VANNI, Lippo - b. ~1320 ?, d. 1375 Siena - WGA

VANNI, Lippo

(b. ~1320 ?, d. 1375 Siena)

Lippo Vanni (Lippo di Vanni), Italian painter and illuminator. He is documented as a painter and illuminator in Siena between 1344 and 1375, and in 1360 and 1373 he took part in the General Council of Siena. The earliest work attributed to him is the illumination of the choirbooks for the Collegiata at San Gimignano (c. 1340-42; San Gimignano, Museo Arte Sacra), in which the supple movement and individuality of figures and scenes already show the expressive quality characteristic of Lippo’s later documented work. In these illuminations the decorated initial is conceived as an aperture and not a framing device, and even principal figures are often only partially visible. Lippo treated the historiated initial in different ways in each major series of illuminations. In a Gradual for the Collegiata at Casole d’Elsa, near Siena, bold and brilliant colour contrasts and harmonies unify the letter and its historiation; architectural details are more complex and are used to create an impression of greater depth. This spatial effect is undoubtedly a response to the art of Pietro Lorenzetti, as is the treatment of form; the figures, although often dynamic, are more compact and solid, and their faces are distinctly modelled.

The Betrothal of the Virgin
The Betrothal of the Virgin by

The Betrothal of the Virgin

Between 1360 and 1370 Lippo Vanni executed a cycle of fresco paintings for the church of the rural hermitage of San Leonardo al Lago just outside Siena. Painted on the walls and entrance arch of the chancel of this church, the scheme includes narrative scenes from the life of the Virgin, such as the Presentation of the Virgin in the Temple, the Annunciation, the Betrothal of the Virgin, and the Assumption of the Virgin (over the chancel arch, now badly damaged).

The Birth of The Virgin
The Birth of The Virgin by

The Birth of The Virgin

Sienese painters often worked on parchment and paper. Many of them were engaged in the specialized task of illuminating manuscripts - particularly the large initials that allowed sufficient space to represent complex figural grouping and narrative scenes.

Victory of the Sienese Troops at Val di Chiana in 1363
Victory of the Sienese Troops at Val di Chiana in 1363 by

Victory of the Sienese Troops at Val di Chiana in 1363

Accompanying Simone Martini’s Maestà in the Sala del Mappamondo (formerly known as Sala del Consiglio) were a number of secular images. Frescoes commemorated battles and important military captains. One of the best surviving examples of this reportorial art was commissioned from the painter and miniaturist Lippo Vanni to record the Sienese victory in the Val di Chiana over English mercenaries in 1363. His monochromatic fresco records the progress of the battle and the disposition of the troops episodically across the wall; it is a graphic chronicle of the event rather than a naturalistic reconstruction, with cities carefully labeled and the armies identified by the heraldic flags of their leaders.

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