Painting by Fra Filippo Lippi in the Context of J. H. Beck's Categories of Monumental and Lyric

Fra Filippo Lippi je slikar firentinskog quattrocenta u čijem su opusu prisutne zanimljive transformacije. Njegovi su začeci i naukovanje na prijelazu trećeg u četvrto desetljeće dali naslutiti slikara snažnih formi i voluminoznih figura te pročišćenih kompozicija. Tijekom sljedećeg desetljeća na fra Filippovim su se slikama počeli gomilati likovi, umnažati objekti, olakšavati teški volumeni i linerizirati forme. Zbog ovakvih se promjena može dovesti u pitanje odluka Jamesa H. Becka da ga uvrsti među slikare koji su radili izričajem sličnim kakav je imao fra Filippo Lippi na početku svojega djelovanja. Pažljivim promatranjem može se utvrditi da koliko se god njegov stil tijekom godina transformirao, u podlozi je uvijek zadržao značajke onoga što je Beck nazvao monumentalnom strujom. Očito je da se transformacija nije mogla odviti sama od sebe, već je riječ o sklopu različitih utjecaja kojima je Lippi bio izložen. Tijekom njegovih mnogobrojnih putovanja susreo se s različitim umjetnicima i slikarskim tradicijama te ih je manje ili više usvojio u vlastiti izričaj. Izmijenjenim stilom, koji je sada dosta nalikovao Beckovoj lirskoj struji, izvršio je utjecaj na svoje učenike i time otvorio vrata razvoju liričara druge generacije.Fra Filippo Lippi is Florentine Quattrocento painter whose style is specific due to the transformations he made durig his career. His early works and apprenticeship suggest a painter of strong forms, voluminous figures and simplified compositions. Over the next decade, his paintings became overly crowded with characters, he started adding more objects, facilitate heavy volumes and linearize formes. Because of this, the decision of James H. Beck to put him among painters who worked similarly as Fra Filippo Lippi at the beginning of his career is questionable. However, taking more careful observation, it is possible to determine that, as much as Lippi's style had changed over the years, he had always kept features of what Beck named the Monumental Current. It is obvious that the transformation could not just happen by itself. It developed through different influences which Lippi has been subjected to. During the many of his travels he was able to meet other artists and local painting traditions which he than more or less incorporated into his own style. With this transformed style, which now resembled more to Beck's Lyric Current, he made an influence on his pupils and opened the doors to the development of second generations' lyrical painters