Rosso Fiorentino
Italian Mannerist Painter, ca.1495-1540 Born in Florence Italy with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style. Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. Following his death in 1540 (which, according to an unsubstantiated claim by Vasari, was a suicide ), Francesco Primaticcio took charge of the artistic direction at Fontainebleau. Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power.

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Rosso Fiorentino Moses Defending the Daughters of Jethro oil painting


Moses Defending the Daughters of Jethro
mk156 1523 OIl on canvas 160x117cm
Painting ID::  40328
Rosso Fiorentino
Moses Defending the Daughters of Jethro
mk156 1523 OIl on canvas 160x117cm
   
   
     

Rosso Fiorentino Portrait of a Kinight oil painting


Portrait of a Kinight
mk170 1520-1522 Oil on poplar 96.8x76.2cm
Painting ID::  42997
Rosso Fiorentino
Portrait of a Kinight
mk170 1520-1522 Oil on poplar 96.8x76.2cm
   
   
     

Rosso Fiorentino Musical Angel oil painting


Musical Angel
nn09 c.1522 Tempera on wood 39x47cm
Painting ID::  51718
Rosso Fiorentino
Musical Angel
nn09 c.1522 Tempera on wood 39x47cm
   
   
     

Rosso Fiorentino Luo rope Habusibao Feir Naduo oil painting


Luo rope Habusibao Feir Naduo
mk261 1525, Liverpool, Merseyside County National Museum and Gallery
Painting ID::  58140
Rosso Fiorentino
Luo rope Habusibao Feir Naduo
mk261 1525, Liverpool, Merseyside County National Museum and Gallery
   
   
     

Rosso Fiorentino Moses defending the Daughters of Jethro. oil painting


Moses defending the Daughters of Jethro.
Date between 1523(1523) and 1524(1524) Medium Oil on canvas Dimensions Height: 160 cm (63 in). Width: 117 cm (46.1 in). cjr
Painting ID::  82157
Rosso Fiorentino
Moses defending the Daughters of Jethro.
Date between 1523(1523) and 1524(1524) Medium Oil on canvas Dimensions Height: 160 cm (63 in). Width: 117 cm (46.1 in). cjr
   
   
     

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     Rosso Fiorentino
     Italian Mannerist Painter, ca.1495-1540 Born in Florence Italy with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style. Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. Following his death in 1540 (which, according to an unsubstantiated claim by Vasari, was a suicide ), Francesco Primaticcio took charge of the artistic direction at Fontainebleau. Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power.

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