Pod jakými dalšími jmény je Francesco dai Libri znám/á?

Francesco dai, I Libri, Francesco I Dai Libri, Francesco dai, the elder Libri, Francesco dai Libri the Elder

Je dílo umělce Francesco dai Libri stále chráněno autorským právem?

Ne, díla tohoto umělce jsou volně dostupná (v rámci public domain).

(1452 - 1503) – Obrazy, biografie a slavná díla

The Life and Family of Francesco dai Libri

Born in 1452, Francesco dai Libri was an Italian artist whose life was deeply rooted in the traditions of his craft. He was the son of Stefano dai Libri, an illuminator of books, a lineage that placed him within a specialized lineage of practitioners. This familial connection ensured that his early years were shaped by the meticulous demands of manuscript decoration and the technical requirements of the illuminator's art.

Francesco dai Libri spent much of his career in his native city, where he became known for his work on choir books. These liturgical volumes, intended for use in local churches, required a specific level of precision and devotion. His output was tied closely to the religious institutions of his home, contributing to the visual and ritual life of the community through the decoration of sacred texts.

The artistic tradition of the family continued through the next generation. Francesco dai Libri was the father of Girolamo dai Libri, ensuring that the skills of the illuminator remained a central part of the family's identity. His life was defined by this continuity, moving through the quiet, disciplined world of book decoration and the service of the church.

Key Works and Artistic Output

The artist's output reflects a deep connection to the devotional traditions of Verona. One notable example is a Madonna and Child rendered in tempera on a wood panel. This work measures 24 1/4 × 17 5/8 inches (61.6 × 44.8 cm) when unframed, and 35 3/8 × 24 × 3 1/2 inches (89.9 × 61 × 8.6 cm) when housed in a frame. The composition carries inscriptions in the halo and along the collar, including the phrase MATER.

His skill as an illuminator is evident in more intimate, manuscript-based works. A single leaf from a Book of Hours depicts a Pieta, executed in tempera and gold on vellum. This piece dates from about 1475–85, demonstrating the precision required for such delicate surfaces.