藝術家守護神的偉大作品重聚
義大利新近舉辦的展覽聚焦於弗拉安傑利科，他虔誠的名聲與其無可否認的藝術才華相得益彰。
一幅15世紀的畫作描繪了聖母瑪利亞和聖子坐在金色寶座上。在俯瞰著成片樹木的房間裡，無數頭戴光環的人物或站立或跪在他們周圍。
這是弗拉安傑利科創作的《聖馬可祭壇畫》的中央面板。大部分展板正在重新組裝，用於展覽。圖片來源：義大利文化部長 – 杜雷神父辦公室
Elisabetta Povoledo
Elisabetta Povoledo
義大利佛羅倫斯報道
2025年9月22日
距離文藝復興時期畫家弗拉安傑利科的大型展覽開幕僅剩一周，佛羅倫薩市中心的斯特羅齊宮裡擠滿了藝術品經手人、技師、修復師和博物館館長，他們來這裡參觀展品的狀況，順便了解一下展品的進展。
來自約70家展商的展品紛至沓來，其中包括大約200年前拿破崙鎮壓意大利修道院時拆除的祭壇畫，這引發了世界各地渴望文藝復興藝術的收藏家們的瘋狂搶購。
「弗拉安吉利科」展覽將於週五開幕，持續至1月25日，是今年最受期待的展覽之一。展覽在兩個展廳展出140多件作品，旨在鞏固弗拉·安吉利科作為文藝復興時期頂級大師的聲譽。鑑於這位藝術家“並非總是受到公眾的充分關注”，展覽首席策展人卡爾·布蘭登·斯特雷爾克說道。
斯特雷爾克補充說：「儘管展覽充滿了關於他作品的全新學術資料和見解，但這次展覽的真正目的是讓公眾」更好地欣賞安吉利科的鉅作。
上週三，在斯特羅齊宮的一面牆上，藝術家創作的《聖馬可祭壇畫》的中央面板正等待著它失落已久的附屬部分。這幅畫最初是為佛羅倫斯修道院供奉聖馬可的祭壇而作，如今正等待著它失落已久的附屬部分。這幅描繪「聖母子與天使和聖徒」的畫作從未離開過修道院。但它的側板卻輾轉於巴伐利亞國王、義大利男高音歌唱家、佛羅倫斯畫商、法國伯爵以及美國鍍金時代的收藏家手中，最後流落到各大博物館。
圖片
這幅15世紀的畫作描繪了兩個人擁抱在一起，其他幾個人則做出宗教姿態。
安傑利科修士作品《最後的審判》細部圖。圖片來源：文化部長 – 托斯卡納國家博物館地區部 – 聖馬可博物館
作品的大部分面板（共18塊）正在重新組裝，以備展覽之用，但目前在芝加哥的一塊面板未能隨團前往。
「我得和教宗談談這件事，但我覺得我們來不及參加展覽了，」史特雷克笑著說道，他指的是芝加哥本地人教宗利奧十四世。
史特雷克補充道，原本應該安裝在祭壇畫上的鍍金木框「早已不見了」。除了重新組裝的部件外，一幅數位重建作品還將展示安傑利科修士於1443年完成祭壇畫時的原貌。
A new exhibition in Italy puts the spotlight on Fra Angelico, whose reputation for piety vied with his undeniable artistic talents.
On one wall in Palazzo Strozzi last Wednesday, the central panel of the artist’s “San Marco Altarpiece,” originally executed for the high altar of the Florentine convent dedicated to that saint, was waiting for its long-lost appendages. Depicting the “Virgin and Child with Angels and Saints,” that panel had never strayed far from the convent. But its side panels had passed through the collections of Bavarian kings, Italian tenors, Florentine dealers, French counts and Gilded Age collectors in the United States to eventually wind up in sundry museums.
Most of its panels — 17 of 18 — are being reunited for the show, although one currently in Chicago wasn’t able to make the trip.
“I have to talk to the pope about that, but I don’t think we’re going to be in time for the exhibition,” Strehlke said, laughing, in reference to Pope Leo XIV, a Chicago native.
The gilded wood frame that would have been attached to the altarpiece is “long gone,” Strehlke added. Alongside the pieces that have been brought together, a digital reconstruction will show how the full altarpiece originally looked when Fra Angelico finished it in 1443.
Reporting from Florence, Italy
It was a week before the opening of a blockbuster exhibition featuring the Renaissance painter Fra Angelico, and the Palazzo Strozzi in central Florence was humming with art handlers, technicians, restorers and museum directors who had come to see how their loans had fared while traveling.
Works were coming in from some 70 lenders, including panels from altarpieces that had been dismantled when Napoleon suppressed Italy’s convents some 200 years ago, setting off a shopping spree for Renaissance-art hungry collectors from around the world.
“Fra Angelico,” which opens Friday and runs through Jan. 25, is one of the most anticipated exhibitions of the year. Bringing together more than 140 works in two venues, it hopes to cement Fra Angelico’s reputation as an A-list Renaissance master, given that the artist “has not always gotten full attention from the view of the broader public,” said the exhibition’s chief curator, Carl Brandon Strehlke.
“Despite the fact that the exhibition is full of new scholarly material and insights about his works,” Strehlke added, “this exhibition is really for the public” to better appreciate Angelico’s voluminous output.
- A biographical study discussing Fra Angelico's influential works and his place in the development of art, particularly in painting landscape and communicating spiritual conviction.
- Another available e-book focusing on the life and art of Fra Angelico.
- This text includes a discussion of Fra Angelico, highlighting his transitional role between the Middle Ages and the Renaissance and his impact on expressing natural and spiritual feelings.
- A comprehensive book offering details about the artist's various life stages and artistic productions.
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