Neri di Bicci
Neri di Bicci entered the world in 1419 as the third link in a chain of artistic fathers. His grandfather Lorenzo di Bicci worked alongside Jacopo di Cione and Niccolò di Pietro Gerini during the early Renaissance. Lorenzo produced altarpieces for Empoli, frescoes for Florence, and small devotional panels for private homes across Italy. Neri's father Bicci surpassed even his own father in output volume and fame. The three men formed a lineage that began with Neri's grandfather and continued through him to his children. This family dynasty dominated Florentine painting for nearly a century before ending with Neri's death.
At age fifteen in 1434, Neri joined the Compagnia di San Luca, the official painters' confraternity of Florence. He spent his youth inside his father's workshop copying styles and learning techniques. His first documented work appeared in 1439 when he collaborated on a funerary monument for Luigi Marsili within Florence Cathedral. By 1440 he dated an Annunciation piece created jointly with his father at San Angelo a Legnaia. Independent commissions arrived by 1444 with a triptych for the Villani family chapel in Santissima Annunziata. That central panel now rests in Boston while side panels reside in Oberlin College and Florence's Accademia gallery.
Neri received a commission from Bartolomeo di Lucha Martini on the 6th of August 1456 for an altarpiece now hanging in Seattle's St James Cathedral. The painting features the Virgin and Child flanked by six saints including Luke Bartholomew Lawrence John Martin and Sebastian. A unique detail shows the infant Christ reaching into his mother's blouse suggesting a nursing Virgin. Another major project began the 7th of May 1471 when Mariotto della Palla ordered an altarpiece featuring three archangels. This work included Raphael Tobias Michael and Gabriel plus a small crucifixion scene below. Neri died in 1491 leaving behind payments recorded as eight bushels of grain delivered to Santa Maria Monticelli.
Art historians describe Neri as one of the last Giottoesque painters due to his continued use of gold grounds. His figures display long narrow eyes half covered by heavy eyelids with finely arched eyebrows and square nails. Robes appear thickly layered giving them a stiff metallic quality unlike softer contemporary fabrics. Before 1452 his works contained ornamental motifs and artistic freshness typical of a young creator. After that date he adopted Renaissance forms which eventually became tired and repetitive over decades. He painted identical subjects repeatedly changing only minor details like clothing while keeping character poses unchanged.
Cosimo Rosselli began his apprenticeship at age fourteen on the 4th of May 1453 inside Neri's studio. Giusto d'Andrea joined later in 1458 staying two years before entering the Compagnia di San Luca himself. Francesco Botticini signed a one-year contract but left after nine months in July 1460 following prior training from his father. The workshop produced more than fifty Madonna and child paintings plus seven Virgin with girdle versions. Demand grew so large that Neri rented a second space at Porta Rossa on the 22nd of November 1458 to accommodate expanding operations. His pupils included Stagio di Taddeo d'Antonio Dionigi d'Andrea and Giosuè di Santi among others.
A 189-page diary known as the Ricordanze spans from the 10th of March 1453 until the 24th of April 1475. This document remains the most extensive record of any fifteenth-century painter preserved today within the Uffizi library. It lists commissions prices dimensions techniques colors frame styles scenes depicted and patron social status. Historians rely on these pages to identify works even those currently lost or unlocated. The surviving volume labeled D references earlier diaries C and B while recording daily business activities. Payments ranged from cash to grain deliveries reflecting the diverse economy of Renaissance Florence.
Neri died in 1491 buried within Saint Mary of Carmine church leaving no artist children behind. His four sons and two daughters entered mercantile trades ending the family's artistic dynasty immediately. Giorgio Vasari confusedly described Neri as Lorenzo's second son making him brother to Bicci rather than grandson. False attributions persisted until Domenico M Manni corrected them in his 1768 edition of Baldinucci's Notizie. Early twentieth century scholars like Bernard Berenson continued repeating errors despite available evidence. Modern historians now distinguish genuine works from misattributed pieces based on stylistic analysis and documentary records.
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Common questions
When was Neri di Bicci born and what was his family background?
Neri di Bicci entered the world in 1419 as the third link in a chain of artistic fathers. His grandfather Lorenzo di Bicci worked alongside Jacopo di Cione and Niccolò di Pietro Gerini during the early Renaissance. The three men formed a lineage that began with Neri's grandfather and continued through him to his children.
What are some specific dates for major commissions received by Neri di Bicci?
Neri received a commission from Bartolomeo di Lucha Martini on the 6th of August 1456 for an altarpiece now hanging in Seattle's St James Cathedral. Another major project began the 7th of May 1471 when Mariotto della Palla ordered an altarpiece featuring three archangels. He died in 1491 leaving behind payments recorded as eight bushels of grain delivered to Santa Maria Monticelli.
How did the style of Neri di Bicci change after 1452?
Before 1452 his works contained ornamental motifs and artistic freshness typical of a young creator. After that date he adopted Renaissance forms which eventually became tired and repetitive over decades. He painted identical subjects repeatedly changing only minor details like clothing while keeping character poses unchanged.
When was Cosimo Rosselli apprenticed to Neri di Bicci and what other pupils joined the workshop?
Cosimo Rosselli began his apprenticeship at age fourteen on the 4th of May 1453 inside Neri's studio. Giusto d'Andrea joined later in 1458 staying two years before entering the Compagnia di San Luca himself. His pupils included Stagio di Taddeo d'Antonio Dionigi d'Andrea and Giosuè di Santi among others.
What is the significance of the Ricordanze diary written by Neri di Bicci?
A 189-page diary known as the Ricordanze spans from the 10th of March 1453 until the 24th of April 1475. This document remains the most extensive record of any fifteenth-century painter preserved today within the Uffizi library. Historians rely on these pages to identify works even those currently lost or unlocated.
Who were the children of Neri di Bicci and when did he die?
Neri died in 1491 buried within Saint Mary of Carmine church leaving no artist children behind. His four sons and two daughters entered mercantile trades ending the family's artistic dynasty immediately. Giorgio Vasari confusedly described Neri as Lorenzo's second son making him brother to Bicci rather than grandson.