peacocks and goat: hair story

The smart money is always going to be on skimpy clothing and long hair, each generation seeking to reinvent itself; to excite and infuriate for the same reason. And each generation of mothers and fathers, if they reviewed their history, would be less excited about hair fashions and more preoccupied with the deeper problems of young men, particularly the affluent adolescent in a permissive society. As has been proven, give young males money, and sooner or later they will dress like peacocks and behave like goats….

—Bernardino di Betto, called Pintoricchio or Pinturicchio (Italian pronunciation: [pintuˈrikkjo]; 1454–1513) was an Italian painter of the Renaissance. He acquired his nickname, Pintoricchio (“little painter”), because of his small stature, and he used it to sign some of his works.—Read More:

You can see them in the pictures of Pinturicchio: hair is shoulder-length; tight, tight trousers emphasize muscular backsides; the stuffed codpiece with bright, laced points underlines an obvious virility; a short sword hangs from the waist; the taught alertness of their bodies adds foreboding. These youths played hide and seek with death, wantonly arrogantly. They were the Oddi and Baglioni whose blood dyed the streets of Renaissance Perugia. They roamed through the streets, hacked each other to pieces, even killed each other at the Cathedral.

—Raphael’s Deposition was painted for Atalanta Baglioni in memory of her son Grifonetto, who was killed in the fighting for the dominance of Perugia, and housed in the church of S.Francesco in Perugia in 1507. It remained there for 101 years, until it was removed at night with the complicity of the priest and sent to Pope Paul V, who gave it to his nephew for his collection and it thus became the property of the Borghese family. After the Treaty of Tolentino the painting was sent to Paris in 1797. When it came back to Rome in 1816, only the central scene was returned to the Borghese collection, while the three theological virtues, Faith, Hope and Charity, remained in the Vatican Museums (the ornamentation surmounting it by Tiberio Alfani is in the National Gallery of Umbria). —Read More:

And yet, they are as bright as parrots in their pinks, and reds and greens, their hair dropping in scented ringlets to their shoulders; but for their high-styled codpieces they could easily be mistaken for girls, yet they were as ferociously virile as a herd of young bulls. And, of course, war was not- it never is-the only game they played. Affluent, leisured, these bourgeois-aristocrats hunted girls as well as rivals. Venice was littered with the brothels they frequented, and papal Rome did not lag far behind.And,of course, they experimented sexually.

—The subject is taken from the apocryphal Book of Tobit. Tobias was sent by his blind father, the merchant Tobit, to collect a debt. ‘Ricordo’ (memorandum) is written on a small scroll in the boy’s hand. The Archangel Raphael who accompanies Tobias instructs him to extract the heart, liver and gall from a fish as a cure to heal his father’s blindness. Raphael is shown holding a small box containing the remedy.
The story of Tobias and the angel was a popular subject in late 15th-century Florence, where a confraternity of Saint Raphael flourished. Raphael was venerated as a protector of travellers and as a healer. The theme of filial piety, enterprise and charity was important for the merchant families of the city.
It is likely that more than one artist worked on the painting, consistent with practice in Verrocchio’s workshop. Some areas, for example the landscape, are rather weak. On the other hand, the more accomplished parts – most notably the dog and the fish – have been proposed as the work of the young Leonardo, …Read More:

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