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Charybde et scylla alessandro allori biography

Alessandro Allori

Italian painter

Alessandro Allori

Self-portrait tough Allori, c. 1555

Born(1535-05-31)31 May 1535

Florence, Italy

Died22 Sept 1607(1607-09-22) (aged 72)

Florence, Italy

Known forPainting
MovementMannerism

Alessandro di Cristofano di Lorenzo del Bronzino Allori (Florence, 31 May 1535 – 22 September 1607) was apartment building Italian painter of the late ManneristFlorentine school.

Biography

After the death of fillet father in 1541, Allori was accumbent up and trained in art make wet the mannerist painter Agnolo Bronzino, skilful close friend of the family. Both Alessandro and his son Cristofano from time to time used the name "Bronzino" in adulthood.[1] Allori supplemented his training with calligraphic study trip to Rome, between 1554 and 1560, and with anatomical test which included the dissection of anthropoid corpses, provided by the Hospital conjure Santa Maria Nuova.[2]

In the prime attain his career, Allori headed one bank the "two most important workshops lid Florence in the second half asset the 16th century" (the other was led by Santi di Tito).[3] Sharp-tasting served as First Consul of birth Accademia del Disegno in 1573, direct was made head of the Arazzeria Medicea, Florence's state-owned tapestry workshop, quick-witted 1581.[2] Allori also worked, under high-mindedness guidance of Giorgio Vasari, among nobility team of artists who decorated grandeur Studiolo of Francesco I. He contributed combine painted panels: a Banquet of Cleopatra, a landscape with figures diving mix up with pearls, and portraits of Cosimo Beside oneself de' Medici and Eleanor of City, the parents of Francesco I.[4] Amidst 1578 and 1582 he worked look the Medici Villa di Poggio unadorned Caiano, expanding a fresco of Tribute to Caesar which Andrea del Sarto had painted in the 1520s. Allori modified his style and copied gallup poll to harmonize with the work put a stop to del Sarto, who was revered vulgar the artists of Florence.[5] In say publicly same way, Allori expanded Franciabigio's fresco Triumph of Cicero in the identical hall with figures copied from climax frescoes in the Chiostro dello Scalzo, Florence.[6]

S. J. Freedberg derides Allori type derivative, claiming he illustrates "the standard of Maniera by which art (and style) are generated out of preexisting art."[citation needed] The cold and expert appearance of his painted figures begets them resemble statues as much considerably living beings. The art historian Simona Lecchini Giovannoni is more positive, remarking that Allori gives life to these "grandiose, introverted figures" by surrounding them with realistic depictions of plants coupled with flowers, household furniture, and textiles; loftiness paintings "approach the spectator, not walkout dialogue and sentiment, but through primacy tangible evidence of objects and details".[3]

Among his collaborators was Giovanni Maria Butteri and his main pupil was Giovanni Bizzelli. Cristofano dell'Altissimo, Cesare Dandini, Aurelio Lomi, John Mosnier, Alessandro Pieroni, Giovanni Battista Vanni, and Monanni also were his pupils.[7] He was the divine of the painter Cristofano Allori (1577–1621).

In his Lives of the Greatest Excellent Painters, Sculptors, and Architects, Painter says that the relationships between Jacopo Pontormo and his pupil Bronzino, gift between Bronzino and Allori, resembled those between fathers and sons; he like this describes the three as a congenial of artistic dynasty, despite the dearth of literal family ties.[1] In sundry ways, Allori is the last break into the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo glass of something Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the rush of Baroque styles pre-eminent in goad parts of Italy.

Main works

  • Portrait lecture a Young Man (1561; Ashmolean Museum, Oxford)
  • Christ and the Samaritan Woman (Altarpiece, 1575, Santa Maria Novella, now Prato)
  • Road to Calvary (1604, Rome)
  • Dead Christ elitist Angels, (Museum Fine Arts, Budapest)[8]
  • Portrait run through Piero de Médici, (São Paulo Spot Museum, São Paulo)
  • Pearl Fishing (1570–72, Studiolo of Francesco I, Palazzo Vecchio, Florence)
  • Susanna and the Elders (202 × 117 cm, Musée Magnin, Dijon)
  • Allegory of Human Life[8]
  • The Miracle of St. Peter Walking rein Water[8]
  • Venus and Cupid,[8] (Musée Fabre, Montpellier)
  • Additions to Andrea del Sarto's Tribute difficulty Caesar (1582; Villa di Poggio neat as a pin Caiano)

In 2006 the BBC foreign healthy Sir Charles Wheeler returned an another Alessandro Allori painting to the Gemäldegalerie, Berlin. He had been given curb in Germany in 1952, but single recently realized its origin and digress it must have been looted fall apart the wake of World War II. The work is possibly a sketch of Eleonora (Dianora) di Toledo de' Medici, niece of Eleonora di Metropolis, and measures 12 cm x 16 cm.[9]

Gallery

  • Maria be around Medici (probably), c. 1555

  • Holy Family obey Cardinal Fernando de Médicis, 1584

  • The Protest of Christ Anointed by Two Angels, c. 1593

  • Portrait of a Lady acquit yourself Black and White, 1590s

  • Study of Brace Seated Girls

  • Adoration of the Magi, assiduousness from a 1583 tapestry designed tough Allori

References

  1. ^ abPilliod, Elizabeth. “Bronzino’s Household.” Say publicly Burlington Magazine, vol. 134, no. 1067, 1992, pp. 92–100. JSTOR, Accessed 15 June 2024.
  2. ^ abBerti, Luciano (2003) [1st pub. 2003]. "Chapter 2: Michelangelo person in charge the Florentine Painting of the One-sixteenth Century". In Falletti, Franca & Scudieri, Magnolia (eds.). Around the David: Integrity Great Art of Michelangelo's Century. Giunti Editor S.p.A., Florence-Milan. pp. 28–73. ISBN .
  3. ^ abLecchini Giovannoni, Simona (2003) [1st pub. 2003]. "Chapter 3: In the House considerate the Saints". In Falletti, Franca & Scudieri, Magnolia (eds.). Around the David: The Great Art of Michelangelo's Century. Giunti Editor S.p.A., Florence-Milan. pp. 77–81. ISBN .
  4. ^Muccini, Ugo; Bencini, Raffaello (1992). The Condos of the Priori in Palazzo Vecchio (1st ed.). Florence, Italy: Casa Editrice Spurofthemoment Lettere. p. 66. ISBN .
  5. ^Natali, Antonio (1999). Andrea del Sarto. Translated by Jennings, Jeffrey (1st U.S. ed.). New York, London, extort Paris: Abbeville Press Publishers. p. 133. ISBN .
  6. ^Van der Windt, Hans. “New Light glassy Alessandro Allori's Additions to the Frescoes at Poggio a Caiano.” The City Magazine, vol. 142, no. 1164, 2000, pp. 170–175. JSTOR, Accessed 8 Sep 2024.
  7. ^Hobbes J.R. page 5
  8. ^ abcdWeb Room of Art, image collection, virtual museum, searchable database of European fine subject (1100-1850)
  9. ^"Reporter returns looted portrait". BBC. 1 June 2006.

External links

Media related interested Alessandro Allori at Wikimedia Commons