All FRANCIABIGIO 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
96463 Madonna and Christ Child  Madonna and Christ Child   Early 1520s Medium Oil on panel Dimensions 33.5 X 26.5 in cyf
30963 Portrait d'Homme  Portrait d'Homme   mk70 Bois H.0,76 L.0,60 Paris,Musee du Louvre
42996 Portrait of a Kning of Rhodes  Portrait of a Kning of Rhodes   mk170 dated 1514 Oil on wood 60.3x45.7cm
20158 Portrait of a Man (mk05)  Portrait of a Man (mk05)   Wood,30 x 23 1/2''(76 x 60 cm).Acquired from the Duc de Richelieu by Louis XIV in 1665
6714 Portrait of a Man dsh  Portrait of a Man dsh   Wood Mus??e du Louvre, Paris
97239 Portrait of Johan Rohde  Portrait of Johan Rohde   oil on canvas Dimensions 41 X 55 cm cyf
97236 Retrato de Homem  Retrato de Homem   from 1501(1501) until 1525(1525) Medium oil on panel Dimensions 50 X 40 cm cyf
6713 The Last Supper dh  The Last Supper dh   1514 Fresco Convento della Calza, Florence

Italian High Renaissance Painter, 1484-1525 Italian painter. The son of a Milanese linen-weaver, he had completed his apprenticeship, in Florence, by 18 October 1504. His earliest documented works, for example a Piete (1506) for S Pancrazio, Florence, have not survived. According to Vasari, Franciabigio trained with Mariotto Albertinelli, in whose last work, the signed and dated Crucifixion (1506; Florence, Certosa del Galluzzo, Pin.), he painted the angels (Shearman). In December 1508 the names of Franciabigio and Andrea del Sarto, who sometime between autumn 1506 and 1509 set up a joint workshop, were entered in the registration book of the Arte de' Medici e Speziali, to which painters were required to belong. The Portrait of a Young Man (Paris, Louvre) dates from this period. The work, which was later enlarged, shows the subject half-length, leaning pensively against a balustrade, with strong areas of shadow around the eyes. This is the first in a series of male portraits typical of Franciabigio: the subjects, each of whom wears a hat, are mostly placed in front of a landscape, with their gaze fixed meditatively or piercingly on the onlooker. The religious works from this period, such as the Virgin and Child (1509; Rome, Pal. Barberini), also show a movement away from the style of Albertinelli and Raffaellino del Garbo and begin to reveal instead the influence of Leonardo, Michelangelo and, especially, Raphael. Yet Franciabigio's connection with Andrea del Sarto was the determining factor in his career. When in 1509 it was del Sarto who received the commission to complete the fresco cycle in the atrium of SS Annunziata, Florence, their relationship altered significantly.

China Oil Painting Studio Team