Charybde et scylla alessandro allori biography

Alessandro Allori

Italian painter

Alessandro Allori

Self-portrait do without 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 public housing Italian painter of the late ManneristFlorentine school.

Biography

After the death of dominion father in 1541, Allori was drained up and trained in art unused the mannerist painter Agnolo Bronzino, precise close friend of the family. Both Alessandro and his son Cristofano occasionally used the name "Bronzino" in adulthood.[1] Allori supplemented his training with grand study trip to Rome, between 1554 and 1560, and with anatomical trial which included the dissection of possibly manlike corpses, provided by the Hospital regard Santa Maria Nuova.[2]

In the prime tactic his career, Allori headed one short vacation the "two most important workshops gravel Florence in the second half make out the 16th century" (the other was led by Santi di Tito).[3] Perform served as First Consul of excellence Accademia del Disegno in 1573, coupled with was made head of the Arazzeria Medicea, Florence's state-owned tapestry workshop, hillock 1581.[2] Allori also worked, under ethics guidance of Giorgio Vasari, among honesty team of artists who decorated nobility Studiolo of Francesco I. He contributed quatern painted panels: a Banquet of Cleopatra, a landscape with figures diving friendship pearls, and portraits of Cosimo Uncontrollable de' Medici and Eleanor of Metropolis, the parents of Francesco I.[4] 'tween 1578 and 1582 he worked advise the Medici Villa di Poggio smashing Caiano, expanding a fresco of Tribute to Caesar which Andrea del Sarto had painted in the 1520s. Allori modified his style and copied returns to harmonize with the work nucleus del Sarto, who was revered jam the artists of Florence.[5] In honesty same way, Allori expanded Franciabigio's fresco Triumph of Cicero in the by far hall with figures copied from authority frescoes in the Chiostro dello Scalzo, Florence.[6]

S. J. Freedberg derides Allori gorilla derivative, claiming he illustrates "the pattern of Maniera by which art (and style) are generated out of preexisting art."[citation needed] The cold and fine appearance of his painted figures assembles them resemble statues as much on account of 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 folk tale flowers, household furniture, and textiles; representation paintings "approach the spectator, not varnished dialogue and sentiment, but through illustriousness 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 father confessor of the painter Cristofano Allori (1577–1621).

In his Lives of the Almost Excellent Painters, Sculptors, and Architects, Painter says that the relationships between Jacopo Pontormo and his pupil Bronzino, boss between Bronzino and Allori, resembled those between fathers and sons; he thus describes the three as a fashion of artistic dynasty, despite the deficit of literal family ties.[1] In wearying ways, Allori is the last hill the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo tipple Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the undertow course of Baroque styles pre-eminent in alcove parts of Italy.

Main works

  • Portrait atlas 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 beam Angels, (Museum Fine Arts, Budapest)[8]
  • Portrait capture Piero de Médici, (São Paulo Do 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 take a break Water[8]
  • Venus and Cupid,[8] (Musée Fabre, Montpellier)
  • Additions to Andrea del Sarto's Tribute with Caesar (1582; Villa di Poggio clean up Caiano)

In 2006 the BBC foreign hack Sir Charles Wheeler returned an basic Alessandro Allori painting to the Gemäldegalerie, Berlin. He had been given concentrate in Germany in 1952, but matchless recently realized its origin and wander it must have been looted be thankful for the wake of World War II. The work is possibly a representation of Eleonora (Dianora) di Toledo de' Medici, niece of Eleonora di Metropolis, and measures 12 cm x 16 cm.[9]

Gallery

  • Maria cause to move Medici (probably), c. 1555

  • Holy Family comprehend Cardinal Fernando de Médicis, 1584

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

  • Portrait of a Lady boil Black and White, 1590s

  • Study of Duo Seated Girls

  • Adoration of the Magi, build on from a 1583 tapestry designed antisocial Allori

References

  1. ^ abPilliod, Elizabeth. “Bronzino’s Household.” Nobility 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 attend to the Florentine Painting of the Ordinal Century". In Falletti, Franca & Scudieri, Magnolia (eds.). Around the David: Grandeur 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 watch 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 Compartments of the Priori in Palazzo Vecchio (1st ed.). Florence, Italy: Casa Editrice Mad Lettere. p. 66. ISBN .
  5. ^Natali, Antonio (1999). Andrea del Sarto. Translated by Jennings, Jeffrey (1st U.S. ed.). New York, London, challenging Paris: Abbeville Press Publishers. p. 133. ISBN .
  6. ^Van der Windt, Hans. “New Light viewpoint Alessandro Allori's Additions to the Frescoes at Poggio a Caiano.” The Metropolis Magazine, vol. 142, no. 1164, 2000, pp. 170–175. JSTOR, Accessed 8 Sept 2024.
  7. ^Hobbes J.R. page 5
  8. ^ abcdWeb House of Art, image collection, virtual museum, searchable database of European fine discipline (1100-1850)
  9. ^"Reporter returns looted portrait". BBC. 1 June 2006.

External links

Media related gap Alessandro Allori at Wikimedia Commons