Note on Art
Dublin Core
Title
Note on Art
Subject
A personal note from LeRoy Neiman on art, specifically the work of Quattrocento Italian painter, Filippo Lippi.
Description
This note from LeRoy Neiman provides a brief biography of 15th century Italian painter Filippo Lippi. The commentary is roughly divided into three sections: early life, influence and acclaim, and lastly critical reception.
Lippi was not a predominate influence on Neiman’s own process. That said, the interest in figuration and narrative work provides a general overlap. Regardless of the kinship, or lack there of, the Neiman took fascination with Lippi’s life and work. In the note, he describes the Italian painter as “constantly the [swiping the] techniques [of other artists] to realize his artist vision and new ideas which made him one of the appreciated artists of his time.” As dubious as this statement might be, it should be seen as a compliment, while Neiman seems to be suggesting that Lippi possesses the ability to not only recognize his peers' innovations, but build of off them, incorporating these newfound ideas and tools into his own personal worldview. The critical feedback Neiman cites seems to support this reading, specifically that of Bernard Bereson. Bereson—the Renaissance specialist, and public intellectual—describes Lippi as (according to Neiman), “among the painters of genius – a high class illustrator expressing his importance of his expressive content.” Outside of this framing of Lippi as superlative, as genius, attention should be drawn to Neiman’s paraphrase of Bereson, terming Lippi as "expressive" and an "illustrator." This less explicit framing is most likely an attempt on the part of Neiman to forge kinship between his and Lippi’s work, with the former not only seeing himself as but coming from a background in Illustration as well as privileging the expressive. (Neiman studied fashion illustration at SAIC and worked for a design firm briefly, alongside having a longstanding relationship with Playboy.)
Lippi was not a predominate influence on Neiman’s own process. That said, the interest in figuration and narrative work provides a general overlap. Regardless of the kinship, or lack there of, the Neiman took fascination with Lippi’s life and work. In the note, he describes the Italian painter as “constantly the [swiping the] techniques [of other artists] to realize his artist vision and new ideas which made him one of the appreciated artists of his time.” As dubious as this statement might be, it should be seen as a compliment, while Neiman seems to be suggesting that Lippi possesses the ability to not only recognize his peers' innovations, but build of off them, incorporating these newfound ideas and tools into his own personal worldview. The critical feedback Neiman cites seems to support this reading, specifically that of Bernard Bereson. Bereson—the Renaissance specialist, and public intellectual—describes Lippi as (according to Neiman), “among the painters of genius – a high class illustrator expressing his importance of his expressive content.” Outside of this framing of Lippi as superlative, as genius, attention should be drawn to Neiman’s paraphrase of Bereson, terming Lippi as "expressive" and an "illustrator." This less explicit framing is most likely an attempt on the part of Neiman to forge kinship between his and Lippi’s work, with the former not only seeing himself as but coming from a background in Illustration as well as privileging the expressive. (Neiman studied fashion illustration at SAIC and worked for a design firm briefly, alongside having a longstanding relationship with Playboy.)
Creator
LeRoy Neiman
Source
LeRoy Neiman Foundation
Publisher
LeRoy Neiman Foundation
Date
c. 1990-2011
Contributor
LeRoy Neiman
Rights
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Relation
Notes
Format
Image/jpeg
Language
English
Type
Document
Identifier
LN_Notes_2304
Coverage
New York (N.Y.) New York
Text Item Type Metadata
Text
ART
Fra [Filippo] Lippi 1406 Florence - 1460 Spoleto master – dominated by love affairs and impatient of methodical and tranquil conduct
His adventures took him on a romantic flight from Prado where he was painting in a convent of nuns (taking with him a young) woman Lucrezia Buto and marrying her with the Popes permission. A son Fiellipino was born who became a noted painter.
Lippi swiped from other painters
He was constantly the techniques to realize his artist vision and new ideas which made him one of the appreciated artists of his time.
Bernard Berenson maintained Lippi was among the painters of genius – a high class illustrator expressing his importance of his expressive content
Other critics have recognized his narrative spirit reflecting the spirit of his time
Fra [Filippo] Lippi 1406 Florence - 1460 Spoleto master – dominated by love affairs and impatient of methodical and tranquil conduct
His adventures took him on a romantic flight from Prado where he was painting in a convent of nuns (taking with him a young) woman Lucrezia Buto and marrying her with the Popes permission. A son Fiellipino was born who became a noted painter.
Lippi swiped from other painters
He was constantly the techniques to realize his artist vision and new ideas which made him one of the appreciated artists of his time.
Bernard Berenson maintained Lippi was among the painters of genius – a high class illustrator expressing his importance of his expressive content
Other critics have recognized his narrative spirit reflecting the spirit of his time
Original Format
Pen on paper.
Files
Collection
Citation
LeRoy Neiman, “Note on Art,” LeRoy Neiman Foundation, accessed April 24, 2024, https://leroyneimanfoundation.omeka.net/items/show/218.