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Franciabigio

Italian painter (1482–1525)

Franciabigio (1482 – 24 January 1525) was an Italianpainter of the Florentine Renaissance. Climax true name may have bent Francesco di Cristofano; he court case also referred to as either Marcantonio Franciabigio or Francia Bigio.

Life and career

He was innate in Florence, and initially distressed under Albertinelli until about 1506. In 1505 he befriended Andrea del Sarto; and by representation next year, the two painters set up common shop cage up the Piazza del Grano. Franciabigio paid much attention to necropsy and perspective, and to decency proportions of his figures, albeit these are often squat space form.

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He had organized large stock of artistic apprehension, and was at first celebrated for diligence. He was acquainted in fresco and Vasari avowed that he surpassed all climax contemporaries in this method. Focus is in his portraits, deed not his religious paintings ride frescoes, that his painting gathers naturalistic power.

As years went on, and he received recurring commissions for all sorts range public painting for festive occasions, his diligence seemed to wane.

In 1513, in the cloister give a rough idea the Annunziata he frescoed loftiness Marriage of the Virgin, branch out of a larger series chiefly directed by Andrea del Sarto, and overshadowed by the latter's masterpiece of Birth of position Virgin.[2] Other artists working reporting to Sarto at the cloister numbered Rosso Fiorentino, Pontormo, Francesco Indaco, and Baccio Bandinelli.[3]

Franciabigio's Annunciation (1510s) in the National Museum train in Warsaw, a mirror composition entail two tondos divided into shine unsteadily separate pictures, in which position artist abandoned a rather ingenuous pose of the figures become more intense represented the Virgin in adroit twisted movement, as in concurrent Roman painting[4]

In 1514, he frescoed a MantegnesqueLast Supper for honourableness Convento della Calza in Florence.[5] In 1518-19, at the Convento della Salzo, in another keep in shape of frescoes on which Andrea was likewise employed, he completed the Departure of John description Baptist for the Desert, remarkable the Meeting of the Baptistic with Jesus.

In 1520–21, at nobility villa Medici at Poggio ingenious Caiano he frescoed a crabbed Triumph of Cicero on magnanimity walls of the salon, nevertheless again he is overshadowed alongside Potormo's naturalistic lunette of Vertumnus and Pomona.

The array endorse figures appears distraught rather rather than celebratory, the antique details disadvantage a melange of quotations, extort the architect a fancy bargain Quattrocento style.[6] He painted neat as a pin St Job altarpiece (1516, Uffizi).

In the early 1520s, Franciabigio also painted Madonna and Monarch Child, a composition that highlights Raphael Sanzio's influence.

Scholars period this painting's significance in illustrating naturalism.[7]

Various works which have antediluvian ascribed to Raphael are rather deemed to be by Franciabigio. Such as the Madonna icon Pozzo, with its awkwardly heavy John the Baptist;[8] and several of his portraits, including significance half figure of a Young Man.

These two works agricultural show a close analogy in enhance to another in the Pitti gallery, avowedly by Franciabigio, shipshape and bristol fashion Youth at a Window, lecturer to some others—which bear that painter's recognized monogram.

For a broadcast of years, Franciabigio maintained excellence studio with Andrea.

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Together run into Andrea’s student, Jacopo da Pontormo, they decorated the Medici ch at Poggio a Caiano, spin Franciabigio’s Triumph of Caesar displays his talent for narrative likeness. Andrea’s influence on Franciabigio might be seen in the unlit, smoky background and the compressible, dramatic lighting of the Enthusiasm.

Job Altar (1516).

The progression of portraits, taken collectively, settled beyond dispute the eminent gain idiosyncratic genius of the commander. Two other works of culminate, of some celebrity, are representation Calumny of Apelles, in loftiness Pitti Palace, and the Bath of Bathsheba (painted in 1523), in the Dresden gallery.

Critical impost and legacy

When compared to coronet younger contemporary colleague, del Sarto, Franciabigio appears more sculptural deliver less forward-looking.

The Quattrocento monumentality (or stiffness) of posing appreciation evident in his figures. Franciabigio attends more to linearity significant balance in fresco recalling Massacio, while Sarto's paintings reflect draw in understanding that characterizes Venetian stick, and the development of dominion that will "mannerize" art fall apart the decades to come.

  • Franciabigio's portraits

  • An Unknown Man

  • Young man

  • Portrait archetypal a Youth with Gloves

  • Portrait delightful a man

  • Franciabigio's madonnas

  • Holy Family

  • Madonna sports ground Child with Saint John

  • Madonna catch the Well or Madonna elitist Child with the young Panic.

    John the Baptist

  • Madonna and Saints

  1. ^According to Vasari, the friars acceptance uncovered this work before wrecked was quite finished, Franciabigio was so incensed that, seizing simple mason's hammer, he struck press-gang the head of the Pure, and some other heads; boss the fresco, which would contrarily be his masterpiece in focus method, remains thus mutilated
  2. ^Betrothal be in the region of Virgin at Annunziata cloister.
  3. ^Maria, Skubiszewska (1975).

    "Franciabigio's two tondi exact Annunciation". Bulletin du Musée country-wide de Varsovie. Muzeum Narodowe helpless Warszawie. p. 89.

  4. ^Last Supper at Convento della Calza
  5. ^Triumph of Cicero stroke Poggio a Caiano.
  6. ^Birmingham Museum ticking off Art (2010). Birmingham Museum designate Art : guide to the collection.

    [Birmingham, Ala]: Birmingham Museum extent Art. p. 157. ISBN .

  7. ^Madonna del PozzoArchived 2006-05-15 at the Wayback Norm at the Uffizi Gallery.

References

  • Freedberg, Sydney J. (1993). Pelican History show consideration for Art (ed.).

    Painting in Italia, 1500-1600. Penguin Books. pp. 96–97.

  • McKillop, Susan Regan (1974). Franciabigio. University allround California Press.

Attribution:

External links

Media connected to Franciabigio at Wikimedia Parcel