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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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Susanna and the Elders
Date
Medium Oil on canvas
Dimensions 202 X 117 cm (79.53 X 46.06 in)
cyf
Painting ID:: 73136
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Susanna_and_the_Elders
Date
Medium Oil on canvas
Dimensions 202 X 117 cm (79.53 X 46.06 in)
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Maria de Medici
Date Deutsch: um 1555
Medium Deutsch: Öl auf Pappelholz
Dimensions Deutsch: 114,5 x 89,5 cm
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Painting ID:: 74234
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Maria_de_Medici
Date Deutsch: um 1555
Medium Deutsch: Öl auf Pappelholz
Dimensions Deutsch: 114,5 x 89,5 cm
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Portrait of a Florentine Nobleman
Date 16th century
Medium Oil on panel
Dimensions 70 ?? 55 cm (27.6 ?? 21.7 in)
c yf
Painting ID:: 76233
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Portrait_of_a_Florentine_Nobleman
Date 16th century
Medium Oil on panel
Dimensions 70 ?? 55 cm (27.6 ?? 21.7 in)
c yf
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Preaching of St John the Baptist
Date between 1601(1601) and 1603(1603)
Medium Oil on copper
Dimensions Width: 47 cm (18.5 in). Height: 39 cm (15.4 in).
cyf
Painting ID:: 77195
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Preaching_of_St_John_the_Baptist
Date between 1601(1601) and 1603(1603)
Medium Oil on copper
Dimensions Width: 47 cm (18.5 in). Height: 39 cm (15.4 in).
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Portrait of a Florentine Lady
16th century
Medium Oil on panel
Dimensions 54.6 x 42.3 cm (21.5 x 16.7 in)
cyf
Painting ID:: 84317
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Portrait_of_a_Florentine_Lady
16th century
Medium Oil on panel
Dimensions 54.6 x 42.3 cm (21.5 x 16.7 in)
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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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