Eloi De Tera
PhD in Art History by the University of Barcelona (2016) with a thesis on the frescoes of the Chiostro degli Aranci in the Badia Fiorentina and the florentine and european art at the beginning of the fifteenth century. He was student of the universities of Pisa, the Freie Universität and Humboldt Universität of Berlin. During the 2005 attends classes in the Scuola Normale Superiore di Pisa.
Specialist on Renaissance and Italian Mannerism art of the XV-XVI centuries and expert in Old Master Prints. As results of his research has participated in several international conferences in Florence (2014 International Conference Cosimo I de 'Medici, Etruriae Magnus Dux organized by The Medici Archive and the Archivio di Stato; 2016. International Conference Vasari@Santa Croce organized by the Opera di Santa Croce and the Syracuse University), Germany (International Conference of the Renaissance Society of America, Berlin, May 2015, paper in a panel organized by members of the Courtauld Institute, London), Portugal (2009 International Conference Nuno Gonçalves: Novas Perspectivas, organized by the Universidade de Lisboa and the Museu Nacional d'Arte Antiga) and Spain (International Conference Opus Monasticorum 2015, Santiago de Compostela; International Conference Vasari 500 years in Barcelona, 2012 and the International Conference De Miguel Ángel Goya in Lleida and others).
From his researches has published several articles (some currently being printed) in International scientific magazines about Michelangelo, Cosimo I de 'Medici, Francesco Salviati, Jacopo Zucchi, Bachiacca, Giovanni Angelo Montorsoli, Francisco de Holanda and Julius von Schlosser.
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Specialist on Renaissance and Italian Mannerism art of the XV-XVI centuries and expert in Old Master Prints. As results of his research has participated in several international conferences in Florence (2014 International Conference Cosimo I de 'Medici, Etruriae Magnus Dux organized by The Medici Archive and the Archivio di Stato; 2016. International Conference Vasari@Santa Croce organized by the Opera di Santa Croce and the Syracuse University), Germany (International Conference of the Renaissance Society of America, Berlin, May 2015, paper in a panel organized by members of the Courtauld Institute, London), Portugal (2009 International Conference Nuno Gonçalves: Novas Perspectivas, organized by the Universidade de Lisboa and the Museu Nacional d'Arte Antiga) and Spain (International Conference Opus Monasticorum 2015, Santiago de Compostela; International Conference Vasari 500 years in Barcelona, 2012 and the International Conference De Miguel Ángel Goya in Lleida and others).
From his researches has published several articles (some currently being printed) in International scientific magazines about Michelangelo, Cosimo I de 'Medici, Francesco Salviati, Jacopo Zucchi, Bachiacca, Giovanni Angelo Montorsoli, Francisco de Holanda and Julius von Schlosser.
https://dhac.iec.cat/dhac_p.asp?id_personal=842
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Papers by Eloi De Tera
Durante sus treinta últimos años de vida, Miguel
Ángel residió en Roma, dedicado a innumerables
proyectos artísticos. Entre ellos, el que fue su
mayor fracaso: el mausoleo del papa Julio II
maestro nel corso della sua vita sono oggi conservati
in venticinque preziosi codici e rivelano l'enorme
varietà d'interessi di un artista universale.
"I Taccuini di Leonardo da Vinci. Diario di una mente irrequieta" in National Geographic, Storica, 154, Dicembre, 2021, pp.76-91
the Chiostro degli Aranci at the Badia Fiorentina in Florence. A deep analysis of the frescoes
and their relation to the florentine art after Masaccio and the pictorial innovations
that occur during the first quarter of the fifteenth century in the Flemish world will form
the basis from which conclusions can be drawn about the cycle’s authorship. Furthermore
the study of the various stylistic influences of the mural cycle allows us to suggest a
hypothetical participation of the painter in the European travel of the Infante Dom Pedro
of Portugal."
Books by Eloi De Tera
International Conferences by Eloi De Tera
Poccetti at Palazzo
Capponi-Vettori (Florence) and
Jacopo Zucchi at Palazzo
Ruspoli (Rome)
Durante sus treinta últimos años de vida, Miguel
Ángel residió en Roma, dedicado a innumerables
proyectos artísticos. Entre ellos, el que fue su
mayor fracaso: el mausoleo del papa Julio II
maestro nel corso della sua vita sono oggi conservati
in venticinque preziosi codici e rivelano l'enorme
varietà d'interessi di un artista universale.
"I Taccuini di Leonardo da Vinci. Diario di una mente irrequieta" in National Geographic, Storica, 154, Dicembre, 2021, pp.76-91
the Chiostro degli Aranci at the Badia Fiorentina in Florence. A deep analysis of the frescoes
and their relation to the florentine art after Masaccio and the pictorial innovations
that occur during the first quarter of the fifteenth century in the Flemish world will form
the basis from which conclusions can be drawn about the cycle’s authorship. Furthermore
the study of the various stylistic influences of the mural cycle allows us to suggest a
hypothetical participation of the painter in the European travel of the Infante Dom Pedro
of Portugal."
Poccetti at Palazzo
Capponi-Vettori (Florence) and
Jacopo Zucchi at Palazzo
Ruspoli (Rome)
Ponto
da Situação sobre os estudos acerca de João
Gonçalves e do Ciclo de Frescos do Claustro das
Laranjeiras da Badia de Florença
(Continua)
The frescoes in the Chiostro degli Aranci are the result of a commission Abbot Gomes of Portugal, who ruled the Badia Fiorentina during the period, and respond to his desire for reform monasticism and to return it to its origins, to the Rule and to the Desert Fathers.
The analysis allows us to consider the mural cycle of Badia Fiorentina as the first introducer of Flemish influence on Florentine painting, mainly with the pictorial resource of the reflection of objects in the water. The role of the cycle as the introducer of this resource in Florentine painting was very important for the early work of some of the painters of the next generation as Piero della Francesca or Alesso Baldovinetti. On the other hand, teaches us today, over a period of the Florentine painting, dominated by large mural cycles as the apse of Sant'Egidio or the Gianfigliazzi chapel of Santa Trinita and that today we can only learn about them through its predecessor, the cycle of Badia.