Pacino di bonaguida biography
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BRYAN C. KEENE // Pacino di Bonaguida: A Critical and Historical Reassessment of Artist, Oeuvre, and Choir Book Illumination in Trecento Florence
This article represents the first attempt to reassess Pacino di Bonaguida’s place within the history and scholarly literature of Trecento Florence, and offers new considerations about choir book production in Italy at the time. The largest body of material attributed to Pacino consists of illuminated manuscripts, specifically forty-seven choir books, which were studied in person by the present author (many for the first time in decades and several represent new discoveries). Based on recent technical analysis, aspects of workshop production (including painterly effects, materials, and conventions for framing illuminations), and by comparison with dated or dateable manuscripts, the choir books have for the first time been organized into two groups: manuscripts produced between 1300-1320s and 1330-1347. This new understanding of workshop production calls into question Pacino’s role in the development of painting in Florence at the dawn of the Renaissance.
Introduction
Pacino di Bonaguida, from the neighbourhood of San Lorenzo in Florence, was a publicus artifex in arte pictorum. The term refers to an artist, in this case a pain
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The Burke Collection of Early Italian Miniatures
Pacino di Bonaguida (fl. 1302 – before 1350) played a significant role in Florentine art over the course of his relatively lengthy career. Only one work bears his name in inscription: the Crucifixion with SS Nicholas, Bartholomew, Florentius, and Luke, originally on the high altar at San Firenze, dated 1310. However, altarpieces, panel paintings, stained glass windows, and many manuscript illuminations have been attributed to him on stylistic grounds by scholars following art historian Richard Offner’s groundbreaking studies in the 1920s reinvigorated interest in Pacino’s work.
We know relatively little of his life and career. The first documentary evidence we have of his life dates from the very early years of the fourteenth century when he dissolved an artistic partnership with Tambo di Serraglio. This record describes him as being from the San Lorenzo district of Florence and as publicus artifex in arte pictorum, or a painter who sold his art from a workshop (and, by inference, an artist who collaborated with others to the point where documenting the dissolution of a partnership was necessary). Documentary evidence exists until about 1330 in guild records, and we can assume from the number of works associated wi
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Pacino di Buonaguida
Italian painter
Pacino di Buonaguida (active c. 1303 – about 1347) was brush up Italian master active hold Florence problem the Typeface.
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