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Andrea del Sarto
Italian High Renaissance Painter , 1486-1530
Italian painter and draughtsman. He was the leading painter in Florence in the early years of the 16th century, and, under the influence of Leonardo da Vinci, Fra Bartolommeo, Michelangelo and Raphael, he elaborated and perfected the classical style of the High Renaissance. In the second decade of the 16th century his art anticipated aspects of Mannerism, while his direct, immediate works of the 1520s became important models for the more naturalistic Tuscan artists of the Counter-Reformation. He painted mainly religious works, including both altarpieces and major cycles of frescoes. His portraits, distinguished by a dreamily poetic quality,
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Birth of the Virgin gfg
1513
Fresco, 413 x 345 cm
SS. Annunziata, Florence
Painting ID:: 4786
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Birth_of_the_Virgin__gfg
1513
Fresco, 413 x 345 cm
SS. Annunziata, Florence
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Baptism of the People ccd
1515-17
Fresco
Chiostro dello Scalzo, Florence
Painting ID:: 4787
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Baptism_of_the_People__ccd
1515-17
Fresco
Chiostro dello Scalzo, Florence
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Study for the Baptism of the People f
c. 1515
Red chalk, 314 x 186 mm
National Gallery of Victoria, Melbourne
Painting ID:: 4788
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Study_for_the_Baptism_of_the_People_f
c. 1515
Red chalk, 314 x 186 mm
National Gallery of Victoria, Melbourne
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Madonna of the Harpies fdf
1517
Oil on wood, 208 x 178 cm
Galleria degli Uffizi, Florence
Painting ID:: 4789
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Madonna_of_the_Harpies_fdf
1517
Oil on wood, 208 x 178 cm
Galleria degli Uffizi, Florence
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Madonna of the Harpies (detail) fgfg
1517
Oil on wood
Galleria degli Uffizi, Florence
Painting ID:: 4790
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Madonna_of_the_Harpies_(detail)__fgfg
1517
Oil on wood
Galleria degli Uffizi, Florence
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Andrea_del_Sarto
Italian High Renaissance Painter , 1486-1530
Italian painter and draughtsman. He was the leading painter in Florence in the early years of the 16th century, and, under the influence of Leonardo da Vinci, Fra Bartolommeo, Michelangelo and Raphael, he elaborated and perfected the classical style of the High Renaissance. In the second decade of the 16th century his art anticipated aspects of Mannerism, while his direct, immediate works of the 1520s became important models for the more naturalistic Tuscan artists of the Counter-Reformation. He painted mainly religious works, including both altarpieces and major cycles of frescoes. His portraits, distinguished by a dreamily poetic quality,
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