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ALLORI Alessandro Venus and Cupid oil painting


Venus and Cupid
Painting ID::  4693
ALLORI Alessandro
Venus and Cupid
Oil on wood Mus??e Fabre, Montpellier

   
   
     

ALLORI Alessandro Madonna and Child oil painting


Madonna and Child
Painting ID::  29137
ALLORI Alessandro
Madonna and Child
mk65 Oil on canvas 51x45"

   
   
     

ALLORI Alessandro Portrait of Barbara Pallavicino oil painting


Portrait of Barbara Pallavicino
Painting ID::  29813
ALLORI Alessandro
Portrait of Barbara Pallavicino
mk67 Oil on panel 18 5/16x13 3/4in Uffizi,Gallery.

   
   
     

ALLORI Alessandro The Annunciation oil painting


The Annunciation
Painting ID::  29869
ALLORI Alessandro
The Annunciation
mk67 Oil on canvas 63 3/4x40 9/16in

   
   
     

ALLORI Alessandro The Baptism of Christ oil painting


The Baptism of Christ
Painting ID::  29870
ALLORI Alessandro
The Baptism of Christ
mk67 Oil on panel 65 1/8x38 3/16in

   
   
     

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     ALLORI Alessandro
     Italian Mannerist Painter, 1535-1607 Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy. Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.

     Related Artists::.
     | Jo Davidson | Domingo Garcia y Vasquez | Master of the View of st Gudule |


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