeul și povestea sa.
A single subject is captured in profile, facing left against a deep, monochromatic background. This stark contrast emphasizes the luminosity of her pale complexion and the delicate strands of her blonde hair. The composition focuses entirely on the subject's features and attire, utilizing a classic profile view that provides a shallow depth. Her gaze is fixed toward the distance, lending an air of dignity and restraint to her posture.
In this detail from the 1450 work, we observe a moment of youthful rivalry. The scene depicts two infants engaged in a playful wrestling match, a depiction of childhood play captured with remarkable immediacy. Rather than a scene of conflict, the interaction suggests the innocent struggle for dominance often found in early childhood. The figures are set within a composition that includes onlookers and a sense of a lived environment,…
The air within the frame feels heavy with a quiet, luminous stillness. At the center of this sacred assembly, the Virgin Mary sits upon a throne, her presence commanding yet gentle. She holds the Christ Child, whose small form radiates a soft light against the deep blues of her robes. Surrounding them, the saints emerge from a background of shimmering gold leaf, their figures caught in a moment of eternal…
The painting titled Saint Anthony Abbot Tempted by Gold is a work by the Italian artist Giovanni di ser Giovanni Guidi, who is also known by the name Lo Scheggia. This tempera on panel work dates to the mid-15th century. The subject matter focuses on the figure of Saint Anthony Abbot, who is depicted with a golden halo. The saint holds a red book and a staff in his hands.
The painting titled Madonna and Child with two Angels is a work by the Florentine artist Giovanni di ser Giovanni Guidi. Created about 1450, the panel captures a quiet moment of divine presence. The figures are centered in a tight, vertical arrangement, held within a space of gold and deep ultramarine blue. This composition focuses on the Virgin Mary as she holds the Christ Child, flanked by two celestial beings.
The wood bears the weight of centuries, its surface etched with fine cracks that trace the passage of time. These three panels, once part of a wedding cassone, carry the quiet gravity of the Quattrocento. Tempera on wood, the medium allows for a precise, linear clarity that defines every movement. A ceremonial procession moves across the top panel, a frieze of horses and carriages winding through a landscape of architectural…
A horizontal frieze of movement unfolds across the panel. A Roman general sits within a raised golden chariot, a singular point of stillness amidst a rhythmic surge of soldiers. The landscape stretches toward distant, rolling hills and pale skies, creating a sense of immense scale. Beneath the chariot, the terrain is rendered in earthy ochres and browns, while the sky holds a deep, quiet blue. The composition relies on a…
The Seven Liberal Arts is an allegorical painting by Giovanni di Ser Giovanni Guidi. Created around 1460, this work offers a structured look into the intellectual disciplines of the Renaissance. The artist, who was also known as Lo Scheggia, approached the subject with a specific sense of order and decorative intent. Each figure within the composition represents a particular branch of knowledge, arranged in a rhythmic, architectural sequence.
The work is organized as a long, horizontal frieze-like arrangement, guiding the eye across a crowded procession. Numerous figures, horses, and animals move steadily from left to right through a landscape. This movement creates a sense of continuous narrative, as if we are witnessing a single moment of a historical or allegorical triumphal procession. The perspective remains somewhat flattened, a characteristic approach for the mid-15th century, yet the artist achieves…
The work known as Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy, was executed by Giovanni di ser Giovanni Guidi. This artist, often referred to by the nickname Lo Scheggia, was born in San Giovanni Valdarno, Italy, and remained connected to this region throughout his life until his death in 1486. His presence in the Florentine Renaissance is often noted through his relationship to his brother, Masaccio, though his…
Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy1457
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Virgin with child1506 · Musée Fabre
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Saint Bernardino of Siena Preaching1600 · Birmingham Museum of Art
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Game of Civettino (a Birth Salver)1450 · Museo di Palazzo Davanzati
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King Brennus of Gaul captures the city of Rome; Marcus Furius Camillus expels King Brennus from Rome1450 · Yale University Art Gallery
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Game of Civettino (a Birth Salver)1450 · Museo di Palazzo Davanzati
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Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy1457
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Battle Scene1460 · J. Paul Getty Museum
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Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy1457
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Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy1457
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Virgin and ChildMuzeul de Artă Plastică din Boston
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The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families
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Triumph of Fame (a Birth Salver)1449 · Metropolitan Museum of Art
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Reclining YouthMusée du Petit Palais
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Madonna and Child Enthroned
26
Cassone Adimari1450 · Galleria dell'Accademia di Firenze
Cele patru teme care revin cel mai des în aceste opere originale, fiecare având cel mai sublim exemplu.
Cele 8 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Lo Scheggia | Picturi din această listă |
|---|---|---|---|
 Museo di Palazzo Davanzati |
Florence | 3 | Game of Civettino (detail), Game of Civettino (a Birth Salver), Game of Civettino (a Birth Salver) |
 Birmingham Museum of Art |
Birmingham | 2 | Saint Anthony Abbot Tempted by Gold, Saint Bernardino of Siena Preaching |
 Musée du Petit Palais |
Avignon | 2 | Madonna and Child with two Angels, Reclining Youth |
 Philadelphia Museum of Art |
Philadelphia | 1 | Portrait of a Lady |
 Courtauld Gallery |
Londra | 1 | Virgin and Child Enthroned with Saints Anthony Abbot and Julian and a Donor |
 Scottish National Gallery |
Edinburgh | 1 | The Triumph of a Roman General |
 Museu Nacional d'Art de Catalunya |
Barcelona | 1 | The Seven Liberal Arts |
 New York Historical Society |
New York City | 1 | Triumph of Julius Caesar |
Alege o deceniu pentru a descoperi opera originală care îl definește.
The air within the frame feels heavy with a quiet, luminous stillness. At the center of this sacred assembly, the Virgin Mary sits upon a throne, her presence commanding yet gentle. She holds the Christ Child, whose small form radiates a soft light against the deep blues of her robes. Surrounding them, the saints emerge from a background of shimmering gold leaf, their figures caught in a moment of eternal…
WahooArt.com presents a meticulously hand-painted reproduction of “Triumph of Fame (a Birth Salver),” a captivating work by Filippo Lippi, completed in 1449. This evocative painting, measuring 93 x 93 cm, offers a rare glimpse into the artistic sensibilities of a Renaissance rebel – a man whose life and art were as complex and compelling as his brushstrokes.
In this detail from the 1450 work, we observe a moment of youthful rivalry. The scene depicts two infants engaged in a playful wrestling match, a depiction of childhood play captured with remarkable immediacy. Rather than a scene of conflict, the interaction suggests the innocent struggle for dominance often found in early childhood. The figures are set within a composition that includes onlookers and a sense of a lived environment,…
A single subject is captured in profile, facing left against a deep, monochromatic background. This stark contrast emphasizes the luminosity of her pale complexion and the delicate strands of her blonde hair. The composition focuses entirely on the subject's features and attire, utilizing a classic profile view that provides a shallow depth. Her gaze is fixed toward the distance, lending an air of dignity and restraint to her posture.
Portrait of a Lady (1460), Philadelphia Museum of Art, Philadelphia. Urmează Game of Civettino (detail) (1450) și Virgin and Child Enthroned with Saints Anthony Abbot and Julian and a Donor (1430).
54 ani: Portrait of a Lady datează din 1460, iar Lo Scheggia s-a născut în 1406.
Portrait of a Lady, Game of Civettino (detail), Virgin and Child Enthroned with Saints Anthony Abbot and Julian and a Donor, Saint Anthony Abbot Tempted by Gold, Madonna and Child with two Angels, Three panels adorning a Wedding Cassone, The Triumph of a Roman General, The Seven Liberal Arts, Triumph of Julius Caesar și Church of San Lorenzo (San Giovanni Valdarno), Toscana, Italy. Clasamentul de mai sus indică anul și muzeul pentru fiecare piesă.
Catalogul nostru cuprinde 29 lucrări ale lui Lo Scheggia, datate între 1430 și 1467.
În principal în Museo di Palazzo Davanzati (Florence), Birmingham Museum of Art (Birmingham) și Musée du Petit Palais (Avignon). Tabelul cu muzee de mai sus le enumeră pe toate.
În 1450s: 12 dintre cele 26 lucrări de pe această pagină au fost realizate atunci, fiind Game of Civettino (detail) dintre acestea.
Pe această pagină, cea mai veche lucrare datează din Virgin and Child Enthroned with Saints Anthony Abbot and Julian and a Donor (1430), iar cea mai recentă este din Three panels adorning a Wedding Cassone (1467).
Woman (6), Architecture (5) și People (4), din cele 26 lucrări de pe această pagină.
Tempera On Panel, pentru 12 dintre cele 26 lucrări de pe această pagină.
Early renaissance, judecând după originalele de pe această pagină.
Game of Civettino (detail), Game of Civettino (a Birth Salver) și Game of Civettino (a Birth Salver): Museo di Palazzo Davanzati, Florence deține 3 dintre lucrările de pe această pagină.
In the grand, sun-drenched tapestry of the Florentine Renaissance, certain names shine with a revolutionary brilliance that alters the course of art history forever. While his brother Masaccio is celebrated as the pioneer of groundbreaking realism, Giovanni di Ser Giovanni—affectionately known to history as Lo Scheggia, or "the splinter"—carved out a legacy defined by a different, more delicate kind of mastery. Born in San Giovanni Valdarno, Italy, he was part of a family deeply rooted in the artistic traditions of Tuscany, an environment that nurtured his innate talent for visual storytelling and intricate craftsmanship.
The nickname Lo Scheggia likely derived from his slender build, but it also perhaps alluded to his specialized relationship with wooden artifacts. His grandfather, Mone, was a cassaio—a craftsman specializing in the construction of chests—and this heritage profoundly influenced Giovanni’s artistic path. Rather than pursuing the visceral, muscular drama seen in the works of his brother, Lo Scheggia found his calling in the decoration of domestic furnishings, such as wedding chests, birth trays, and spalliera panels.
The journey of this Florentine master began in earnest when he moved to the heart of the Renaissance. His early years were shaped by rigorous discipline within the workshop of Lorenzo Bicci, an artist still bound to more traditional stylistic features that lacked the modern sophistication of the International Gothic or the emerging perspective approaches. Seeking greater innovation, Giovanni eventually moved to the workshop of his brother, Masaccio, living alongside him and their mother in Via de’ Servi.
Despite the monumental shadow cast by his brother's revolution, Lo Scheggia demonstrated a remarkable sense of artistic integrity. In 1428, he famously declined to inherit Masaccio's estate, a decision that suggests a man deeply committed to forging his own creative identity. His work represents a realm of quieter elegance, where meticulous detail and profound spiritual contemplation reign supreme, stepping away from the heavy realism of his brother to embrace a more graceful, decorative aesthetic.
Lo Scheggia’s technical prowess is most evident in his ability to manipulate tempera paint to create depth and luminosity. His works often feature a meticulous attention to detail that draws the viewer into an intimate, almost private world. One of his most captivating achievements is the Game of Civettino (a Birth Salvor), painted around 1450. This circular painting, executed in tempera on gessoed panel, captures a poignant window into the burgeoning artistic sensibilities of the Early Renaissance through its depiction of two infants engaged in a playful wrestling match.
His ability to blend decorative richness with symbolic depth is further showcased in his commissions for the most powerful families of the era. His work on the Triumph of Fame, part of a large birth tray commissioned for the birth of Lorenzo de’ Medici, illustrates his skill in navigating the complex heraldry and allegorical language of the time. Through the use of muted golds, browns, and ochres, Lo Scheggia created compositions that were both visually captivating and deeply embedded in the social and familial narratives of Renaissance Florence.
