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Portrait of a Young Man hgjgh
Painting ID:: 4691
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Portrait of a Young Man hgjgh
Oil on canvas transferred from wood, 117 x 87,5 cm
The Hermitage, St. Petersburg
Oil_on_canvas_transferred_from_wood,_117_x_87,5_cm
The_Hermitage,_St._Petersburg
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The Body of Christ with Two Angels
Painting ID:: 4688
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The Body of Christ with Two Angels
Oil on copper, 45 x 39 cm
Museum of Fine Arts, Budapest
Oil_on_copper,_45_x_39_cm
Museum_of_Fine_Arts,_Budapest
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Portrait of a Woman hhhy
Painting ID:: 4689
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Portrait of a Woman hhhy
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
1570-90
Oil_on_copper,_37_x_27_cm
Galleria_degli_Uffizi,_Florence
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Allegory of Human Life kig
Painting ID:: 4690
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Allegory of Human Life kig
1570-90
Oil on copper, 37 x 27 cm
Galleria degli Uffizi, Florence
1570-90
Oil_on_copper,_37_x_27_cm
Galleria_degli_Uffizi,_Florence
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St Peter Walking on the Water
Painting ID:: 4692
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St Peter Walking on the Water
1590s
Oil on copper, 47 x 40 cm
Galleria degli Uffizi, Florence
1590s
Oil_on_copper,_47_x_40_cm
Galleria_degli_Uffizi,_Florence
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ALLORI Alessandro
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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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Related Artists::.
| MASTER of Saint Veronica | Andrea di Orcagna | Ammi Phillips | |
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