St. Augustine Departing for Milan - Benozzo Gozzoli
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Beschreibung
A detailed Renaissance fresco depicting the departure of Saint Augustine, featuring a processional composition and period-accurate costume.
This work is part of the extensive fresco cycle depicting the life of Saint Augustine, located in the Church of Sant'Agostino in San Gimignano. Benozzo Gozzoli, a student of Fra Angelico, demonstrates his characteristic attention to narrative detail and decorative surface quality in this scene. The composition follows a processional format, a common device in fifteenth-century Italian art to convey movement and social hierarchy.
The scene captures Augustine on horseback, surrounded by a retinue of figures dressed in the contemporary fashion of the mid-fifteenth century. Gozzoli integrates the figures into a constructed environment that balances architectural elements of a distant city with a rolling, verdant countryside. The inclusion of specific botanical details, such as the palm tree and stylised foliage, reflects the artist's interest in natural observation filtered through a decorative lens. Above the central figures, two angels hold a cartouche containing a Latin inscription, which provides historical context for the commission and the date of the work.
The colour palette remains clear and bright, typical of the fresco technique employed during this period. The figures are rendered with a focus on individual expression and costume, providing a window into the aesthetic preferences of the Italian Renaissance. The framing elements, featuring classical motifs and putti, suggest the influence of the burgeoning interest in antiquity that defined the era. This print captures the clarity of Gozzoli's original application, allowing for a close examination of the varied textures in the clothing and the spatial arrangement of the procession. It is a representative example of the narrative style that defined Gozzoli's career in Tuscany.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
St. Augustine Departing for Milan - Benozzo Gozzoli
Artist Biography
Benozzo Gozzoli
Gozzoli trained first as a goldsmith's apprentice under Lorenzo Ghiberti, whose Gates of Paradise doors for the Baptistery shaped his love of dense narrative and decorative precision. He then worked as an assistant to Fra Angelico, absorbing Renaissance spatial conventions without Fra Angelico's devotional gravity. Scholars have been blunt about his limitations: Ernst Gombrich called him a 'minor master' who applied new perspective methods 'gaily without worrying overmuch about their difficulty.' The Procession's rocky landscape still rises flat from bottom to top, indebted more to Ghiberti's bas-relief language than to Masaccio's pictorial space.
None of that troubled his patrons. The subject of the Magi was popular among wealthy Florentines precisely because it licensed the painting of costly brocades, gleaming gold, and thoroughbred horses in quantities that declared the patron's status. The Medici chapel, small enough that access felt like a privilege, was used for family mass and for receiving visiting ambassadors. The procession of kings served as a perfect backdrop for those audiences.
Gozzoli went on to paint extensive fresco cycles at Montefalco (1452, the life of St Francis) and at the Campo Santo in Pisa (from 1469, Old Testament narratives covering thousands of square feet). Neither matches the Medici chapel for concentrated ambition, but both confirm his command of large-scale narrative pageantry. He died at Pistoia in 1497, working almost to the end.
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