|Angelo (di Pietro) del Macagnino (da Siena), also called Angelo Parrasio
Active in Ferrara, 1447, died 1456, Italian painter. He was court painter to Borso dEste, Duke of Ferrara, and, with Cosimo Tura, decorated the Duke's studiolo at the Villa Belfiore (destroyed) from 1447 (start under Lionello). It is said, that the iconographic programme was provided by Guarino da Verona. Cyriac of Ancona, a Renaissance merchant who loved to travel and left us many notes from his journeys throughout the Mediterranean area, saw in 1449 two finished paintings of Clio and Melpomene (both untraced) in Angelo's workshop, probably destined for the studiolo. No work by Angelo has been identified.
|This might be of interest to the recent links and reading of Angelo da Siena and Galasso at Belfiore
1. The Painters of the School of Ferarra - references to Angelo da Siena and Galasso
Source: Edmund G. Gardner, London: Duckworth and Co; New York: Charles Scribner and Sons. Published 1911 by Ballantyne & Company Ltd
The Ferrarese school of painting arose shortly after the middle of the fifteenth century, where the mildest and most genial of Renaissance depots, Borso d'Ese,
... Pages 7-11
The earliest Ferrarese master whose works survive in any appreciable quality is Antonio Alberti or Antonius de Ferraria, under Marquis Niccolo III. While this 'master' is described by Vasari as a pupil of Agnolo Gaddi, Edmund Garrett Gardner says this is impossible.
1438: Marquis Niccolo commissioned Antonia to decorate the palace known as Paradiso with frescos of Christ in Paradise and the assembling of the Council of Ferarra. On the ground floor, there are reamins of a fresco which is either an allegory of or scene from Carolinian or Arthurian romance, depicting of a siege of a tower, from the battlements of which a woman in red, apparantly a prisoner is leaning; but there is no grounds to assign this to Antonia. The painter seems to have passed most of his life in Urbino, where he was still living in 1464, when he gave his daughter Calliope in marriage to a certain Bartolommeo Vito ordi Vite, where she became the mother of the most famous artist Timoteo Viti.
Pisanello was consistently in the city between 1427 and 1447; intimate terms with Leonello, the half-brother Meliaduse d'Este; Jacobo Bellini, in 1441who painted the friendly rivalry portrait against Pisanello. The youthful Andrea Mantegna came in 1449; Roger van der Weyden, by whom Leonello possessed a picture of Adam and Eve and another representing the deposition of the Cross, which Leonello showed to the great humanist and traveller, Ciriaco of Ancona, to whom they seem 'painted by divine rather than human art.'
The official court painter in 1447 was Angelo Macanini da Siena and held the same position under Borso until 1456. None of Angelo's works can now be identified, nor any trace of Sienese influence can be descerned in the productions of the subsequent Ferrarrese school (Mari's note: Touhy, who authored Herculean Ferrarra in 2004, seems to agree on biographical details of E.Garrett Gardner, but does not seem to refer to a Ferrarese School of Painting in his research of Ferarra).
2. School of Ferrara 'painting' thesis of Edmund Garrett Gardner:
3. Galasso thesis in Schifanioa Palace
Source: D'Ancona, Paolo: The Schifanioa Months at Ferarra with a critical note at the recent restoration by Cesare Gnudi (Paolo D'Ancona wrote a book with colored pictures on the Schifanioa Months at Ferarra with a critical notice by Cesare Gnudi that was published in 1954 in Italian, French and English translations. Gnudi was in charge of the restoration direction. He believes that the December painting of Vesta in her chariot was by Galasso. His description may be of interest to those recently reading of the Studio of Belfiore; P. 105)
The composition is dominated by the blazing figure of Vesta on her light chariot; a glowing colour that is toned down and finally drawoned in the pellucid clarity of the atmosphere, in the azure transparancy of the landscape and of the air. There are very few of the typical Ferrarese fantastic and fairylike elements in the peaceful expanse of this plain gently sloping from green hills delimitings its far horizon, in which silvery streams slowly wind their ways, as in Piero's pictures. Like in no other Schifanioa figurations, the composition is wholly centered in the figure of Vesta, the Vestals --now the far greater part cancelled-- stand around her: there are few figures in the landscape broadening all around. Proportions, relations, lights and tones are entirely different from those of the other fields, and more generally speaking, from those to be found in the works of all the greater artists of Ferarra, being much closer to the manner of Piero della Francesca.I do not think I would be very far from the truth when putting the composition together with the works that Longhi and Venturi groupd under the name of Galasso, who should be a painter of strong personality, and a very careful student of Piero, acting round 1460, and to whom they attribute a group of ((Muses)) at Budapest and the ((Autumn)) at Berlin. Were this fresco to be really attributed to same artist who worked with Tura and others at the little workshop at Belfiore, it would mean that we find him again, seven or eight years later, more deeply entered into Ferrarese atmosphere, but still in a position of great originality and independence with respect to Tura and other masters, an originality which might have had a future importance of the art of Ercole (Roberti).
It is, moreover, very interesting, also in relation to the art of Cossa and Ercole, to see this artist (or at least this manner) still in full activity around 1470 almost as if a link with the art of Piero, one of the noblest components, together with the Padua and Northern-Flemish manners, of the Ferarra pictorial tradition, had not yet been definitely broken.
(Notes by Mari Hoshizaki)