Shortly after completing his training as a painter, a young artist named Baccio della Porta met the charismatic Dominican Friar Giralamo Savonarola and was compelled to give up his artistic career and join Savonarola’s monastic order. Several years later in 1504, the young artist—now known as Fra (or Friar) Bartolommeo—returned to painting with a new, intensified spirituality.
That religious devotion is apparent in Bartolommeo’s The Nativity, created in 1506/07. This delicate rendition of the nativity scene features the Virgin humbly kneeling and looking upon her child, while Joseph assumes a pose of wonderment, as if newly aware of his son’s divine nature. A trio of angels floats above, while another pair of angels stands behind the holy family and seems to reflect on both the birth of Christ and on the piece of wood that’s visible just above the child’s head, which perhaps alludes to his eventual death.
To learn more about paintings, etchings, and illuminated manuscripts from the museum’s collection that focus on the Christmas story, join us on December 4 in Fullerton Hall at 12:00p.m. for a richly illustrated lecture. Free with museum admission.
Image Credit: Fra Bartolommeo (Baccio della Porta). The Nativity, 1506/07. The Art Institute of Chicago, Ethel T. Scarborough Fund; L. L. and A. S. Coburn, Dr. and Mrs. William Gilligan, Mr. and Mrs. Lester King, John and Josephine Louis, Samuel A. Marx, Alexander McKay, Chester D. Tripp, and Murray Vale endowment funds; restricted gift of Marilynn Alsdorf, Anne Searle Bent, David and Celia Hilliard, Alexandra and John Nichols, Mrs. Harold T. Martin, Mrs. George B. Young in memory of her husband, and the Rhoades Foundation; gift of John Bross and members of the Old Masters Society in memory of Louise Smith Bross; through prior gift of the George F. Harding, Mr. and Mrs. W. W. Kimball, Mr. and Mrs. Martin A. Ryerson, and Charles H. and Mary F. S. Worcester collections.
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THE MODERN CHAIR—http://bit.ly/2dD4Xy0
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