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 Madonna Enthroned between Two Saints oil painting


Madonna Enthroned between Two Saints
1521(1521) Medium oil on wood cyf
Painting ID::  89681
Rosso Fiorentino
Madonna Enthroned between Two Saints
1521(1521) Medium oil on wood cyf
   
   
     

Rosso Fiorentino Putto che suona oil painting


Putto che suona
1518(1518) Medium oil on panel Dimensions Height: 172 cm (67.7 in). Width: 141 cm (55.5 in). cyf
Painting ID::  90339
Rosso Fiorentino
Putto che suona
1518(1518) Medium oil on panel Dimensions Height: 172 cm (67.7 in). Width: 141 cm (55.5 in). cyf
   
   
     

Rosso Fiorentino Betrothal of the Virgin oil painting


Betrothal of the Virgin
1523(1523) Medium oil on panel Dimensions Height: 325 cm (128 in). Width: 250 cm (98.4 in). cyf
Painting ID::  91199
Rosso Fiorentino
Betrothal of the Virgin
1523(1523) Medium oil on panel Dimensions Height: 325 cm (128 in). Width: 250 cm (98.4 in). cyf
   
   
     

Rosso Fiorentino Risen Christ oil painting


Risen Christ
between 1528(1528) and 1530(1530) Medium oil on panel cyf
Painting ID::  91299
Rosso Fiorentino
Risen Christ
between 1528(1528) and 1530(1530) Medium oil on panel cyf
   
   
     

Rosso Fiorentino Descent from the Cross oil painting


Descent from the Cross
1521(1521) Medium oil on panel cyf
Painting ID::  92050
Rosso Fiorentino
Descent from the Cross
1521(1521) Medium oil on panel cyf
   
   
     

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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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