Bru·nel·le·schi

(bro͞o′nə-lĕs′kē), Filippo 1377-1446.

Italian architect celebrated for his work during the Florentine Renaissance. His greatest achievement is the octagonal ribbed dome of the Florence cathedral.

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Brunelleschi

(Italian brunelˈleski)

(Biography) Filippo (fiˈlippo). 1377–1446, Italian architect, whose works in Florence include the dome of the cathedral, the Pazzi chapel of Santa Croce, and the church of San Lorenzo

Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

Bru•nel•les•chi

(ˌbrun lˈɛs ki)

also Bru•nel•les•co

(-koʊ) ,

n.

Filippo, 1377?–1446, Italian architect.

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Noun

Brunelleschi - Florentine architect who was the first great architect of the Italian Renaissance (1377-1446)

Filippo Brunelleschi

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References in periodicals archive

18, 404 n.24) by Charles Brewer in "Defrosted Architecture: The Incommensurability of Dufay's 'Nuper Rosarum Flares' and Brunelleschi's Work far Santa Maria del Fiore," a paper read at the Annual Meeting of the American Musicological Society, Austin, 1989; by Smith, 94; and by Arjan R.

Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flares and the Cathedral of Florence

The author brings up, as is usual, the issue of a possible role on the part of Brunelleschi, but in this case he seems to think that Brunelleschi's experiments and application of perspective were limited to the two portable pictures we know about (but do not have), and that Pippo did not have the brains nor the will power to extend perspective conceptions to wall painting.

The Discovery of Pictorial Composition. Theories of Visual Order in Painting 1400-1800

Olson also links this development to broader artistic concerns, such as the architecture of Filippo Brunelleschi and Gianbattista Alberti, by noting that tondi further reflected the humanism of the Quattrocento and its adulation of the circular form.

The Florentine Tondo

At least three circumstances, however, have kept this evident fact from wider acceptance: first, Nanni di Banco worked only in marble; second, he died young, or such at least is the traditional understanding of his career, though, in fact, he lived and worked well beyond his youth; and, third, he was the contemporary of the triumvirate represented by Donatello, Masaccio, and Brunelleschi. Although Nanni's most famous work, the Quattro Coronati niche on the exterior of Or San Michele in Florence, is conventionally included in surveys of Renaissance art, too often it serves as a foil for the greater naturalism and classicism of Donatello and Masaccio.

The Sculpture of Nanni di Banco

After an explanatory review of the substantial literature on the perspective, she goes on to show that Masaccio's and Brunelleschi's space was calculated according to the many projection techniques of late-medieval astronomers.

Masaccio's "Trinity"

The modernist eye, following the rule of "form follows function" admired, for instance, the clarity and severity of Brunelleschi's Old Sacristy, forgetting that contemporaries appreciated that building more for (in the words of Niccolo de' Carissimi) its "porphyry and glass and various marbles" (155).

The Aesthetics of Italian Renaissance Art: A Reconsideration of Style

The Blacks, led by the Donati, included the Spini, Pazzi, della Tosa, Visdomini, Bardi, Rossi, Brunelleschi, Tornaquinci, Manieri, Buondelmonti, Bostichi, and Franzesi.

Founding the Palazzo Vecchio in 1299: The Corso Donati Paradox