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 (ăn-jĕl′ĭ-kō′), Fra Also known as Giovanni da Fie·so·le (fyĕ′zō-lā, -lĕ) 1400?-1455.
Italian Dominican friar and painter of the Florentine school.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Italian anˈdʒɛːliko)
(Biography) Fra (fra), original name Guido di Pietro; monastic name Fra Giovanni da Fiesole. ?1400–55, Italian fresco painter and Dominican friar
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ænˈdʒɛl ɪˌkoʊ)

Fra (Giovanni da Fiesole), 1387–1455, Italian painter.
An•gel′i•can, adj.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
References in classic literature ?
She felt a little calmer then, and bought Fra Angelico's "Coronation," Giotto's "Ascension of St.
He talked easily of Botticelli, and spoke of Fra Angelico with a faint condescension.
Jesus said, I remember Giotto, Cimabue, Fra Angelico. I remember the
What makes this venue so exceptional and distinctive is its collection of audacious frescos produced by early Renaissance painter and friar Fra Angelico. A precursor to the more famous Renaissance painters such as Michelangelo and Raphael, Fra Angelico is widely recognized for his superior skill as an artist and had numerous commissions by the Vatican during his lifetime.
Yes, while the Carcano might not be a Fra Angelico panel or ' Puccini aria, in its own time and place it is still something of an Italian masterpiece.
The placement of the icon across from a facsimile of the Ruccellai Madonna drew attention to a defining aspect of the exhibition layout: large-scale reproductions of images such as this one and others (Fra Angelico's Annunciation from San Marco in Florence, the Basilica of St.
So Fra Angelico could paint a waterfall over her head, around her knees.
Schuon contributes both clarification and variety through her choice of illustrations, from recognizable works by a few well known artists like early Italian Renaissance painter Fra Angelico to less often seen early illuminations and more contemporary selections.
If what Kamps calls memorial silence ("silence in the face of loss") is "integral to the act of mourning," why not mention the sarcophagi of the medieval church, or the appearance of witnesses to the passion in Fra Angelico and Matthias Grunewald, whose altarpieces and wood paintings supplied models of mourning in the guise of silent, aggrieved faces?