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ALLORI Alessandro Portrait of a Young Man  hgjgh oil painting


Portrait of a Young Man hgjgh
Painting ID::  4691
ALLORI Alessandro
Portrait of a Young Man hgjgh
Oil on canvas transferred from wood, 117 x 87,5 cm The Hermitage, St. Petersburg

   
   
     

ALLORI Alessandro The Body of Christ with Two Angels oil painting


The Body of Christ with Two Angels
Painting ID::  4688
ALLORI Alessandro
The Body of Christ with Two Angels
Oil on copper, 45 x 39 cm Museum of Fine Arts, Budapest

   
   
     

ALLORI Alessandro Portrait of a Woman hhhy oil painting


Portrait of a Woman hhhy
Painting ID::  4689
ALLORI Alessandro
Portrait of a Woman hhhy
1570-90 Oil on copper, 37 x 27 cm Galleria degli Uffizi, Florence

   
   
     

ALLORI Alessandro Allegory of Human Life  kig oil painting


Allegory of Human Life kig
Painting ID::  4690
ALLORI Alessandro
Allegory of Human Life kig
1570-90 Oil on copper, 37 x 27 cm Galleria degli Uffizi, Florence

   
   
     

ALLORI Alessandro St Peter Walking on the Water oil painting


St Peter Walking on the Water
Painting ID::  4692
ALLORI Alessandro
St Peter Walking on the Water
1590s Oil on copper, 47 x 40 cm Galleria degli Uffizi, Florence

   
   
     

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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.

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     | Mellin, Charles | Pavel Chistyakov | Lilla Cabot Perry |


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