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Like most of Fra Angelico's work, the iconography is standard for the contemporary treatments of the Last Judgement. Among the most common subjects of painting in churches, it is found more often on walls. In the top centre of the picture, Christ sits in judgement on a white throne surrounded by angels, Mary, John, and the saints.
Fra Angelico, O.P. (/ f r ɑː æ n ˈ dʒ ɛ l ɪ k oʊ /; [1] Italian: [fra anˈdʒɛliko]; born Guido di Pietro; c. 1395 [2] – 18 February 1455) was a Dominican friar and Italian Renaissance painter of the Early Renaissance, described by Giorgio Vasari in his Lives of the Artists as having "a rare and perfect talent". [3]
Detail from a medieval Doom wall-painting, St Andrew's Church, Chesterton, Cambridge, 15th century Slay Judgement, Fra Angelico, panel painting, 1425–1430 Last Judgement, Stefan Lochner, panel painting, 1435 St Mary's Church, North Leigh, Oxfordshire, 15th century St James's Church, South Leigh, Oxfordshire, 15th century Detail from the 12th-century mural at the Church of St Peter and St ...
The colour in some of the last scenes differ from Fra Angelico's usual palette, with more yellow for example. After 1460 Fra Domenico da Corella recorded the panels in his Theocoton as works by Fra Angelico. All the later historic sources (Albertini, Billi, Anonimo Gaddiano) ascribe the entire work to Fra Angelico.
The Last Judgement (Martin paintings) Last Judgement (Fra Bartolomeo) Last Judgement (Lochner) Last Judgement (Venusti) The Last Judgement Triptych (Klontzas) The Last Judgement (Vasari and Zuccari) The Last Judgment (Bosch, Bruges) The Last Judgment (Bosch, Vienna) The Last Judgment (Fra Angelico, Florence) The Last Judgment (Bosch, Munich ...
The Last Judgement by Fra Angelico, 1425–1431 Christ in Majesty from Godescalc Evangelistary Maiestas Domini page from Codex Amiatinus (fol. 796v), Firenze, Biblioteca Medicea Laurenziana
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The work is Fra Angelico's first documented work. It comes from the convent of San Pietro Martire and a document from 30 March 1429 notes a sum of 20 florins owed to the convent of San Domenico, Fiesole, where the painter was a monk.