The iconographic monk
In the Middle Ages, the artist's work mixed up with the artisan business.
During the Renaissance and the artistic avant-garde in the 1900, the shared idea of the artist saw him
as the creator of his masterpiece and the master of his inspiration, half a genius and half a lunatic.
On the contrary, the medieval painter was considered a valid one when he respected an established tradition and the idea suggested by the committee, the true owner of the work.
For that reason the majority of the medieval artists are unknown: they were the material executers of complicated iconography plans, which had theological and political subjects developed by the ecclesiastic hierarchies.
The greatness of the artist lies in his technical competences, which are basically referred to the ability to prepare the materials needed for the creation of the work (packaging of the brushed and of the colours, the manufacturing of the frames, practice in painting techniques) and his knowledge of the standards of representation of the figures and the scenes.
The artist is typically a multifaceted character, who's devoted to multiple activities from painting to fresco, from miniature to gold working, from mosaic to sculpture and architecture.
If we concentrate ourselves on the painting area, we can say that the Christian Iconography found its maximum diffusion in the XI century, after a long incubation period who got lost with the Church's origins.
The real prototypes that are traditionally considered the first authentic icons, they are related to the Christ miraculous image, impressed on the Mandilyon of Edessa (mostly indicated as the Shroud of Turin) and to the Virgin Mary's portraits painted by Luke the Evangelist.
The presence of icons in the Christianity belongs to the Apostles' and Jesus himself times.
Even considering these traditions just legends, it is extremely relevant to recognise the importance that the images acquire in the Christianity, since the images are forbidden in the Judaism, but in the new religion they are the personification of the invisible God.
The icon expresses both the mystery of God who made himself a Man and the Redemption aim to let the Man to take part to the divine life, that we can find in the Saints' and Mother of God faces.
Through the years, the Church developed a figurative language that, starting from the Greek-Roman Art, fully communicates this salvation message.
This type of Art is deeply rooted in the Holy Scriptures, but it doesn't concern a simple illustration rather a way to make the spiritual sense of the Historia salutis present.
Little by little, the realism is abandoned for a more abstract language enriching the human figure of a powerful spirituality and a symbolic language, without giving up to the human integrity.
So through the physical senses, we can be attracted by the contemplation of the Reign of God.
The spiritual heritage of the Christian Iconography is about to be discovered again and revitalized by the main part of the contemporary artists.
Thanks to deepened techniques and specific figurative standards, they found in this modus operandi the attention, the carefulness and the awareness of a double path – artistic and spiritual – that lead to shape themselves to the invisible models offered by the Christian iconography.
Fabrizio represents the art of painter by exhibiting the materials and the works he made along with the medieval standards, by using the correct techniques and the old goods that can be available today.
He shows all the procedure of the treatment of the wood aimed to obtain the frames where to carry out the painting, such as the processing of the pigments into colours and the gilding technique.
During the Renaissance and the artistic avant-garde in the 1900, the shared idea of the artist saw him
as the creator of his masterpiece and the master of his inspiration, half a genius and half a lunatic.
On the contrary, the medieval painter was considered a valid one when he respected an established tradition and the idea suggested by the committee, the true owner of the work.
For that reason the majority of the medieval artists are unknown: they were the material executers of complicated iconography plans, which had theological and political subjects developed by the ecclesiastic hierarchies.
The greatness of the artist lies in his technical competences, which are basically referred to the ability to prepare the materials needed for the creation of the work (packaging of the brushed and of the colours, the manufacturing of the frames, practice in painting techniques) and his knowledge of the standards of representation of the figures and the scenes.
The artist is typically a multifaceted character, who's devoted to multiple activities from painting to fresco, from miniature to gold working, from mosaic to sculpture and architecture.
If we concentrate ourselves on the painting area, we can say that the Christian Iconography found its maximum diffusion in the XI century, after a long incubation period who got lost with the Church's origins.
The real prototypes that are traditionally considered the first authentic icons, they are related to the Christ miraculous image, impressed on the Mandilyon of Edessa (mostly indicated as the Shroud of Turin) and to the Virgin Mary's portraits painted by Luke the Evangelist.
The presence of icons in the Christianity belongs to the Apostles' and Jesus himself times.
Even considering these traditions just legends, it is extremely relevant to recognise the importance that the images acquire in the Christianity, since the images are forbidden in the Judaism, but in the new religion they are the personification of the invisible God.
The icon expresses both the mystery of God who made himself a Man and the Redemption aim to let the Man to take part to the divine life, that we can find in the Saints' and Mother of God faces.
Through the years, the Church developed a figurative language that, starting from the Greek-Roman Art, fully communicates this salvation message.
This type of Art is deeply rooted in the Holy Scriptures, but it doesn't concern a simple illustration rather a way to make the spiritual sense of the Historia salutis present.
Little by little, the realism is abandoned for a more abstract language enriching the human figure of a powerful spirituality and a symbolic language, without giving up to the human integrity.
So through the physical senses, we can be attracted by the contemplation of the Reign of God.
The spiritual heritage of the Christian Iconography is about to be discovered again and revitalized by the main part of the contemporary artists.
Thanks to deepened techniques and specific figurative standards, they found in this modus operandi the attention, the carefulness and the awareness of a double path – artistic and spiritual – that lead to shape themselves to the invisible models offered by the Christian iconography.
Fabrizio represents the art of painter by exhibiting the materials and the works he made along with the medieval standards, by using the correct techniques and the old goods that can be available today.
He shows all the procedure of the treatment of the wood aimed to obtain the frames where to carry out the painting, such as the processing of the pigments into colours and the gilding technique.